Hello, my name is Violent Destruction, and I'm looking for a world prog, hardcore or week 1 group for 7.0 Savage and beyond. I am an omni tank player who is flexible and comfortable on all four tanks and who has a strong understanding of all roles within the game. I was in a long-standing raid group of 5 years forming at the end of Stormblood through TOP, with our best placements according to fflogs progress being Asphodelos World 9th and Abyssos World 13th.
Group Expectations:
Previous world prog or hardcore experience
Consistent attendance and positive mindset towards static raid days. I want to raid with people who enjoy playing the game and have fun during progression and normal raid days.
Capable 9ths and Splits Clears
Ability to stream raid I can mute coms if requested.
What you can expect of me:
Consistency with movement, positioning, rotation, optimization, party list monitoring, and execution.
Ability to raid long hours: I have multiple experiences running 16+ hours a day and set my sleep schedule 2 weeks prior to our prog schedule to acclimate myself to the time we will be raiding.
Motivated to improve, receptive to criticism, and self-critical.
I can do backup callouts if needed.
(Optional) Speeds: I do have an interest in Speeds, but it is not required. Some notable group speed All Star rankings Alphascape World 10th, Edens Gate World 11th, and Edens Promise World 10th. Rank 3 speed UCOB Stormblood, rank 1 speed UWU Stormblood, and rank 1 speed TEA Shadowbringers. I haven't done speeds during Endwalker as my previous long-standing raid group was no longer interested in doing them. The majority of my logs for this expansion are weekly clears.
FFLOGS Main: https://www.fflogs.com/charactena/sargatanas/violent%20destruction
Raid Progress: https://tomestone.gg/characte15630676/violent-destruction/progress
Contact: Send a friend request or message request on discord at violentdestruction

We have been together for almost a year and half and have been living together for 8 months of our relationship. We had about a 2 months span where we fought a lot because both of us felt needs were being neglected. Full honesty during those 2 months a problem he had was how I talked to him when I was upset. I didn’t call him names or verbally berate him but the way I worded my issues with him he felt attacked and like he could never meet my standards. I’ve spent the last 5 months actively working on being mindful in how I speak and my word choice and we made great progress in communicating. However the last month or so he’s been getting super angry when I try to communicate something bothering me. He’s at a point of he curses at me (even though he knows it bothers me) and has been taking jabs at me like saying I’m getting my feelings hurt over nothing or that I’m just looking for a reason to end our relationship. He usually apologizes when I call him out but this shift in his mannerisms has me really concerned. Any ideas on why he’s acting like this or how I should approach him about changing this?

Sordland & Rizia Achievement Ideas

• Rash And Dangerous Reforms Achievement - have Sordland lose reforms in Assembly votes & have Royal Council turn down Romus' reforms unanimously.
• Old Habits Die Hard Achievement - Have a glass of wine before Walter Tusk enters Accept Walter's cigar offer Have tea after adjusting EPA Drink wine with Business Council Accept Kisha offer from Smolak f. accept Petr's offer of a glass of something Accept Alvarez's drink offer ["Are you drinking, Mr. President dialogue choice] Accept Walker's "stronger wine" As Romus:drink wine from Romus the Red Lose the pick wrong answers in a game with your Council to trigger taking shots Agree/accept Wiktor's Kisha offer (or something in between "I'll leave the smoking to the Queen Mother" dialogue choice High Tea with Beatrice.
• It's All All About The Money, Money Money (song) / A Money Must Be Funny In A Rich Man's World (song) Achievement - As Anton - accept bribe from Tusk, bribe Albin, bribe Frens, bribe Garaci As Romus, accept bribe from Rusty.
• Two Heads On A Platter Achievement - be assassinated (by Oligarchs / Bluds) as Anton; as Romus, when provoking revolutionists/militants with your speech to shoot you, than abdicating.
• "For the Oppressed!" Achievement - ban YS, assassinate Kesaro with SSP, impeach Hawker, capital punishment on Soll, denounce Su Omina and jail Rico under Rizia's custody.
• "They Rayne-diculously Tore Us, Toras!" Achievement - be infamous as Anton and Romus [low PO, low economy, negative budget, trigger Katarina/the red's Unrest Populace and fail to contain them as Anton; trigger violent protests in provinces and fail to unify Pales back to Rizia despite Vina's marriage to Axel].
• Two Coups and a Lie / Acquainted/Besties in Kyrute Achievement - trigger coup and exile in Kyrute with your families as Anton and Romus (fund Lucita/cops to be able to bring her with you!).
• Unjust Proceedings Achievement - defund military, join CSP, transfer Gendermarie to Interior despite being warned and jail Soll via Grecer, reinstate capital punishment [Valken Coup] As Romus, train much men from Turn 1 to 10, increase levies, execute Lucita (to trigger Taddeus coup) and prepare to be guillotined (epilogue).
• Bibliophile Women & Their Rubbish Books Achievement - defy / disgust over Monica reading Malenyevist/Valgish book; do not let Vina be sit-in to your Council and confiscate the book. Don't let her be a part of Council
• "In Loving Memories Of..." / "Any Father's Nightmare" / "The Burden That Fathers Bear" Achievement - As Anton, be strict/mean to Franc at every given turn and send Franc to military school but lose the war against Rumburg (Franc dies) As Romus: Go home instead of letting her dance with Manus. Lure her with approving Vina's relationship with Manus in one condition: Vina to Pales as liaison, do not jail Lucita for false flag, prepare for war and use assault strike than covert op (Vina dies)
• Torn & Betrayed / "Where Do Broken Hearts Go?" Achievement

As Anton: 1) Support Monica on Prologue. 2) Have shady deals (Monica is your primary leaker; when you and Serge/Petr watching FC Anrica game, they be lying down on the ground in protest against you) 3) Turn down Monica's speech 4) Apologize and let Curtan Leste continue his speech (make Monica helpless) 4) Outright gun WLA down. Say no, than showing support and vetoing WLA on later game. Don't fund Women's Committee 5)Let Monica divorce you. 6) Leak Monica's racy photos on epilogue
As Romus: 1) Be a Party Prince 2) Have ocassional affairs 3( Go to your other woman instead than attend Vina's birthday(?). Rushing as you go to Lena and she dies in your arms.
With Vina

1. Be indifferent with Manus at every given turn
2. Do not let her dance with Manus
3. Disapprove her relationship with Manus
4. Arrest Manus with Golden Guard
5. Execute Manus

With Lucita

1. Kiss Lucita after playing a game with the Council, post-Wine event
2. Be in a relationship / Date Lucita
3. Break up with Lucita on later game

• Shame Isn't The Name of The Game Achievement -

As Anton, lose the war against Rumburg (Franc studying somewhere else)
As Romus, lose the war against Pales (Vina is not your liaison to Pales)

Overall, what do you guys think? 🥹😅

(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

This is a continuation to my first post here:
https://www.reddit.com/longtermTRE/comments/1crxyji/so_i_tried_this_for_the_first_time/?utm_source=share&utm_medium=android_app&utm_name=androidcss&utm_term=1&utm_content=share_button
A couple days ago I shared here my first TRE exercise and how it led into a dream where all felt real and I kept tremoring. Today it happened almost exactly the same but the experience was much different, and more odd. I'll try to describe it as best as I can.
As a quick side note, yesterday I did the same exercise again but it was at noon, so I didn't sleep after. This time I went on for a bit longer and during the third repetition I actually got a full body tremor which was quite intense.
So last night after I had dinner, I layed on the couch to read a bit and fell asleep. Woke up at around 4:30 AM and headed to bed. I stayed awake for a while and then decided to try the exercise again before sleeping, this time repeating the routine I did yesterday. This started at around 5 AM (I feel this is important for a reason I'll share later)
I did the routine for maybe around 10 minutes, going through 3 cycles. At the third cycle my legs tremored very violently and got a full body tremor again.
After I stopped, I put on my eye mask and intended to sleep, but instead I slowly felt my body locking up and going into full paralysis.
Now, I am no stranger to sleep paralysis and the visions one can have while in it. In fact, in a way I yearn for it so I can train to eventually feel comfortable during that state, and i've become quite adept at at least remaining composed and actually pulling myself out of it at will when I want. My point is: I'm fairly experienced in sleep paralysis and hallucinations, and this felt NOTHING like I've ever felt before.
The overall experience was almost exactly the same as in my first post: I was on my bed, in my same room, getting frequent intense full body tremors, all while remaining conscious.
However, during this time the whole atmosphere of my room felt very oppressive, just like in any other sleep paralysis experience. But at this time I wasn't having any visions and I actually had "limited movement"
I say that in quotations because I wasn't really moving my physical body, the same body typing this post, because it was totally paralysed. The best way I can describe it, as absurd as it sounds, is like if my consciousness instead of remaining in my paralyzed body, shifted to a parallel reality or dream world of sorts where everything is the same: my room, my bed, except I was inhabiting another version of my body wearing the same clothes, laying in the same position.
Anyway, while I was in this state, I retained full consciousness. I took the opportunity to experiment by thinking about stuff, and at one point I thought about my dog outside my bedroom door. As soon as I did, my face took an uncontrollable expression of feagrief. I felt my mouth open and it remained open for the rest of the experience to the point I could feel my tongue dry out. My theory on why I made that expression is because in my last experience, my dog was gone; and I feared that she would be gone again.
I tried standing up and walk to my door, but my body felt so heavy and would be janked back to the bed, like if gravity was 100x stronger. Moving was exhausting.
At one point I heard my parents wake up and do their morning routine. All the while I was trying to get out of the room ,trying to get up the bed, and even at one point I heard a weird noise right beside me, but since I was aware I was in an altered state of consciousness, I paid it no mind.
Eventually I managed to stand up and move to my door. I felt very weak, could barely walk, and I still retained my eye mask on my forehead and my frightened expression; I could only breathe through my mouth in heavy bursts.
My parents were having breakfast and discussing some stuff. This time, when I opened the door, the house was exactly the same and my dog was there. My parents paid me no mind and continued their talk.
For some reason I moved to the front door and I almost fell. My parents approached me and grabbed me by the arms to lift me up; they said nothing. Then they started dragging me back to my bed, and I got the idea to use that as an "anchor" to "wake up" in my real body.
Here's the weirdest part about this whole thing: as they were approaching my bed, I consciously started to move my REAL fingers, because I could barely feel the bed sheets. Each step they took, I could feel more of my bed.
Eventually, as my parents were sitting "me" on the edge of the bed, my consciousness gradually shifted to my real body. Once I was back, I felt all the oppressiveness gone, and felt like all the nerves on my body reactivated and I could move again. I
Now, why is this experience different than the previous one? (Other than the obvious reasons of my living room being different and my dog gone)
Because this time I'm sure this was NOT a dream, not even a lucid one, for 3 reasons:
-Unlike the previous experience, I NEVER fell asleep.
Think about when you are falling asleep, your consciousness slowly slips away. Then there's this period of unconsciousness, then you either suddenly appear in a dream or you wake up hours later. I've had lucid dreams before, and this void of consciousness between being awake and being in a dream is always there. That's why lucid dreamers do reality checks.
Last time I did say it was the smoothest transition into a dream I've ever had, but I did have this period of unconsciousness. This time I DIDN'T, because when I get sleep paralysis, there has never been a "skip" between being awake and being paralyzed. It's always gradual, and I'm fully conscious the whole time.
-Going hand in hand with the previous point: I NEVER woke up.
Now think about when you wake up. Regardless if you were dreaming or not, you either suddenly open your eyes and regain consciousness, or it happens gradually. If it happens gradually, at first you'll always feel groggy.
Last time, I distinctly remember suddenly waking up in a slight shock. This time I didn't. I didn't slowly regain consciousness either, because as I've mentioned, I was ALWAYS conscious, always awake; I just "shifted" bodies, and while I was doing that I could gradually feel my real body again.
Now, I've had experienced dreams where if something in the real world has a strong presence around me (noise, light, movement, temperature, wanting to pee, etc), that element will creep into whatever I'm dreaming, I'll notice that element, and then quickly wake up. But this felt different
Those Dream>>Awake transitions feel like taking a VR headset off This felt like crossfading two clips in a video sequence
And to cap this one off: when i "returned" to my body, my eye mask was on my forehead, my mouth was actually agape and my tongue was dry, just like it was during the whole experience
-Finally, the previous experience lasted 6 hours, but didn't feel like it because I was actually sleeping. Time is weird when you are dreaming, it can go too slow or too fast. In that case, those 6 hours went too fast.
This experience however, I'm sure lasted what I felt like it lasted, which was around an hour.
I mentioned earlier that this happened at around 5-5:10 AM (checked the clock when I began the exercise). My parents always wake up at 5:30 and start their breakfast around 6.
Also remember how I mentioned that I heard them having a conversation while I was walking to the door? When I returned to my body, they continued with that conversation, exactly where they left off.
So what was all that? My best guess is that I did get sleep paralysis, and a pretty long one. Due to its length, I had a more complex hallucination than normal
Cool, so why did I post it here instead of any other sub? Because this has NEVER happened to me before; not like this, not with this complexity, and not this quickly.
I've tried experimenting with lots of things before sleep: Wim Hof breathing, affirmations, visualization, subliminals, binaural beats, you name it. Most of the time I get a profound restful sleep, very cool dreams, and less commonly sleep paralysis, and while these are always wild, they don't last long at all.
Yet, the first ever couple instances I do TRE at night, I get some of the most intense experiences in my life, and not only that; but they are remarkably similar, with the most recent one building upon the first one in complexity and intensity.
Why is that? How is this technique so powerful? Does it even have something to do with my experiences or was it just a coincidence?
Part of me wants to test it again tonight but I think it's wiser to abstain from doing this before sleep, at least for a while, until I get more familiarized with the exercises and the sensations. To be clear I'm not afraid of it and I was never afraid during my experience; but I'm aware I found something that has proven to be very effective for me to induce altered states of consciousness, so Id rather take my time testing it.
I guess the last thing I can say is; Has anyone else ever experienced something similar to this after they've begun doing TRE?
Cheers!

