(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.

Embracing the anticipation of a new life is a momentous occasion, and a modern baby shower deserves decorations that reflect both style and significance. In this guide, we explore cutting-edge trends in baby shower decorations, ensuring your celebration is a chic and memorable affair. From contemporary twists on traditional elements like seemantham decoration to incorporating divine elegance with godh bharai decoration, these ideas will redefine the aesthetics of your modern baby shower. All you need to do is look for Take Rent Pe, which offers baby shower decorations for rent. You can select from a variety of our decoration options. You can also quote your ideas, and we'll put them into practice. With just a single click, you may hire the décor arrangement and avoid wasting time and money on travel to meet multiple providers when you can have all you need under one roof. 1. Seamless Blending of Seemantham Decoration in Modern Themes: Traditionally associated with South Asian cultures, seemantham decoration has evolved, seamlessly integrating into modern baby showers. Instead of sticking to a strict color palette, experiment with pastel hues and metallic accents to add a contemporary touch. Opt for minimalist floral arrangements and modern motifs to strike the perfect balance between tradition and trend. Consider a stylish backdrop featuring geometric shapes or a custom-made banner with a modern twist on traditional symbols. Enhance the ambiance with subtle yet impactful touches, such as incorporating modern vases filled with flowers or greenery. The key is to create an atmosphere that pays homage to cultural roots while embracing the sophistication of modern design.

1. Divine Sophistication with Godh Bharai Decoration: Elevate your baby shower to divine heights by incorporating godh bharai decoration with a modern twist. Instead of the conventional color schemes, opt for muted tones like blush pink, sage green, or even celestial-inspired shades of blue and gold. This approach infuses a sense of modern sophistication while maintaining the sacred symbolism of the occasion. For an assertively modern touch, choose elegant materials like satin, velvet, or sheer organza for drapes and tablecloths. Experiment with lighting by incorporating subtle, warm-toned string lights or chic chandeliers. Create a focal point with a personalized sign or banner that combines modern calligraphy with traditional elements, emphasizing the significance of the godh bharai ceremony.
   
2. Gender-Neutral Minimalism: Modern baby showers often embrace the concept of gender neutrality, making it essential to adapt baby shower decorations accordingly. Choose a versatile color palette of soft grays, greens, and yellows that transcends traditional gender norms. Incorporate geometric shapes and patterns for a contemporary feel. Utilize minimalist table centerpieces with potted plants, succulents, or candles. Opt for simple, yet elegant, banners and garlands that celebrate the impending arrival without adhering to stereotypical gender colors. This approach not only aligns with modern design sensibilities but also promotes inclusivity in celebrating the joy of new life.
   
3. Tech-Savvy Photo Booths: Take your modern baby shower to the next level by incorporating a tech-savvy photo booth. Replace traditional props with digital filters and augmented reality elements that add a fun and futuristic dimension to the celebration. Encourage guests to capture moments with virtual accessories that resonate with the overall theme. For added flair, create a dedicated space with a backdrop that complements the theme, whether it's a virtual landscape or a design that aligns with the seemantham or godh bharai decoration style. This not only serves as a source of entertainment but also allows guests to create lasting memories in a modern and interactive way.
   

Conclusion by: In conclusion, modern baby shower decorations are a fusion of tradition and contemporary elegance, creating an atmosphere that is both visually stunning and culturally significant. The seamless blending of seemantham decoration into modern themes and the infusion of divine sophistication with godh bharai decoration redefine the expectations of a stylish celebration. Embrace gender-neutral minimalism, experiment with modern color palettes, and introduce tech-savvy elements like a futuristic photo booth to ensure your baby shower is on the cutting edge of current trends. Celebrate the arrival of a new life with an assertive commitment to modern elegance, creating an event that not only honors tradition but also embraces the evolving aesthetics of the present day. With these trendsetting ideas in your repertoire, your modern baby shower by Take Rent Pe will be a chic, stylish, and memorable affair that resonates with the joyous anticipation of welcoming a new life into the world. Cheers to celebrating this milestone with sophistication, creativity, and a touch of modern flair!

Here are some of mine! Obviously, I can’t put every single word down else I would, but these are just some that really stuck to my memory, but there are so many more that are still in my top tier!
“Don’t give up! There’s no shame in falling! The only thing to be ashamed of is not getting back up!" Midorima
“No matter how many more points you have at the end of the game, if you’re not happy, that’s not a victory." Kuroko
“We don't just support each other because we're a team, we're a team because we support each other." Kiyoshi
“Now let's have some fun." Kiyoshiiii
“The only one who can beat me is me." Aomine
“I'll jam it in so hard your heads will spin!" Murasakibara
“Have fun slapping around those leathery balls, losers!” Hyūga 💀
“It’s really strange. I don’t recall meeting an idiot who can’t sort out his thoughts during a basketball game!” Kise This made me cry 😂
“Now witness my sublime form and realize, your defeat is absolute." Akashi
“This is our story! We decide how it goes!” Kagami
“A camel told me... compared to Akashi, you're just a hump in the road." Izuki ( I love his puns)
“You better add the word "revenge" to that empty dictionary of yours." Kasamatsu
“Don’t expect life to be fair” himuro (might not be a quote)
I want to add so many more! So badly but I love these a lot (og got deleted)

(continuation of part 1)

III. Searching for Aerith Beyond FFVII

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

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

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

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

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

“I must go… must go to that place…”

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

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

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

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

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

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

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

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

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

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

&

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

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

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

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

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

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

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

Cosmos hears him and responds immediately:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Shortly after Final Fantasy VII hit the gaming world in 1997, Cloud Strife’s howls of grief at the loss of his beloved companion Aerith Gainsborough were echoed by droves and droves of fans. These echoes gathered in swarms, reaching the developers in the form of petition signatures, each begging the makers of the game to allow Aerith’s resurrection. Though these prayers remained unanswered —until now—, there soon came more protests: this time, fans pleaded with the developers to consider making a remake of the original game. Both of these wishes were met with considerable derision, with large chunks of the fandom calling the requests delusional— which is why the Final Fantasy world had to prepare for another meteoric hit when the Remake project was finally announced in 2015. With Kitase, Nomura, Toriyama, Nojima, Uematsu and more of the original developers at the helm, along with longtime FFVII fan-turned-developer Hamaguchi, the Remake trilogy was met with great expectations. These were nevertheless surpassed, though one aspect of the trilogy’s first entry seemed to thoroughly puzzle some and enrage others. Far and wide, the resounding questions were “What are these Whisper things?”, “Why is Cloud having visions unrelated to Nibelheim and Zack?” and “Why and how in the hell did Zack survive?”
Friends, I believe the answer lies within this post. Welcome to my literary-analysis-based theory on the Remake trilogy’s most important and most secret plot point: Cloud’s hidden mission. I want to make this fun and suspenseful to read, so I will write my analyses in the same order and manner in which I encountered them while putting my theory together. You will be reading what initially sparked my curiosity, the path I took while researching for answers, the conclusions I made every step of the way, and only then will you read my theory, after which we’ll try and apply it to the Remake trilogy so far and see if it fits! I want you to experience the rollercoaster that I did when digging through SE content to bring you this post. Thank you so much for waiting for and anticipating this analysis, and I do hope you read every word to soak in every last bit of Clerith you can get. I also hope it’s really fun and touching for you (I cried at least once making this)! Let’s embark on our adventure through the compilation, other FF games and real-life events to find out what the Remake project is truly all about and anticipate the events of part 3.
N.B.: Please be aware that I have never seen this theory navigate online, so I have no idea if anyone has ever come up with a similar hypothesis. The big reveal I’m building toward might be something you’re already aware of or suspected. In that case, I hope this post doesn’t disappoint you if you’re one of the lovely people who requested it! At the very least, it will provide you with valuable literary and musical analysis, a ton of evidence you haven’t considered yet, and hopefully, entertainment too!
WARNING: Please be careful with the censored spoiler text, because I'll be referencing other FF games in this analysis and I don't want to ruin anything for you! Obviously, this analysis contains spoilers for the entirety of the FFVII compilation. Additionally, if you're not a fan of Clerith and you've stumbled upon this post, please stop here. I would hate it if something I worked on and posted made you angry, so please don't read this analysis. I have only good intentions and I just want everyone to enjoy the FFVII world as much as they can.

I. Groundwork: The Remake Timelines Theory

Before I take you on this ride, we must lay down the framework of the Remake Timelines Theory. In this section, we’ll be reviewing the general consensus of theorizers within the fandom on timeline/multiverse shenanigans, with some added specifications on my part. Please keep in mind that because the timeline mechanics are kept quite vague by the devs, there might be certain inaccuracies in my iteration of the timelines theory. Thankfully, these potential variances won’t have any effect on the legitimacy of the theory I’ll be presenting to you in this analysis.
I. a) Sephiroth’s Plan
The premise of the Remake trilogy is widely thought to be the result of post-OG Sephiroth attempting to succeed where he failed in OG. There are six key points we need to keep in mind to understand how this was possible.
I. a) i. Sephiroth in the Lifestream
Firstly, it’s important to remember that Sephiroth is dead and located in the Lifestream before OG even begins, and remains that way for almost all of OG's duration. He is only able to operate in the world of the living via his/Jenova's control over the living Sephiroth clones. In the OG timeline then, Sephiroth is sent to the Lifestream by Cloud twice: once before the game takes place on the night of the Nibelheim incident (pre-OG), and a second time during the final battle against Sephiroth (disk 3, chapter 3). During the long period between the Nibelheim incident and Sephiroth’s rebirth at the Northern Crater (disk 2, chapter 2), he exists in the Lifestream. After his ultimate defeat (post-OG), he returns there for good.
II. a) ii. Sephiroth Unintegrated
Secondly, because he is full of hatred and unyielding determination, Sephiroth’s spirit cannot become one with the planet. After both occasions where Cloud kills him in OG, Sephiroth retains his individual will and the memories of his lifetime, remaining a separate entity in the Lifestream. He says so himself in Nojima’s Advent Children prequel novel On a Way to a Smile:

“[Sephiroth] could sense the Lifestream trying to erode his spirit— the memories of his former experiences, thoughts and emotions. If he allowed himself to be taken into the current, the being he once was would soon disseminate and disappear amongst the spirit energy cycling around the planet. [He] thought this unacceptable. The planet was to be his to rule, and to become a part of that system would be nothing short of defeat” ("Lifestream Black 1").

Combined with Bugenhagen’s basic lesson on planetology (FFVII OG, disk 1, chapter 19), this excerpt provides interesting information on how the Lifestream normally works. Usually, when a life returns to the planet, its individuality (personality, will, consciousness, memories, etc.) is stripped away. The trappings of a soul’s former lifetime are progressively dissolved so that all that is left is the spirit itself, ready to integrate into the Lifestream. This way, soul energy can be “recycled” by the planet to animate new lifeforms in a sort of reincarnation process. The erasure of one’s memories in the Lifestream is necessary for the creation of a brand new life, poised to make its own memories: the slate must be wiped clean, so to speak. Sephiroth’s sheer hatred for and desire to dominate the planet is enough to keep him from undergoing this process.
It is also thought that Sephiroth cannot be integrated into the Lifestream because he was conceived with the use of Jenova cells in vitro. Given that so much of his consciousness and genetic makeup originate from an alien life force, it is impossible for him to become one with the planet.
Regardless of the reason, it is precisely this persisting individuality in death that allows Sephiroth to meddle in the world of the living during the post-OG events of Advent Children, as explained to us by post-OG Aerith in On a Way to a Smile:

“[Aerith] had sensed a different presence within the Lifestream cycling around the planet. It was the vehemence of a strong will, one that would never join with the planet. She knew this consciousness. It was [Sephiroth]. A merciless spirit hidden behind a beauteous wall. That spirit was now operating from within the Lifestream. [She] sensed that he was planning to exert his influence to the surface of the planet“ ("Lifestream White 1").

