About me section ideas
Startup ideas - for inventors, entrepreneurs and investors
2014.03.08 04:09 dark_manuel Startup ideas - for inventors, entrepreneurs and investors
This subreddit is for sharing innovative startup ideas. Links and discussion about startups and descriptions of startups are welcome! Share ideas. Improve ideas. Expand upon other ideas. Combine ideas. Implement ideas.
2015.04.22 06:28 SwagmasterEDP the thicker the skin, the better the roast
Roasting (v.) - To humorously mock or humiliate someone with a well-timed joke, diss or comeback. (As defined by urbandictionary) Hone your roasting skills, meet other roasters, and get yourself roasted! Everybody needs to laugh at themselves! And other people, of course!
2010.05.27 21:39 amouravski Marine Biology Subreddit
This is a community to share and promote marine biology research and education.
2024.05.16 21:25 InfiniteLine_Author One month recap!
 | NPC Academy has now been on Royal Road for a full month, so I thought I'd share my experience and what I've learned so far. submitted by InfiniteLine_Author to royalroad [link] [comments] WHAT I DID: I launched with a backlog of 20 chapters, posting 9 intermittently on day 1 to reach 20k words. Then I posted one new chapter per weekday for the first 3 weeks. This obliterated my backlog, but I wanted to make sure I had enough content that people would actually consider it worth their time to click on the story. Since then, I've been posting 2 chapters per week. I was afraid I'd lose followers when I transitioned from 5 down to 2 a week, but luckily most everyone has stuck around. I did 7 review swaps in the first few weeks, but was informed that review swaps supposedly don't go into the Rising Stars algorithm. One thing I did enjoy doing as part of review swaps was also exchanging chapter-by-chapter comment swaps. Sometimes comment sections on RR can be pretty barren so it was fun to actually see what people are thinking as they read. Highly recommended! I also discovered some really interesting stories, which is a nice bonus. I switched to shout out swaps a few weeks ago and I think that's what actually started to boost my follower count. I've had 10-12 people shout out my story in their pre/post author comment sections (including a story with >5k followers). I ran an ad in parallel, so it's difficult to know exactly where followers are coming from. But I definitely got a good number of story page views from the shout outs from looking at the advanced analytics (usually 5-40 unique user clicks per shout, but almost 200 from that high follower story). I did a few self-promo posts on litrpg and progressionfantasy as well, which can often be met with some negativity and downvotes. I saw a few clicks from those as well, so I still think they were worth doing, especially because early on even one more set of eyes on the story makes a difference--if only to your self-esteem. I imagine reddit promos might be more impactful once more chapters, followers, and community are built up though. RESULTS AFTER ONE MONTH: NPC Academy hit the main Rising Stars list exactly one month (yesterday morning) after posting the first chapter! Here are the current stats: https://preview.redd.it/crrtptjo4u0d1.png?width=906&format=png&auto=webp&s=7abe323b25358ec7bea3d030edfa10972ac6e47a It's definitely not as impressive as many of the launches I've seen, and it's been a slow grind of followers that started steadily climbing thanks to shout outs and ads. But it's been enough to make an appearance on Rising Stars, so I'm proud of that. https://preview.redd.it/kvni76b75u0d1.png?width=2072&format=png&auto=webp&s=5c6cd1055a74b96608dbe8150e7802c248ed4ee6 I also got pretty good reader retention (>90% per chapter) outside of the first few chapters, and especially after Chapter 8, which tells me that people who are enjoying the story are sticking with it. :) WHAT I LEARNED: I tried to follow the guide posted by HiImThinkTwice as best I could, but definitely missed some beats and could've done better. I launched with a self-made cover. I'm very amateur in terms of digital art and design. I made the mistake of thinking a unique, somewhat cutesy cover would work. Spoiler: it doesn't. I wholeheartedly believe my original cover hurt my ability to get people to click on the story. I had a low-cost cover commissioned and updated it at the beginning of May (also when my follower count started rising). Your best bet with a cover is to fit within the common reader expectations, while having some element that stands out--look at the Rising Stars list and see what kinds of covers people are clicking on. I also revised my blurb several times throughout this process. I thought the draw to my novel would be the idea of NPCs going to school to learn how to battle Heroes, but I think the real interest is the MCs journey. It's also important to have some sort of epic-sounding, standout line(s) in the blurb, which I didn't have originally. These are what get people excited to actually click on Chapter 1. I think I've finally settled on something that works well and I'm happy with. Shoutout swaps are a lot more valuable than review swaps in terms of story clicks and potential new followers. No idea if my ad led to followers, but it definitely generated a significant number of clicks. I expect a lot of the non-follower readers who have stuck with the story came from ads. I started posting about halfway through the Writathon as a non-participant. Would not recommend. No idea if it hurt my story, but presumably more stories are being posted at a higher rate than normal, so your story won't stick in the latest updates list as long. It may not have hurt, but it certainly didn't help because I didn't get to be on the Writathon list. If I could do it again, I'd have waited to build up more backlog and launched in May instead. TAKEAWAYS: Don't underestimate the importance of the cover and blurb. Do shoutouts. In general people are very friendly and happy to swap--especially if you can get on some discord servers. Keep writing and don't give up, even if the follower count isn't rocketing up! Give it time and help readers find your story. Good luck to all you writers out there! |
2024.05.16 21:08 Whiskkas 50 Patriots fans were coming to Florida for a pool party and now our dreams are shattered.
LONDON? WTF?
(I don’t know if anyone care about this story but as part of my grieving process I needed to get it out)
It started as a joke. I work at a sports bar in Boston and we got on the topic of how going to a pool party in the end zone of your stadium is on my bucket list. So many people were unaware this even existed. I showed them photos and they were floored.
A week later the home/away schedule was released, and I see the Patriots were playing you guys on your turf. During a spirited day drinking session on Marathon Monday I bring it up again. “lol, what if we all went to Jacksonville? That would be a riot” Everyone is “totally down”. I take it to Facebook the next day and poll my people, just out of sheer curiosity, to see who would be interested in a scheme like this. The response was overwhelming.
Few days later I’m poking around on the Jags website, just to get a feel for what’s involved in this process. I assume it’s all still a pipe dream, that people book this kind of stuff years in advance. I fill out a form for “more information” and less than 12 hours later I have the most wonderful and helpful woman from the Jags ticket office calling me to see how she can get us in that pool TODAY. Honestly, she seemed amused at the idea of an entire end zone filled with jabronis from Boston.
Turns out, the process is extremely approachable and doable, despite the initially frightening price tag of $17k. All of a sudden, a few days later, myself and a few other bartenders have pooled some money together and put down a (fully refundable) deposit for the pool section of the Patriots/Jags game, date TBD.
That was a month ago, and it has almost literally been the only thing people have been talking about since. I had a list of over 60 people interested (pool apparently has a cap of 55). People I didn’t know were contacting me to get involved. Air bnb’s were being researched. Dunkin Donuts track suits and Patriots bikinis were in our virtual shopping carts. Sign ideas were being floated around (“I flew 1000 miles to see Mac Jones disappoint someone else”). We were so ready to show up and be everything you’d expect from a group of (lovable) assholes from Boston.
The first mini-let down was the leak it was going to be a Monday night game. I had to admit that in my head, this was a 1pm Sunday event, sun shining down on us. But hey, an October night in Florida ain’t half bad, especially considering the weather we are used to, so we decide to not let it dampen our spirit.
Which brings us to yesterday. Fuckin London. I cannot tell you the disappointment that engulfed us as we realized that this epic party, something sure to go down in history in our little corner of the world, a party that seemed too fun and too good to be true, was. We are all now in mourning of the party that could have been.
Jacksonville, we will be coming for you. Maybe not this year, and maybe not next, but one year someone will hear deafening cheers from a group of people in the pool who sound like they walked off the set of The Departed, and you’ll know we finally did it.
Good luck this year fans.
submitted by Whiskkas to Jaguars [link] [comments]
(I don’t know if anyone care about this story but as part of my grieving process I needed to get it out)
It started as a joke. I work at a sports bar in Boston and we got on the topic of how going to a pool party in the end zone of your stadium is on my bucket list. So many people were unaware this even existed. I showed them photos and they were floored.
A week later the home/away schedule was released, and I see the Patriots were playing you guys on your turf. During a spirited day drinking session on Marathon Monday I bring it up again. “lol, what if we all went to Jacksonville? That would be a riot” Everyone is “totally down”. I take it to Facebook the next day and poll my people, just out of sheer curiosity, to see who would be interested in a scheme like this. The response was overwhelming.
Few days later I’m poking around on the Jags website, just to get a feel for what’s involved in this process. I assume it’s all still a pipe dream, that people book this kind of stuff years in advance. I fill out a form for “more information” and less than 12 hours later I have the most wonderful and helpful woman from the Jags ticket office calling me to see how she can get us in that pool TODAY. Honestly, she seemed amused at the idea of an entire end zone filled with jabronis from Boston.