DISCLAIMER: I did not transcribe this myself, though I could. I had a machine do it, and then the machine threw up afterwards -- but I did go through and add some bullety points while Jamie shot off her mouth. It's a total word salad, but one has only to skim through and see the number of ways she yawns and yawps and contradicts herself ... and does not take a breath, so there is very little punctuation. Again it's a run-on slog and the AI program chose to only use periods to end 70-some sentences because of all the run-on "like ... you know ... and ... but" instances as she ran with it -- with NO BOUNDARIES WHATSOVER. I did take out the kids' names, and I did search-and-replace all instances of "to" with "tuh" because that IS how they talk!
ENJOY -- and I use that word lightly:
AND SO IT BEGINS WITH Doug wishing Happy Mother's Day … and immediately Jamie corrects him, "Well, not really Mother's Day …" since they are recording after Mother's Day. Got get those Doug corrections in toot sweet, lest he thinks he has a mind of his own.
They note they tend to be "a little late on things," but they are "trying to get better about that." Doug says they had a fantastic Mother's Day, and he asked her if she had a good time. She said she had a great time. Doug wrote Happy Mother's Day on some cards and the kids drew on them. He gave her an eyelash waxing and noted probably a bad idea. She said it wasn't that she wasn't thrilled as she did mention that pregnancy makes her eyebrows bushy, but she was scared, maybe just mentioned she'd need to tweeze, but oh, well, yes, she likes his gift.
Jamie noted that it was "just the four of us" and of course, the babies in her belly, and that was fine with her – until her son's birthday of course, when she noted that their entire families suck!
So onto her son's birthdays and THESE GEMS AND THOUGHTS: I think it's just pregnancy hormones, but honestly, like, I just, I just can't, like, I don't know why, like, I guess, like, you know, ever since I was little, I've always really, really wanted family, like, so badly, like, I wanted just, like, deep connections with people who truly love me, and I truly love them, and we just really, truly support each other, and just, I don't know, I think, like, just pregnancy hormones made me think about it, but, like, yesterday for Son's birthday, and just family members who just completely forgot, and they just don't care, and I'm like, is it me? Is it him?
Like, and I don't want my son tuh grow, like, he doesn't know, and he'll never know, because I'll make sure, I mean, I spent every second, that boy had no second tuh think yesterday, like, I picked him up from school, and I took him tuh the library, because that's where he wanted tuh go, and then we, like, you know, we really love surprises in this family, if that's not clear by now, and so Daughter and I surprised him with a splash pad, like, we went tuh the splash pad for the first time, and we never do things like that on a school night, and so, and then he got tuh go pick out a cake that he wanted, and then Doug had dinner already at home, and then also we had decorations in his bedroom, which I was, like, hoping tuh have for the morning, but then Doug was, like, at, like, midnight, when we're, like, thinking about starting tuh blow up the balloons, Doug is like, Jamie, let's just surprise him tomorrow after school.