I. a) iii. The Lifestream Beyond Time
Our third point is that the Lifestream has existed for as long as the planet, and has therefore touched every part of its history— including, of course, the events of OG. On that account, one could think of the Lifestream as atemporal. Considering this, it is possible for a spirit in the Lifestream to communicate with or even travel to the past, provided the necessary circumstances and/or abilities. For instance, the Aerith that appears in Cloud’s resolution scene in Remake (chapter 14) is commonly considered to be a post-OG Aerith, appearing to him from the future to try and dissuade him from falling for her. This time-defying event is made possible by the fact that post-OG Aerith’s spirit has access to the atemporal Lifestream because she's deceased. In my view, this explains why she dissolves into green light (Lifestream visual cue) at the end of the resolution scene (5:19-5:45). This is not time travel per se, but it is a manner of communication unobstructed by the one-directionality of a linear timeline that only spirits can perform.
I. a) iv. Sephiroth Beyond Time
What we’ve covered so far amounts to our fourth point. Please familiarize yourself with the graph below before you continue reading. Refer back to the graph when you encounter text in bold.
The Remake Timelines Theory: FFVII OG Timeline
As we discussed in section “I. a) i.”, Sephiroth is dead and located in the Lifestream for the duration of the green arrow and beyond point D: in the context of the OG timeline, he can only ever be considered “alive” during the period highlighted in purple. In section “I. a) ii.”, we asserted that Sephiroth retained his individual will in the Lifestream, enabling him to exert his influence on the world of the living by manipulating his clones on the surface. In section “I. a) iii.”, we covered the atemporal nature of the Lifestream, which allows post-OG Aerith’s spirit to communicate with her past, living self thanks to her Cetra abilities. Now, I will explain to you how Sephiroth was able to do virtually the same thing, albeit his lack of Cetra blood.
To the characters of the story and a fully immersed first-time player of OG, the timeline above was not always an established series of events: when they first started playing FFVII OG, the player began at point B, with nothing existing beyond it. It is only as the player moved Cloud forward that the black, arrowed timeline was drawn, accumulating lived events (or points) in Cloud’s wake. The picture you see above is only available to Cloud and to the player with hindsight. All this to state the obvious: at point B, Cloud could not know what would occur, say, at point C.
During the period highlighted in purple, Sephiroth was “alive” again, accumulating new memories on the surface of the planet and adding them to his consciousness. When he entered the Lifestream for the second time at point D, he brought these memories with him. Simply put, after returning to the Lifestream at point D, Sephiroth remembers what happened during the period highlighted in purple. However, given that the Lifestream exists beyond time, upon Sephiroth’s consciousness’ return to the Lifestream at point D, his newly acquired memories were also made available to him at all points on the green, double-arrowed line— including point A, before the OG timeline even begins at point B. So while it is true that Cloud cannot know what will occur at point C if he is only at point B, Sephiroth indeed knows what will occur during the period highlighted in purple when he is only at point A. While a living, pre-OG Aerith would be able to receive post-OG Aerith’s spirit’s knowledge through the Lifestream thanks to her Cetra powers, Sephiroth has no need for this ability. The fact that he resides in the Lifestream for practically the entire FFVII OG timeline renders the limitations of time irrelevant: as far as the FFVII OG timeline is concerned, Sephiroth exists beyond time itself.
In summary, after point D was first encountered in OG, pre-OG Sephiroth (in the Lifestream) is made aware of his eventual defeat, and begins plotting an alternate path to victory. This time, with the benefit of hindsight, he will do things differently: we experience his "second” attempt at FFVII as the Remake trilogy.
I. a) v. Sephiroth Against Fate
Of course, the Whispers stand squarely in Sephiroth’s way. This leads us to our fifth point, which Remake Ultimania describes better than I ever could:

“According to Red XIII, who gained knowledge through his contact with Aerith, ‘The Whispers are drawn to those who attempt to alter destiny’s course and ensure they do not’ […]. It would appear that what the Whispers deem to be ‘fate’ is the original story of Final Fantasy VII” (section 08 “Secrets”, “Newly Arisen Mysteries”, “What Is the Goal of the Elusive Whispers?”, page 733).

OG’s plot line is the fated timeline, and the Whispers are tasked with its preservation. They prevent alternative paths from even beginning to branch out from the OG timeline, which poses a problem for Sephiroth: he cannot win FFVII if his destiny is to lose it.
I. a) vi. Sephiroth and the Multiverse
Consequently, our sixth point is that Sephiroth must dismantle the mechanisms of fate before he can even try to accomplish his dreams of godhood.
As Sephiroth explains in chapter 14 of Rebirth, “the planet encompasses [an ever unfolding] multitude of worlds”, and these “[new worlds are born] when the boundaries of fate are breached.” Since the Whispers uphold the “boundaries of fate”, a world in which Sephiroth’s evil plans succeed can only emerge after the Whispers have been defeated. Otherwise, destiny will continue to protect the OG plot line by preventing any significant deviations. Consequently, before the party vanquishes fate, the Remake timeline and the OG timeline are one and the same: before chapter 18, Remake Barret is OG Barret, Remake Tifa is OG Tifa, Remake Hojo is OG Hojo, etc. After the defeat of Destiny, the OG timeline is no longer protected by fate: there are now an infinite number of timelines or worlds, including those we see glimpses of in Rebirth: Remake Barret is no longer necessarily OG Barret, Remake Tifa is no longer necessarily OG Tifa, Remake Hojo is no longer necessarily OG Hojo, etc. Perhaps this is why Aerith gives the party the following warning at destiny’s crossroads in Remake:

“[This] is the wall of destiny. If we go through it… if we go beyond it… then all of us will change, too” (FFVII Remake Material Ultimania Plus, VA script notes, “Destiny’s Crossroads”).

I. a) vii. Sephiroth’s Plan
Now that these six points have been elucidated, we can compose a solid hypothesis on how Sephiroth plots to win FFVII.
After gaining knowledge of his eventual demise (disk 3, chapter 3), pre-OG Sephiroth began thinking of what he must do in Remake from the Lifestream. First, Sephiroth must antagonize the Whispers in the initial stages of the OG timeline. He accomplishes this by commanding his clones to commit acts that drastically violate the fated timeline, engendering plot-line deviations that the Whispers must course-correct. The most extreme example transpires in Remake’s chapter 17 when the Sephiroth clone in President Shinra’s office kills Barret, forcing the Whispers to restore the fated plot line by coming forth and reviving him. The Whispers react to Sephiroth’s prodding by rushing in to protect fate, their efforts culminating in the protective wall of destiny that surrounds Midgar in chapter 18.
Secondly, after he’s created an opportunity for a battle against the Whispers, Sephiroth must convince the party to seize it and beat fate for him. After all, a mere Sephiroth clone is probably no match for Destiny. This second step is accomplished in Remake’s chapter 18 when Sephiroth successfully tempts Cloud to breach the boundaries of fate. Now that destiny is no longer a limitation, worlds deviating from the OG timeline can finally emerge; Sephiroth has a chance at victory.
The steps Sephiroth plans to take going forward are unknowable at this stage, but we do get more hints in Rebirth’s chapter 13. At the Temple of the Ancients, Sephiroth reveals a part of his plot:

“Sephiroth: My fragmented mother, these errant worlds... All shall be one again.
Aerith: The ‘Reunion’…!”

It seems Sephiroth eventually plans to merge the worlds created by destiny’s defeat in Remake’s chapter 18. My guess is he hopes to achieve godhood in part 3 and consolidate all diverting worlds into a single timeline protected by destiny once more— only this time, his victory will replace the ending of OG as the destined outcome. If he succeeds, Sephiroth’s Black Whispers will likely replace the planet’s Whispers as the arbiters of his desired fate.
I. b) Aerith’s Intervention
But Aerith can’t let this slide unchallenged!
We know that before chapter 18 of Remake, while the OG plot-line is still protected by fate, Aerith has knowledge of its future. This is insinuated by certain slips of the tongue: for instance, when Aerith reveals she knows Cloud is a mercenary upon meeting him for the second time in chapter 8, just like she knows Tifa will ask her to retrieve Marlene at Seventh Heaven in chapter 12. In the run-up to Remake, post-OG Aerith's spirit likely sensed Sephiroth planning his second try at FFVII in the Lifestream. She’s been able to anticipate Sephiroth’s plotting in the Lifestream before, namely in the context of Advent Children:

“[Aerith] had sensed a different presence within the Lifestream cycling around the planet […]. It was [Sephiroth] […]. That spirit was now operating from within the Lifestream. [She] sensed that he was planning to exert his influence [on] the surface of the planet” (On a Way to a Smile, "Lifestream White 1").

If you’re wondering how Aerith was able to maintain her individuality in the Lifestream like Sephiroth, On a Way to a Smile provides the following explanation:

“[Aerith] was an Ancient, which explained how she was able to maintain her individuality even within the Lifestream. If she so wished she could become part of the planet at any time, but [she] thought it too early for that just yet” ("Lifestream White 1").

It is thought that, as a countermeasure to Sephiroth's scheming, post-OG Aerith’s spirit used the atemporal nature of the Lifestream to inform her past, living self (pre-OG Aerith) of this new threat to the planet. Because the Cetra can commune with spirits, pre-OG Aerith would have been able to receive post-OG Aerith’s message from the Lifestream without a problem. Essentially, pre-OG Aerith received post-OG Aerith’s memories of the fated OG timeline. As a consequence, pre-OG Aerith embarks on the OG timeline with knowledge of the fated future that demands she give her life: the player experiences this version of her in Remake.
Be that as it may, it’s unclear how much Remake Aerith is aware of. You would think she’d be completely opposed to defeating, destiny since it protects the planet, but Aerith shows ambivalence toward the idea instead. Had she gotten a clear message from her future self that she must keep fate intact, she would not have allowed the party to enter the battle against fate in chapter 18. She doesn’t seem to know what the Whispers are the first time she encounters them either. Regardless, what’s important is that the Aerith seen in Remake is the result of pre-OG Aerith receiving knowledge from post-OG Aerith via the Lifestream.
I. c) Ambiguity: Memory Transfer or Time-Travel?
There remains an ambiguity pertaining to the Aerith we see in Remake and the question of time travel. What I’ve described to you in section “I. b)” is post-OG Aerith's spirit transferring her memories to her past self through the Lifestream. However, it’s possible that post-OG Aerith’s consciousness used the atemporal nature of the Lifestream to inhabit her living OG body instead, effectively time-traveling. There is no evidence to outright refute either explanation, since the gaps in Aerith’s memories of the OG plot-line in Remake can be explained in both cases. For instance, in a memory transfer scenario, it’s possible that post-OG Aerith only communicated the most essential information to pre-OG Aerith. On the other hand, in a time-travel scenario, one could interpret the following quotes as proof that the Whispers are progressively erasing Aerith’s memories of OG as Remake advances:

“Aerith: Every time the Whispers touch me, a piece of me falls away” (FFVII Remake Material Ultimania Plus, VA script notes, “Aerith Speaks”)

&

“At any rate, Aerith is perplexed at how, like a flower being scattered, something inside is being taken away by the Whispers and lost to her” (Toriyama in FFVII Remake Material Ultimania Plus, VA script notes, “Aerith Speaks”, “Scenario Staff Q&A - Answered by Motomu Toriyama”).

This ambiguity is completely irrelevant to Sephiroth’s situation in Remake, as we established in section “I. a) iv.”.
The specifics don’t matter nearly as much as I’m impressing upon you by explaining all these little alternatives. Simply keep in mind that: regardless of why, the Sephiroth and Aerith we see in Remake know the events of the OG game because they have acquired this knowledge from the future, and the events of Remake occur squarely within the OG timeline until the Whispers are defeated in chapter 18.
So there! That’s my iteration of the Remake Timelines Theory! I hope I’ve made it clear in your mind, or at least clearer. Now that we’ve established the widely theorized premise of the Remake trilogy, we can get into our theory on its hidden premise.
II. My Initial Curiosity
My theory first burgeoned upon going through Remake for the second time. I noticed something strange going on with Cloud, something that could not be explained by the Remake Timelines Theory. Key moments in Remake Cloud’s experience of the OG timeline (aka, everything before chapter 18) stuck out to me as strange and mysterious, and certain inexplicable audiovisual cues struck me as hugely significant. It was upon watching the tear fall from Cloud’s eye during my second go at chapter 8 that I knew I had to look into this.
At the very end of Remake’s chapter 8, Cloud watches Aerith walk away from him, humming happily into the night air as she sets off to lead the way to Sector 7. According to the VA script notes, “his heart skips a beat” and watching her walk away provokes a sudden “anxiety” within him. Triggered by the familiarity of the sight, a strange sensation overcomes Cloud:

“[There’s a] close-up shot of Cloud’s fingertips (they’re tingling). He presses them to his temples (his eyes are burning). A trickle of tears quickly rolls down from the eye hidden behind his hand” (FFVII Remake Material Ultimania Plus, VA script notes, “A Midnight Ambush”).

If you’re clever, you’ll recognize these lines as a reference to the speech Cloud makes in OG following Aerith’s death at the City of the Ancients (“My fingers are tingling. My mouth is dry. My eyes are burning!”) (disk 1, chapter 28). In this small moment in chapter 8 of Remake, Cloud experiences a flash of the profound grief he is destined to feel upon Aerith’s fated death.
Many players immediately recognized the composition of this scene: the blue-greenish air, the straight path Aerith heads down, the sight of her walking away itself… this moment closely resembles Cloud’s Sleeping Forest dream of Aerith in OG, wherein Cloud and Aerith’s very last words are exchanged (disk 1, chapter 25). Toriyama, codirector of the Remake project, comments on this scene thusly:

“It’s possible these similarities […] cause a memory of the future to be called forth in Cloud” (FFVII Remake Material Ultimania Plus, VA script notes, “A Midnight Ambush”).

The language used by Toriyama here is strange in both the English translation and the Japanese original: the term “memory of the future” makes no sense. One cannot remember things they haven’t already experienced, so why did Toriyama use the word “memory” to describe a "future" event? Couldn’t he have simply said that Remake Cloud experiences “visions of the future” rather than “[memories]”?
Cloud experiences a few moments like these throughout the game. These pseudo-premonitions are just as markedly exclusive to Remake as the Whispers are. I did not want to dismiss them as a foreshadowing device the devs included just to elicit emotional reactions from OG players; I felt they were more important. And thus began my digging! My mission was initially to figure out what these “[memories of the future]” (MOTFs) could signify… I had no clue it would turn into what I’m writing right now.
II. a) Each MOTF and Its Context
I began by finding every one of Cloud’s MOTFs so I could better understand them.
MOTF 1 occurs in chapter 2 on Sector 8’s Loveless Street, when Cloud sees Aerith struggling against the Whispers. The VA script notes reveal that even though this is only his first time seeing her, Cloud recognizes Aerith’s face:

“Recognizing Aerith’s face causes Cloud to experience [a hallucination]. Sephiroth is suddenly standing between him and Aerith” (FFVII Remake Material Ultimania Plus, VA script notes, “Encountering Aerith”).