Turns out, the process is extremely approachable and doable, despite the initially frightening price tag of $17k. All of a sudden, a few days later, myself and a few other bartenders have pooled some money together and put down a (fully refundable) deposit for the pool section of the Patriots/Jags game, date TBD.
That was a month ago, and it has almost literally been the only thing people have been talking about since. I had a list of over 60 people interested (pool apparently has a cap of 55). People I didn’t know were contacting me to get involved. Air bnb’s were being researched. Dunkin Donuts track suits and Patriots bikinis were in our virtual shopping carts. Sign ideas were being floated around (“I flew 1000 miles to see Mac Jones disappoint someone else”). We were so ready to show up and be everything you’d expect from a group of (lovable) assholes from Boston.
The first mini-let down was the leak it was going to be a Monday night game. I had to admit that in my head, this was a 1pm Sunday event, sun shining down on us. But hey, an October night in Florida ain’t half bad, especially considering the weather we are used to, so we decide to not let it dampen our spirit.
Which brings us to yesterday. Fuckin London. I cannot tell you the disappointment that engulfed us as we realized that this epic party, something sure to go down in history in our little corner of the world, a party that seemed too fun and too good to be true, was. We are all now in mourning of the party that could have been.
Jacksonville, we will be coming for you. Maybe not this year, and maybe not next, but one year someone will hear deafening cheers from a group of people in the pool who sound like they walked off the set of The Departed, and you’ll know we finally did it.
Good luck this year fans.
2024.05.16 21:00 Sola_Sista_94 Cookies 'n' Dreams: Parts Eleven and Twelve (Fanfic)
The next morning, Himiko was awakened by a delighted scream. She shot up in her bed and saw Tenko dancing around the room.
"Nyeh...Tenko? W-What's going on?" Himiko asked sleepily, rubbing her eyes.
"La-la-la-la-la-laaaaaa!!" Tenko sang. Then, she stopped at Himiko's bed and gripped Himiko's shoulders like a crazy person. "Himiko! I ate your Snoozydoodles right before bed, like you told me to, and I just had the most amazing dream!!"
"What was it about?" Himiko asked.
"There were no degenerate males in the world! And all the girls made me their queen!" Tenko sighed. "It was perfect utopia! A utopia...for girls! The sky was pastel pink! The clouds were extra puffy and white! The ocean was also pink and glittery, and all the food we ate was pink, like strawberry cake, strawberry ice cream, strawberry cupcakes, and strawberry milk! And girls of every shape, size, and color were everywhere! Not a degenerate male in sight!"
"Nyeh...a dream filled with just girls sounds like a nightmare," Himiko muttered. "Most problems I had with bullying was from catty, popular girls."
"W-What?! There's no way that's true, Himiko!" Tenko cried. "Maybe they were males in disguise!"
"No, I don't think so," Himiko shook her head. "Plus, a world with just girls is going to lead to extinction."
"Not in my dream!" Tenko exclaimed happily. "Girls were born from 'Girl Flowers!'"
"Nyeeeh...girl flowers? " Himiko asked, raising a brow.
"Yeah! You plant a pink seed into the ground, and when it grows, the petals open up and reveal a beautiful baby girl inside!" Tenko gushed. "It was so amazing! Girls, girls, girls everywhere!" Himiko wrinkled her nose.
"I bet it smelled like fish in that world," she muttered.
"Fish?! Why would it smell like-...oh! Hahahaha!" Tenko said. "No, no, Himiko! We didn't have to deal with that because there was need for it! All the girls came from 'Girl Flowers,' remember?"
"Oh...I guess that's true," Himiko replied, shaking her head at the absurdity. Suddenly, there was a knock at their door. Tenko went over to open it. Standing on the other side were Tsumugi, Angie, Maki, Miu, Gonta, Ryoma, and Kaito.
"Hey! What are you all doing here?!" Tenko demanded. "Especially you degenerates!" Ignoring Tenko, they all rushed right in and crowded around Himiko's bed. Himiko nervously pulled her blanket up to her face.
"Nyeh...c-can I help you guys?" she whimpered.
"I had the most wonderful dream because of your cookies, Himiko!" Angie chirped. "Everyone in the whole wide world became a follower of Atua, and was welcomed into his kingdom!"
"I had a dream that I finally went to space!" Kaito exclaimed. "And I became the world's best astronaut for discovering a lot of alien civilizations! Everyone voted for me to be president of Earth!"
"There's no way such a title exists," Maki said, shaking her head.
"Well, maybe not in real life, but that's how it was in my dream!" Kaito said. "But, anyways, what was your dream about, Maki Roll?" Everyone turned to Maki, curious to what kind of dream she had. She blushed.
"I'd...rather not talk about it," she grumbled. "It's too dumb."
"Just tell us already, Judge Moody!" Miu spat impatiently. Maki glared at her, then sighed.
"Fine..." she said. "I had a dream where I wasn't an orphan, and I had real, actual parents who loved me. And I was happy and nice to everyone, and I didn't have to worry about being an assassin and stealing peoples' lives." Everyone stared in stunned silence at her. Maki sighed gloomily. "See? I told you it was dumb."
"Geez, that's not dumb at all," Ryoma said. "Sounds similar to my dream, though, I would agree if you had said that wishing for it to happen would be dumb."
"What do you mean, Ryoma?" asked Tsumugi.
"It's pointless to dream or wish for something that will never come true," Ryoma explained. "Even though my dream was...surprisingly delightful, it also felt like a punch in the gut. Hmph...I don't know whether to call that dream a blessing, or a curse."
"What was your dream about?" Kaito asked.
"Well, I'll tell you, but it is depressing," Ryoma warned. "My girlfriend hadn't been killed, and I was back home with her and my cat. And I didn't even play tennis, I wasn't even an Ultimate student. I was a regular guy."
"That doesn't sound depressing at all!" Kaito said.
"But, the fact that it'll never come true is what makes it depressing," Ryoma said. "That's why I say, dreams like that are pointless. It's better to forget about the past and move on with your life"
"Bullshit!" Kaito exclaimed. "C'mon, man, stop whining about how depressing your life is! You say that wishing for the impossible is dumb and it was all in the past, or whatever, so why the hell are you still depressed? If you truly believed that you should move on, you should stop worryin' about the past and look to the future with bright hopes! That goes for you, too, Maki!"
"What? Why me?" Maki asked.
"It's true that you can't change the past, and maybe wishing for it to change is dumb," Kaito explained. "But, if you're still depressed about what happened in the past, it means you can't let go of what happened! You're not moving on! Moving on is accepting what happened, and doing whatever you can to make your life better! Instead of wishing to undo the past, wish for a brighter future! That goes for all of you!" The room fell silent as they stared at Kaito.
"So, anyway, my dream was about me actually becoming the characters that I cosplay!" Tsumugi said, breaking the silence.
"Hey! Don't just ignore my inspirational speech!" Kaito exclaimed angrily.
"It really wasn't all that inspiring," Tsumugi said, haughtily waving him off.
"Seriously! Nobody asked for your opinion, Mahatma Ghandeez Nuts!" Miu said to Kaito.
"W-What?! " Kaito exclaimed.
"Ha! In my dream, I was the world's best inventor!" Miu said grandly. "With my inventions, I was able to rid the world of starvation, war, violence, famine, and all that other bad shit! And everyone loved me! All the guys on the planet wanted to bang me, and my boobs grew a size bigger!"
"Um...can you not share your dreams?" Tsumugi said. "I feel like every time you speak, I want to do unspeakably horrible things to you."
"Shut the hell up, you four-eyed, lamebrain otaku! " Miu spat. "You're just jealous because you have two deflated balloons for chest!"
"Um...can Gonta share dream, now?" Gonta asked.
"Yes, Gonta, go ahead," Tsumugi replied, eager to not have to listen to Miu anymore.
"Gonta was king of bugs!" Gonta replied. "Everyone in world loved bugs, and loved King Gonta!"
"Tuh...that dream sounds stupid as shit!" Miu scoffed.
"Oh! G-Gonta sorry..." Gonta apologized with a hurt expression.
"You don't have to apologize to her, Gonta," Tsumugi said, glaring at Miu.
"You want someone to apologize to, apologize to all of us for wastin' our time!" Miu spat to Gonta.
"Hey! Cut it out, Miu! Stop yellin' at him!" Kaito yelled.
"Don't tell me what to do, Luke Skyfucker!" Miu shouted back.
"Stop callin' me names!" Kaito yelled back.
"H-Hey! Why everyone fighting?" Gonta asked. "Gonta not mean to start fight!"
"Leave it up to a degenerate male to start a fight!" Tenko growled, glaring at Gonta.
"If you guys don't stop fighting, Atua will unleash his holy wrath upon you all," Angie warned with a creepy grin.
"Nobody asked you, you kooky cult bitch!" Miu said, swatting at Angie. "All y'all are just jealous because my dream was better that yours!"
"Excuse me?!" Tsumugi cried.
"Yeah! Obviously mine was the best one!" Kaito exclaimed.