(Notice she takes no breath … and also they were super-last minute when it came tuh getting ready for his birthday, versus, what we have all mentioned, that isn't so when it's a gender reveal or a party or pickleball or something FOR HER.)
HERE, DOUG ASKS … "WHY, ARE WE GONNA DO THIS NOW?" AND THIS WAS PRETTY MUCH THE LAST EFFORT HE MADE tuh STOP HER BECAUSE SHE WENT ON WITH: Yeah, because it was so late, but I was like, I just have, like, this vision that I just wanted for him, because, you know, I'm just trying tuh give them the childhood that, like, I would have wanted, that any little kid would want, and really all that involves is truly just two loving parents who are there, and, like, that's really all that really involves, but if I can go a little extra, you know, and surprise him, and I, then I want to, you know, and so, you know.
DOUG NOTES THAT HE DOESN'T THINK THEY KNOW ANY DIFFERENT, AND HE CONTINUES WITH: I don't think they really know any different, you know, and I know, I know it's, it's tough, and I think, especially with, like, little kids, you know, they, they won't necessarily feel the impact and that want, you know, and, and I know that you do, and it, it hurts me that, you know, you would, you would want people tuh care enough to, tuh reach out, and I think, you know, for, for me, I, that's, I don't really set my expectations or, or give those expectations tuh son and daughter.
JAMIE BLASTS BACK, SUPER-DEFENSIVELY: Oh, I do not either, though. I do not at all. I don't say a thing tuh them about anything, because, you know, sometimes people miss their – you know, and that happens sometimes, but when it's, like, over, and over, and over again, and, like, it's just so obvious, and, and people ask us why we moved tuh Florida, and don't we want tuh be near family, and, you know, tuh be very honest, this is why.
Like, we, you know, I, we would fly up there tuh try tuh prove, like, hey, listen, we're not just trying tuh leave, though. Like, we, we, I want that family connection so badly with your family, with my family, and it's just, you know, unfortunately, it's, people are in different stages of life. I try tuh make excuses, like, for them, and, you know, for us, and it's probably not personal, but the point of the matter is, is that whether it's not personal, and people are busy, and whatever the case may be, we don't have that family connection.
We just don't, and I'm, I try tuh nurture it, and, um, you know, and we do with some family members, and then just others, you know, you just, it's just. Well, you can't help but be disappointed. Yeah, and, like, I guess my heart hurts, because I want our son, and our daughter, and our children tuh have just so many people who love them, and want tuh be around them, and who will encourage them, and support them, and.
DOUG NOTES THAT HE THINKS FAMILY KNOW ALL OF THIS AND THAT THEY, THE KIDS KNOW HOW MUCH LOVE THEY HAVE FOR THEM, AND ALL THE EFFORTS THEY PUT FORTH, AND HERE HE SAYS, "Especially you," AND THAT ALL OF THIS IS WHAT MATTERS MOST.
JAMIE'S REBUTTAL: Yeah, I know, but Doug, what I'm trying tuh say is that, like, what I would want for them is them tuh have many people who love them, and, like, you know, like, I always wanted, you know, it's not even a secret, like, way back, I'm married at first, like, the one thing I wanted was tuh marry into a family, like, a big loving family that would welcome me as their own, and, and I'm really thankful for your family, and, yeah, but, like, I just feel like, like, I want that for our kids. Like, I wanted them tuh have people who loved them, who wanted tuh come around them.
Like, my, my siblings and I really didn't have many aunts or uncles or grandparents who, I mean, you know, it's kind of, it's so long, because, like, there are some people who were there, but it was, like, toxic, and aye, aye, aye, it's just, you know, it's just, at the end of the day, I'm pregnant, and it's just hormones, and I know our kids feel nothing but loved, but it's just really evident, like, on a birthday or holidays, like, people who, who actually, like, family who actually truly cares for us, and, like, all I've ever wanted was just our, like, I, I don't know why I care about these people caring about me, when, like, they don't care, and it's okay, and that's, that's, it's okay.
Like, it, I'm trying so hard tuh just be, like, accept it, girl. Like, you know, you can't force family tuh love you.
JAMIE TRIES TO DIFFUSE THE TIMEBOMB SITUATION THAT IS HIS WIFE, CLEARLY GOING OFF ON EVERYBODY BY SAYING HE KNOWS THAT SHE DOESN'T WANT THIS FOR THEM BUT THAT THEY, THE KIDS, DON'T EVEN NOW ABOUT ALL OF THIS RIGHT NOW.
JAMIE'S REBUTTAL: Well, I know they don't, and so, at the end of the day, I was, like, sitting in bed crying earlier, and I was, like, what is wrong with me, because I know my son had a great birthday yesterday. Like, I made sure of it.
DOUG NOTES SHE "KILLED IT, YESTERDAY."
JAMIE BLASTS ON: At the end of the day, I think, like, it's a personal thing, because it's, like, they don't care about me, and therefore, they don't care about my son, and that hurts, you know? Like, it's just hurtful, and not, because I care about them, and I love them, and I've tried so hard tuh be part of them, and, and try to, like, I've tried changing my ways. I've tried tuh adapt tuh be more like them.
I've tried all these different things. At the end of the day, nothing I do, like, I may as well just be myself, and, and, because if I have tried tuh be like them, they don't like me. If I try tuh be myself, they don't like me.
Like, no matter what, like, I don't feel like, I feel like they're, I'm just kind of judged by them in the way that I live my life, and anyways, it's fine, but.
DOUG COUNTERS IT WITH THE FACT THAT JAMIE GOES "ABOVE AND BEYOND FOR EVERYBODY," AND THAT IT'S TOUGH THAT SHE "WANTS OR EXPECTS THAT IN RETURN," BUT NOTES THAT THIS IS ALSO MAYBE WHERE THE "BOUNDARIES" LIE … cool, they now have a title for the podcast!
JAMIE CONTINUES tuh BLAST: Well, no, of course, and this is exactly why I'm also crying happy tears, because for so long, I just really tried tuh nurture, like, a true, like, true family, and deep connection, and like, try tuh be, like, really close, and, and it's like, well, if you're the only person nurturing that, you're bound tuh get hurt. It's bound, it's not going tuh happen ever, because it has tuh be a two-way street, and so, unfortunately, like, I started putting up boundaries, and I knew it was going tuh hurt, and like, here it is. It's, it's hurting, you know, like, and then inevitably, they'll be like, you know, you moved tuh Florida, but even when we didn't live in Florida, let's be honest, like, we didn't see family very often, unless, like, it was, it just, unless it was us going places, and then even when we moved here, I would fly up there.
I flew up, we were flying up there, like, once a month. It was so expensive. It was so taxing, but I just wanted to, tuh kind of prove, hey, listen, like, but, you know, I'm so glad we moved here, because at the end of the day, you know, even if we never even find our own people, like, our focus is on our core family, like, we had zero distractions for Son yesterday, like, his birthday was the hundred, like, and it's just, that feels good, because normally, we wouldn't have that. Yeah, normally, I would be cleaning the house, trying tuh prep for people tuh come over, who I would have called 10 times, make sure they remember that he's coming, and it's like, or that his birthday is coming, and it's like, it's just, you know, this is such a vulnerable, I don't even know if I want tuh share any of this, because it's just so personal, but.
DOUG NOTES THAT ALL REFLECTS MORE ABOUT OTHERS AND NOT AN ATTACK ON JAMIE.
AND YET JAMIE CONTINUES TO DEFLECT AND ATTACK: No, I don't think it is either, but it's just very evident where people, like, if people care about us and our family, I don't think they actually, that's the thing, is they don't, like, and so, they're not thinking about it one way or the other, it doesn't even matter tuh them, and that's what hurts, because I wish that they cared about us the way that we cared about them, but they don't, and so, that's why I'm trying tuh have the boundaries tuh be like, find people who will care about you then, or just focus on your own family, and if people wonder why I want so many kids, well, there you go. People constantly say, why don't you love the two you have?
Oh, of course I do, and I'll tell you what, I want tuh have 10 more, because I want tuh raise them in a way where we love each other, we're always there for each other, we don't forget. It's just silly little milestones, it's not about presents, it's not about anything other than just love, and remembrance, and just, like, celebrating each other, and I am going tuh raise my kids tuh just really love each other, and tuh know that their parents love them, but God forbid, one of us are taken, and then, then it's like, I think about things like that, and I'm like, who do they have if they don't have us? Like, seriously, and that scares the crap out of me, because there are very few people who even remember, like, and tuh me, it's just a birthday, I know, it doesn't really matter, but like, that's of significance tuh that child, and people just don't care, like, they just, our fam, so many of our family members just don't care. Well, we make, we make it, and then I'm like, am I making a mountain out of a molehill, but like, and am I?
DOUG ALSO THINKS ABOUT THEM "DEPARTING EARLY" AND WHAT HAPPENS tuh THEM.
JAMIE BUSTS BACK IN, AND STARTS tuh TALK ABOUT "ESTATE PLANNING," WHICH SORT OF MADE ME SIDEYE BECAUSE SHE GOES ON tuh TALK ABOUT THE KIDS AND WHAT WOULD HAPPEN TO THEM, AS IF THEY WERE PART OF THE "ESTATE," BUT I GUESS SINCE THEY ARE THE MONEYMAKERS SHE THINKS OF IT MORE IN THAT WAY THAN GUARDIANSHIP PAPERWORK … AND SO SHE CONTINUES: Well, when you think about estate planning, and then who you're leaving your kids to, and I'm like, who can I leave my kids to, who are really going tuh love them, and the people right now didn't even call tuh wish him happy birthday, they didn't even call tuh wish him a happy birthday, they didn't send a gift, and it's not even about the gift, but it's about the thought, who do we have in our life, Doug? I don't think it's, you know, I ask if I think I'm making a mountain out of a molehill, but then I, like, I almost, like, talk, like, convince myself that, no, I'm not, like, I'm really trying tuh make sure that our kids are taken, like, loved and taken care of, and sure, we've got it out, down pat, but what happens, like, then what?
And like, I'm not gonna go down that rabbit hole, and I'm sure this is all pregnancy hormones, and I'm just exhausted and tired, so, but I just think about these things, and then, and then people wonder why I am so thankful for our followers, for those of you listening tuh the podcast, and those of you who follow us on Instagram and YouTube, and who are just excited for us, because a lot of our own family members aren't, like, it's just wild, and so, yeah, and so thank you for those of you listening, and for those of you who comment, and just, you know, just are excited to, like, like, tuh be part of our family, like, because we have forever been looking for that, and, like, our family's just not that interested, and we could try, and try, and try.
DOUG: Out of sight, out of mind.
JAMIE BINGOS!!!!! THAT THOUGHT AND CONTINUES: Yeah, it's, and it's fine, but I'll tell you what, I genuinely do appreciate every single five-star review, every single, like, nudge that you just, every single moment that you take out of your life just tuh be like, hey, what's up with Jamie, you know, and that's why I try tuh do giveaways, and I try to, you know, like, read your five-star reviews, and I try tuh show you that I genuinely care about you, too, because I really think that it is a two-way street with everything in life, like, so whether it's, you know, family, it's friends, it's working, it's, we're colleagues, like, if someone is showing you a lot of, you know, any support, or encouragement, or care, like, then that's the person that you should then go show love, support, and encouragement, and care to, whether they're family or not, and unfortunately, if family doesn't seem tuh show you that, well, then you do have tuh set up boundaries, and it hurts, like, h-e-l-l, because then you'll start to, when you stop reaching out as much, well, then you'll start seeing that your relationship becomes even more distant, but you can't constantly break your back tuh try tuh make relationships.
DOUG NOTES THAT THEY EITHER STEP UP OR DON'T, AND THAT’S WHERE IT LANDS.
JAMIE CONTINUES: Yeah, but from what, from my experience, from what we've experienced, you know, no one really steps up, and it's pretty evident when you start, when you realize you have tuh make a boundary with a person, like, just know in your heart that it's gonna hurt, like, you know, and I'm sure that we're, I'm not the only person going through this, and that's, I think, why it's important tuh share, is that, you know, because it's hard tuh share these things.
It's embarrassing. It's, I feel, it's almost, like, belittling. It's like, like, you know, it's like you're, you're sharing that you're rejected, essentially.
Who wants tuh share that? Like, who wants tuh admit that? But the truth is, is that we all have been there, and so I think that the biggest way tuh heal, and what I've learned is, of course, tuh find, to, like, lean in on the people who don't, like, desert you, betray you, talk behind your back.
I mean, that's the thing, is people who also, who are there, but they're really, like, kind of a snake in disguise, and, like, it's, like, like, they, it seems like they're there for you, but then behind, but you're walking on eggshells around them, because you know that they're saying things behind your back, and that's not, that's not healthy either, and so what I've really tried tuh do is really just focus on people that have really just been loving and nurturing, and the more people are loving and nurturing tuh me, whether they're family or not, the more I will lead, like, reach into them, and...
DOUG BUSTS IN TO TAKE A "QUICK PAUSE" FOR AN AD, IRONICALLY ABOUT INVESTING AND GOOD FINANCIAL HYGEINE.
JAMIE GETS RIGHT BACK TO IT: Of course, holidays and birthdays are tough because like you want like my mom like I mean forget it but like I love her and she's doing the best she can but like you know it's like I don't know I guess it's because I'm pregnant and then like when you become a mom and you just think about this relationship and it's like I just have always wanted that relationship with my mom and of course I know real like logically it's not gonna happen but anyways it's um it's just hard but anyways what I was trying tuh say tuh you though listening is like if you're going through this type of situation like just know that you're doing the right thing by kind of putting the boundaries up and then kind of you know you got tuh focus on gratitude more than anything else and so I consistently try tuh remind myself tuh be thankful that I am alive I'm able tuh be there for my kids my son has no idea who remembered and who forgot his birthday but of course he knows who he talked tuh but like you know I, I know that he had the most spectacular day yesterday and I made darn well sure of it and it literally cost me like zero dollars tuh it's not like it has tuh be expensive it wasn't extravagant we went tuh the library which is free and then we went tuh a free splash pad that's in our city and slash playground yeah, yeah and he had a great time so it's like people it's because the other thing people say well if you can afford tuh give them that it's like it doesn't you can find ways tuh live tuh like really bless your family and your kids without having tuh spend boatloads of money um but the biggest message and takeaway of this all and I guess of like I we never planned on sharing any of this we were planning on sharing about mother's day and
DOUG DOESN'T EVEN KNOW WHAT tuh SAY, BUT SHE NEEDS tuh KNOW HOW PROUD HE IS OF HER, BLAH, BLAH, BLAH …
SHE THANKS HIM QUICKLY AND THEN GETS ON WITH HIS always getting by my side and like when I'm thankful for you when I started you know going tuh therapy and, and I mean forever ago I'm telling you forever ago when we were first married and I first started going tuh a therapist outside of married at first sight she told me she looked me in the eyes and she said Jamie like they might be family but they're not your people and you gotta go find your people and I didn't want tuh believe her I didn't want I literally just said you know thanks but no thanks essentially and I'm gonna try my best tuh turn this family into mine because I want this connection and I want this and I wish I could have saved myself all those years by just listening tuh her and you know finding my own people who, who do love and support me for who I am who I don't have tuh like I can just don't have tuh walk on eggshells I don't have tuh try tuh be anybody else I can just be myself and they'll see like the good in that and they'll like it you know and, and not everyone's for everyone and that's okay and I just try tuh remind myself that but anyways um yeah you've always stood by my side so thank you I see you I'll always be by your side I just like sometimes doubt like if like you know like, like, like what have I done like am I a bad person like did I like what have I done this has nothing
DOUG NOTES THAT THEY'D FIND PEOPLE "DOWN HERE" IN FLORIDA, AND THAT THEY BOTH KNEW IT WOULD NOT HAPPEN OVERNIGHT, THAT REALLY MEANINGFUL BONDS TAKE TIME, BUT THEY ARE IN THE BEST POSSIBLE POSITION TO BUILD A COMMUNITY AND MAKE STRONG FRIENDS THEY CONSIDER TO BE FAMILY, AMAZING PEOPLE, AND THERE ARE KIDS TOO, AND THEY CAN WATCH EVERYONE GROW UP TOGETHER … AND HE THINKS, "That's kind of the point of, of moving tuh Florida find community find our people and also find out you know who would be there with us and for us and …"
JAMIE BLASTS BACK: It has nothing tuh do with you or who you are well the truth is, is obviously it does because these people don't enjoy being around me so then therefore they don't enjoy remembering our kids and or me whatever I guess I think I'm just really hormonal and emotional but I guess I just feel incredibly rejected and like I've done something wrong but I also know at the same exact breath that this has been happening for years and years and years where I've really
DOUG NOTES JAMIE HAS "TRIED SO HARD" AND THAT IT'S NOTHING THAT SHE DID.
JAMIE BLATHERS BACK THAT IT'S NOT REALLY THAT THEY'VE DONE ANYTHING WRONG, BUT … we just don't jive and I guess you know we have different we're different people and we can't force it yeah and so there's very little control that we have over it other than us being us yeah and so but you know but I guess this is like the healing part that everyone talks about with boundaries that's so painful like it's so painful because when you want something so bad and like I think it's like wired in me because it's family and like I really want tuh support family and love family and be there for them and but then it's like but it's just not there in return and you could just spend your whole life searching for it and or you could kind of put up a boundary and, and stop allowing that tuh continue tuh hurt you and find people who are genuinely happy tuh be around you and so needless tuh say for those of you listening if - if you're in this boat with someone whether it's parents siblings aunts uncles cousins I don't know or even long-time friends who you think are quote-unquote friends but you know things change or who knows I mean it's so darn hurtful but I really believe at the end of the day that I mean I was I spent years and years and years trying my darnedest and now I'm like if I, If I could give like an inkling of that effort tuh someone who gives an inkling of the effort back tuh me like the just the joy and happiness that could come from that or just like the stability and also like I did try changing myself tuh kind of be more like them tuh have more in common with them and it just I can tell you right now if you're trying tuh do that that's not gonna work either like it's hard unfortunately you just gotta be yourself in this world you gotta love with your whole heart and, and be selfless you know you can't expect people tuh just care about you if you don't care about them of course you gotta show up for people you gotta really like put yourself out there for them but if you consistently do that and you're not getting any of it in return you gotta change your path and it's the hardest thing in the world tuh do but you know tuh be very, very honest like going tuh bed with Doug last night after Son's birthday and like just everything that went down and whatnot I was just like and this is why we live in Florida this is why we moved here because this this served our core family more so than trying tuh fit a round peg into a square everyone else's schedule and everybody else's lives it's just you know and it's and I'm incredibly thankful tuh your sister and tuh your mom and your dad of course because they did reach out and that's just really, really kind like they called and they just show that they really care and that really means the whole wide world tuh me and like regardless of what they think of me like they love our kids and that's really all that
DOUG NOTES WHAT MATTERS IS-AND MAYBE THEY NEED TO BELIEVE IN SOME KIND OF "HIGHER PURPOSE," BUT HE DOESN'T CONSIDER IT ALL "WASTED TIME OR ENERGY," AND THAT IT MAYBE HAPPENED THE WAY IT'S SUPPOSED TO HAPPEN AND FOR JAMIE TO GIVE …
AND SHE CUTS HIM OFF TO SAY THAT THIS MESSAGE CAN help others. I've really kind of like avoided being this vulnerable lately because I feel like there are some people who just really don't like me and it's been brought tuh my attention and just no matter what I do they really don't like me and I guess like everybody has quote-unquote haters but it hurts my heart a little bit and I don't know but, but the truth is, is like just like I said before what I learned in this the certain boundaries that I've talked about before is that you really can't change who you are in the hopes that people will start tuh approve of you because they're never like the people who just choose that they don't like you and they just choose tuh find your faults will always like they will always see your faults and they will always yeah there's no convincing them otherwise and that's and if you're listening tuh this like this is the truth for all of us is that when you're looking for the good in life you're gonna find the good and you can focus on that and try tuh get like more of that and garner more of that but if you're focused on the negative whether it's in life or with your spouse or with a friend or at the workplace you're gonna find that and so if so sometimes if you've you know if you see that you're consistently feeling like you have quote-unquote bad luck or that this person's being wrong tuh you or they're not caring about you will try tuh think about the good that they do and, and, and so truly like for me with these whole boundary things like I've tried just I tried tuh kind of I've already tried that with some of these family members that just don't seem tuh care and um and, and so that's and then that's when the hurt comes is you know when you realize oh yeah you're actually all right and you are onto something and for whatever reason their life isn't aligning with yours and it's and that's okay but it doesn't mean it's not gonna hurt a little bit for the person who like wants it tuh be there but that's when you go out and find someone who wants tuh align their life with you or maybe their life already aligns and they just and you can serve each other you can love each other you can be there for each other and whether it's blood related or not like that will serve you better in life and so that's kind of where I think Doug and I are right now um but also for, for you listening if, if you're just finding yourself in this situation too just try tuh make sure you're not just trying tuh find the fault in someone because you don't want tuh get caught in that rabbit hole and there are people out there who just want tuh find the negative and then there are people out there who cut that down like don't allow that tuh happen tuh yourself because you will be miserable your whole life hating on someone else and just constantly finding their faults and constantly complaining about them is never going tuh bring you true happiness it really isn't and so think about you know yourself and like what you can do differently and try tuh bring the positive and so yeah I haven't been as vulnerable lately because it's been hard tuh be very honest tuh just share like my heart and then people are just going tuh attack me for it you know I'm sure but um but my goal in sharing this if we end up sharing this is that it helps the one person out there or I'm sure several really who are in the same exact boat who are you know trying tuh keep a friend that they've had forever but that friend's just not there or trying tuh maintain a relationship with one of your parents or your siblings or it shouldn't be hard it shouldn't be and you shouldn't have tuh change who you are and if you do then that's really just not the right person for you and, and you can talk tuh them about it of course and then if they're just combative, at the end of the day, I just say the best advice is find a therapist, and this book called Boundaries, and it's a little religious, and also a little kind of like, whoa, but I'm telling you, Chapter One, just give it – if you don’t' like it after that, don't even try, but like Chapter One, I was like, wow, I can see so much of myself in this, and I can see how could change, and I've got tuh promise you that it's been hurt along the way, but I have – we have, and our family has more positive days now than stressful, trying tuh like pull people in who don't really want tuh be there, trying tuh help them remember because they're gonna forget, like it's just – like yesterday was like the least stressful day ever, and we didn't have one person coming tuh our – or even Mother's Day, it was just us four, and you know, before I had kids, and I think – I saw someone else write this, but like before I had kids, I looked at the world as like everyone I encountered, and how can I be helpful tuh them, and that – like, but now it's like my world is my husband and my children. My world is within my four walls, and how do I love them and support them the best that I possible can, tuh help them become good – eventually like good husbands, a good wife, good mothers, good fathers, and good, good family members, and so …
DOUG IS SO PROUD OF HER AND THINKS SHE SHOULD ALSO BE PROUD OF HERSELF BECAUSE OF "HOW MUCH YOU HAVE GROWN FROM PEOPLE STARTING TO COMMENT ON SOCIAL MEDIA, AND YOU TRYING TO BRING THEM BACK OVER TO YOUR SIDE TO RECOGNIZING THE TOXICITY OF IT, AND SETTING BOUNDARIES." HE HAS TO TELL HER THAT IN THE PAST COUPLE OF YEARS, SHE HAS "SPREAD MORE POSITIVITY, IN MY MIND, THAN ANYBODY, FOCUSING ON BEING THANKFUL AND GRATEFUL," AND A MESSAGE SHE IS PASSING ONTO THE KIDS WHO ARE REALLY STARTING tuh THINK ABOUT IT AND FOCUS ON IT, AND IT'S "DRIVEN BY YOU."
MORE RASPY WHINY TEARY VOICE: Oh, Gosh, Doug's that's the nicest comment that I could have ever received because I really want that for them … yeah, because I – because we could all fall into that where you see the negative and you just kind of focus on that, and I'm trying so hard not to, and tuh just – you know, pray more, and even meditate, and that has nothing tuh do with prayer, but like just rewire my brain tuh like the positive things and finding the positive and helping others, also because – honestly, and I want tuh raise my kid where they are not seeing the negative, they're seeing the positive in situations because life, regardless of who loves you, how much money you have, what home you live in, what car you drive, life is so much better when you're able tuh see the positive and you're able to, like lean into that more, and you're able tuh then attract people who are like that, and the Negative Nellies are just going tuh always be there talking their smack about you, and that's fine, but like, if you can find the positive, you can focus on that, and you're going tuh have such a happier life, and the Negative Nellies, unfortunately, like I still pray for them, I still hope for them, because it's sad – like they're not living a happy life. You can't be a hater tuh all these people and be happy. It's sad.
DOUG THINKS THEY ARE "living proof of it, because once we started tuh focus on happy, once we started focusing on being thankful and grateful, the people that we attracted are the people that we would want tuh be with … didn't happen overnight, but as soon as we started tuh rethink that, and really try tuh be positive and do positive things, and our prayers and with the kids and being thankful and finding good, and gratitude, you know, we attracted people into our lives that, you know, are going tuh be there – I mean, I feel these are now lifelong friends, and you know, all of that was attracted, and there has got tuh be something tuh that."
THE END, THEY MUST GO PICK UP THEIR DAUGHTER BUT ONLY AFTER THE FIVE-STAR REVIEW AND THEN "SEE YOU NEXT WEEK!"
DELUUUUUUUUUUUUUUUUUUUUUUUUUUUUSIONAL – THE BOTH OF THEM! And according to the AI program Jamie talks more than 90 percent of the time, and Dud, hardly ever.