Sephiroth then taunts Cloud with words that, according to the script notes, “[live] inside of Cloud's heart”: “You can’t protect anyone. Not even yourself”. Cloud should not recognize Aerith’s face at this point in the OG timeline, nor should he associate it with not being able to protect people.
MOTF 2 occurs in chapter 3, at the plaza in front of the Sector 7 slums support pillar. Cloud experiences a MOTF of the plate falling, which is fated to occur at a much later point in chapter 12. The Whispers float near him, “watching Cloud alertly as he sees a vision of the future” (FFVII Remake Ultimania, section 08 “Secrets”, “Newly Arisen Mysteries”, “What Is the Goal of the Elusive Whispers?”, page 733).
MOTF 3 occurs in Aerith’s church at the start of chapter 8, when Aerith mentions that her mother’s materia is “not good for anything at all”. Triggered by the mention and sight of the White Materia, Cloud’s fourth MOTF takes the form of a vision: he sees quick flashes of the materia falling into the lake of the Forgotten Capital and Aerith holding her hands together in prayer. These are evidently visions of her death in OG (disk 1, chapter 28).
MOTF 4 is the one we first discussed, occurring at the very end of chapter 8 as Cloud watches Aerith walk away from him to lead the way toward Sector 7.
MOTF 5 occurs in chapter 13 shortly after the Sector 7 plate has fallen on the slums. Cloud tells Barret that Marlene is safe at Aerith’s house, and they begin heading there. As Cloud thinks about Aerith, the VA script notes describe the very next moment as follows:

“Cloud: Tifa, you know anything about the Ancients?
Tifa: I’ve heard of them before, but…
Barret walks on ahead, showing little interest in the topic.
Barret: Read a book on planetology and they’re sure to come up. They’re a tribe that cultivated the planet a real long time ago. Used to talk to it. That sort of stuff.
Cloud: That must be why the Turks were after her.
[Psychic] interference starts up.
[Cloud has a] flashback of Sephiroth from five years ago, after learning of his ancestry at Shinra Manor […].
Sephiroth [(in flashback, voice tinged with madness)]: Within my veins flows the blood of the Ancients. I am the rightful heir to this planet!
The flashback ends and Cloud looks lost in thought. The interference starts up once more. Cloud makes agonized sounds. When he opens his eyes, Sephiroth is actually standing before him.
Sephiroth: You failed again— failed to protect [her]*.
Cloud is startled. He shrinks back. Tifa watches what’s happening. The other two can’t see Sephiroth. All they see is Cloud acting frightened.
Sephiroth: But loss will make you strong. […] Isn’t that what you want?
With that, Sephiroth departs.”

*Sephiroth does not use a gendered pronoun here, because the grammatical structure of the original Japanese sentence doesn’t necessitate it. I've seen some debate as to whether the proper translation is “her” (Aerith, who’s just been kidnapped), or “them” (Jessie, Biggs or Wedge, who have seemingly just died). I believe Sephiroth was referring to Aerith for a few reasons. First, Cloud’s hallucinations of Sephiroth always appear as a response to whatever he is perceiving or thinking about at the moment. At this point in the scene, Cloud has been thinking and talking about Aerith for some time, and not about Jessie, Biggs or Wedge. The Sephiroth hallucination must therefore be referring to “her” rather than to “them”. Secondly, Cloud was never tasked with “[protecting]” Avalanche, but he was in fact tasked with “[protecting]” Aerith as her bodyguard back in chapter 8: it makes far more sense for Sephiroth to be referring to Aerith when he speaks about someone Cloud “failed to protect”. Finally, FFVII Remake Ultimania describes this piece of dialogue as “[Sephiroth aiming] these profound words at Cloud, who not only failed to prevent the tragedy in the Sector 7 slums but allowed Aerith to be abducted” (Sephiroth’s profile in section 01 “Character & World”, “Impressive Words”, page 29): the specific mention of Aerith here seals my decision to translate the line with the pronoun “her”.
Contrary to Sephiroth’s words, this is the first time in Remake that Cloud “[fails] to protect [Aerith]”, and he hasn’t “[lost]” her either— not yet, at least. So why use the words "again" and "loss"? This fifth MOTF must be similar to MOTF 1, in that Sephiroth is referring to Cloud’s guilt surrounding Aerith’s death in OG.
MOTF 6 occurs in chapter 17, in Aerith and Ifalna’s old room at Shinra HQ. The Whispers swarm Aerith as she tells the party earnestly that she wants to do everything in her power to help her friends and the planet: according to the script notes, it is at this very moment that, “for some reason, Cloud feels his chest constrict tightly” (FFVII Remake Material Ultimania Plus, VA script notes, “Aerith Speaks”). In the corresponding cutscene, this unpleasant physiological reaction to Aerith’s words makes Cloud glance down at his chest with a confounded frown. This physical response to her speech about wanting to fulfill her duty to the planet implies that Cloud somehow knows deep down that saving the world will cost Aerith her life.
At this point, I noticed that five out of the six MOTFs Cloud experiences in Remake are triggered by and/or revolve around Aerith specifically, the one exception being a MOTF of the Sector 7 plate fall. One could actually argue that this MOTF revolves around Aerith too, considering the plate fall marks the first time Aerith is taken away from Cloud since reuniting with her in the Sector 5 slums church. This is more than plausible, as MOTF 5 proves that in the wake of the Sector 7 plate fall, Cloud’s main concern is Aerith (see section “II. a)”). How fitting is it, then, that the merc of few words’ longest uninterrupted piece of dialogue in all of Remake is:

“We found an underground Shinra lab where they've done human testing. This wasn't the first time and it won't be the last. I know these people, and I know they're never gonna let Aerith go. She's the last living Ancient on the planet. Think about what that means to Shinra's scientists. Especially to that son of a bitch Hojo. We're all just numbers and meat to him—“ (Remake, chapter 13).

Cloud would’ve gone on too, had Elmyra and Tifa not stopped him.
At this juncture in my research, my questions were only stacking up. What are these MOTFs? Why is Cloud the only one experiencing them? Why do all of them implicate Aerith? What did the devs hope to accomplish with their inclusion in the game? What do they mean for Remake’s story? But most importantly:
II. b) What Does Cloud Know?
The first assertion we have to make is simple, yet essential: the only reason Cloud would experience MOTFs is that whatever’s triggered them is significant to him in one way or another. Some part of him must recognize his triggers for them to be triggers at all. It’s clear he doesn’t consciously understand the meaning of his MOTF triggers, just like his Jenova triggers: for example, Cloud doesn’t know why Zack’s name causes him to experience psychic interference, but it sure does. We as players know Cloud’s MOTFs are hinting at Aerith’s fated death because of our awareness of OG, but as a character navigating the OG timeline, Remake Cloud shouldn't even be unconsciously aware of Aerith’s eventual death in the slightest! Whatever the nature of the MOTFs, it’s essential to understand that if Cloud “[recognizes]” Aerith’s face the first time he sees her, it must mean some part of him knows Aerith’s face in the first place. If this recognition triggers a hallucination of Sephiroth telling Cloud he “can’t protect anyone”, it must mean some part of him knows he was once unable to protect Aerith. The same goes for every other MOTF: subconsciously, Remake Cloud somehow has memories of the OG timeline. Most interestingly, it looks like he either only has OG memories related to Aerith, or like his OG memories of Aerith are simply the only ones prominent enough to trigger his MOTFs. Why and how does Remake Cloud have memories of OG, and why are they so focused on Aerith in particular? What does he know?
When examining a situation with no explanation, it’s wise to examine similar situations that have already been explained. Maybe the mystery of Remake Cloud’s MOTFs will become more approachable if we consider the cases of the only other Remake characters who seem to know the future: Aerith and Sephiroth. Remake Sephiroth knows the future of the OG timeline because his consciousness exists beyond time in the Lifestream, while Remake Aerith likely obtained her knowledge of the future from post-OG Aerith’s spirit via the Lifestream. But what about Cloud? Where does his weaker, fragmented knowledge come from?
(continued in part 2)

ALL I can remember is this hilarious scene where one guy asks another guy about what he’s doing, and the other one responds “I was recalling a memory” and it cracked me up and I quote it all the time but cannot find any trace of it anywhere and I’m scared I have to wait till I randomly come across it again 😩 if anyone knows another subreddit that might help please kindly direct me <3

Everyone seems to be digging this album, so I suppose ill strike while the iron is hot here - does anyone else find the level of lyricism in this album not only a high point for the band (though frankly, they've always had good lyricism especially for the scene they're in), but also just very solid even out of the musical context?
I'll admit to being a bit of a nerd when it comes to writing and lit, and after listening to the album I sat down and listened again while reading through the lyrics of each song as they played and was left with a few standouts.
1) From the initial track, 'Thirst.'
Followed by the thirst An honest gaze left broken and marred
...
Dragging my knuckles Forward but through the mud Secluded lower form Sickened by my thirst for change
..
Though not the strongest lyrics on the album, still evocative imagery and impressively emotionally compelling while also being careful in its diction. Like the message of the song (and extending to the album, really) the song comes with a sense of jagged brevity which to me adds to the poignancy of it. It also sets the continuing motif of water being an agent of change, the process of grief and loss (of people, identity, and faith) being the core of the album.
2) From 'Don't Reach For Me'
I dream of a cleansing wave Reborn Don't reach for me No lies can spread (Spread, spread) From a tongue removed
..
I dream of a cleansing wave Set me free I return to form No longer bound to mе
Though this track is much more on the nose, largely characterized by the visceral and aggressive dogma that metalcore is known for, is still points back to the previous ideals and symbolism established in the initial tracks. Again we are lent the idea that water will wash away (erode, even) our imperfections. Change will aid in the 'return to form,' grief and harbored grudges 'no longer bound to me.'
3) This one is cheating, as it's really the whole song of 'Moss Covers All' with its 46 second run time:
This house just swallows me It doesn't feel like it did before Trapped in endless rain Barren moor
And all the vines will find their way Through the dirt and hardened clay
The wind and rain will force decay Moss covers all
This frankly reads pretty well even as spoken word poetry. From the established messages of conflicting ideals of faith, self, and loss, we are given the line 'Trapped in endless rain, barren moor.' This deep into the album the layers have been stripped away, and we get the image of rocks, stripped and naked (barren) being exposed to the harsh elements of rain (water) again. Over time, despite everything, this allows moss and roots to crack and mold them. Neat.
4) Jumping from 'Moss Covers All' immediately into 'The Calm that keeps You Awake'
You fill your home with waves Nothing still can stay When the storm starts to recede Parting clouds reveal your grief Nothing still can stay
Hey look at that! Water enacting change again. Who'da thunk? While not super overt and beating you over the head every track, the album continues its steady use of the metaphor. I'm impressed by how lyrically cohesive and well stated the album is, with this never coming across as corny. Again, the imagery lent from the lyrics are both very well done and somewhat understated, especially when examined through the context of typical metalcore lyricism.
5) Closing with 'Sit and Mourn'
Collecting petals of every memory All I'm left with is all I know (I know) Finding my own time to sit and mourn Grief that spreads but will not show
..
A test at every turn All I focus on is strength I will carry you through fire
Loss we share means swallowing pain Will you inherit my grief If I finally choose to sleep?
..
"Why'd you leave?" "I feel like I'vе failed."
I really, really like this closing track. The amazing mixing, use of ambience, and killer vocals / instrumentals aside, I found the change in expression super neat here. Once again we are given the notion of grief expressed as petals. i.e. plant life and growth. While capable of shattering and eroding rocks (barren moore, yada yada) it also can create beauty. Grief then once again can be seen as spreading through the soil, unseen from above.
This final use of the recurrent theme is then given its needed closing juxtaposition, as they express the strength needed to 'carry you through fire.' While the grief and doubt expressed thus far has always been in the processing stage, prone to mourning and self reflection, in this last closing cacophony we are seeing the narrator of the album push aside their own feelings to help someone through the immediate feelings of loss and rage and pain that come from a fresh loss. Then, we get the expressed doubt of if the narrator gives up, will the party they are helping have that fire smolder and die? Will they find themselves dealing with the cold, liquid grief we've heard about up to this point?
The final eerie quote from this track implies that this did happen, and the cycle of the album will continue as this person who could not be helped slips into the thirst for change within their heart, and the constant state of erosion granted by that search.
TL;DR - This album rocks in a lot of ways, and I think the lyrics are a huge part.

I'm trying to get a dedicated server going for Ashlands. Installed the dedicated server through steam, I've got the ports forwarded through my router & firewall, and modified the batch script to the contents of the spoiler below. But running the server through steam or the script itself just runs the UnityMemory Configuration parameters section and then stops. The last line is "memorysetup-temp-allocator-size-gfx=262144", and just nothing after that. Running the script as an admin unfortunately doesn't open the command prompt for it at all. I don't suppose anyone can direct me on this?
Edit: The log file shows it's connected, but I can't seem to connect - either with the host computer or another in the house. Just gets 'Connection Failed'. At least that's one thing figured out.
Edit 2: I'm able to see the server in the community listing & connect to it on my computer, but not on others. I triple checked that I've got port 2456 forwarded & the firewall rule allowed for it.
valheim_server -nographics -batchmode -name "Jolly Cooperation" -port 2456 -world "Utopia" -password "password (not really but I'm not posting my password but it's all in these double-quotes)" -crossplay -public 1 -logFile "C:\Temp\log.txt" -saveinterval 1800 -backups 4

There is a particular quote from Microsoft's Dangerous Creatures that is burned into my soul and auto-plays in my head whenever people interact with wild animals, especially baby animals:
"(Midwestern housewife voice) 'Oh, what a sweet little thing! I'll just give it these marshmallows, Herman, while you take a picture!' (Exasperated) Famous last words."
What obscure quotes are so ingrained into your being that it instantly comes to mind in particular circumstances?