"You're plainly wrong! Mine was the best one!" Tsumugi said.
"No, it was mine!" Tenko shouted.
"Nuh-uuuhhhh...it was mi-iiiine," Angie said cheerfully.
"Um...Gonta thinks Gonta's was pretty good," Gonta said diplomatically.
"Sheesh...I can't believe everyone is getting so worked up over this," Ryoma said.
"Seriously. It's stupid to be fighting over something like this," Maki agreed.
"Well, I don't think it's stupid at all!" Tsumugi said.
"Yeah! In fact, I want another dream!" Miu said. Everyone turned to Himiko, who had been staring at them in horrified silence. "You better whip us up some more cookies, ya little midget, or else!"
"Well, um...you'll have to wait next weekend," Himiko replied in a small voice.
"I ain't waitin' that long!" Miu spat. "So, chop, chop! Get to makin' those damn cookies right now!"
"Nyeh, but...what about school?" Himiko asked.
"Himiko's right, we need to get ready for school," Maki said. But...I think I'd also like more of the cookies." Everyone turned to her in surprise.
"Wait...really, Maki?" Tsumugi asked.
"It was...a really good-tasting cookie...that's all," Maki mumbled, fiddling with one of her pigtails.
"Or is it because you liked your dream?" Angie teased. Maki frowned at her.
"Shut up," she said.
"I...agree with Maki," Ryoma said. "I want to see if I would have a different dream. One that's more...sensible."
"A dream that's...sensible? " Tsumugi repeated.
"Yeah...one that keeps me away from my past," Ryoma explained. "Do you think you can do that for me, Himiko?"
"Nyeh...okay," Himiko said. She knew exactly how to do just that.
Part Twelve
"What was all that ruckus about earlier, Monkey Buns?" Kokichi asked as he and Himiko walked together to school.
"Nyeh...just as I was hoping, my Snoozydoodles gave everyone dreams," Himiko replied. "But, when everyone that I gave them to was talking about their dreams, things got a little out of hand."
"Was that the effect of the magic?" Kokichi asked.
"Well, no...that was because Miu was being her usual, annoying self, and then Tsumugi said something, then Miu snapped back at her, then everything sorta erupted into chaos," Himiko explained.
"Didn't you say a while ago that the dream powder can be addictive?" Kokichi asked. Himiko sighed.
"Yeah...even small doses of the dream powder might cause someone to be addicted," she said. "But, it works really well, and that's why I wanted to put it in my cookies."
"Hmm...I hope you know what you're doing, Himiko," Kokichi said.
"Well...I have another idea where the dream powder might be not as addictive...but the effects will be just as good?" Himiko said with a bit of uncertainty. Then, she blushed. "I...used this method to dream about you before we started dating." Kokichi raised his eyebrows at her.
"Really?!" he exclaimed, grinning.
"Yeah...I had to steal your hair while you were asleep to do it, though," Himiko said quietly.
"Yeah, that's not creepy at all," Kokichi teased, wrapping his arm around Himiko's waist, and giving her a kiss on the cheek. A mischievous grin crossed his lips. "I wanna know what this other method is."
***
Friday night had arrived. Kokichi was with Himiko in her secret magic room. She was flipping through the spellbook titled, "Inside the Magical Mind." Himiko showed Kokichi the chapter "Build the Perfect Dream," specifically, the romance section.
"Nyeh...these are potions I used to have dreams about you," she explained to him, and pointed to the different dreams. "This is the 'sweet love dream' potion, the 'spicy love dream' potion, and the 'hot and steamy love dream' potion." Kokichi read the description of each dream, his impish grin growing larger across his face as he read.
"So, you drank all of those potions?" he asked, wiggling his eyebrows at her.
"Well, one night, I drank the first one, then the next night, I drank the second," Himiko said. "I secretly gave the last one to Miu, because I was too scared to drink it myself."
"Ugh! You gave it to Miu?! " Kokichi exclaimed in disgust.
"Well...I-I'd feel dirty having the last dream!" Himiko stammered.
"Well, then, why'd you make that potion in the first place?" Kokichi asked.
"Because I was curious!" Himiko said. "But, then my curiosity was replaced by fear and feeling dirty, so I gave it to Miu. It's a good thing I did, too, because..."
"Cuz, why...?" Kokichi asked, raising an eyebrow.
"Because she was doing very...dirty things with you," Himiko replied. "Yeah...we were having our monthly slumber party, and in the middle of it all, Miu was dreaming and...nyeh...screaming."
"AAAUUUUGGHHHH!!! GROSS!!" Kokichi exclaimed, covering his ears. "I don't wanna do it with her!! "
"Well, she did say that you said that to her in her dream," Himiko said. "But, you only did it to get her to shut up because she kept begging you."
"Ew, I don't care," Kokichi muttered. "There's no excuse to condone bestiality." Himiko sighed and gave Kokichi a playful swat. Kokichi laughed, then eyed her flirtatiously. "Besides, my body only belongs to you...Himiko." Himiko blushed and lowered her head. Every time he said her name like that, it got her heart pumping like crazy. "My body...is your body." Kokichi lifted her chin to turn her head to him. "Mi cuerpo...es su cuerpo, y mi corazón...es su corazón."
"Ohhhh...Kokichiiii...!" Himiko gurgled with delight, biting her lip. She didn't know Spanish, but he made it sound so good. Kokichi leaned in to give her a passionate kiss.
"Okay, that's enough!" he said, stopping the kiss abruptly.
"W-What?! Wait! No! Moooore...!" Himiko pouted, tugging on Kokichi's sleeve. "I want mooore."
"Nuh-uh, Monkey Buns. Tomorrow is another cookie sale, so we can't get distracted right now. We gotta make these cookies like Hiro...baked! " Kokichi said.
"O-kaaaayyy..." Himiko pouted.
"M'kay, so how are gonna do this, HimiCocoa Bean?" Kokichi asked.
"Well...what genre of potion should I make?" Himiko asked. "There's comedy, action-adventure, romance, horror, fantasy, mystery, aaannnd...lots of other stuff."
"Comedy!" Kokichi said. "Everyone needs a good laugh!"
"Nyeh...okay," Himiko said, then turned to the comedy section of the chapter.
"So, you'll just pour whatever potion you make into the cookie batter, right? And mix it up?" Kokichi asked.
"Yup, that's right," Himiko nodded.
"Aaaalrighty, then! Welp, do your thang, babe!" Kokichi said, kissing Himiko's cheek. Himiko giggled and read the comedy section:
~COMEDY:~
Laughter is the best medicine, as they say! So, why not have it in your dreams? After all, there's nothing cuter than someone laughing in their sleep! Whether you're in the mood for some gut-busting, slap-happy humor, wild, crazy humor, or even just simple, laughable jokes, every hilarious dream is welcome in clown town!
Slapstick comedy dream: A dream where tripping, punching, bashing, slapping, falling, and everything in between is considered more funny than horrifying! If you fancy a dream like that, give Slapstick comedy dream a whirl!
Boil water in small cauldron. Once water is boiled, add 1/2 cup of dream powder, 1 tsp of pepper for an extra kick, 1 tsp of cinnamon for an extra bite, 1 tsp of dragon spice for an extra punch, 3 petals of the Laffodil flower, and a 3/4 cup of sunlight for some lighthearted fun. Mix contents until water becomes a different color. Pour contents into a potion bottle. Add sleep powder before consuming. Drink and enjoy!
Fun-loving comedy dream: You can't always watch comedy, you have to experience it, too! If you feel like going on a funny, fun-filled adventure full of laughter, then the fun-loving comedy dream is just what you're looking for!
Boil water in small cauldron. Once water is boiled, add 1/2 cup of dream powder, 3/4 cup of elven sparkles for whimsy, 1 cup of pink polka dot pond water, 1 tsp of sugar, 5 petals of the Laffodil flower, and 3/4 cup of sunlight. Mix contents until water becomes a different color. Pour contents into a potion bottle. Add sleep powder before consuming. Drink and enjoy!
Joker dream: Want a dream with less gut busting, and more on the relaxed side? Then, a Joker dream is prefect the perfect comfort comedy dream for you!
Boil water in small cauldron. Once water is boiled, add 1/2 cup of dream powder, 1 tsp of funny honey, 1 petal of the Laffodil flower, a pinch of jesterly ginseng powder, and 3/4 cup of sunlight. Mix contents until water becomes a different color. Pour contents into a potion bottle. Add sleep powder before consuming. Drink and enjoy!
"Nyeh...which one should I pick?" Himiko asked. Kokichi scanned the page.
"Hmm...why not all of them?" he suggested. "You can make three batches of cookies, and pour the different potions into each one! Actually, it's way more interesting that way, since people will get to randomly choose their comedy dream cookies!"
"I guess you're right," Himiko said. She got to work, whipping up all three potions. "Nyeh...all done!"
"Do you wanna go to D.I.C.E. headquarters and bake them there again?" Kokichi asked.