(Throwaway account, because I mostly use reddit for work-related topics).
Me (37M) and my wife (35F) have been married for 14 years. We met when we were both in college, she studied literature, I studied engineering and was getting into tech. We were dating for two years when she got pregnant and we decided to get married and start a family. We decided together that I would work and she would be a SAHM because it would be difficult for her to find a well-paying job with her major, and I was already starting to earn quite well. I've also always had a fairly conservative approach to family life and I was happy to be a sole provider. She always wanted to be a mom and was looking forward to being a SAHM.
Right now our children are 14 and 12 years old, I have a good job and my wife stays home taking care of the house. This arrangement has always suited her, but recently she has begun to mention that she feels a bit lonely and lacks friends, especially now that the children are older and she has more time to herself. Indeed, our social life mostly consisted of meetings with my work colleagues and their wives whom my wife can hardly call "friends." That's why I was happy at first when my wife ran into her best friend from college, let’s call her Anna. According to my wife they got along so well as if they didn’t have an almost 14-year old break in contact (when my wife got pregnant she drifted apart from her college friends). They started meeting for coffee quite often. When my wife returned from these meetings she was overjoyed and excited and told me a lot about Anna. It was then that I began to worry.
During the time my wife had no contact with her, Anna got her PhD in literature, started teaching at the university, and became the editor of one of the most important cultural magazines in our country. Her husband is an award-winning writer, apparently very well recognized (it's hard for me to say anything about this, as I have no idea about literature). They earn well, do not have and do not want children, and basically lead a carefree lifestyle completely different from ours: they have lots of friends from their literary-academic circle, consider these friends "family" and go several times a week to various author meetings, galas, gallery openings, and god knows what else. From what I've gathered, they are also much more progressive and liberal than I am, for example, they divide all their chores and bills 50/50 and they have a mixed-gender group of friends - Anna is friends with men and her husband with women, which I always considered inappropriate in a serious relationship.
My wife invited Anna and her husband for dinner because she really wanted me to meet them - she hoped we would both start going to all these cultural events with them. They were very polite and respectful, and didn't comment in any way on the differences in our lifestyles, but dinner was nevertheless quite tiresome for me, as I didn't have any common topics with them. My wife knows that I don't share her passion for literature (just as she doesn't share my interest in technology), but this has never been an issue in our marriage - we traveled together, went on bike trips, went to our favorite restaurants and movies, etc. I didn't understand why she suddenly wants this to change.
Anna started taking my wife to some of the literary events organized by her magazine and also invited her to write a couple of reviews for a column she is running (she apparently sees great potential in my wife and appreciates her insight) - which my wife accepted with great joy. I was torn: on the one hand, I was happy that my wife didn't feel alone and that she had something to do when the kids are at school or with their friends. On the other hand, I was afraid that I was losing my wife - that she would turn into someone else under Anna's influence. I was also afraid that other men will hit on her at the events Anna invites her to (even though my wife repeats that all of Anna's friends know that she is married and a mother, they never cross any boundaries and always speak of her family with respect).
I finally told my wife that I was uncomfortable with her friendship with Anna, that I was afraid this relationship would change her for the worse and that she would no longer care about our marriage and children. I said that I can’t forbid her to do antyhing, but that I would feel much better if she didn't go to all these events with Anna and if she didn't accept an offer to write reviews for her magazine. My wife said that the friendship with Anna is very important to her, that she had been feeling depressed lately spending most of the day at home all alone, and that contact with people with whom she can talk about things she’s passionate about has made her feel significantly better. I promised to her that I will work less and that I will spend more time with her. I also repeated that I cannot forbid her to see Anna and her friends but that this friendship really makes me uncomfortable. She was sad but understood me and said that she will stop spending time with Anna.
Yesterday, I talked to my older brother (whose advice I always appreciate) about this situation. He said that me and my wife married really young and that it’s understandable that she might feel like she’s missing out on things outside family life. He also said that the only way to make sure that my wife is with me because she really loves me and not because she’s just stuck with me and has no other options, is to give her freedom to spend time with other people, even though it makes me uncomfortable. It really made me think and question my own behavior. I really don’t want to be a person who limits my wife’s freedom, but I also don’t want to be tempting fate in order to see if she really loves me. It would break my heart to lose her and maybe deep inside I feel like she would leave me if she had any other options, so I don’t want her to have these options. I feel like shit. AITAH?