I found this quote written in my Notes app with no context. I have the vague memory of hearing it in a TV show/anime (or maybe in a game?) and finding it oddly profound. Google hasn’t helped me locate the source. Anyone know what it was from?
If it helps, I wrote the note on March 19. But whatever it was from was probably older than that.

Dear Poetry Fanciers,
Welcome back for a special Victorian edition of Poetry Corner, brought to you by u/NightAngelRogue and a splendid accompaniment for our upcoming read of The Thrilling Adventures of Lovelace and Babbage. Just a reminder, if there is a special poem you would like to feature in Poetry Corner, just send me a message and we'll get it the schedule!
_____________________________________________________________________________________________________________________ Joke:
Q: Nelson Mandela, Tuberculosis and Long John Silver walk in a bar. Who are they talking about as they go in?
A: Probably William Ernest Henley (1849-1903).
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Poet, journalist, literary critic, editor, publisher, translator and Victorian-extraordinaire, Henley, was a good friend to Robert Louis Stevenson, who he inspired to write the character "Long John Silver" in Treasure Island. Stevenson, writing to Henley-" I will now make a confession: It was the sight of your maimed strength and masterfulness that begot Long John Silver ... the idea of the maimed man, ruling and dreaded by the sound, was entirely taken from you". The friendship was a tumultuous and long one.
Henley's sickly daughter, Margaret, was the inspiration of "Wendy" in J.M. Barrie's Peter Pan. She would not live long past her 5th birthday, the only child Henley had with his wife, Hannah "Anna" Johnston Boyle. Tragedy had long painted his life even before this sad event. He was diagnosed with a rare form of tuberculosis at age 12, that affected his bones. His left leg had to be amputated below the knee when Henley was a young man, and he was often in the hospital with various abscesses that need to be drained. Frequent illness kept him out of school and interrupted his professional work. Henley eventually sought out the advice of Joseph Lister, who was pioneering new techniques, including antiseptic operating conditions and doing groundbreaking research on wounds, when his right foot become affected by the tuberculosis. Still, his ill-health did not keep him from practicing his art. While Lister kept him under observation at the Royal Infirmary of Edinburgh, from 1873-75, Henly wrote and published a collection of poems, which includes today's selection, In Hospital (1903). This collection of poems is notable also because it was one of the earliest examples of free verse in English poetry. Henley and others in his group became known as the "Henley Regatta" for their championing of realism, such as the poor working conditions in the Victorian underbelly, in opposition to the Decadent movement in France and the Aesthetic movement closer to home. This would be the last collection of poetry and the most impactful of his work; his death would follow later that year. Unfortunately, a fall from a carriage reawakened the latent tuberculosis hiding inside him, which carried him off age 53. He was buried next to his daughter, in Cockaney Hatley, Bedfordshire. His wife would later also be buried alongside her family.
His legacy is one that is both inspiring and rather dispiriting. His poetry was used for jingoistic and imperialist causes, and to champion war, though much of it was about personal striving and inner resolve-the mythical "Stiff Upper Lip" of the Victorian era. This led to push back in the literary world, as D.H. Lawrence's short story, "England, My England and Other Stories" took flight from one of the lines from "Pro Rege Nostro", which is more patriotic than his usual work. Admittedly, he counted himself as a conservative and supported the imperial effort, as much of Victorian society did at this time. Still, his work fell into obscurity, with the main exception of "Invictus"-Latin for "unconquered". It is well known that Nelson Mandela recited this poem to his fellow inmates in Robben Island as a reminder to stay strong and keep one's dignity. There are also, of course, the Invictus Games, which are held for injured and sick service men and women and veterans in the UK.
_______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Winston Churchill to the House of Commons, September 9, 1941:
"“The mood of Britain is wisely and rightly averse from every form of shallow or premature exultation. This is no time for boasts or glowing prophecies, but there is this—a year ago our position looked forlorn, and well nigh desperate, to all eyes but our own. Today we may say aloud before an awe-struck world, ‘We are still masters of our fate. We still are captain of our souls.'” (link)
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Sidney Low, in "Some Memories and Impressions – William Ernest Henley". The Living Age (1897–1941) describing his friend:
"... to me he was the startling image of Pan come to Earth and clothed—the great god Pan...with halting foot and flaming shaggy hair, and arms and shoulders huge and threatening, like those of some Faun or Satyr of the ancient woods, and the brow and eyes of the Olympians." (link)
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Andrzej Diniejko on Henley as "poet as a patient" and his work predating modern forms of poetry "not only in form, as experiments in free verse containing abrasive narrative shifts and internal monologue, but also in subject matter". (link)
_______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
"Invictus"
by William Ernest Henley
Out of the night that covers me,
Black as the Pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find, me unafraid.
It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.
_____________________________________________________________________________________________________________________
This poem is in the public domain.
__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Some things to discuss might be the title. How does the defiant spirit of this "Unconquered" opening play throughout the lines of the poem? There is also a reference to the Bible Verse Matthew 7:14 in the poem, "Because strait is the gate, and narrow is the way, which leadeth unto life, and few there be that find it". Why do you think this is included? What lines stand out to you? How do you see him fit into the Victorian literary furniture, if you will? Have you heard this poem before? How does this fit in with the melancholy feel of the Bonus Poem, if you read it? What other poets do you enjoy from this era of literature?
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Bonus Poem: We'll Go No More a-Roving
Bonus Link #1: "Love Blows As the Wind Blows" (1911) song-cycle by George Butterworth, with Henley's poetry put to music and song.
Bonus Link #2: A literary review of the Victorian Era.
Bonus Link #3: Read the other poems included in the collection, In Hospital.
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If you missed last's month poem, you can find it here.