"Yeah, but...let's take the short way," Himiko said. "I'm already tired from making these potions." Before Kokichi could ask what she meant, Himiko snapped her fingers, and they magically appeared at the abandoned insane asylum serving as D.I.C.E. headquarters.
submitted by Sola_Sista_94 to danganronpa [link] [comments]
"Nyeh...Tenko? W-What's going on?" Himiko asked sleepily, rubbing her eyes.
"La-la-la-la-la-laaaaaa!!" Tenko sang. Then, she stopped at Himiko's bed and gripped Himiko's shoulders like a crazy person. "Himiko! I ate your Snoozydoodles right before bed, like you told me to, and I just had the most amazing dream!!"
"What was it about?" Himiko asked.
"There were no degenerate males in the world! And all the girls made me their queen!" Tenko sighed. "It was perfect utopia! A utopia...for girls! The sky was pastel pink! The clouds were extra puffy and white! The ocean was also pink and glittery, and all the food we ate was pink, like strawberry cake, strawberry ice cream, strawberry cupcakes, and strawberry milk! And girls of every shape, size, and color were everywhere! Not a degenerate male in sight!"
"Nyeh...a dream filled with just girls sounds like a nightmare," Himiko muttered. "Most problems I had with bullying was from catty, popular girls."
"W-What?! There's no way that's true, Himiko!" Tenko cried. "Maybe they were males in disguise!"
"No, I don't think so," Himiko shook her head. "Plus, a world with just girls is going to lead to extinction."
"Not in my dream!" Tenko exclaimed happily. "Girls were born from 'Girl Flowers!'"
"Nyeeeh...girl flowers? " Himiko asked, raising a brow.
"Yeah! You plant a pink seed into the ground, and when it grows, the petals open up and reveal a beautiful baby girl inside!" Tenko gushed. "It was so amazing! Girls, girls, girls everywhere!" Himiko wrinkled her nose.
"I bet it smelled like fish in that world," she muttered.
"Fish?! Why would it smell like-...oh! Hahahaha!" Tenko said. "No, no, Himiko! We didn't have to deal with that because there was need for it! All the girls came from 'Girl Flowers,' remember?"
"Oh...I guess that's true," Himiko replied, shaking her head at the absurdity. Suddenly, there was a knock at their door. Tenko went over to open it. Standing on the other side were Tsumugi, Angie, Maki, Miu, Gonta, Ryoma, and Kaito.
"Hey! What are you all doing here?!" Tenko demanded. "Especially you degenerates!" Ignoring Tenko, they all rushed right in and crowded around Himiko's bed. Himiko nervously pulled her blanket up to her face.
"Nyeh...c-can I help you guys?" she whimpered.
"I had the most wonderful dream because of your cookies, Himiko!" Angie chirped. "Everyone in the whole wide world became a follower of Atua, and was welcomed into his kingdom!"
"I had a dream that I finally went to space!" Kaito exclaimed. "And I became the world's best astronaut for discovering a lot of alien civilizations! Everyone voted for me to be president of Earth!"
"There's no way such a title exists," Maki said, shaking her head.
"Well, maybe not in real life, but that's how it was in my dream!" Kaito said. "But, anyways, what was your dream about, Maki Roll?" Everyone turned to Maki, curious to what kind of dream she had. She blushed.
"I'd...rather not talk about it," she grumbled. "It's too dumb."
"Just tell us already, Judge Moody!" Miu spat impatiently. Maki glared at her, then sighed.
"Fine..." she said. "I had a dream where I wasn't an orphan, and I had real, actual parents who loved me. And I was happy and nice to everyone, and I didn't have to worry about being an assassin and stealing peoples' lives." Everyone stared in stunned silence at her. Maki sighed gloomily. "See? I told you it was dumb."
"Geez, that's not dumb at all," Ryoma said. "Sounds similar to my dream, though, I would agree if you had said that wishing for it to happen would be dumb."
"What do you mean, Ryoma?" asked Tsumugi.
"It's pointless to dream or wish for something that will never come true," Ryoma explained. "Even though my dream was...surprisingly delightful, it also felt like a punch in the gut. Hmph...I don't know whether to call that dream a blessing, or a curse."
"What was your dream about?" Kaito asked.
"Well, I'll tell you, but it is depressing," Ryoma warned. "My girlfriend hadn't been killed, and I was back home with her and my cat. And I didn't even play tennis, I wasn't even an Ultimate student. I was a regular guy."
"That doesn't sound depressing at all!" Kaito said.
"But, the fact that it'll never come true is what makes it depressing," Ryoma said. "That's why I say, dreams like that are pointless. It's better to forget about the past and move on with your life"
"Bullshit!" Kaito exclaimed. "C'mon, man, stop whining about how depressing your life is! You say that wishing for the impossible is dumb and it was all in the past, or whatever, so why the hell are you still depressed? If you truly believed that you should move on, you should stop worryin' about the past and look to the future with bright hopes! That goes for you, too, Maki!"
"What? Why me?" Maki asked.
"It's true that you can't change the past, and maybe wishing for it to change is dumb," Kaito explained. "But, if you're still depressed about what happened in the past, it means you can't let go of what happened! You're not moving on! Moving on is accepting what happened, and doing whatever you can to make your life better! Instead of wishing to undo the past, wish for a brighter future! That goes for all of you!" The room fell silent as they stared at Kaito.
"So, anyway, my dream was about me actually becoming the characters that I cosplay!" Tsumugi said, breaking the silence.
"Hey! Don't just ignore my inspirational speech!" Kaito exclaimed angrily.
"It really wasn't all that inspiring," Tsumugi said, haughtily waving him off.
"Seriously! Nobody asked for your opinion, Mahatma Ghandeez Nuts!" Miu said to Kaito.
"W-What?! " Kaito exclaimed.
"Ha! In my dream, I was the world's best inventor!" Miu said grandly. "With my inventions, I was able to rid the world of starvation, war, violence, famine, and all that other bad shit! And everyone loved me! All the guys on the planet wanted to bang me, and my boobs grew a size bigger!"
"Um...can you not share your dreams?" Tsumugi said. "I feel like every time you speak, I want to do unspeakably horrible things to you."
"Shut the hell up, you four-eyed, lamebrain otaku! " Miu spat. "You're just jealous because you have two deflated balloons for chest!"
"Um...can Gonta share dream, now?" Gonta asked.
"Yes, Gonta, go ahead," Tsumugi replied, eager to not have to listen to Miu anymore.
"Gonta was king of bugs!" Gonta replied. "Everyone in world loved bugs, and loved King Gonta!"
"Tuh...that dream sounds stupid as shit!" Miu scoffed.
"Oh! G-Gonta sorry..." Gonta apologized with a hurt expression.
"You don't have to apologize to her, Gonta," Tsumugi said, glaring at Miu.
"You want someone to apologize to, apologize to all of us for wastin' our time!" Miu spat to Gonta.
"Hey! Cut it out, Miu! Stop yellin' at him!" Kaito yelled.
"Don't tell me what to do, Luke Skyfucker!" Miu shouted back.
"Stop callin' me names!" Kaito yelled back.
"H-Hey! Why everyone fighting?" Gonta asked. "Gonta not mean to start fight!"
"Leave it up to a degenerate male to start a fight!" Tenko growled, glaring at Gonta.
"If you guys don't stop fighting, Atua will unleash his holy wrath upon you all," Angie warned with a creepy grin.
"Nobody asked you, you kooky cult bitch!" Miu said, swatting at Angie. "All y'all are just jealous because my dream was better that yours!"
"Excuse me?!" Tsumugi cried.
"Yeah! Obviously mine was the best one!" Kaito exclaimed.
"You're plainly wrong! Mine was the best one!" Tsumugi said.
"No, it was mine!" Tenko shouted.
"Nuh-uuuhhhh...it was mi-iiiine," Angie said cheerfully.
"Um...Gonta thinks Gonta's was pretty good," Gonta said diplomatically.
"Sheesh...I can't believe everyone is getting so worked up over this," Ryoma said.
"Seriously. It's stupid to be fighting over something like this," Maki agreed.
"Well, I don't think it's stupid at all!" Tsumugi said.
"Yeah! In fact, I want another dream!" Miu said. Everyone turned to Himiko, who had been staring at them in horrified silence. "You better whip us up some more cookies, ya little midget, or else!"
"Well, um...you'll have to wait next weekend," Himiko replied in a small voice.
"I ain't waitin' that long!" Miu spat. "So, chop, chop! Get to makin' those damn cookies right now!"
"Nyeh, but...what about school?" Himiko asked.
"Himiko's right, we need to get ready for school," Maki said. But...I think I'd also like more of the cookies." Everyone turned to her in surprise.
"Wait...really, Maki?" Tsumugi asked.
"It was...a really good-tasting cookie...that's all," Maki mumbled, fiddling with one of her pigtails.
"Or is it because you liked your dream?" Angie teased. Maki frowned at her.
"Shut up," she said.
"I...agree with Maki," Ryoma said. "I want to see if I would have a different dream. One that's more...sensible."
"A dream that's...sensible? " Tsumugi repeated.