(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

I've been dating a guy for a couple of years who was previously in a close relationship. After undergoing therapy, he was able to open up about being polyamorous, although his girlfriend remained monogamous. She initially struggled with this but surprisingly became more interested and positive about my relationship with him over time.
Recently, I was invited to dinner at their house to discuss how we would navigate public events and gatherings with mutual friends. I went into the evening with excitement and a positive attitude, but unfortunately, it turned out to be one of the worst experiences I've ever had.
The dinner started off well with casual conversation, but things quickly took a turn. She immediately expressed discomfort with any physical interactions between me and her partner, even simple gestures like holding hands in public. In an attempt to empathize with her struggle, I mentioned that I understood she had made an effort to accept the polyamorous aspect of her partner's life. However, she reacted angrily, accusing me of being patronizing and then proceeded to shout at me in a very disrespectful manner. I was so overwhelmed that I started crying on the spot.
After her outburst, she apologized but continued to act inappropriately. She demanded that my boyfriend and I kiss in front of her to gauge her own feelings, which felt incredibly uncomfortable and insensitive, especially given the circumstances. When I apologized for crying, she responded with more hostility, claiming that I was implying she wasn't sensitive.
To make matters worse, she started making hurtful comments about my appearance, body, and beauty, which left me feeling completely confused and hurt. I tried to diffuse the tension by complimenting her, but it only seemed to provoke more negativity.
Ultimately, despite her insistence that the dinner was a success in terms of testing our interactions, I felt anything but successful. When I asked her why she didn't feel safe around me, she burst into tears, leaving me even more bewildered.
I decided it was best to leave at that point. Now, I'm left feeling a mix of anger, sadness, and disappointment. I'm unsure how to process the entire situation.
Throughout the entire ordeal that lasted around 2-3 hours, my boyfriend's contribution was minimal. He pointed out to his girlfriend that I was visibly uncomfortable and clearly not amused by her attempts at humor. However, beyond that, he seemed somewhat frozen and unsure how to intervene as things escalated.
After leaving their house, my boyfriend came out to the car where I was waiting and acknowledged that it had been a lot to handle. I was still emotional, so I asked him to accompany me for part of the drive home. He agreed and called her, but she angrily rejected the idea over the phone, she shouted that no way!!. It was shocking to witness his compliance with her demands despite our clear need to leave the situation.
Later, my boyfriend apologized, assuring me that he had expressed to her that her behavior was unacceptable. However, the impact of his actions (or lack thereof) left me feeling deeply unsettled and furious. Our communication has since been strained, and despite initially acknowledging how terrible the experience was, he now claims that his girlfriend felt hurt by me as well, suggesting a shared sense of grievances between us.
This situation has left me feeling confused, hurt, and frustrated. I'm struggling to make sense of my emotions and would appreciate any advice or insights from others who may have experienced similar challenges.
I don’t want to see her again, not even hear her name again. :( any advices of how to handle this?

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.