I’m so glad this sub exists because I’ve been annoying everyone in my life with my theories about these two … I figured this would be the right place to post my speculation/lyric breakdowns of songs that they may have written about each other, split into different posts for albums for ease of reading.
Starting with Reputation (2017) – I imagine the failed relationship with Matty was still fresh for Taylor during the writing/recording of this album. Her reference to her “longings locked in lowercase inside a vault” definitely made me look back at Rep in a way I hadn’t before (and I do think we’ll see some Matty-coded vault tracks on TV”. That said I don’t want to erase her other relationships, especially with Joe, so I’ll make notes of where I think I’m either stretching for a Matty connection or I think there are multiple muses.
Special mention to “Getaway Car” which feels like another (fictionalized?) response to Robbers but the story she tells is very similar to her fling with Tom, especially given the third man in the song. I usually claim it for the maylors anyway bc who cares about Tom. Let me know what you think.
“...Ready For It?”
Knew he was a killer first time that I saw him / Wonder how many girls he had loved and left haunted / But if he's a ghost, then I can be a phantom
I can't ignore the connections here to two other songs thought to be written about M - Ghost (2014) and Haunted (2015) by Halsey (I won't bother going into the HalseyMatty lore here but I could in another post...)
"You're a Rolling Stone boy, never-sleep-alone boy / Got a million numbers and they're filling up your phone, boy" (Ghost) "I'm begging you to keep on haunting me" (Haunted) "My ghost / Where'd you go? / I can't find you in the body sleeping next to me" (Ghost)
I can be a phantom holdin' him for ransom / Knew I was a robber first time that he saw me / Stealing hearts and running off and never saying sorry / But if I'm a thief, then he can join the heist / And he can be my jailer
Robbers is one of The 1975’s most famous songs. In the music video two lovers stick up a convenience store - definitely worth a watch if you haven't seen it. In 2014 M dedicated the song to T in Dallas in November 2017 (a week after she attended the concert in LA) here and here
Burton to this Taylor
One of my favorite references that I think reveals a lot about the messy but irresistible relationship M and T seem to have. Here's a link to a great article about the wild love affair between Elizabeth Taylor and Richard Burton.
Every love I've known in comparison is a failure / I forget their names now, I'm so very tame now / Never be the same now
This sentiment is repeated throughout many of the songs I believe are about M. The idea of a life altering love is obviously prevalent across TTPD but also in folklore, evermore, and Midnights. ex. "I'm never gonna love again" (cowboy like me), "I don't remember who I was before you painted all my nights a color I have searched for since" (Question...?), "I felt aglow like this / Never before and never since" (loml)
Also want to mention This Must Be My Dream from 2016, which M has said is about an older gf but may fit: "Let me tell you 'bout this girl / I thought she'd rearrange my world"
No one has to know / In the middle of the night, in my dreams / You should see the things we do, baby
See Guilty as Sin? lol
Baby, let the games begin
Taylor in an interview with Glamour in February 2014:
TS: [Nods. Pauses.] I think everyone should approach relationships from the perspective of playing it straight and giving someone the benefit of the doubt. Until he establishes that this is a game. And if it's a game, you need to win. The best thing to do is just walk away from the table.
CL: Is that winning?
TS: It is when they come back. [Laughs.] And if they don't, then they didn't care enough to begin with.
conclusion: I believe ...Ready For It? is a response to Robbers and reveals M and T's similar romanticism (sometimes toxic but so addicting). The mirrored stylization of ...Ready For It? and Question...? makes me think the latter is a continuation of the former. The mentions of “island breeze” and “we’ll move to an island” have made people believe this song is about Tom Hiddleston but other lyrics, namely “younger than my exes” pretty clearly contradicts that.
"End Game"
I wanna be your end game / I wanna be your first string /I wanna be your A-Team
Funny reading this after The Alchemy and So High School.
Big reputation, big reputation / Ooh, you and me, we got big reputations / And you heard about me / Ooh, you and me would be a big conversation
And they were! Especially because T hadn't been really linked to anyone after Harry, the speculation about her and M came hard and fast. M especially was inundated with questions in the months after the LA and NYC shows.
And I heard about you / You like the bad ones, too
Another possible reference to a Halsey song, this time Hurricane from 2014: "He says, "Oh, baby, beggin' you to save me / Well, lately I like 'em crazy/ Oh, maybe, you could devastate me"
I don't wanna touch you, I don't wanna be / Just another ex-love you don't wanna see / I don't wanna miss you / Like the other girls do
Very reminiscent of The 1975's song Somebody Else, released in 2016, speculated to be about T: "I don't want your body / But I hate to think about you with somebody else"
I hit you like bang, we tried to forget it, but we just couldn't
"Flashbacks waking me up / I get drunk, but it's not enough" (Death By A Thousand Cuts)
And I bury hatchets, but I keep maps of where I put 'em
"I circled you on a map / I haven't come around in so long" (The Alchemy)
Reputation precedes me, they told you I'm crazy
"And they tried to warn you about me" (The Albatross)
And I can't let you go, your hand prints on my soul
"Marked me like a bloodstain" (Cardigan)
It's like your eyes are liquor, it's like your body is gold
So many of the songs speculated to be about M reference his eyes but the most relevant (not the starry eyed motif which we'll get to in the future) are: "Eyes like sinking ships on waters / So inviting I almost jump in" (gold rush) and "But your eyes are flying saucers from another planet / Now I'm all for you like Janet" (Snow On The Beach)
"Deep blue, but you painted me golden" (Dancing With Our Hands Tied)
You've been calling my bluff on all my usual tricks / So here's the truth from my red lips
From the same Glamour article, Taylor talking about her 'trick' when dating:
CL: What's the freeze-out?
TS: You don't respond to any of his texts or calls until he does something desperate [like] shows up. Or he calls and leaves a voice mail. Something that makes it very clear to you that he's interested.
disclaimer: I am someone who thinks the Tom relationship was not that serious for T, so this song imo fits what she may have told us about her relationship with M more, though the beach reference does point to Tom in a way.
"Don't Blame Me"
I've been breaking hearts a long time / And toying with them older guys / Just playthings for me to use
See the quotes from the Glamour article above. "Younger than my exes, but he act like such a man, so" (...Ready For It?)
Something happened for the first time / In the darkest little paradise
May refer to the dark concert venue where they met for the first time (see So It Goes... for more)
For you / I would cross the line / I would waste my time / I would lose my mind / They say, "She's gone too far this time."
Sentiment that is repeated throughout TTPD, but most clearly in But Daddy I Love Him
My name is whatever you decide / And I'm just gonna call you mine
Though this could be a stretch, in the spotify storyline for The 1975's Oh Caroline (2022), speculated to be about T, M said "It's an invented character, where the cadence really mattered. It couldn't be "Oh Linda" or "Oh Jane" [or "Oh Taylor"] - you had to have a 3 syllable that really works. I knew what the song was about, I had felt that about someone before and I got to write an episodic, mini movie about the subject"
disclaimer: If about M, this song is very on the nose with the drug references. Generally it's a very vague song and could easily be about Joe or another ex.
"So It Goes..."
See you in the dark / All eyes on you, my magician / All eyes on us / You make everyone disappear
Likely refers to the first time T saw M in person, when she was front row at The 1975's LA show. All eyes were on M then (including T's)
"Once upon a time, the planets and the fates / And all the stars aligned / You and I ended up in the same room / At the same time" (Mastermind)
Tripping, tripping when you're gone
May relate to Don't Blame Me: "Trip of my life / every time you're touching me"
'Cause we breakdown a little / But when you get me alone, it's so simple
Maybe a stretch but M famously had a breakdown on stage in Boston on December 6, 2014. In an interview with the Guardian he said: “There was girl stuff. There was family stuff. There was financial stuff. There was drug stuff. I remember hearing the crowd and having an identity crisis. I thought: ‘If you want to see a show, I’ll give you a fucking show. If you’ve come to see the jester drink himself into a slumber, I’ll give it to you.’ I felt like I’d become an idea as opposed to being a person.”
“And I was 25 and afraid to go outside” (Give Yourself a Try)
And all the pieces fall / Right into place
"I laid the groundwork and then, just like clockwork / The dominoes cascaded in a line" (Mastermind)
Getting caught up in a moment / Lipstick on your face
"I said, "Don't fall in love with the moment" / She said I've got a lot to learn / Don't fall in love with the moment /And think you're in love with the girl" (She's American)
Come here, dressed in black now
"Yeah, we're dressed in black from head to toe" (Chocolate). Taylor was also wearing all black the night of the LA show.
conclusion: You did a number on me / But, honestly, baby, who's counting? / I did a number on you / But, honestly, baby, who's counting? ( "King of My Heart"
We met a few weeks ago / Now you try on callin' me "baby" like tryin' on clothes
The reason why I don't necessarily think Joe fits. They met at the Met Gala in 2017 and she very quickly started seeing Tom, obviously it could still be him but I wanted to note this.
"Don't call me 'kid,' don't call me 'baby' / Look at this idiotic fool that you made me" (illicit affairs)
And you move to me like I'm a Motown beat
M loves Motown, even sampling a track by The Temptations on Tonight (I Wish I Was Your Boy). He's also always loved dancing, which you can see in the videos for A Change of Heart and Oh Caroline.
Salute to me I'm your American Queen / Say you fancy me, not fancy stuff
He's English, obviously.
And we rule the kingdom inside my room / With all these nights we're spending / Up on the roof with a school girl crush
Totally speculation but M and T hiding out in her NYC home makes a lot of sense from other pieces she has shared about the relationship “My kingdom come undone” (Hoax)
Late in the night, the city's asleep / Your love is a secret I'm hoping, dreaming, dying to keep
Speculation again but fits with the story of M and T as mostly loving each other in secret (see Dancing With Our Hands Tied and Dress)
Is this the end of all the endings? / My broken bones are mending
As mentioned above, T had seemingly taken a break from dating after the breakup with Harry.
disclaimer: Definitely not 100% sure on this one as there is convincing evidence that it is about J
"Dancing With Our Hands Tied"
I, I loved you in secret / First sight, yeah, we love without reason / Oh, 25 years old
M and T were both born in 1989, M was 25 when they first met and dated and T was turning 25.
My, my love had been frozen / People started talking, putting us through our paces / I knew there was no one in the world who could take it / I loved you in spite of / Deep fears that the world would divide us
“A red rose grew up out of ice frozen ground / With no one around to tweet it” (The Lakes)
In an interview with the Guardian Matty said: “The day after she’d been to a show of ours, someone sent me a screenshot of E! News with the headline ‘Who is Matt Healy?’ That freaked me out. I’m not ready to indulge in that world and I’m not ready to be judged by that world.” So sad to read knowing that they dealt with a similar situation nearly a decade later.
Picture of your face in an invisible locket
“Wear you like a necklace” (So It Goes…)
And darling, you had turned my bed into a sacred oasis
“Now you hang from my lips / Like the Gardens of Babylon / With your boots beneath my bed” (cowboy like me)
I'd kiss you as the lights went out / Swaying as the room burned down / I'd hold you as the water rushes in / If I could dance with you again
Reminds me so much of the music video for cardigan, where T slips into a rough ocean and hangs on to a piano. Also from cardigan: “Leaving like a father / Running like water”
“Dress”
Our secret moments in a crowded room / They got no idea about me and you
"Did you ever have someone kiss you in a crowded room / And every single one of your friends was / Making fun of you" (Question...?)
There is an indentation in the shape of you / Made your mark on me, a golden tattoo
M seemingly makes a lasting impression: “Deep blue, but you painted me golden” (Dancing With Our Hands Tied) “The mark they saw on my collarbone” (Maroon) “Marked me like a bloodstain” (cardigan)
'Cause I don't want you like a best friend
T often seems to refer to a friendship with M, perhaps they tried it a few times: “We were supposed to be just friends” (Glitch) “Like you were my closest friend” (Maroon) “Just say when, I'd play again / He was my best friend / Down at the sandlot” (My Boy Only Breaks His Favorite Toys)
And if I get burned, at least we were electrified
“I'd kiss you as the lights went out / Swaying as the room burned down” (Dancing With Our Hands Tied)
I'm spilling wine in the bathtub / You kiss my face and we're both drunk
Many of the possible M songs refer to M and T’s love of wine. “And I can see us twisted in bedsheets / August slipped away like a bottle of wine” (august) “The burgundy on my T-shirt when you splashed your wine into me / And how the blood rushed into my cheeks, so scarlet, it was (maroon)” (Maroon)
disclaimer - Obviously most likely about Joe given the reference to the 2017 Met Gala but I think it was worth a mention!
“Call It What You Want”
My baby's fly like a jet stream / High above the whole scene
Probably a double-entendre. M considers himself slightly on the outside of the ‘scene’ but this can come across as self assurance. This also could refer to literally being high on drugs
Loves me like I'm brand new
After T’s clever use of The Starting Line in TTPD I’m convinced she’s referring to the band Brand New. M posted a Brand New album on his ig story in 2020.
All my flowers grew back as thorns
An interesting contrast to “I once was poison ivy, but now I'm your daisy” from Don’t Blame Me
Windows boarded up after the storm
“I look through the windows of this love / Even though we boarded them up” (Death By A Thousand Cuts)
I'm laughing with my lover
“Laughing with my feet in your lap” (Maroon) “Please don't ever become a stranger / Whose laugh I could recognize anywhere” (New Year’s Day)
Making forts under covers
Matty famously built a fort in ATPOAIM 3. “I'll build you a fort on some planet / Where they can all understand it” (Down Bad)
Trust him like a brother
“Like I lost my twin” (Down Bad)
Starry eyes sparking up my darkest night
So many starry eyed references which is terribly romantic and terribly sad. “Do I really have to chart the constellations in his eyes?” (High Infidelity), “Your opal eyes are all I wish to see” (ivy), “Eyes full of stars” (cowboy like me), and “Gazing at me starry-eyed” (The Smallest Man Who Ever Lived)
I want to wear his initial on a chain 'round my neck
“Picture of your face in an invisible locket” (Dancing With Our Hands Tied) “Wear you like a necklace” (So It Goes…)
I recall late November, holding my breath
Late November fits perfectly into the timeline of M and T’s 2014 relationship. Late October to Late DecembeEarly January makes the most sense.
Slowly I said, "You don't need to save me / But would you run away with me?"
“You're mad thinking you could ever save me. Not looking like that.” (A Change of Heart)
disclaimer: Again lots of Joe references in this as well so take this with a grain of salt.
“New Year’s Day”
You and me from the night before, but / Don't read the last page
From Me and You Together Song (2020): “I think the story needs more pages, yes.” The reference to “the last page” also makes this song feel like more of a reminiscence than a song about a current lover.
I want your midnights / But I'll be cleaning up bottles with you on New Year's Day
Impossible not to reread these lyrics after Midnights was released as a nod to M: “When the morning came we / Were cleaning incense off your / Vinyl shelf ‘cause we lost track of time again” (Maroon)
You squeeze my hand three times in the back of the taxi / I can tell that it's gonna be a long road / I'll be there if you're the toast of the town, babe / Or if you strike out and you're crawling home
Especially after the release of TTPD it seems that both T and M made many promises to each other that they couldn’t keep
Hold on to the memories, they will hold on to you / Hold on to the memories, they will hold on to you / Hold on to the memories, they will hold on to you / And I will hold on to you
The reference to memories here creates a bit of a confusing feeling about the muse for this song. Although T seems to be talking in the present tense I do think these are memories and dreams for a past relationship.
“Hold on and hope that we'll find our way back in the end / Do you think I have forgotten? / Do you think I have forgotten? / Do you think I have forgotten / About you?” (About You)
Please don't ever become a stranger / Whose laugh I could recognize anywhere / Please don't ever become a stranger / Whose laugh I could recognize anywhere
Not much to say about this but ow!
You and me forevermore
Again reminds me of Me and You Together Song (which I do buy as a song at least partially about T). And of course links to Evermore.
disclaimer: This could absolutely be about Joe but it does feel almost like a goodbye to M, closing the album. It’s as if she is reading “the last page”
Congrats if you read this lol. I clearly have too much time on my hands

Date: 05/15/2024

Reading time: 11 minutes, 2384 words

🪖 Military

The ceremony of withdrawal of peacekeepers from Nagorno-Karabakh took place

Russian peacekeepers were in Nagorno Karabakh based on a statement of November 9, 2020. The military group was supposed to stay in the region until 2025, which could be extended for another five years. The population of Artsakh was subjected to forced displacement, more than 100 thousand people moved from Artsakh to Armenia.

CivilNet

Armenia and Slovakia discuss issues of military-technical cooperation

Armenia participated in the IDEB-2024 defense exhibition in Bratislava, Slovakia, at the invitation of the Slovak Ministry of Defense. A number of agreements have been reached between Armenia and Slovakia.

Armenpress, Armenia, Slovakia discuss expanding defence cooperation

Armenia and India plan to create a working group on defense issues

The first defense consultations between the Ministries of Defense of Armenia and India took place under the chairmanship of Levon Ayvazyan. The progress and development prospects of Armenia-India cooperation in the field of defense were discussed, including military-technical, personnel military education and tactical training, exchange of experience and other fields.

CivilNet, Armenian and Indian Defense Ministries hold first defense consultations in Yerevan, Armenia, India hold first defense consultations

🏛️ Politics & Government

Over 52% of respondents in Armenia support Tavush for Homeland movement to certain extent, Gallup phone poll shows

A total of 35.1% of respondents in Armenia said they “fully support” the Tavush for Homeland movement, Aram Navasardyan, head of the Armenian office of GALLUP International Association, said at a press conference on Wednesday. 17.8% said they feel “more than positively” about the movement, 10% - ‘more than negatively’, 10.5% “absolutely negatively”; 13.6% found it difficult to answer the question.

ArkaAm

Civil disobedience campaigns continue in Yerevan

People demanding Prime Minister Nikol Pashinyan’s resignation again blocked streets in Yerevan on May 15.

PanArmenian

The Baku court has extended the terms of detention of Artsakh officials for five months

Former presidents Bako Sahakyan, Arayik Harutyunyan, Davit Babayan and Davit Ishkhanyan are speaking. The detention period of the former President of Artsakh Arkady Ghukasyan was also extended by five months. 23 Armenian servicemen and civilians were arrested in September 2023, after a one-day war against Artsakh.

CivilNet

Political consultations held between foreign ministries of Armenia, Georgia

The Republic of Armenia and Georgia held a round of political consultations in Tbilisi on May 13-14. It is noted that the participants of the meeting reviewed the existing relations between the two countries.

Armenpress, Political consultations held between Foreign Ministries of Armenia and Georgia

Education reforms, institutional development, peace agenda implementation: PM delivers speech at EBRD annual meeting

Nikol Pashinyan attended the opening ceremony of the annual meeting of the European Bank for Reconstruction and Development in the Republic of Armenia. Armenia's economy has grown by almost 30 percent since the People's Nonviolent Velvet Revolution of 2018.

Armenpress, Prime Minister highly values the partnership with the European Bank for Reconstruction and Development, Armenian PM and EBRD President discuss joint projects and perspectives, EBRD plans to invest up to 500 million Euros in Armenia in 2024, EBRD and InecoBank bolster science innovation hub in Yerevan

Border delimitation between Armenia, Azerbaijan should become a key tool for learning peaceful coexistence - PM

Armenia and Azerbaijan lack experience and knowledge of peaceful co-existence, says Prime Minister. Pashinyan: "What you don't know brings uncertainties, concerns, tensions, which you understandably formulate and perceive based on your experience"

Armenpress, Moscow welcomes Armenia-Azerbaijan foreign ministers' negotiations in Almaty, Demarcation should become one of the tools that will teach Armenia and Azerbaijan to live peacefully – PM Pashinyan

PM Pashinyan sends congratulatory message to the Prime Minister of Serbia

Nikol Pashinyan congratulates Miloš Vučević on occasion of his election to the post of the Prime Minister of the Republic of Serbia. The message reads as follows: "Armenia values friendly relations with Serbia based on mutual respect and trust"

Armenpress

Armenia and EBRD sign €236 million agreement for Sisian-Kajaran road construction

The EBRD signed a loan agreement worth €236 million for the construction of the 24.2 km southern section of the Sisian-Kajaran North-South Road. The project is a strategic priority for Armenia, ensuring its connectivity and access to Europe and beyond.

Armenpress, EBRD plans to invest up to 500 million Euros in Armenia in 2024, EBRD grants Armenia 12 million euros for the construction of a logistics center in Syunik, EBRD funds largest road project in Armenia

Armenia and France expand cooperation in civil aviation sector

Meeting was held between the Director General, Mihran Khachatryan, and the Ambassador Extraordinary and Plenipotentiary of France to the Republic of Armenia, Olivier Decottignies. Issues of strengthening and expanding cooperation between Armenia and France in the field of civil aviation were discussed.