"Yeah...one that keeps me away from my past," Ryoma explained. "Do you think you can do that for me, Himiko?"
"Nyeh...okay," Himiko said. She knew exactly how to do just that.
Part Twelve
"What was all that ruckus about earlier, Monkey Buns?" Kokichi asked as he and Himiko walked together to school.
"Nyeh...just as I was hoping, my Snoozydoodles gave everyone dreams," Himiko replied. "But, when everyone that I gave them to was talking about their dreams, things got a little out of hand."
"Was that the effect of the magic?" Kokichi asked.
"Well, no...that was because Miu was being her usual, annoying self, and then Tsumugi said something, then Miu snapped back at her, then everything sorta erupted into chaos," Himiko explained.
"Didn't you say a while ago that the dream powder can be addictive?" Kokichi asked. Himiko sighed.
"Yeah...even small doses of the dream powder might cause someone to be addicted," she said. "But, it works really well, and that's why I wanted to put it in my cookies."
"Hmm...I hope you know what you're doing, Himiko," Kokichi said.
"Well...I have another idea where the dream powder might be not as addictive...but the effects will be just as good?" Himiko said with a bit of uncertainty. Then, she blushed. "I...used this method to dream about you before we started dating." Kokichi raised his eyebrows at her.
"Really?!" he exclaimed, grinning.
"Yeah...I had to steal your hair while you were asleep to do it, though," Himiko said quietly.
"Yeah, that's not creepy at all," Kokichi teased, wrapping his arm around Himiko's waist, and giving her a kiss on the cheek. A mischievous grin crossed his lips. "I wanna know what this other method is."
***
Friday night had arrived. Kokichi was with Himiko in her secret magic room. She was flipping through the spellbook titled, "Inside the Magical Mind." Himiko showed Kokichi the chapter "Build the Perfect Dream," specifically, the romance section.
"Nyeh...these are potions I used to have dreams about you," she explained to him, and pointed to the different dreams. "This is the 'sweet love dream' potion, the 'spicy love dream' potion, and the 'hot and steamy love dream' potion." Kokichi read the description of each dream, his impish grin growing larger across his face as he read.
"So, you drank all of those potions?" he asked, wiggling his eyebrows at her.
"Well, one night, I drank the first one, then the next night, I drank the second," Himiko said. "I secretly gave the last one to Miu, because I was too scared to drink it myself."
"Ugh! You gave it to Miu?! " Kokichi exclaimed in disgust.
"Well...I-I'd feel dirty having the last dream!" Himiko stammered.
"Well, then, why'd you make that potion in the first place?" Kokichi asked.
"Because I was curious!" Himiko said. "But, then my curiosity was replaced by fear and feeling dirty, so I gave it to Miu. It's a good thing I did, too, because..."
"Cuz, why...?" Kokichi asked, raising an eyebrow.
"Because she was doing very...dirty things with you," Himiko replied. "Yeah...we were having our monthly slumber party, and in the middle of it all, Miu was dreaming and...nyeh...screaming."
"AAAUUUUGGHHHH!!! GROSS!!" Kokichi exclaimed, covering his ears. "I don't wanna do it with her!! "
"Well, she did say that you said that to her in her dream," Himiko said. "But, you only did it to get her to shut up because she kept begging you."
"Ew, I don't care," Kokichi muttered. "There's no excuse to condone bestiality." Himiko sighed and gave Kokichi a playful swat. Kokichi laughed, then eyed her flirtatiously. "Besides, my body only belongs to you...Himiko." Himiko blushed and lowered her head. Every time he said her name like that, it got her heart pumping like crazy. "My body...is your body." Kokichi lifted her chin to turn her head to him. "Mi cuerpo...es su cuerpo, y mi corazón...es su corazón."
"Ohhhh...Kokichiiii...!" Himiko gurgled with delight, biting her lip. She didn't know Spanish, but he made it sound so good. Kokichi leaned in to give her a passionate kiss.
"Okay, that's enough!" he said, stopping the kiss abruptly.
"W-What?! Wait! No! Moooore...!" Himiko pouted, tugging on Kokichi's sleeve. "I want mooore."
"Nuh-uh, Monkey Buns. Tomorrow is another cookie sale, so we can't get distracted right now. We gotta make these cookies like Hiro...baked! " Kokichi said.
"O-kaaaayyy..." Himiko pouted.
"M'kay, so how are gonna do this, HimiCocoa Bean?" Kokichi asked.
"Well...what genre of potion should I make?" Himiko asked. "There's comedy, action-adventure, romance, horror, fantasy, mystery, aaannnd...lots of other stuff."
"Comedy!" Kokichi said. "Everyone needs a good laugh!"
"Nyeh...okay," Himiko said, then turned to the comedy section of the chapter.
"So, you'll just pour whatever potion you make into the cookie batter, right? And mix it up?" Kokichi asked.
"Yup, that's right," Himiko nodded.
"Aaaalrighty, then! Welp, do your thang, babe!" Kokichi said, kissing Himiko's cheek. Himiko giggled and read the comedy section:
~COMEDY:~
Laughter is the best medicine, as they say! So, why not have it in your dreams? After all, there's nothing cuter than someone laughing in their sleep! Whether you're in the mood for some gut-busting, slap-happy humor, wild, crazy humor, or even just simple, laughable jokes, every hilarious dream is welcome in clown town!
Slapstick comedy dream: A dream where tripping, punching, bashing, slapping, falling, and everything in between is considered more funny than horrifying! If you fancy a dream like that, give Slapstick comedy dream a whirl!
Boil water in small cauldron. Once water is boiled, add 1/2 cup of dream powder, 1 tsp of pepper for an extra kick, 1 tsp of cinnamon for an extra bite, 1 tsp of dragon spice for an extra punch, 3 petals of the Laffodil flower, and a 3/4 cup of sunlight for some lighthearted fun. Mix contents until water becomes a different color. Pour contents into a potion bottle. Add sleep powder before consuming. Drink and enjoy!
Fun-loving comedy dream: You can't always watch comedy, you have to experience it, too! If you feel like going on a funny, fun-filled adventure full of laughter, then the fun-loving comedy dream is just what you're looking for!
Boil water in small cauldron. Once water is boiled, add 1/2 cup of dream powder, 3/4 cup of elven sparkles for whimsy, 1 cup of pink polka dot pond water, 1 tsp of sugar, 5 petals of the Laffodil flower, and 3/4 cup of sunlight. Mix contents until water becomes a different color. Pour contents into a potion bottle. Add sleep powder before consuming. Drink and enjoy!
Joker dream: Want a dream with less gut busting, and more on the relaxed side? Then, a Joker dream is prefect the perfect comfort comedy dream for you!
Boil water in small cauldron. Once water is boiled, add 1/2 cup of dream powder, 1 tsp of funny honey, 1 petal of the Laffodil flower, a pinch of jesterly ginseng powder, and 3/4 cup of sunlight. Mix contents until water becomes a different color. Pour contents into a potion bottle. Add sleep powder before consuming. Drink and enjoy!
"Nyeh...which one should I pick?" Himiko asked. Kokichi scanned the page.
"Hmm...why not all of them?" he suggested. "You can make three batches of cookies, and pour the different potions into each one! Actually, it's way more interesting that way, since people will get to randomly choose their comedy dream cookies!"
"I guess you're right," Himiko said. She got to work, whipping up all three potions. "Nyeh...all done!"
"Do you wanna go to D.I.C.E. headquarters and bake them there again?" Kokichi asked.
"Yeah, but...let's take the short way," Himiko said. "I'm already tired from making these potions." Before Kokichi could ask what she meant, Himiko snapped her fingers, and they magically appeared at the abandoned insane asylum serving as D.I.C.E. headquarters.
2024.05.16 20:21 bluejulien post-partum planning: mom drama
I am expecting my first child in a few weeks and will be delivering via scheduled c-section. I have had abdominal surgery once before (hence the need for the c-section) and found the recovery to be rough (and that was without a newborn to take care of). My husband and I are trying to do everything we can to make our first few weeks postpartum go as smoothly as possible. I have talked to lots of other moms who recently delivered via c-section and have been reading through reddit threads about c-section recovery, what to expect the first few days of baby's life, etc. Our goal is to take things slowly and minimize chaos wherever possible.
My parents, who are retired and live 12 hours away, have been planning to come help out when the baby is born. I was grateful for their offer of support - we have room in our house to accommodate them, and they are still young and agile enough to be helpful. My mom is a complicated person; we have a close but complicated relationship I have spent much of my adult life learning to more effectively navigate. That said, I find her presence comforting when I am not well - she took care of me after my first surgery, and despite the pain I was in, I think back on that time really fondly. Moreoever, I loved the idea of my parents both being present to meet and spend time with my child (their first grandchild) at the beginning of his life. My mom offered that she and my dad would be available to help with laundry, cooking, and taking care of our two high-energy dogs. They proposed staying a few weeks.
As the delivery date nears, my conversations with my mom about the post-birth plan have become more and more tense.