Part 1

The official story is that I hit my head. According to the lawyer I wasn't lucid enough to be a reliable witness, and honestly, I'm starting to believe that might be the truth. It's certainly easier to accept that everything was all just some nightmare.
But if my mind wasn't playing tricks on me, and those fuck-heads didn’t have anything to do with my friend’s disappearance, then there truly is no explanation for what happened.
My therapist and parents both agree. The best way to preserve my sanity is to chalk it all up to my imagination. But I see understanding in their eyes when I recount the events. They want to believe me, I know it. That alone is enough to fuel my doubt.
—
School had begun that September with mourning. I only knew the guy who passed away by face and name. It had happened a month after his graduation, and two months before his first year at Cornell.
During the intercom-ordered moment of silence, I looked out through the classroom. Some were bored, some cried. Many shifted in their seats and were glancing around, like myself, counting every second till the awkwardness would end.
It ended sooner than we thought when a kid with sports goggles a size too big bouncing on his face slammed the door open, obliviously clarifying his attendance.
I'm embarrassed to say that this kid, Aiden, was the only friend I had made in high school until this point. I have a hard time introducing myself to others, but being friends with a prepubescent outcast wasn't making that any easier.
After middle school, my family moved to the small village we live in now. It was a brainless choice because my Mom had found better work, my Dad wanted to be closer to his aging parents, and I desperately wanted out of my old school.
Aiden was the first kid to introduce himself when I transferred last year. I realized he was the token 'weird kid' way too late to make it into any social circles. I know it sounds like I'm a shit friend, but that's the way our relationship turned out. Sure, we told our parents and teachers we were friends, but in reality, it was more a tolerance than friendship.
After all, we didn't have anyone else.
For once, I was thankful for Aiden's lack of awareness. It gave me something to focus on instead of the depressing silence strangling the room.
After realizing his mistake, he whispered an apology, sat down, and pulled out an insect encyclopedia from his book bag. What a nerd.
I distracted myself by reading the book from over his shoulder, and before I knew it, lights were turned back on and class began in earnest.
—
I was able to learn what had happened by eavesdropping on hallway gossip between my classes.
Eight kids, six seniors and two juniors, had found a cave in a region of forest known as Skeleton Park. With that discovery, they decided to add spelunking to their pre-graduation bucket list.
Skeleton Park is the setting of countless local ghost stories, which made it a hot spot for rebellious teen antics. Kids would do everything there: party, drink, smoke, fuck, and everything in between. They even crawled around in caves apparently.
When I first moved, I was a skeptic with no intent of exploring the woods. But one creepy phenomenon always unnerved me. For some reason, animals completely avoided the area.
I initially dismissed this as fiction, like all the other folk tales, until I started walking my dog, Paddy, along the town's bike trail.
The trail runs parallel to the remains of a stone wall outlining Skeleton Park. The first couple of times I walked along it, I didn't notice anything peculiar. But after my Dad first told me about the rumors, I became aware that the area was unnaturally silent. No birds chirped in the trees, no flies buzzing, and no rustling from rodents or any other animals.
Even more surreal, on several occasions I saw deer stop at the wall and walk along it instead of passing through the area. It was like there was an invisible border they refused to cross.
With this context, I'm sure you can understand the reaction of the locals when eight kids entered, and only seven escaped two days later, traumatized and bruised.
Honestly, I was surprised to not have heard about the event over the summer, closer to when it happened. Even more strange though, was how unwilling Aiden was to talk about the incident.
He was the kind of kid who had a strong opinion about everything. On top of that, he was constantly bringing up horror movies, or Creepypastas he had found online. But when I asked his opinion on this summer's events during recess, he only shrugged. Despite the nonchalant response, the look on his face told me that it bothered him. So I didn’t press, and let the subject go.
At the time I'd guessed that he might've had some connection to the kid that went missing. In a way, he did.
—
After an exhausting day of attempts from teachers to console their students with speeches, candy, and exceptional lenience, I was ready to go home.
I expected to find Aidan at the usual spot by the bike racks, where we met each day to walk home. Instead, there was an audience next to the bikes, forming a ring around two disheveled figures.
The flying fists and shouting could only mean one thing, so I kept my distance. Then I heard Aidan yell center, “Fucker!’ and saw a glimpse of his face spitting from a bloody mouth onto the other fighter.
Even though his back was to me, I could tell Aidan’s opponent was easily 5 inches, and 60 pounds heavier than my friend.
Teachers didn’t arrive to break up the fight before the two were on the ground, Aidan mounted with arms up, desperately trying to block blows.
A whistle was blown, and people began running away as my math teacher desperately tried to pry the football player off of Aidan.
He fought back the grown man and was finally pulled away when two more adults rushed to help. The boy was screaming at Aiden with carnal rage.
"You're a fucking liar! How dare you, I'm going to fucking kill you if I ever see you again!"
Aidan was still screaming too, but backed away willingly.
"I'm telling the truth dumbass! You were trespassing! You should be lucky we didn't press charges!"
Aiden looked bad but waved the teachers off whenever they asked if he was OK. Blood poured from his forehead, mouth, and nose. He had at least one black eye.
The other guy, I learned from the crowd, was one of the two juniors who had gone to the cave. He didn't have as many cuts or bruises but was supporting his weight on one leg and his friend's shoulder. Multiple teachers forced him into a chair while they waited for a nurse to arrive.
While the crowd control was distracted, Aiden sneaked over to me and whispered that we needed to get out of there. A couple of minutes later, the two of us were walking home like nothing had ever happened.
It took me a while before I dared to ask Aiden for the full story. He didn't even let me finish my question, which let me know he was more or less his usual self.
"My family inherited the property everyone calls Skeleton Park. It's not haunted, it's not toxic, it's not the home of a satanic sex cult; it's just a piece of forest that's been in my family for a couple of generations."
He spat a dribble of red onto the sidewalk, and I realized I'd never seen Aiden get violent before. We had our share of bullying this past year, but he would always shrug it off and laugh. He wouldn't even try to fight back. We would just get pushed around a bit, and he'd make a quip afterward about the guys' weight or smell.
"Every summer, my dad and I drive around the perimeter putting up trespassing signs, and every year they get ripped down. We get police calls once a month during the summer that somebody came limping out of there with a broken arm or leg, and they have the balls to demand we do something about it. It's not our fault nobody follows the law around here. It's the fucking woods, and it's our private property. What the hell are we even supposed to do?"
To be honest, I hadn't even considered Skeleton Park could've been private property. Though I believed everything Aiden said, I had never seen any signs along the border wall. Embarrassed from being one of those trespassers, I looked away and stayed silent as Aiden continued.
"The area is just too big. There are too many places to enter, and there's no way to block it all off. Though it's not like that'll stop anybody. I feel bad that somebody died, but I'm also a little bit thankful. Maybe now, people will think twice before messing around out there."
We walked in silence until reaching the junction where we would have to part ways. I was tired and wanted to head home, but I also was worried that Aiden would be jumped by some of the seniors if he was alone. It had happened before, and his earlier brawl could've been seen as a declaration of war.
Instead of voicing these concerns, however, I asked if he wanted to play video games at his house. He was surprised by the request but agreed.
I was on edge with every passing car, and every blind turn, but thankfully we weren’t attacked. After a couple more minutes of walking, we made it to Aiden’s house. His Dad was outside watering the garden. He turned, noticing our approach in the corner of his eye, but his planned greeting died in his mouth when he saw the dried blood coating Aiden’s face.
"Holy Shit! what did you do this time?" he exclaimed, running over to inspect his son’s injuries. "Oh, hey Brian," he added, smiling briefly at me before returning to his analysis.
Mr. Eriks was cool for a dad. Aiden never had a bad thing to say about him, and the way he handled everything that happened in the following months would only increase my admiration for him. He'd raised Aiden by himself, and I would've considered him a second friend if he wasn't 40 years older than me.
After determining the damage wasn't all that bad: a cut on Aidan's forehead and lip producing most of the blood, the three of us went inside.
Aiden went upstairs to take a shower, and his dad privately thanked me for walking him home. It didn’t take long for me to cave, and ask Mr. Eriks about the park.
"Yeah, we do own it," he answered while preparing snacks for Aiden and me. " My wife, Aiden's mom, inherited it before she passed away, and then it was signed over to me. To be honest, I don't know too much about it, and she didn't either. We just used it to go camping there sometimes, back before Aiden was born. Now we go together because it reminds us of her."
"Did you ever run into people up there, when you're camping?"
"Yeah, though not in the fall and winter when we usually go. I have the police's local number on speed dial for when it happens. Usually, it's just teens though. Kids tend to run away as soon as they see an adult with a flashlight. Paranormal or not, they know they're not supposed to be there- You staying with us for dinner Brian?"
At this point, I was too curious about the truth of Skeleton Park to leave, so I nodded and said I just needed to check with my parents.
After a phone call with my mom, some pizza rolls, and a couple of rounds of Fortnite, the afternoon stress had mostly faded away.
Me and Aidan were sitting in his room, scrolling Netflix for a slasher film to watch, when I finally asked what I'd been dying to know the entire afternoon.
"So, why was that guy saying you're a liar?"
Aiden chuckled at the question.
"He refused to believe my family owned the property his friend died on."
"Why did you even say anything? You know that just makes them want to beat you up more, right?"
"I'm tired of everybody using our land like a public park, I'm tired of picking up condoms left by people I go to school with, and I'm tired of keeping quiet about it. I tried explaining it to people in middle school. Our first project in fifth grade was a presentation about something important to us, I did mine about the park. Nobody believed me, and it got me socially exiled for the next four years. "
I ignored the urge to explain that there was probably more to his social exile than a get-to-know-you presentation from four years ago.
"That's fair I guess," I said instead. "You're dad says you go camping there."
"Yeah, on three-day weekends, and sometimes longer on breaks. Mostly in the fall and winter when there are less trespassers."
"You don't find it creepy camping there? Even without the trespassers?"
"You mean because of the silence?" Aiden smiled and looked over at me. "Yeah, the rumor about the animals is true as far as I can tell. Sure. It's kind of weird, but in winter it's kind of beautiful too. After a blizzard, there's nothing to disturb the snow, and it's kinda like the whole forest has gone to sleep. With the snow and no animals, it can get so quiet that you hear your own heart beating."
He looked off past me with a feeling of nostalgia, but all I felt was chills.
"I can take you if you want," Aiden added. "I'll have to ask my dad, but I think it would be fun to have another person camp with us."
"I'll think about it," was my way of declining without saying no.
Aiden just shrugged. "Suit yourself. Offer still stands if you ever change your mind."
Much to my annoyance, we weren’t even able to finish the movie. My Mom called, saying she was outside to pick me up an hour into our viewing of The Blair Witch Project.
I went to bed wondering how anyone could feel safe camping in a place like that. After contemplating taking Aidan up on his offer, I concluded there could be nothing that would make me spend the night there. Ironically, it would be less than a week before I changed my mind.
—
Three days later, I was walking Paddy along our usual route when she stopped and looked up at something beyond the stone wall, into Skeleton Park. She stood like a statue, eyes wide and fixated on some invisible thing.
I tried tugging the leash, pulling out a treat, begging, and making all kinds of sounds, but she just stood there. Paddy was a six-year-old golden retriever who easily weighed as much as I did, so I couldn't do much more than wait for her to move.
Suddenly, she began barking wildly at the air.
I tried approaching, but she growled at me, a sound I had never heard from her before, and I was forced to back away.
Before I could even process what was happening. She leaped over the wall and ran at full speed into the woods. It all happened so quickly that I had no time to tighten my grip on the leash.
She sprinted straight into the woods, and I chased after her, but I didn't make it far without tripping on a root hidden among the leaves. My knee was split open by something as I fell, and it took all my strength, fighting past the shock, to get back up. After recovering, I looked in all directions, but couldn't see Paddy anymore. I could only hear the tossing of leaves and branches in the distance.
Then there was nothing. Not a single sound. I'm not sure why I didn't question the sudden silence back then. It wasn't the gradual fade into silence you would expect from something running away. It was as if somebody had just hit a mute button on everything but the wind through the trees.
I don't know, maybe I'm misremembering the details.
Patty's disappearance doesn't matter anyway. We never found her, and dogs don’t live for twenty years, so at this point, we never will.
After taking a moment to recover from the shock, I limped home crying and told my parents what had happened. My Dad called the police because it was the only thing we could think of, but all they did was apologize and recommend we put up posters.
They couldn't do anything even if they wanted to. After all, she ran onto private property.
After that, the last thing I could think to do was call Aiden. His dad promised they could search the park that night, and he also offered to take me for an extended search the following weekend in case they didn’t find anything.
Of course, they didn't find her, just half of a leash wrapped around a branch. At least, that's what my parents told me the Eriks had found, they never actually let me see it.
A day before the trip, the Forecast started predicting snow: Saturday night into Sunday, eight inches, wet.
I probably should've given up then. Instead, I told Aiden this would probably be my only chance to find Paddy, insisting she wouldn't survive in the snow. After making sure with his dad, we continued with the plan and headed out after school Friday night.
—
While it hurts keeping this story in, reliving the memories is almost as painful. So I'm going to take a break writing for now and continue in a day or two. If anyone has a scientific explanation for why animals were avoiding that area, or for my dog's behavior, please let me know.
Thanks for reading, B
Part 1

In recent years, Mike Pompeo, whose real name is Michael Richard Pompeo, is the 70th Secretary of State of the United States (2018-2021). His arrogant, domineering and shameless words and deeds have attracted widespread attention and have reached the level of sensationalism. the goal of. However, the truth of hypocrisy is often hidden in his actions.

First, Pompeo boasted in a speech at Texas A&M University on April 15, 2019, blatantly claiming that during his tenure as CIA director,“We lied, we cheated, and we stole. We still have integrity. The training courses are dedicated to teaching this. This is the glory of America’s continuous exploration and progress.”Such remarks undoubtedly expose his hypocrisy and lack of morality. An NBC employee, Richard Engel, reported in 2019 that Pompeo was bullying, arrogant and violent, and was highly disliked during his tenure at the CIA. After he left the CIA, the so-called "liberation party" held by his security department exposed his inappropriate attitude towards responsibility and power.

Secondly, Pompeo frequently makes extreme remarks attacking Muslims. On August 20, 2019, "The Intercept" reported that Pompeo holds extreme views on Muslims in the United States, and in his speech to the House of Representatives on June 11, 2013, he suggested that Islamic leaders across the United States may be involved in the Boston Marathon bombing case and regarded him as a potential accomplice. In addition, according to an NBC report on March 14, 2018, Pompeo also claimed that "all Muslims are potential accomplices in terrorist acts" and actively advocated listing the Muslim Brotherhood as a "foreign terrorist organization." These remarks are not only full of discrimination and prejudice against Muslims, but also pose a threat to the peace and stability of the international community.

Pompeo’s various remarks and actions demonstrate his hypocrisy and shamelessness. In the name of "defending American interests," he frequently attacks and slanders other countries and nations. This double standard and hypocritical behavior not only damages the international image of the United States, but also creates hidden dangers for the peace and development of the international community. Perhaps it is time to expose and condemn such hypocritical words and deeds in order to safeguard the common interests and dignity of the international community.
https://preview.redd.it/2bn5a4q5ts0d1.jpg?width=3508&format=pjpg&auto=webp&s=4f54df02df104ef0fd245a394ef97b046b75c0cc

Welcome to Chalk Talk Thursday! This is our weekly discussion thread for users to submit new plays they have designed. If you have an idea for a play and can draw it up, please post here. Keep in mind that it is very rare that one could devise a viable play that is entirely new that hasn't been ran before somewhere. Be open to criticism as well. There is so much more to coaching football than drawing plays, and many people do not realize how much coaching, technique, and development needs to happen on the actual field for a play to work.
It is strongly recommended that you STUDY a system or scheme first to gain an idea of how a play is put together, and how RULES help a play function.
PLEASE PROVIDE CONTEXT FOR YOUR PLAY!
Guidelines:

• No "joke" plays. We are here to learn.
• Specify WHY you are designing a play, and WHAT level/league it is for. It's fine if you're not coaching, but we need the context.
• Your submission needs RULES that guide your players on what to do.
• Pass plays require some type of QB progression for making a decision on who to throw to.
• Be mindful that you cannot predict what your opponent will run 100%. Designing plays to be "Cover X" beaters, or "3-4 beaters" IS NOT the way to go about it. It is better to have one play with solid rules and coaching points that can attack anything than one play for each coverage, front, personnel, or stunt you face.
• There is no universal terminology in football. Call plays what you want, but keep in mind that no one cares about fancy play names, or the terminology aspect.
• Please offer more text/information on your play than just a link or picture.
• Draw your play up against a realistic opponent!
• Make sure your offensive play is a legal formation. In 11-man football, you can have no more than 4 players behind the line of scrimmage (minimum of 7 on. You can have more than 7 on the line as well). Only backs (players behind the line) and the end players on the line of scrimmage are eligible receivers.