Armenpress, French Development Agency to extend cooperation with Armenia’s government, Armenia, France extend partnership in civil aviation, Armenia and France are expanding cooperation in the field of civil aviation, Armenia, French Development Agency to expand cooperation

The delegation led by Tigran Avinyan leaves for Paris

The Yerevan delegation will visit Paris from May 15 to 19. They will meet with the president of the regional council of Île-de-France.

Armenpress, Yerevan Mayor to travel to Paris on May 15-19

Moscow sees the need to resume the work of the tripartite group on the issue of de-blockade

Moscow considers it necessary to resume work of tripartite working group co-chaired by deputy prime ministers of Russia, Armenia and Azerbaijan on blockade issue. Russian Deputy Foreign Minister Mikhail Galuzin said about it in an interview with the News.ru website: "We do not use the term Zangezur Corridor, but in favor of the complete unblocking of economic and transport communications in the South Caucasus. He also spoke about the role of Russian peacekeepers in Karabakh.

CivilNet

Armenia is waiting for the decision to join the European Peace Foundation. Pashinyan

Pashinyan: We are waiting for the decision to include Armenia in the European Peace Fund. The fund was established in 2021 to promote world peace, prevent conflicts and supply non-lethal weapons to countries in need. In mid-April, the media wrote that a preliminary agreement was reached in Brussels to provide 10 million euros to Armenia from this fund, but Hungary blocked the decision.

CivilNet

Mirzoyan to take part in Council of Europe ministers’ Committee session in Strasbourg

Ararat Mirzoyan will travel to French city of Strasbourg for a working visit on 16-17 May. He will take part in the 133rd session of the Committee of Ministers, devoted to the celebration of 75 years since the foundation of the Council of Europe.

ArkaAm, Armenian FM to participate in the session of CoE Committee of Ministers

High-Tech Minister: Armenia considers creating investment fund

Armenia’s Minister of High-Tech Industry Mkhitar Hayrapetyan discussed a potential creation of an investment fund in the country with Noubar Afeyan, the founder of venture capital firm Flagship Pioneering. Fund is expected to improve cooperation between Armenian authorities and the private sector.

ArkaAm

Armenia's policy is to diversify its foreign relations - Pashinyan

Armenia's policy is to diversify its foreign relations in all areas, Prime Minister Nikol Pashinyan said at Copenhagen Democracy Summit. "We are happy about the deployment of the EU Civilian Monitoring Mission on the border between Armenia and Azerbaijan," he said. The prime minister said that the EU decision on Armenia's inclusion in the European Peace Facility is now awaited.

ArkaAm

Moscow slams EU mission in Armenia for “provocative activity”

The EU mission is doing more and more against Armenia’s neighbors Russia, Azerbaijan and Iran, Mikhail Galuzin said.

PanArmenian

Uruguay Chamber of Representatives votes to submit draft law on the Armenian Genocide Memorial Day to executive branch

Chamber of Representatives of Uruguay on May 14 unanimously passed the draft law declaring April 24 as Armenian Genocide Memorial Day in Uruguay, 74 votes in favor by the 74 MPs present. After the executive's approval within 10 days, the law will come into force immediately, the Armenian Embassy in Uruguay said in a post on Facebook.

Armenpress, Uruguay House of Representatives approves billdeclaring April 24 as Armenian Genocide Remembrance Day

Slovak PM in ‘life-threatening condition’ after being shot

Slovakia's Prime Minister Robert Fico is fighting for his life after he was shot multiple times following a government meeting. Fico's condition is life-threatening and he’s being flown by helicopter to hospital for emergency treatment.

Armenpress, Slovak PM Fico in hospital after being shot, Violence has no place in politics: Armenian PM wishes speedy recovery to Slovakia’s Robert Fico, Slovak PM in life-threatening condition after assassination attempt, Slovak PM Fico in hospital after being shot

Zelenskiy cancels visit to Spain and Portugal

Ukrainian President Volodymyr Zelenskiy has cancelled a visit to Spain and Portugal, authorities said on Wednesday. CNN Portugal and other media reported it was because of renewed fighting in his country. Spain's King Felipe of Spain had been due to hold a reception and host a meal in his honour. He had also been expected to sign a bilateral security cooperation agreement.

Armenpress

The Power of One Dram Sums up the Two-Year Program with Teach for Armenia

During November and December 2021, AMD 9,328,753 was transferred to the “Teach for Armenia” educational foundation. The amount gathered within the framework of “The Power of One Dram” initiative of IDBank and Idram. As a result, two schools of Aragatsotn Region have been conducting an education program based on change for two years.

Armenpress, Power of One Dram sums up two-year program with Teach for Armenia

Blinken, guitar in hand, sings ‘Rockin’ in the Free World’ in Kyiv bar

U.S. Secretary of State Antony Blinken plays guitar and sings Neil Young's "Rockin' in the Free World" with a local band. Blinken assured Ukrainians they are not alone and that billions of dollars in American military aid on its way will make a "real difference" on the battlefield.

Armenpress

Armenia’s ruling party frames anti-government protesters as ‘Russia-backed’ on social media: DEMOCRACY WATCH #4

A CivilNet investigation has found that the campaigns, mostly on Facebook, are generated by the country’s ruling party. Among the main targets is the leader of the protest movement Archbishop Bagrat Galstanyan, the Primate of the Tavush Diocese. They circulate videos and photos suggesting his involvement in a “Russian plan to destabilize Armenia”

CivilNet, Echoes of Déjà Vu: Reviving Resistance in Armenia, Archbishop Bagrat: This is our first victory

India and Iran have announced the launch of the Chabahar port development project

India and Iran signed a ten-year agreement on the development and operation of Iran's Chabahar port. The agreement aims to expand regional communication and facilitate trade, particularly between India, Iran and Afghanistan. India has invested in the infrastructure and modernization of the port, making it a viable transit route for Indian goods to Afghanistan and Central Asia.

CivilNet

U.S. warns Georgia not to side with Moscow against the west

Georgia has been warned by the U.S. not to become an adversary of the west by falling back in line with Moscow.

PanArmenian

💵 Economy

EBRD predicts Armenia’s economy to grow by 6.2% in 2024

The European Bank for Reconstruction and Development expects Armenia’s economy to grow by 6.2% in 2024 and 4,8% in 2025. The EBRD forecasted a 4.5% economic growth in 2024 for Armenia in its previous report, published in September 2023. The World Bank expects the Armenian economy to. grow by 5.5%, the IMF predicts 5% growth for the country's economy in 2024.

ArkaAm

VTB (Armenia) expands opportunities for cross-border money transfers by phone number

Retail customers of VTB Bank (Armenia) can receive money transfers from Russia by phone number. Funds are credited instantly to the recipient's account or card in national currency. In 2023, the bank's retail customers received more than 94 thousand money transfers.

ArkaAm, VTB-Armenia Bank has expanded the possibilities of international transfers by telephone

EBRD has significantly improved the forecast of the growth of the Armenian economy in 2024 to 6.2%

The EBRD predicts 6.2 percent economic growth in Armenia in 2024, and 4.8 percent in 2025. The World Bank expects that Armenia's economy will grow by 5.5 percent in 2024. The IMF predicts a 5 percent growth for the country's economy in 2024 and 2025.

ArkaAm

Donations to Armenia:

Himnadram
ServicemenFund
Armenian Wounded Heroes
ArmeniaFund

I've been traveling but now I'm BAAAACK!
Check out these indie perfumes I've got for sale (over 20 houses!) – loads of BPAL, Cocoapink, Kyse, MooScents and Solstice EDP decants, plus other wonderful houses! Shipping's a flat $5.50 for the US. If you are outside the US, I will need to quote shipping costs, Order minimum of $14. I will ship by Monday (5/20) and send tracking. Check out the spreadsheet for all the deets on fill levels, notes, and more. I've got some niche stuff too. Selling only for now (unless you have one of my ISOs)!
🌟Spreadsheet is right here: CHECK ME OUT! 🌟
ALL (Larger Sizes **)
Arcana Craves
· Cotton Candy **
· Garnet Grapefruit **
· Raspberry Whip **
· Strawberries Crave Summer
Arcana Wildcraft
· Afterglow **
· Dollface **
· Electra **
· Last Judgement **
· Mongolian Death Worm **
Astrid
· Abysmal Blush
· Acorns
· Obscura
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BPAL
· A Doll's Doll **
· An Interlude after Sake (2017, Lupercalia) **
· Common Jezebel **
· Gingerbread Snek **
· Goldenrod Crab Spider (Halloweenie 2012) **
· Irish Coffee Buttercream **
· Red Rose, Black Pepper & Black Vegetal Musk **
· Schrodinger's Checkmark **
· Sugar Cookies & Bourbon **
· Vanilla Bean, Pistachio & Cacao **
· White Chocolate & Taro Cream **
· Western Diamondback **
· All night long
· Aunt Caroline's Joy Mojo
· Baobhan sith
· Brisingamen
· Darkness
· Deadly nightshade honey
· Depraved
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· Eat Me
· Elf
· Gingerbread Milk
· Hard Luck Lollipop
· Honeyed Pear Tart
· Mary shelley
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· Ouija
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· The Antikythera Mechanism
· Twinkle, Twinkle Little Bat
Cirrus
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· It's just pears
· A Dog named Pam
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Colornoise
· Jazz **
· Confidence **
CocoaPink (5mL EDP Decants)
· Cinderella's Carriage EDP**
· Fresh Strawberry EDP **
· Plums & Custard EDP **
· Boo Boo Lemon Noel EDP **
· Mad Hatter Cookies Noel EDP **
· Vanilla Bean Noel EDP **
· Pink Dragon EDP **
· Black Noel EDP **
· Violet Poundcake EDP **
· Faded memories
Crow & Pebble
· Bearer of Secrets
· Light That Endures
· Master of Bears
· Names Myriad
· Sea Wolf
Fae-tal Attractions
· Beedle
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Fyrinnae
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Haus of Gloi
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Kyse (5mL EDP Decants)
· Cocco alla Vaniglia **
· Crema di Lime e Cognac **
· Delizia **
· Douceur Brulee **
· Frollino Lavanda **
· Jasmine Macarons **
· Macarons **
· Mandorlo Cioccolato **
· Oui Plus! **
Laurel & June
· Forever young EDP
Little Book Eater
· Southern Gothic
Moonalisa/MooScents (3mL EDP Decants)
· Abigail **
· Elspeth **
· Lemon Curd and Coconut Cream **
· Rose Petal Jam and Vanilla Cream **
· Vantasia **
Mythpunk Olfactive
· Paper Moon
NAVA
· Carpe Noctem **
· Cotton Candy Kashmir Crimson Marshmallow Musk **
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· Kashmir **
Nui Cobalt
· Kiss of Death
· The Quest
Possets
· Medusa **
Solstice Scents (5mL EDP Decants)
· Nightgown EDP **
· Cherry Vanilla Amberosia EDP **
· Violet Mallow EDP**
Sorcellerie Apothecary
· Mermaids Sing of Lost Lovers EDP **
· Stuck on You EDP **
· Witch's Valentine EDP **

There most watched respective events: This will give us some perspective as to what their most viewed accolades were and or in the most raw Terms to gravity of their reach.
Most viewed Beatles event was according to Google was there Ed Sullivan show performance. https://www.edsullivan.com/the-night-that-changed-music-forever-the-beatles-american-debut-on-the-ed-sullivan-show-turns-60/#:~:text=Never%20before%20had%20the%20world,television%20event%20of%20its%20time. Clocking in at around 70 million views, impressive now what’s Michael’s?
Micheal Jackson’s most viewed music event was his Super Bowl event which was seen by 133 million people in the US and 755 million people worldwide https://en.m.wikipedia.org/wiki/Super_Bowl_XXVII_halftime_show#:~:text=With%20a%20audience%20of%20133.4,his%20then%20current%20album%20Dangerous.
His most watched watched event was his funeral which is watched by 2.5 billion people making it the most watched non-sports event in history (Scroll to service then live broadcast for quote) https://en.m.wikipedia.org/wiki/Michael_Jackson_memorial_service#:~:text=It%20was%20estimated%20that%20more,sports%20television%20broadcast%20in%20history.&text=The%20memorial%20service%20is%20the%20most%2Dwatched%20in%20online%20streaming%20history.
Degrees of widespread recognition: now this one’s a bit more anecdotal however I feel like I can justify my claim. One of the most known African songs “personally” Is a Micheal Jackson tribute song https://youtu.be/ttdU19Kwce8?si=Oci8OGJ5Yv6l4VMS
The biggest K-pop band and just band in the world right now, their most viewed song is basically a Micheal Jackson tribute https://youtu.be/gdZLi9oWNZg?si=TtAAxBxeU6JgZbF-
Bollywood as an industry has countless songs that I paid direct homage or is directly inspired by Michael Jackson
The biggest male artist in the world (Drake) in songs like first person shooter, too sexy and even in his Latest beef with Kendrick Lamar not only does he constantly reference Michael Jackson but he also has a Michael Jackson figure in the video (6:07) https://youtu.be/ZkXG3ZrXlbc?si=CkkzPzGkREWnFDrN (4:20) https://youtu.be/Xty2gi5cMa8?si=ZjJRvHqFWUd6RK15 (1:20) https://youtu.be/vX9msKu75qs?si=nSYWstQcSezh_Ro0 Yes, Drake has mentioned the Beatles once, however his references of Michael are far more frequent and indicative of what he considered the highest heights of the industry and who’s relevant
People in isolated tribes in the Amazon are not aware of football and/or football players and the biggest ones at the top however they all know Michael Jackson. (3:31) https://youtu.be/eafOkWXjqjc?si=jtlIKTizwfcQZC3g
As an African myself I can contest that everybody knows who Michael Jackson is however very few people know who the Beatles are in Nigeria any few of them can name the members names or can even list the songs.
YouTube stats MJ has 30 million subscribers and if fuse ranges from between 800,000,000 to 1,000,000,000 typically speaking. Highest being 1.5b https://youtu.be/Zi_XLOBDo_Y?si=vbOaC-oSCvxBpx67
The Beatles have 8 million subscribers I’ve used typically raging between the tens to hundreds of millions to highest being 400 million https://youtu.be/NCtzkaL2t_Y?si=9mVePlEbkbD2PlKD
Modern era streams: Michael Jackson has 42 million million monthly listeners The Beatles have 30 million monthly listeners (this is to addition that there is a Disney special for the Beatles right now)
Pound for pound sales: This is the only category that fans of the Beatles like to use as it justifying metric 294 certified compared to Michael’s 289 certified. https://en.m.wikipedia.org/wiki/List_of_best-selling_music_artists
However, how accurate is this list? Pound for pound Thriller (1982) - 70 million copies is more than double the Beatles best selling album Sgt. Pepper’s Lonely Hearts Club Band (1967) - 32 million copies Michael Jacksons second best selling album is more sold than the Beatles best selling album (Bad (1987) - 35 million copies) Michael’s third bestselling album is equal to the Beatles best selling album (Dangerous (32 million).
Michael Jackson's ten best-selling albums collectively sold more than The Beatles' ten best-selling albums, with totals of 215.5 million and 142 million, respectively​. The Beatles order so why does the Beatles have higher sales? Simple Beatles fans love to say how the Beatles have only been bad for like seven years plus years, however they released a total of 68 albums (studio, live, compilations, and box sets). Compared to Michael’s 22 (studio and compilations) plus additional live and remix albums. So even by the most crude metric of albums, Michael’s actually sold more
Why I didn’t discuss Elvis much:
Why I didn’t bring up Elvis as much as simple as metrics pale in comparison to the other two only has about 22 million monthly listeners on Spotify And this is after the movie he’s so blessed than Michael Jackson and The Beatles and shouldn’t even be a huge revelation but he didn’t tour outside of America so he’s not that known in many countries. In this TikTok were by Michael Jackson was placed in the top tree most famous people of all time and Elvis was in the top 10. The comments constantly kept referring to how nobody know who Elvis was outside of America and the West (Read the comments) https://vm.tiktok.com/ZGeCgXvtH/
Now why is Micheal Jackson the most famous musical act ever (and why this may never be replicated again) 1. The population of the world was far bigger with Michael Jackson was alive and active compared to when the Beatles and Elvis were active all while media was still largely monocultural