Our first blow up was about my husband's and my decision to hire a night nurse to come five nights a week during the first two weeks postpartum. Hiring a night nurse was a significant expense for us, and it was a decision we made very carefully after talking to friends and co-workers who have recently had babies. We spent a ton of time researching and interviewing candidates before selecting someone we felt comfortable with. Our thinking was that the night nurse would be available to help during the nights she is here so my parents are rested enough to help during the day. I specifically hired the night nurse to start her shifts at 10pm, when my parents typically start getting ready for bed, and to leave at 8am, which is when my parents are usually having their morning coffee.
My mom seemed to take this decision very personally and didn't like that I would be taking advice, and seeking support from, anyone other than her. She accused me of "packing the house with people" and being overly concerned with planning for the worst-case-scenario. She also seemed to think that the night nurse made her obsolete. I explained that I am counting on her help and support during the day and want her to have time to rest. She said it was presumptuous of me to assume that she can't go a few weeks without sleep. She seemed to interpret our decision to hire a night nurse as a sign of ingratitude. "Why am I turning my life upside down if you are paying someone else to help?"
Her reaction really hurt and surprised me, but I tried to stay calm. I pointed out that my husband and I had already made a decision and that this was not a negotiation. I also pointed out that she seemed to be prioritizing her own feelings and was not listening to what I was saying WE need as we navigate this post-op recovery and transition to parenthood. She replied that she is allowed to have feelings. Still, the conversation ended with me in tears. My mom and I never revisited the conversation (my mom is not very good at repair and is loathe to apologize - plus, I don't think she thinks she has anything to apologize for).
Today, we got in another fight because my mom is insisting on bringing their dog with them when they come. This is the second time my mom has brought this up. My husband feels strongly that he does not want a third dog in the house because it will add unnecessary chaos. For context, one of our dogs gets overstimulated very easily and can sometimes be reactive to other dogs. When my parents visited with their dog for Thanksgiving, we had to watch our dog closely for signs of reactivity, give her breaks, etc. My parents' dog also barks more than either of our dogs, and my husband is concerned about the noise. However, we would like OUR dogs to be home with us so they can begin to acclimate to the new baby.
I communicated all of these concerns to my mom and offered a number of solutions, including 1. that we can find a local Rover or petsitter to watch her dog for the first week they are here, 2. that we can find a local Rover or petsitter to watch our dogs, or 3. that she and my dad can stay with their dog in a nearby Airbnb. My mom rejected all of these ideas and replied that we should medicate our dog if she is the one who is the problem. My mom refuses to consider a petsitter for her dog because the dog is a rescue with a history of abandonment, and she doesn't want the dog to feel like she has been abandoned again (note: our dogs are rescues, too, and we board them all the time). My mom once again accused me of micromanaging and clearly thinks my husband and I are being unreasonable. She said, "surely you can understand why I don't want to be without my dog."
I fully recognize that these are very trivial problems in the grand scheme of things, and that we are fortunate to have parents willing and ready to support us. That said, I am not sure how to proceed. My mom is, and always has been, emotionally immature in a lot of ways, but I never imagined she would be so difficult at such an important time. What worries me is not so much the substance of these disagreements, but her inability to put my needs above her own in the tender weeks after I give birth. I am not sure whether to cave and let her bring her dog (maybe she's right, and it will be fine!), or to hold firm, even if it means she and my dad don't come. I worry that asking them not to come will draw a line in the sand that will be difficult to come back from. At the same time, it feels like they are choosing their dog over their daughter and grandchild, which I find extremely hurtful. Part of me senses that this actually has nothing to do with the dog, or the night nurse, and is more about her own control issues.
What should I do?
submitted by bluejulien to pregnant [link] [comments]
My parents, who are retired and live 12 hours away, have been planning to come help out when the baby is born. I was grateful for their offer of support - we have room in our house to accommodate them, and they are still young and agile enough to be helpful. My mom is a complicated person; we have a close but complicated relationship I have spent much of my adult life learning to more effectively navigate. That said, I find her presence comforting when I am not well - she took care of me after my first surgery, and despite the pain I was in, I think back on that time really fondly. Moreoever, I loved the idea of my parents both being present to meet and spend time with my child (their first grandchild) at the beginning of his life. My mom offered that she and my dad would be available to help with laundry, cooking, and taking care of our two high-energy dogs. They proposed staying a few weeks.
As the delivery date nears, my conversations with my mom about the post-birth plan have become more and more tense.
Our first blow up was about my husband's and my decision to hire a night nurse to come five nights a week during the first two weeks postpartum. Hiring a night nurse was a significant expense for us, and it was a decision we made very carefully after talking to friends and co-workers who have recently had babies. We spent a ton of time researching and interviewing candidates before selecting someone we felt comfortable with. Our thinking was that the night nurse would be available to help during the nights she is here so my parents are rested enough to help during the day. I specifically hired the night nurse to start her shifts at 10pm, when my parents typically start getting ready for bed, and to leave at 8am, which is when my parents are usually having their morning coffee.
My mom seemed to take this decision very personally and didn't like that I would be taking advice, and seeking support from, anyone other than her. She accused me of "packing the house with people" and being overly concerned with planning for the worst-case-scenario. She also seemed to think that the night nurse made her obsolete. I explained that I am counting on her help and support during the day and want her to have time to rest. She said it was presumptuous of me to assume that she can't go a few weeks without sleep. She seemed to interpret our decision to hire a night nurse as a sign of ingratitude. "Why am I turning my life upside down if you are paying someone else to help?"
Her reaction really hurt and surprised me, but I tried to stay calm. I pointed out that my husband and I had already made a decision and that this was not a negotiation. I also pointed out that she seemed to be prioritizing her own feelings and was not listening to what I was saying WE need as we navigate this post-op recovery and transition to parenthood. She replied that she is allowed to have feelings. Still, the conversation ended with me in tears. My mom and I never revisited the conversation (my mom is not very good at repair and is loathe to apologize - plus, I don't think she thinks she has anything to apologize for).
Today, we got in another fight because my mom is insisting on bringing their dog with them when they come. This is the second time my mom has brought this up. My husband feels strongly that he does not want a third dog in the house because it will add unnecessary chaos. For context, one of our dogs gets overstimulated very easily and can sometimes be reactive to other dogs. When my parents visited with their dog for Thanksgiving, we had to watch our dog closely for signs of reactivity, give her breaks, etc. My parents' dog also barks more than either of our dogs, and my husband is concerned about the noise. However, we would like OUR dogs to be home with us so they can begin to acclimate to the new baby.
I communicated all of these concerns to my mom and offered a number of solutions, including 1. that we can find a local Rover or petsitter to watch her dog for the first week they are here, 2. that we can find a local Rover or petsitter to watch our dogs, or 3. that she and my dad can stay with their dog in a nearby Airbnb. My mom rejected all of these ideas and replied that we should medicate our dog if she is the one who is the problem. My mom refuses to consider a petsitter for her dog because the dog is a rescue with a history of abandonment, and she doesn't want the dog to feel like she has been abandoned again (note: our dogs are rescues, too, and we board them all the time). My mom once again accused me of micromanaging and clearly thinks my husband and I are being unreasonable. She said, "surely you can understand why I don't want to be without my dog."
I fully recognize that these are very trivial problems in the grand scheme of things, and that we are fortunate to have parents willing and ready to support us. That said, I am not sure how to proceed. My mom is, and always has been, emotionally immature in a lot of ways, but I never imagined she would be so difficult at such an important time. What worries me is not so much the substance of these disagreements, but her inability to put my needs above her own in the tender weeks after I give birth. I am not sure whether to cave and let her bring her dog (maybe she's right, and it will be fine!), or to hold firm, even if it means she and my dad don't come. I worry that asking them not to come will draw a line in the sand that will be difficult to come back from. At the same time, it feels like they are choosing their dog over their daughter and grandchild, which I find extremely hurtful. Part of me senses that this actually has nothing to do with the dog, or the night nurse, and is more about her own control issues.
What should I do?
2024.05.16 19:58 LifeFlamingo7842 I am endlessly confused and need help
Okay, wall of text warning.
I need help, I don't understand anything anymore with how to run KoboldAI, I am stupid, I just want to run it locally with 13B Tiefighter and I can't for the life of me set it up.
So I've decided to go away from Colab, since I don't enjoy time limit and other limitations, and try to run KoboldAI locally on my computer. I've downloaded latest(?) version of KoboldAI offline installer from here (https://github.com/KoboldAI/KoboldAI-Client), as some posts my searches pulled suggested, which is 1.19.2. I've installed it.