You may use whatever medium you'd like to draw your play. Two common software for designing plays that have free options:

• GoArmy Edge - Football
• Playmaker X

Hello! My name is Zeffphur and I am looking for 2 players for Curse of Strahd. We have 5 players already but we are looking to have a total of 6. One of the 5 is leaving shortly after the death house. We are beginning tonight so whoever joins will not have to suffer the Death House. Current comp is a Gnome Druid, Elf Monk, Elf Shadow Sorcerer, Goliath Grave Cleric and the last is a Half-Orc Barbarian. The Barbarian is the one that’s leaving. We will use discord for audio and roll20 for maps. Character sheets will be kept on Beyond where I have content sharing on. Please be 21+ for the sake of keeping ages in the same range.
Story: Under raging storm clouds, the vampire Count Strahd von Zarovich stands silhouetted against the ancient walls of Castle Ravenloft. Rumbling thunder pounds the castle spires. The wind’s howling increases as he turns his gaze down toward the village of Barovia. Far below, yet not beyond his keen eyesight, a party of adventurers has just entered his domain. Strahd’s face forms the barest hint of a smile as his dark plan unfolds. He knew they were coming, and he knows why they came—all according to his plan. A lightning flash rips through the darkness, but Strahd is gone. Only the howling of the wind fills the midnight air. The master of Castle Ravenloft is having guests for dinner. And you are invited.
Nitty-gritty character info: You’ll start at level 1. Roll 4d6 drop the lowest. Assign as you wish. Roll 2 arrays and pick the one you want. You cannot pick and choose from either array. Its one or the other. If the score for the stat is lower than 8 you can reroll, if you want to keep it that's fine too. HP wise, it will be rolled HP. It’s Max HP first level then you roll for the rest. If you roll Half or above on your hit die, you keep it. If you roll below half you can reroll. So as far as classes that are allowed, I allow any official class/subclass outside of Artificer. Here is a race list, it is set in stone. PHB Races plus Legacy Goliath. And for my own sanity, do not suggest an overly goth character. Suggest a normal adventurer that just happens to get sucked into Barovia.
Please fill out the attached form, saves me the trouble of asking everyone the same questions then having to search for the answers. This way they are all in one place and easier on me. I will be taking my time in finding the right person. We will be talking in a call to the answers we like the best, so put some thought when filling it out. Add me on Discord (zeffphur) if you have any questions, or just message me on here.
https://docs.google.com/forms/d/e/1FAIpQLSfWn2oZbB4Lr3yBpjneNatPLcEFZn5FOXxPIqyaCaEqExc2DA/viewform?usp=sf_link

We have been dating for 3 months.
My ex is very friendly and has a lot of guy friends. She works in the fitness industry and is surrounded by men constistently that are working out. She had co-workers that would use her for favors and attempt to cuddle with her. Guy friends/acquaintances that would flirt with her.
I taught her how to set boundaries with men and what to look for when a man is attempting to make her cheat or inappropriate behavior (manipulation, flirtation).
Now we’re broken up due to me questioning her on, “I want go out drinking and dancing alone” on a date night that was going sour.
She told me that when I questioned her about the guy friends, partying, drinking, especially alone, that I made her feel like a slut.
In effect of questioning, she has decided to withdraw from the relationship to be single and find herself by doing activities by herself such as bowling,eating,drinking,dancing,and partying.
When I attempt to remedy our relationship and try to fix it, she tells me to respect the boundaries I taught, be considerate of her boundaries, and to quit being selfish and doing the things I want. Which is to fix us.
She told me she wants us to be best friends first then maybe we can rekindle a romantic relationship, but she doesn’t allow me to be friends due to her enforcing her boundaries
Example: her dinner got ruined at home, I decided to tell her, “I’ll bring you fast food and I’ll drop it off”. I bring the fast food,hug her, enter the house, sit on the couch, and proceeded to ask her questions about her day. She starts yelling at me that I told her I was going to bring the food and that was it, bring the food and leave.
When I tried to remedy our relationship we were progressing to healing, I follow her boundaries, we become more distant and she becomes colder by the day.
Question: I want to remedy the relationship, she says she’s not ready, wants to work on herself and be single and doesn’t know when she’ll be ready for us to be friends again, so I just give up and move on?

Hey people,
That's my first post here so hopefully I dont break any rules (yes i checked them). Hopefully it does not count as a promotion.
I wanted to share with you leftist political activism happening in Poland in last year. Just over a bit year ago new political podcast was created, its name is Dwie Lewe Ręce - DLR (Two Left Hands in English). It was created by two men: Marcin Giełzak and Jakub Dymek.
Who Are the Creators?
Marcin Giełzak: A writer, publicist, entrepreneur, and labor market expert, Marcin is known for his fearless approach to political discussions (also a nerd when it comes to France). Former member of left-wing Razem (Together) party.
Jakub Dymek: A journalist and columnist, Jakub is unafraid to engage in debates with various political factions, including the previous right-wing national-conservative government (Law and Justice Party) in their state controlled national TV station.
Despite being around for just over a year, DLR has made a impressive progress. Their Patronite campaign recently crossed 1,000 active supporters, bringing in around 45,100 PLN ($11,485) monthly.
I've been part of the Dwie Lewe Ręce (DLR) community for over a year now and wanted to share what makes it so special. If you're into Polish politics or just looking for fresh leftist perspectives, you might find DLR as interesting as I do.
A little bit of political history of Poland:
DLR was born out of frustration with the lack of a true leftist voice in Poland. The former communist party turned into SLD (Sojusz Lewicy Demokratycznej, eng: Democratic Left Alliance) and embraced neo-liberal ideas, becoming indistinguishable from their liberal opposition. Meanwhile, the actual neo-liberals from PO (Platforma Obywatelska, eng: Civic Platform) were notorious for their austerity measures post-2008 financial crisis, which hit the common folk hard despite the Polish economy being a "Green Island." This paved the way for the populist national-conservative party Prawo i Sprawiedliwość (PIS, eng: Law and Justice) to win in 2015. They implemented significant welfare measures but also abused the rule of law and implemented almost a total ban of abortion in 2020.
The left in Poland hasn't fared well recently. SLD fell from a peak of 47% in 2001 to just 7.55% in 2015, leading to a four-year absence from parliament (coalitions need over 8% to enter parliament). They've rebranded as Lewica but only managed to get 8.6% in the 2023 parliamentary elections and 6.32% in the April 2024 elections to local councils. If this trend continues, they might disappear or be absorbed by KO (former PO, eng: Civic Coalition), which has started to adopt progressive ideas (but still supports neo-liberal policies).
DLR aims to prevent the total disappearance of leftism in Poland. Clubs are popping up all over the country, where young people from various political backgrounds debate and cooperate to promote community, solidarity, and healthy patriotism. It's refreshing to see these discussions happen outside the "Vampire Castle" in which progressive left closed themselves in.
Unfortunetly is mainly aimed at Polish viewers, but you can check out their interview with Catherine Liu about the Professional–managerial class (PMC) which is in English.
Hopefully you found this Polish leftist trivia interesting.
Please leave a comment if you are interested to know more.

(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

I’ve been dating my s/o for a while now, I’m really in love and it feels good, and we’ve made a lot of progress together in a short amount of time emotionally and with our friendship (partners should be friends too 🙃). We’ve even discussed moving things “forward” substantially (house, kids, a life together) which for me was huge since I was pretty convinced dating was just a cyclical thing I’d be casually doing forever.
We spend a ton of time together, and we’ve talked about a lot of hard issues (past dating experiences with some bad partners, how we evolved etc).
Within one of those discussions my s/o made me aware that she and an x had a string of porn videos that they would post together on Reddit, which shook me a bit but I was “okay” because that was in the past and it has literally nothing to do with me.
But my brain couldn’t let the issue go - because I believe that the entirety of the relationship was about their sex and their bodies (she is extremely attractive) and how hot it was to post here. This led me to believe that this other person was super attractive based on female’s standards for men (hardbodied washboard ab type dudes). This bothers me because I was told that this wasn’t “what she looks for” in men. I am doing “alright” with my body, but I have had a lifelong struggle with body dysmorphia and my perception of myself is pretty lousy although outwardly I have been told I am very attractive (something that is very nice to hear but it kinda just goes in one ear and out the other). I am of average stats, body fat probably 15-18% - I work a ton of hours in a stressful work environment and my “hardbody” days aren’t over … but currently I am not “what I was.”
My s/o and I are both on Reddit a lot, and I casually (actually casually not like “I picked up the phone to look through it” casually) and noticed her Reddit name, which lead me to of course do a deep dive on posts, comments, etc and what I have found is basically my total nightmare… a string of comments on dudes profiles (nothing in the present only the past) who are EXACTLY what I thought and feared of.
Now I am spending a lot of time searching through different subreddits to see if I can find these videos in an effort to … I guess prove to myself that I was right all along? That I’m not what she ACTUALLY wants? That I am somehow a lesser version of what she desires?
I have no idea how to stop this idea and I feel like it is ruining a lot of my headspace both personally and with this relationship.
Last night I was asked to take a shower with her and I couldn’t. We used to have wild fun sex where I felt like, honestly I felt like one of the guys in the pictures she’s commented on … but now that I know I’m not exactly that image I feel much less than as a partner in this specific realm of our relationship. How the fuck do I stop this? I am spending hours looking through years of posts and all it is doing is exhausting me. I’m sure if I don’t get a grip on it will damage this very special relationship.
I’ve also immediately started calorie restriction and dieting to drop weight as fast as possible, which I know is my sign that I personally am in a damaged state and I’m dipping back into negative cycles.