1. media by this time as well was far more globalised more people outside of the west had access to media.
   
2. Michael Jackson broke down racial barriers people who are white and people who are not white could all relate to Michael Jackson this is never really been done before to the same degree as Michael. Despite black Americans inventing every single popular music genre there was never one mega huge black artist and MTV still refused to play black musicians. that along with Michael’s music being very visual compared to his counterparts along with the many allegations that polluted his life, his iconography became stabilised everywhere
   
3. This will never happen again because culture is far more fragmented now because of the Internet allowing people to stay in their little bubbles consuming whatever is on the TV it’s not a definitive way of consuming media take the biggest art in the world right now Taylor Swift Drake BTS Bad Bunny the Weeknd, Adele, Burna Boy, Ed Sheeran and Rihanna and Travis Scott and Kendrick Lamar. Only Drake and Rihanna have both Cross border appeal and wide range of age appeal however Rihanna and Drake will probably (probably) never reached the success of who knows and yes, I think both and Beyoncé are more famous than Taylor Swift worldwide.
   

If anyone disagrees, let me know

A friend of mine started playing Fates for the first time, so once again I got bitten by the “complaining about Fates” bug. In particular, watching chapter 18 of Conquest again after so many years really got me going, and while the general consensus I’ve seen online about this chapters writing was negative, I wasn’t that satisfied by any of the overviews of it I read. I decided to give it a shot myself.
Dissecting why something doesn’t work is fun and all, but I think it’s also important to be constructive which is why I wanted to rewrite this chapter alongside my criticisms. I really do think there’s a lot of potential here that could have been the highlight of the entire story, and so I’d love to try my hand rewriting this chapter to be what it could have been rather than what we got. I have most of it done already, but Reddit only has so many characters before it cuts you off and this post is plenty long enough as is, so I’ll save that for another part coming up soon. This will be part 1, explaining what the chapter is and elaborating on my issues with it, while part 2 will be rewriting it along with my thought process and explanations.
Recap: https://fireemblem.fandom.com/wiki/Black_%26_White/Script
Corrin and Co are traveling when they decide to rest for the night at the nation of Izumo. They are greeted by Izana, the archduke of the kingdom, who seems to be a real goofball. After introducing himself, the levity is ended when it’s revealed the entire Hoshidan family has been invited here as well! Before any swords can be undrawn, Izana tells both parties that the kingdom has a strict neutrality pact neither of them can violate.
The scene cuts to later, where Ryoma enters Corrin and Xanders room to talk with them. Xander and Ryoma’s argument is cut short when Ryoma is dragged off by Nohrians. Turns out “Izana” is actually a Nohrian mage named Zola, who disguised himself to trick the Hoshidan royal family into a trap. Corrin and Xander don’t approve of such dishonorable methods to win, however, and fight to rescue their captives with Xander saying “we’ll win this war with honor or die trying”. After Leo kills Zola, the game cuts to later where we see Nohrians and Hoshidans alike having a meal, much to the delight of the real Izuma, who turns out is exactly as bizarre as the fake impression. Xander and Ryoma confirm with eachother that their fight will continue as usual, but Corrin states that no matter what happens they’re grateful they got to see both families eating together even if it’s not under the best circumstances, and the chapter ends with them saying they’ll revel in this feeling.
So on paper, I think this chapter is a great idea. Despite being at war, when one family is at the total mercy of the other, they lend a hand instead of kicking them while they’re down. This highlights how the two nations could accomplish so much together if only they weren’t at war with eachother. If utilized well, this could have been a great “eye of the tornado scene” emphasizing how tragic it is that these two families who share so much in common are forced by fate to fight eachother, making it all the more sorrowful when that’s brought to it’s conclusion through bloodshed. This would also encourage Conquest players to buy Birthright in a natural and subtle way as well now that they’ve had a nice sample of the other side. Of course, I don’t think this chapter was utilized well, and after reading the script again I believe it boils down to three major problems.
-Problem 1: The Lack of Worldbuilding Causes the Conflict to be Driven by Contrivances.
This is one of the many instances where the lack of fleshing out the world and it’s rules out really hampers the weight of the scenes. Unlike Awakening where there was a general cause-and-effect outlining the level structure, all of the Fates routes are much more individual and self-contained when it comes to chapters. This means the game has to really stretch itself to justify this elaborate setup being brought up and solved in one single chapter of regular length, and it’s very apparent when you write out the summary of events here.
Corrin and his army are just walking by when they happen upon the capital of the country. Corrin decides this would be a great place to rest for the night at and are instantly welcomed by its leader, who is also the only person in the game of that country. The entire Hoshidan family also just happen to bump into us because they coincidently came here at roughly the same time, with somehow neither party noticing the other until they were staring at eachother in the same room.
The only thing we know about this new nation we’ve never seen or heard about before is that it’s a peace-loving land with some sort of neutrality pact which means the two nations can’t fight here. What is the importance of this place that would entice all the Hoshidan royals to come over for a banquet in the middle of their country being invaded? Never explained. What exactly is this pact and what power does Izuno have to enforce it, if any? Never explained. Xander, prince of a nation at war and frontline general, has never heard of it. How does Garon or Iago never figure out or look into what happened here, considering the royals walked through their trap unharmed and everybody in charge of the trap vanished? Never brought up.
How many times here was this supposedly major event dependent on coincidences, seemingly important details left completely unexplained, and characters not knowing things that should be basic information of the world they live in? Things like all this quickly build up and make the world feel small scale and artificial, as if nothing truly exists until it’s in the peripheral vision of main characters. In a vacuum, this could all be excusable if the main meat of the chapter was just so dense and important that they just want a convenient excuse to delve into it. But about that…
-Problem 2: Nothing happens, either character-wise or plot-wise.
This is the only scene in both Birthright and Conquest where all eight of the royal families are together in one spot, and they’re unable to fight eachother. What a brilliant idea! How many great scenes could you come up with from this setup alone? How many directions could this move towards?

-The families bonding over their memories with Corrin (X)
-Calling eachother out for uncool actions, like Ryoma refusing to help Elise or Nohr siccing monsters on farming villages (X)
-Working together to defeat some threat they’d have trouble taking down on their own (X)
-Some cultural exchange (X)
-Some melancholy scene where, even if there’s a lot of resentment, they acknowledge how this may be the last time they ever get to have a meal with Corrin. (Somewhat?)
-Corrin sits down and has a mature conversation with his birth family elaborating on their choice to stay with Nohr (X)
-Some negotiation or debate between the two families about the future of their countries relationship, successful or not (X)
-Corrin being formally declared by the Hoshidan royals as a Nohrian, officially cutting them out of the family (X)

So what does Conquest do with this prompt? It does the unexpected route where all of them but Ryoma are shuffled out as soon as they’re introduced, captured offscreen, rescued offscreen, most of their dinner is offscreen, finishing their meal and leaving is offscreen, all of them sans Ryoma have barely any dialog, and none of them are even present in any of the CG’s.
We actually start off strong, Ryoma and Xander naturally puff out their chest and don’t get along when they’re in the same room, but seem to calm down when Corrin elaborates on how similar they are to eachother. But the game is so eager to get to fighting that it drags Ryoma away kicking and screaming before he even gets to share what he had to say to Corrin, let alone explore what having common ground means to the two of them.
1) I understand this is the Nohrian route so it makes sense the focus is mostly on them, but Takumi only gets three lines here, one of which is “…” Hinoka also only gets three lines, which I think is still more than she got in Birthright, and two of those lines are “You!” and “What are you doing here?”. Sakura lucks out as she’s the only sibling on either side who has anything to say whatsoever when Corrin says they’re grateful they could share another meal with the Hoshidans. That’s a start, but the fact remains Ryoma is the only sibling in the chapter whose remotely relevant, the rest could be omitted and nothing would change. They are only here to be damsels in distress heightening the stakes of defeating the local bad guy rather than providing any character development, checking up on how they are doing without Corrin and Azura, comparing and contrasting their differences between their counterparts, sharing any new information about them, foreshadowing Takumi’s possession, any notable interactions with their counterparts, etc. But no, nothing happens.
2) I also understand this is a video game and they don’t have all the time in the world before the next fight has to happen, yet Conquest is oddly completely uninterested in it’s own set-up. Zola, a minor chapter boss introduced and killed in this chapter, has more screentime and relevance here than any of the siblings, something you’d think would be the actual meat of the chapter they’d want to delve into.
The implications and weight of two dueling nations and families obligated to pause their fighting and dine with eachother could easily take up two or even three chapters as a pivotal arc, yet it’s completely blazed through as if the game considered it a cute novelty rather than a potential life-changing or history-changing moment. Simply put, it’s wasted potential, as if to say “Oh both of the two families meeting in a game about choosing between mutually exclusive families? Eh whatever.”
I wanna stick with just this chapter and not rewrite a good chunk of the entire story, but I can’t stress enough that in any other game this chapter would be the plot-defining moment paving the new way forward rather than chapter 15’s “we’ll expose Garon as a monster by helping him invade an innocent people.”
Neither of the two families are fighting because they outright want to, this isn’t a war about irreconcilable differences or mutually exclusive goals, the only reason for any conflict whatsoever as far as the game has shown us is that the guy in charge of Nohr is a sociopath who threatens to kill his own children at the drop of a hat. Sure, they probably won’t hold hands singing kumbaya after one extended conversation with eachother, but when all of them are in a truce far away from Garon’s authority having a meal together, nothing significant comes out of it plot-wise?
In fact, at the end of the day what significance happened here at all?

• -We learned about a new country, but we know very little about it and (other than Izama potentially joining the party later) absolutely none of it will be relevant after this chapter anyways.
• -Well, maybe this place is just set dressing so we have an excuse to meet up with our siblings again, but then nobody has any meaningful interactions, new info to share, planning ahead, or character development resulting from sharing scenes with them.
• -Then is the primary focus supposed to be on how this situation affects the Nohrian family? The antagonist and the conflict he brings is introduced and quickly solved without any consequences, with all the siblings instantly in agreement about stopping him. They don’t really talk amongst eachother about their feelings or how to go forward.

If there’s no juicy character interactions or exploration, and no setting up future events, then presumably the point of this big moment of Corrin and Xander leaping to save their enemies was made to show off that despite working in the same army, our heroes are indeed better than the swarms of war criminals under Nohr’s name we’ve seen and would never tolerate such things under normal circumstances. They’ve talked the talk about disagreeing with their father’s cruel methods, now here’s proof they’ll walk the walk, aren’t they such noble people? The way this is done however, opens up another can of worms…
-Problem 3: Protags come off as dicks
While our heroes are indeed more likeable and moral than blatant monsters like Garon and Hans, liking peace and disliking war crimes is not enough of a reason for a pat on the back. Our protags might not be burning villages for fun, but it’s difficult to take their proclaimed goal of peace seriously considering both the context of working for people who DO burn villages for fun and they way they handle themselves when presented with an opportunity to work on this supposed goal.
Corrin and Azura

• This is not seeing things under the worst possible interpretation to be a stick in the mud, Nohr is indeed invading Hoshido for no apparent reason and leaving war crimes wherever it’s armies go. Everybody in the building is aware of this to some extent.
  