I assumed I need models, which are not among the list of default recommended ones, to be directly downloaded in a form of a single file (or zip, or some kind of compression, or whatever), then placed in folder "models", and figured I need to download such models from Hugging Face. The model I'm interested in is 13b Tiefighter. I found it (https://huggingface.co/KoboldAI/LLaMA2-13B-Tiefightetree/main). I can't find the download button, and clicking on "Files and Versions" only reveal multiple different files which I can only download separately. But I can't just place them in a folder and make KoboldAI "run folder", so my guess those files are for people who work on those models. It probably exists in some form or way as a single file entity for running on KoboldAI, right? So I've started googling again. As my searches suggest, apparently I need to go in "Load a model from its directory" and just copypaste model's name by clicking square on the right side of it on its webpage. It's even says so in a blank space for text, "Model Path or Hugging Face Name". So I do that.
"The model entered doesn't exist".
Okay, I must be wrong somewhere. Tried to copypaste manually, from square again, only its name, its link. Nothing works.
I google. "How to download model from Hugging Face". Good, there's a tutorial on the very website. I don't understand anything in tutorial. I don't know what "git" is, the only thing I think I was able to compehend is that I need to go in "Use this model" on model's webpage, then click "Transformers" and maybe answer will be there. I don't understand anything there neither.
I refer back to this page on GitHub (https://github.com/KoboldAI/KoboldAI-Client) from which I downloaded installer. There's "ModuleNotFoundError" problem in Troubleshooting section, but from what I understand, my problem sounds similar but isn't the same. Weirdly enough, I can download and use recommended models just fine, it's specifically a problem with downloading them from Hugging Face.
I google. Different advices. I've checked version, it didn't update for a while now, I think last time it was in 2022. So I should be good.
Then I stumble upon people talking about KoboldCPP. It leads me to the webpage on the GitHub (https://github.com/LostRuins/koboldcpp). I guess this now is a new version, completely separate from the one I've downloaded? It significantly lighter then mine, only using a single .exe. I think I can undestand how to download and use models for it better, but what's the difference between them?
So here are my questions.
What is wrong with downloading models on KoboldAI 19.1.2 from Hugging Face? How exactly step-by-step do I do that? Can I even do that?
What the difference between KoboldAI 19.1.2 and KoboldCPP? Is one better than other? Is there a preferential nuance to which version I should use?
And, finally, is it even worth it? I am asking about using 13B Tiefighter specifically. Different posts vary on how my current setup would be effective at running it. I have RTX 4070 with 16GB VRAM, Intel Core CPU i5-13400F and 32GB RAM if that tells you anything.
I am sorry if it's all actually trivial and I'm just not the the sharpest tool in the box, I really tried to do it myself, but I am out of ideas, so I humbly ask you to help.
submitted by LifeFlamingo7842 to KoboldAI [link] [comments]
I need help, I don't understand anything anymore with how to run KoboldAI, I am stupid, I just want to run it locally with 13B Tiefighter and I can't for the life of me set it up.
So I've decided to go away from Colab, since I don't enjoy time limit and other limitations, and try to run KoboldAI locally on my computer. I've downloaded latest(?) version of KoboldAI offline installer from here (https://github.com/KoboldAI/KoboldAI-Client), as some posts my searches pulled suggested, which is 1.19.2. I've installed it.
I assumed I need models, which are not among the list of default recommended ones, to be directly downloaded in a form of a single file (or zip, or some kind of compression, or whatever), then placed in folder "models", and figured I need to download such models from Hugging Face. The model I'm interested in is 13b Tiefighter. I found it (https://huggingface.co/KoboldAI/LLaMA2-13B-Tiefightetree/main). I can't find the download button, and clicking on "Files and Versions" only reveal multiple different files which I can only download separately. But I can't just place them in a folder and make KoboldAI "run folder", so my guess those files are for people who work on those models. It probably exists in some form or way as a single file entity for running on KoboldAI, right? So I've started googling again. As my searches suggest, apparently I need to go in "Load a model from its directory" and just copypaste model's name by clicking square on the right side of it on its webpage. It's even says so in a blank space for text, "Model Path or Hugging Face Name". So I do that.
"The model entered doesn't exist".
Okay, I must be wrong somewhere. Tried to copypaste manually, from square again, only its name, its link. Nothing works.
I google. "How to download model from Hugging Face". Good, there's a tutorial on the very website. I don't understand anything in tutorial. I don't know what "git" is, the only thing I think I was able to compehend is that I need to go in "Use this model" on model's webpage, then click "Transformers" and maybe answer will be there. I don't understand anything there neither.
I refer back to this page on GitHub (https://github.com/KoboldAI/KoboldAI-Client) from which I downloaded installer. There's "ModuleNotFoundError" problem in Troubleshooting section, but from what I understand, my problem sounds similar but isn't the same. Weirdly enough, I can download and use recommended models just fine, it's specifically a problem with downloading them from Hugging Face.
I google. Different advices. I've checked version, it didn't update for a while now, I think last time it was in 2022. So I should be good.
Then I stumble upon people talking about KoboldCPP. It leads me to the webpage on the GitHub (https://github.com/LostRuins/koboldcpp). I guess this now is a new version, completely separate from the one I've downloaded? It significantly lighter then mine, only using a single .exe. I think I can undestand how to download and use models for it better, but what's the difference between them?
So here are my questions.
What is wrong with downloading models on KoboldAI 19.1.2 from Hugging Face? How exactly step-by-step do I do that? Can I even do that?
What the difference between KoboldAI 19.1.2 and KoboldCPP? Is one better than other? Is there a preferential nuance to which version I should use?
And, finally, is it even worth it? I am asking about using 13B Tiefighter specifically. Different posts vary on how my current setup would be effective at running it. I have RTX 4070 with 16GB VRAM, Intel Core CPU i5-13400F and 32GB RAM if that tells you anything.
I am sorry if it's all actually trivial and I'm just not the the sharpest tool in the box, I really tried to do it myself, but I am out of ideas, so I humbly ask you to help.
2024.05.16 19:27 maqisha My thoughts/review as a windows user
I was really excited to finally try Arc when it comes to windows as people seemed to love it and it always looked interesting and clean to me. Here I will write a short review of what i've noticed with using it a few days.
I won't touch so much on the subject on side tabs, Spaces, "bookmarks", these are not really issues and are definitely subjective and different, some people might like the new approach, some dont.
Here's a quick summary of my thoughts on the most notable "features" (Sidenav, Spaces, Different Logic for Bookmarks)
I also don't want to talk about any early Windows bugs, I'm sure those will be sorted out soon.
What I primarily wanted to talk about is some missing features. Sadly, at this point in time, Arc feels like a downgrade. Many features are missing or abstracted in a very weird way, and its not clear why, most of the things I'm about to talk about would not impact the "nature" of Arc, so I'm not sure why they were left out or not implemented.
The way favourites behave is just dumb, i have no other way of putting it. Its horrible and mostly unusable.
Example: Let's say I favorite Netflix. I click on it to open it, it's not gonna create a new tab, its just gonna open it in favorites. I play a movie and navigate off. There is NO WAY for me to tell that Netflix was ever even opened, that I have an entire movie playing in the background, i would have no idea where its coming from, what is playing, or anything about it, until i finally click on it to see whats going on. It's a horrible experience.
This somewhat intertwines with the way current "bookmarks" behave, except that this type of behavior is never expected from a quick-access menu. Atm these are just glorified tabs, but worse since they have no title, no indicators for being opened or playing audio, nothing.
To fix this simply make clicking on this open a new tab, I don't see how the current approach is better.
In other browsers the title bar would show something like: Inbox(5) - [myemail@gmail.com](mailto:myemail@gmail.com)
In Arc it shows: Gmail
Just why? A very useful piece of information coming from the third party website itself is overridden for a worse user experience.
Now that Arc is on Windows the "Mac way of doing things" seems to remain, and everything feels slightly off.
(I'm not talking about chromium settings, these need to exist. But even these are impossible to find for an average user)
Here are all the available options
Let me know what you guys think and if you found a workaround for some of my issues. Or have any other benefits to Arc that i filed to notice.
Thanks for reading
submitted by maqisha to ArcBrowser [link] [comments]
I won't touch so much on the subject on side tabs, Spaces, "bookmarks", these are not really issues and are definitely subjective and different, some people might like the new approach, some dont.
Here's a quick summary of my thoughts on the most notable "features" (Sidenav, Spaces, Different Logic for Bookmarks)
- I personally like the side nav, i like how easy it is to see everything and is forcing me to use my keaboard more for navigation (Ctrl+S, Ctrl+T, Ctrl+W), which i enjoy. It also looks great
- Spaces, and similar features like it in other browsers, is something that's not a part of my workflow typically. I like everything in one place and don't like unnecessary overhead. However, i see great potential in this for people who want to separate personal life and work, or multiple different works in an organized way.
- I don't use bookmarks as heavily as some people either, but it definitely feels weird having them act as tabs, maybe I could get used to it.
I also don't want to talk about any early Windows bugs, I'm sure those will be sorted out soon.
1. Favourites (Quick access, or h/e you wanna call it)
When I started using Arc, considering that there is no way to customize the default home page, I was disappointed to see that theres no way for me to quickly open up some my most visited places. Then i found the Favourites, and i was pleasantly surprised, they looked clean, were accessible at all times, didn't take up too much space, perfect. That's what i thought until i was disappointed again.The way favourites behave is just dumb, i have no other way of putting it. Its horrible and mostly unusable.