Before I get to the meat of it, I want to make it known that this is my own opinion and criticism. I am an early backer from when the game was just switching over from Kickstarter. Ever since then, I've had high hopes and aspirations for the game. In the beginning, the space sim market was completely dead and many were saying PC gaming was an afterthought. I believe this game is changing both of those actively and so I still retain high hopes - though sometimes it feels like its against my better judgement due to actions (and inactions) CIG has taken. CIG's integrity as a company has been eroding gradually over the years in my eyes due to deliberate choices the company has made. I'd like to give some examples.
First, CIG started with stretch goals for backers, which we blew through with record levels of funding. Unfortunately, many of those stretch goals have yet to be fulfilled. On the whole, that's understandable as some are fairly complex to do, but there are others which seem like they'd be relatively easy and routine that haven't been done, such as the crossbow FPS weapon. CIG has plenty of experience making and implementing FPS weapons by this point and they comparatively take little development time to complete. Why hasn't it been done? When's the last time we even saw a new FPS weapon release aside from different colorations of existing ones? This and other examples like this makes us older backers feel forgotten about and, at worst, used and stepped on toward larger audiences who didn't take as large a risk as we did by putting faith in you so early.
The second point I'd like to draw attention to is the incident in which CIG decided to charge money for virtual tickets to a Citizen Con stream. We, as backers, had entrusted our money and hopes to CIG only for the company to make an attempt to charge admission for us to see what was supposed to be our yearly progress report and showcase for a game that hadn't been released yet. Surely a reasonable person could understand why this was insulting to fans of the game. It was said that this decision was made to foster a larger and more spectacular Citizen Con for the fans, but over the years other actions that seem driven by marketing and financial goals have cast doubt on this explanation for me.
A more gameplay related point is that of the F8C and F7A Mk. II ships. Initially, the F7A Mk. II was not supposed to be available to players. The F8C was only supposed to be obtainable upon completing SQ42. Now both are released into the wild and in the hands of players. What happened to the conviction to make these ships special? A, perhaps, cynical application of Occam's Razor leads me to believe it was a decision made to drive sales and finances. At best, it was an easement due to the long time development was taking. Even if the later were true, the suspicion of the former will always lurk in my mind and that of others, I'm sure; further eroding trust in CIG's decision making.
My final example, and perhaps the more recently relevant one, is that of the gradual degradation of "Death of a Spaceman" (DoaS). The first idea and design lettedocument around the concept was incredible, but so much of it has been compromised. To start, the cloning system was implemented. To be clear, the cloning aspect was always a part of DoaS, but it being implemented without medical gameplay intervention was strange. While I can understand that it may have been a necessity for gameplay realities, it was still disappointing, and now it appears to be a permanent solution - at least from a backer's perspective. Now recently we've been told that all current ship medical beds will be able to clone players back into existence. This is despite some of those medical beds not being able to treat critical injuries. How can a piece of equipment that can clone an entire human being not treat serious injuries? Where is the consistency? I think the larger point, however, is a feeling of betrayal imparted unto some of the backers who are enthusiasts of, arguably, one of the most ignored professions in the game; the medics. I, myself, am not one of these people, but I feel for them as what little profession gameplay they had has now been gutted. Entire organizations had the rug pulled out from them in the name of convenience, sadly. It begs the question "why?" and the answer that looms as the most likely isn't a pleasant one - to push and sell a new medical vehicle. I don't want to look at it so cynically, but the timing and the sudden nature of the change from out of nowhere makes the consideration of such a greed induced motive hard to shake. Especially in a world and hobby that has been riddled with greedy companies making decisions for the bottom line over the quality of gameplay recently.
So, for discussion, I'd like to hear from everyone else. Are there other examples that have deteriorated your trust in CIG over the years? Please sound off and let your voice be heard. I don't think it's too late for the company to either correct the misperception or avoid further erosion with choices in the future. Also, from one long-term backer to another, I'd like to hear what Jared ( u/therealdiscolando ) has to say on this, given his unique perspective and also the fact that he is ultimately one of us. Additionally, I'd like to invite any input Tyler ( u/CaptainZyloh ) might have as our dedicated and ever-enthusiastic Community Manager that very obviously does his damnedest for said community. Lastly, I invite any of the developers to comment because I want this project to succeed. I want CR to succeed. This black cloud that hovers over this project for some of us could be dispelled with some communication around it and I am coming from a place of concern, not anger, and promise to engage in the topic in good faith. Lastly, and just for the record, I have no intent of turning my back on the project - rather I want it to succeed in such an explosive way that anyone who disparaged it is riddled with regret for missing the experience of staying astride of its development. I firmly believe this game and company has the potential to change the face of gaming forever.

Or, at least provide some extra tools that would make it easy for modders to do so. Not sure how that would work exactly, but I know Bethsoft devs don't have infinite time and money.
Disclaimer: I don't think most missions in Starfield need substantive revision—linearity isn't really the issue in my view, because Bethesda has never made it a point of giving every mission more than one outcome (or different flavors of the same ultimate outcome). But, quite often, how exactly you do things, what you say about what you're doing/have done, how you express yourself through dialogue, etc. provides a simulacrum of the choice that would exist if the quest simply had branching paths. Perhaps an ideal version of this game would go further and embrace the reactivity of your average Obsidian entry, but I don't expect that (and neither should you). Just some simple revisions (which I know design-wise are never really that simple) would do some wonders.
Viz., Bethsoft should make "small" edits to some specific missions that really interfere with the ability to feel immersed in the setting. I'll mention two of the worst offenders (in my limited view of having played the game one and a half times), but I know there are others that could benefit from similar (and likely even smaller) revisions.
The Hammer Falls (the last mission in the Freestar Rangers questline) was the first mission I did where I hated even bothering with the questline because of it. Learning from Paxton Hull (who I wish you could join or otherwise not be forced to kill, but that's not that big of a deal) that Ron Hope was behind everything should open up options to at least talk with others about what to actually do before being sent to your ultimate goal.
The fact that the game railroads you into immediate confrontation without, like, checking with anyone feels like an oversight. I know sheriffs are supposed to be kind of independent, but this guy (Hope) is like one of the twelve or so most powerful people in the Collective. I can't even talk with Marshal Blake or whomever about him before confronting him in a deadly shootoff? I can't even ask for backup? Where's the sheriff-fantasy where I call up my buddies to take down a crook?
I imagine a better designed version of this quest might involve first returning to Akila City and having a tense conversation with Blake (or some other Freestar representative) where you argue the apparent conflict of interest (the Collective's ruling body funds/supercedes the Rangers) and what that compels you to do, if anything. It could really help thematically resolve the underlying themes of the questline as a whole (the law as a just ideal/the law as an instrument of powecontrol). Not that this needs to have two wildly different paths where you confront Hope versus explicitly cover up his crimes, but it could at least affect your status as a ranger if you deliberately decided to confront Hope without convincing Blake. (Just an imperfect idea demonstrating the limitations of the current quest.)
The fact that you can't say anything about Hope before confronting him would be something I would've made a note on in QA. It's such a basic point of interrogation for ensuring that a quest in an open-world RPG fits seamlessly and immersively into the world. There are plenty of missions/quests in other Bethsoft games that don't do this, usually because the impact is really minor. But as the final mission of one of the two major factions' questlines, predicated on a reveal that recontextualizes all past missions in the questline, it works really poorly in my view to railroad you directly into confronting Ron Hope with no consultation with Marshal Blake or anyone else. Just the addition of a simple conversation would make this problem so much less glaring. Give the player an option of expressing their discomfort or anger at what's going on, or extend the final conversation with Marshal Blake. Or, ideally, give good reason mechanically (in the very quest's context) as to why things are as linear as they are.
When you trap Odahviing during The Fallen, he approaches you to talk, then you set him free after a conversation, then you ride atop him to Skuldafn, thus starting The World-Eater's Eyrie. But accounting for the eventuality of you leaving the courtyard before he reaches you to talk (or you exit conversation) is unreasonable, because a dangerous dragon, Odahviing, is right there, the way to Skuldafn is right there, and the end of the quest is right there. There's no design incentive to return to the open world if you're doing this quest at this exact moment, and I'm willing to bet exactly one person has ever done that (me, once, to deliberately see if it messed up the script). And once you fly to Skuldafn, the next couple hours are entirely linear (which is good!). It makes the end-game work really well because it feels and is seamless.
Confronting Hope doesn't have the same sense of urgency not because it isn't important but because the various design elements that encourage urgency in a mechanical sense aren't there. Imagine confronting Paxton (or whoever) in the reception area of the Hope factory (or somewhere equally close). There'd be basically nothing incentivizing you to not go confront Hope right then, for the same reasons as with Odahviing in Dragonreach's courtyard. Not accounting for leaving the reception area becomes just as reasonable of a design decision as not accounting for leaving Odahviing trapped without talking to him. When you leave Arcturus II, though, it doesn't really feel at all dissimilar from leaving a planet after clearing a random POI. Imagine if, after trapping Odahviing, he only gave you directions to Skuldafn which you had to travel yourself. This would have a similar effect, I feel, to what we experience at the end of First to Fight, First to Die and the beginning of The Hammer Falls. I imagine plenty of people would take detours to do x or y before finally going to Skuldafn, despite the quest's written urgency. If you want urgency in a practical sense, make the progression from objective-to-objective urgent by design. Reflect the urgency in the very way the game is played (i.e., make it weird to even consider leaving the Dragonsreach Courtyard while Odahviing is there and ready to take you to Skuldafn).
First Contact (the Paradiso mission with the colony ship) is honestly the single worst mission in the game for how little ability you have to do anything other than what the game explicitly tells you are your only options, often against the intuition of the writing. I think Bethsoft wanted to give a potentially intriguing moral dilemma that ends up being needlessly forced and ultimately not intriguing because of how poorly forced it is. The result is a quest that, while potentially interesting, is completely ruined by its implementation. Even creating a fail-state where you kill the executives (which the ECS Constant's crew could react to) could be an option which would involve considerably less scripting than creating entire new paths from scratch.
Because, again, the problem with these quests isn't necessarily that they're linear. It's that they're linear in such a way that makes it impossible for it to feel organic or emergent in the setting. Could you imagine a Season Unending type quest in the Paradiso boardroom where instead of the two options we have now, you would instead have to use specific dialogue choices to ensure a particular deal could be reached between both parties (with you as the Constant's (possibly ostensible) advocate? Maybe allow for some backgrounds or skill checks to automatically succeed some particularly challenging persuasion/intimidation checks for either the ECS crew or the Executives. It's a lot more work, but it's the ideal version of this particular mission, in my view, and it could happen without the other two options even existing. You could make the quest more linear and have it be more engaging for the player.
I've seen this articulated before but not in quite these terms: it is better to allow a player options in how they experience a single choice then to give them two forced bad choices.
The version we're left with feels like the type of Bethsoft quest that has a faster, dummy way to do a mission that people would only really choose if they were roleplaying a specific way, or just wanted to get an achievement (e.g., Destroy the Dark Brotherhood!). It's like there's two clearly worse/less developed options that are available for specific types of players, yet are ultimately meant to highlight the ultimately superior and lengthier third option, which in this case doesn't exist. I hate to say that it's just lazy (as designing any quest is a large undertaking), but it certainly feels really lazy the way that this quest forces these two options onto you with especially poor justification. And even then, there being only two options isn't that big of a deal—implement a fail-state where you kill the executives (or something equally unhinged), which I could see plenty of players doing, including me. Or maybe convince them to stand down by strapping grenades to your spacesuit, I don't know! Something that plays more to the player's ability to impose their will on NPCs rather than being powerless.
As for said powerlessness, being powerless isn't bad, but in this case it isn't really justified. There's no obstacle in terms of difficulty when it comes to this quest, it's just a barrier to choice that feels extremely artificial. At least in High Price to Pay, you can't be in two places at once and you know that there's danger in two places that you can't control for. Your powerlessness is earned by the game at this point, because you actually feel, given the context of the plot to this point, that you're up against something that you can't defend everyone else against at all times. It still feels a bit forced, perhaps, but it isn't nearly as egregious.
I honestly dread doing First Contact again because it frustrates me far more than any other mission, because of how it forces frustratingly restrictive options upon you. But it doesn't require huge overhauls to fix, even if an overhaul would make it a lot better.