• Azura and Corrin’s grand plan to expose Garon as a slime monster to his family indeed involves directly helping Garon conquer Hoshido, which they acknowledge will bring destruction and suffering that the nation and royal family have done nothing to deserve.
  
• Corrin and Azura are indeed presented with a once-in-a-lifetime opportunity here to sit down behind closed doors and communicate anything, just anything significant at all, to the royal family that still seems to value them, but our heroes don’t even try or seem to acknowledge that. Corrin doesn’t have any interactions with them that last more than a sentence or two, and Azura is never acknowledged nor speaks to them.
  
• And yet despite, all this, both Corrin and Azura are quite pleased with the turn of events here, with Corrin acknowledging they’ll “probably try to kill eachother next time they see eachother” but that they’ll “revel in this feeling.”
  

Azura in particular is problematic here. During Odovakar 's excellent overview of the problems with Fates writing, he goes into detail about how Azura’s line about “this is all quite heartwarming. We're like one big family...albeit, a dysfunctional one.” in particular comes off as incredibly tone deaf and tasteless given the circumstances of Azura and Corrin marching on one family’s homeland for the sake of the other family. What I think was also worth noting is the context leading up to that line…

Sakura: I was just, um...th-thinking...it's really nice to finally see you again. I'm glad you... I'm glad you f-found a way to be happy... Corrin: Sakura... I'm happy to see you too. Sakura: R-really? You mean it?! Oh, Corrin! Elise: HMPH! Back off, you! He/She's my brothesister! MINE! Sakura: Ah! I'm s-sorry! Corrin: Elise! Mind your manners, little one. Elise: But she's trying to take you away from me... She's my archnemesis

Whether intentional or not, this is actually a very clever microcosm of the family’s conflict acted out by the youngest and most innocent among them who probably weren’t even born when the conflict started. The Hoshidan loves their sibling, but their time with Corrin is interrupted by the Nohrian shoving them away and declaring Corrin for themselves. This is a great way to challenge our protags to some introspection about themselves.

Azura: Heehee! Corrin: Azura? Did you just...giggle?

Instead, Azura just finds this a real knee-slapper. I understand maybe this is just meant to be a cute image of imoutos fighting over oni-chan Corrin and nothing more, but the context makes it very hard to swallow the narrative’s insistence that all this is “heartwarming” as Azura puts it. Keep in mind that all the Hoshidan nobles are sitting at the same table watching all this. Do you think Ryoma also finds it funny that his little sister is scared off and declared an archnemesis by the daughter of the man who killed his father in cold blood? Do you think Hinoka also thinks it's like one big dysfunctional family when Corrin is preparing to march on her homeland with an army?
I get it, I totally know what they were going for, and in a vacuum it could be a great line making for a properly bittersweet moment. “Even if the two are at eachothers throats and the future is bleak, me and Azura are grateful we get to have at least one big normal dinner together like a real family.”
But the future is bleak because of Corrin and Azura participating in an invasion, the families are at eachothers throats partially because Corrin and Azura haven’t accomplished anything to reform Nohr. If anything, Corrin should feel great shame here. Elise just unintentionally reenacted the history between the nations where Nohr was clearly in the wrong, and Corrin is sitting directly across and staring at the family who’ve done nothing wrong to him yet are going to be hurt because of Corrin’s decision. Grateful they could spend time with them again? Maybe. But cheerful and laughing?

ProZD: D-did an alien write this game? blows gently

But at least Corrin doesn’t show outright contempt for the family they’re screwing over…
Xander and Leo

Xander: Corrin! There's no need to insult me like that. I could not possibly be anything like this sorry excuse for a prince. … Xander: We will win with honor or die trying. Come, Corrin. Let us go set free our sworn enemy. … Corrin: Heh, sorry... It's just that you and Ryoma really are so much alike. If you weren't on opposite sides of a war, I think you could have been great friends. Xander: Yeesh... Do me a favor and keep that nonsense in your head where it belongs. … Xander (to Ryoma): We only acted as Nohrian royals should. When we leave this place, you'll be nothing but an enemy to be defeated once more.

Okay, but why? Ryoma is not the one Xander overheard laughing to himself about how much he’s going to make Corrin suffer. How are the Hoshidan royals “nothing but enemies to be defeated” here when they’re just trying to defend their homeland from somebody who assassinated their king at a peace meeting? Where is all this contempt from Xander coming from?
It’s perfectly understandable he doesn’t get along super well with Ryoma because of the tensions between their nations, that makes sense, but I see no reason for why Xander is making several petty insults to his face unprompted, let alone so nonchalant and even somewhat eager to get back to waging a war Xander himself calls “a senseless war of greed and madness” in the epilogue.
He doesn’t treat his own people much better this chapter, declaring Zola and his henchmen as “traitors” to be “dealt with” for their dishonorable methods when ironically Zola taking over the country by disguising himself as the archduke is actually one of the least evil and self-destructive things we’ve seen the kingdom do so far. It must be emphasized that every sibling was in the same room watching Garon demand Xander kill Corrin if he interferes with killing POWs for his amusement, and half of them were in the same room when Garon ordered his henchmen to murder every singer they can find in a neutral country. So a few hundred or thousand innocent people, most of whom would presumably be young woman, murdered to snuff out potential assassins. Or Garon directly ordering the deaths of unarmed civilians in chapter 13 with Hans relaying “Villagers are just soldiers who haven’t picked up a sword yet.”
Xander talks a big game in this chapter about how “we’ll win this war with honor or die trying”, but how do you honorably win a war when your nation is constantly and openly rushing to pointless overkill brutality like this at every turn? What moral high ground does this country have that Xander is so determined to preserve he kills loyal soldiers over what he sees as sullying it, when at no point in the game does the influence of Nohr ever do anything but make life significantly worse? His sudden fervor towards doing the right thing is completely contrasted later on when Xander is the one telling Corrin there’s no justice to be found in war and you just gotta do what you gotta do rather than what’s morally right, in response to Corrin being upset the Nohrian army is killing woman and children who looked at them funny.

“Justice is an illusion, a fairy tale…Letting innocents die is a tragedy, but so is letting the chance for peace slip away. This is war. There is no such thing as a clean win when lives are on the line.”

“Justice is just a fairy tale, innocent people getting screwed over is something we have to accept in war because there’s no such thing as a clean win! But also we better win this senseless war of greed and madness with honor or die trying!”

• If “justice is an illusion”, how is killing Nohrian soldiers to free people who are apparently “nothing but enemies to be defeated” so you can fight them later on terms you prefer, directly prolonging a war which will lead to much more deaths on both sides, for the benefit of Nohr? By Xanders own logic, is this not letting the chance for peace slip away since there’s no such thing as a clean win? Forget Garon and Iago, I’m confident the citizens back home whose loved ones got conscripted would be the ones demanding his head if they found out about this. A very charitable interpretation is that ending the war this specific way will cause more chaos and fighting in the long-term compared to if they conquered and oppressed an innocent nation fair and square, but that’s nowhere to be found in the script whatsoever.
  
• If Xander believes in “We’ll win this war with honor or die trying”, why is he still following Garon? Garon is winning the war in part thanks to honorless and extreme acts of cruelty like blackmailing the Ice Tribe or making an example out of Scarlet’s body, yet instead of taking action against him like he does with Zola, Xander is instead the most loyal sibling to him to the point Corrin decides the best way to get him on his side is to expose Garon as a literal slime monster? Where’s Xander’s zeal of “Come Corrin, let’s go save our sworn enemies” when his father orders Hans is go through killing injured and surrendering foes who were promised they be spared? Where’s his conviction shown here about “not letting treachery go unpunished” when his father outright says he couldn’t care less about the welfare of his people and he’ll just kill anybody who complains to make an example?
  

I understand one might get the impression I’m going off topic or selectively picking and choosing quotes here from all over the game, but no matter how you look at it Xanders beliefs, morality, and priorities are just all over the place depending on what the plot needs him to do. This means not only is his motivation for helping his enemies here faulty no matter how you look at it, but it also makes the extreme lengths he goes to do so, killing his own subjects who won him victory on a silver platter because it wasn’t a “proper” victory, come off as baselessly self-righteous at best and outright cruel at worst.
I’m sure the game would assure us Zola and all his mooks are terrible people who had it coming, but the issue is no matter how virtuous you portray Xander and creepy you portray Zola, Xander is still directly managing the war for a megalomaniac and helping him achieve his goals in spite of his long history of open sadism and public crimes that make Zola look like a saint. By ignoring the clear root cause of Nohr's dishonor while going this hard against random goon's participating in dishonor, instead of being a gallant preserver of morals, he comes off like a bully who selectively picks and choices punishment.
On the topic of punishment, it particularly rubs me the wrong way how Leo just casually mercs Zola at the end, keep in mind Birthright confirms for all his faults he actually isn’t a complete monster like Garon and dies trying to help the protag.

Leo (smiling portrait): You’d probably rather die than live with the shame, correct? In that case…
Zola: Eek! No, please! M-m-milord... I was wrong! S-so wrong! I have seen the error of my ways! P-please...spare my unworthy life!!
Leo (still smiling): Make peace with it, Zola. Perhaps on the other side you will find forgiveness.

Leo makes a fair argument that the stakes are too high and Zola can’t be trusted not to snitch, but this is bit sadistic, no? One of the most powerful people in the country is smug and sarcastic as he’s getting ready to execute somebody whose bleeding on the ground begging for his life and genuinely confused as to why we’re upset with him. I know the intent of “I was wrong! I have the seen the error of my ways!” is supposed to be him saying whatever Leo wants to hear to weasel out of punishment, but that’s exactly the thing, he’s fully cooperating and doing everything he can to appease this guy. And then he’s just killed like a dog without trial or final words, presumably using the spell that skewers you with tree branches.
Didn’t the game use killing defeated foes like this to establish Garon as a bloodthirsty monster? Why is Corrin just standing there watching this happen? This exact same scenario in Birthright has them jump to spare Zola, but here their disapproval is very meek and only voiced after the deed is already done. It’s still apparently too much for Leo though, who chastises Corrin for being “too soft…I envy your innocence.” And then he declares the matter settled on their behalf.
I’m sure this scene was meant to show off Leo’s pragmatism and strategy skills, but it just makes him look like a sociopath and Corrin look spineless. And that’s the biggest issue with this chapter to me, more than the plot being driven by contrivances that aren’t explained or the lack of any character development or interesting scenes taking advantage of the setup, the actions and dialog of our protags don’t match the noble heroes the narrative insists they are:

• Corrin is openly enjoying spending time with innocent people they’re throwing under the bus so Corrin won’t have to risk their relationship with the Nohrian siblings by directly fighting Garon. They then clearly disapprove of Leo executing a surrendering foe begging for mercy but stand idle watching it happen.
• Azura sits directly across her former family who’ve been very negatively impacted by her decisions and actions, and will continue to be so in the future, yet she’s giggling about the conflict and doesn’t seem to be taking the fact that her two families might kill each other seriously.
• Xander insults Ryoma as a sorry excuse for a prince, and afterwards kills his own subjects to prolong a war of aggression so it can be won the way he personally wants it to be won.
• Leo seems to be having a good time killing somebody who’s surrendered and begging for his life. He then chides Corrin for being “too soft” when they wish that didn’t have to happen.
• And again, for no apparent reason, neither Corrin or Azura do the bare minimum to clue to the Hoshidans about what’s going on or even have a meaningful conversation with them despite claiming to care for them. This is the golden opportunity they were hoping for, yet they apparently spend the entire dinner instead talking to eachother about how happy they themselves are.

These are not the actions of heroic characters.
Summary: Overall, this is a very bizarre chapter. It feels like something meaningful happens here at first glance, your brain sees what’s going on and knows that this is supposed to be a huge moment. Peaceful music playing, a very well-drawn CG of dozens of individual units, liberating a country from Nohrian control, Corrin and Azura are happy and say some lines that sound like they should be deep and impactful.
But when you step back and analyze the bigger picture and context, you find that more or less embodies all of Fates writing, both good and bad. It has a brilliant premise that gets your mind going, excellent presentation to accompany it, and some individual scenes or dialogue in a vacuum are very welcome. If you’re a casual player who just wants context for your favorite characters fighting, it’s easy to feel satisfied at first glance and move on thanks to those factors, especially since the gameplay and MyCastle are very fun. At the same time, there’s no denying the severe flaws that hamper the experience.
Despite being the hyped-up main draw of the chapter, our exciting premise that opens so many doors is almost completely neglected in favor of (once again) exposition on meaningless settings and characters that aren’t relevant anywhere else and also reminding us how evil Nohr is, to the point the chapter title is Black and White. The context makes it very difficult to take the plight of our heroes seriously due to their lack of action (both before and in the present) to achieve their proclaimed goal despite ample opportunity, the proaction they do have being unnecessarily extreme and self-serving, and a narrative that insists they are in the right at every turn despite the results clearly showing us otherwise. There’s definitely bits and pieces of something great buried in all this teasing us, otherwise I wouldn’t be interested enough to write this much all these years later, but as is it’s just a mess. An enjoyable mess, but a mess all the same.

But what do you guys think of Conquest Chapter 18: Black and White? Do you also consider it a wreck, or was there something positive here you believed I missed? What would you like to see in a potential rewrite of it?