Example: Let's say I favorite Netflix. I click on it to open it, it's not gonna create a new tab, its just gonna open it in favorites. I play a movie and navigate off. There is NO WAY for me to tell that Netflix was ever even opened, that I have an entire movie playing in the background, i would have no idea where its coming from, what is playing, or anything about it, until i finally click on it to see whats going on. It's a horrible experience.
This somewhat intertwines with the way current "bookmarks" behave, except that this type of behavior is never expected from a quick-access menu. Atm these are just glorified tabs, but worse since they have no title, no indicators for being opened or playing audio, nothing.
To fix this simply make clicking on this open a new tab, I don't see how the current approach is better.
2. Titles
I can't for the life of me figure out why this is the case, but some webpage titles are overridden. Most notably I noticed Gmail, but I think i saw other cases as well.In other browsers the title bar would show something like: Inbox(5) - [myemail@gmail.com](mailto:myemail@gmail.com)
In Arc it shows: Gmail
Just why? A very useful piece of information coming from the third party website itself is overridden for a worse user experience.
3. Multi-monitomulti-window support
For this part it might be important to notice the difference between Windows and Mac users. Correct me if I'm wrong but Mac seems typically focused on one monitor (considering the product), and the workflows for MacOS apps are built with that in mind. I'm not saying that all windows users use multiple monitors, in fact most don't, but it seems more common to have those types of customizability.Now that Arc is on Windows the "Mac way of doing things" seems to remain, and everything feels slightly off.
- Technically you can have multiple arc windows, but the only way to make them is to drag and drop tabs. However, this creates an entirely new unnamed new space, and I'm not sure if that is what i would want.
- Creating new windows lacks the UX compared to Chrome, where you can just drag it out anywhere and it works natively the way a windows app is expected to.
- Middle-clicking the Arc icon in the taskbar doesn't do anything (should open a new window). And Right Click->New window opens the original Space with the same tabs,it feels very off and buggy, I don't see the benefit.
- Splitting is probably the closest I found to match the way I typically use a browser. However these are also not very intuitive, its hard to navigate, replace/add/close tabs, theres a weird white border, you cant split vertically
4. Settings
I couldn't wait to dive into the settings and personalize my Arc experience to fix all of these "issues" I was having. Only to find that settings pretty much don't exist. There is nothing.(I'm not talking about chromium settings, these need to exist. But even these are impossible to find for an average user)
Here are all the available options
- Change the Theme between the two (they seem exactly the same)
- Change default search engine
- Setup when tabs are archived
- THATS IT, those 3 settings are the only ones that exist.
5. Why?
- Opening a URL/Search window always shows "The Browser Company" youtube channel as one of the option? At least disable it when opened once, or put more rows in this menu, you remove an entire space for most recently opened places for an ad.
Navigating off a page playing a puts a video in a small window over your other stuff. Maybe 1/20 times i watch a video I might want this to happen, the rest of the time, its a music video, podcast, something to listen to, you just navigated quickly off of it, etc. At least add an option to remove this.(As I was writing this i found a way to disable the "picture in picture", I will leave the section to show my initial thought, but im pleasantly surprised i was able to fix this and im willing to give other features a try the same way)
Conclusion
I will still be using Arc for a while to see if I can get used to some of my current pain-points and to give it a better shot, as well as wait for potential upgrades.Let me know what you guys think and if you found a workaround for some of my issues. Or have any other benefits to Arc that i filed to notice.
Thanks for reading
2024.05.16 19:22 kicking_names The planes and their relationships with each other
*Warning, long post*
Something that I have been pondering my orb about for a long time, is the (causal) relationship the planes have with each other and how they affected another, either directly or indirectly.
I will start with an overview of the planes and their known (meaning explored in canon and kanon sources) relationships with each other. I added sources for some of the statements, because I am a nerd, mainly Exploring Eberron. They might not be perfectly precise though, and some parts of my statements may be from other sources, so sorry if I forgot to add them.
It is a common theme of eberron that the planes are largely self-contained, unchanging, concept-dominated realities, safe for a few exceptions (Dal Quor, Thelanis, Dolurrh), and that they do largely not interact with one another. Furthermore, their inhabitants either don't care about the happenings on other planes (ExE 144) or simply study/monitor them, like the panopticon of Daanvi (ExE 151) or the schoolars of Syrania (ExE 189-190, 193). (Addition: Curiously, this part is a bit contradicted by the astral plane section of Chronicles of Eberron (Page 113), which states that outer planar immortals use the astral plane to travel between the outer planes. Examples are an archfey being transported to daanvi for judgement or a syranian virtue traveling to the infinite archive. So there appears to be some kind of interaction and interest for another among the outer planes.)
The material plane is the centre of the planar system where all the planar concepts come together, and it feels the effects of the planes the most, due to manifest zones, wild zones and the lunar phases.
The likes of Daanvi, Kythri, Xoriat, Lamannia, Mabar, Irian, Fernia, Risia, Shavarath and Syrania are not affected by happenings on neither the material, nor other planes. Events that transpire in the material, for example, no matter how cataclysmic they may be (like the eon-spanning reign of the overlords, the reality-transforming experiments of the Daelkyr and the destruction of the moon cyra, are simply (seemingly) inconsequential to them (Except for Daanvi's Solar of Dal Quor, Tyrala, who vanished after leaving to investigate Dal Quor after Cyra's destruction (ExE 150)).
On the other hand, the likes of Dolurrh, Dal Quor and Thelanis strongly feel the effects of events on the material, and to some degree even another.
Dal Quor's dream of the age is very likely (We don't entirely know) determined by the collective emotions and dreams of the mortals of the material plane, over extended periods of time (ExE 153). The Age of the Dreaming Dark was probably ushered in due to the destruction of Cyra and the detremential consequences it had for the giants and the material world as a whole.
Similairly, Thelanis is affected by the stories mortals tell, and their archfey are actively manipulating events on the material plane to make sure that they stay in power, grow in power, or that a rival looses power (ExE 195). Furthermore, the Feyspires of the Moonlit Valey manifest regulairly in specific manifest zones of the material plane, during the coterminous phases of Rhaan, leading to even greater interaction with the material. Thanks to the mourning, some or all of these might even be (If one wants it to be so in their eberron) permanently manifested on the material plane (ExE 196). Additionally, some of the Feyspires are even linked to other planes, like Shae Tirias Tolai to Dolurrh (https://keith-baker.com/silver-and-bone/) or Taer Lian Doresh (ExE 154).
Dolurrh is logically affected and based on the continued precept of mortals dying. The mortal soul passes to dolurrh after death and is proccessed through the planes natural effects (ExE 156-157), and later on through the more precise processing by the librarian, the smith of souls or the queen of the dead herself (ExE 157-158). All in all, every event that transpires in dolurrh is connected to the precept of mortal death, which makes sense, as it is its purpose to serve as the end of the journey, or the beginning of the next (ExE 156). While something like this has probably never happened before, if by some means no mortals would die anymore, dolurrh's existence would essentially be defunct. This is more of a strong hypothetical, yes, but my point for these planes stands.
Drastic changes on the material will change cause drastic changes to the three aformentioned planes. Mortal dreams and feelings change the theme of Dal Quor's heart, mortal stories and tales change the themes of thelanis and mortal soul processing is essentially the entire 'economy' of dolurrh, so to speak.
For the final part of this overview, I want to talk about Xoriat. In Exploring Eberron (Exe 199) it was established that the Xoriat exists out of time and that the daelkyr can reshape the material plane as they see fit, by manipulating its position in the maze of reality. This happened at least once and possibly even numerous times. When the prime material plane is changed and the former incarnation discarded, it does not simply change the present, but also the past and the future. Thus Xoriat's influence is not simply limited to time-travel, but even the alteration of the timeline itself into an alternate reality. When this happens or happened, some things remain(ed) unchanged. The progenitors, as the creators of the multiverse, always remain, but their battle might have transpired differently. As described in the Keith's blog post on Gem Dragons (https://keith-baker.com/dm-gem-dragons/), in 'Githeberron' Khyber might not have destroyed Siberys' body, but instead his mind, giving an explanation for the source of psionics as opposed to arcane magic. This was called the 'Dream of Siberys', as opposed to the Blood of Siberys, and the Gem dragons are the children of eberron infused with the Dream of Siberys. In the comments, Keith even suggest that in Githeberron or another alternate reality, Khyber was broken apart by Eberron and encased a wounded Siberys to stabilize him, creating a Ring of Khyber and a underworld of siberys instead. In the same comment, he states that the maze of reality can only affect the material plane and the outer planes remain unchanged, supporting the concept that they were constructed as the building blocks of material reality.
With these points in mind, I have been wondering about the impacts and consequences of the following hypothetical a canon events. I would like to hear your opinions on these.
Age of Demons: During the Age of Demons, which supposedly lasted since almost the beginning of time and for eons, the godlike overlords reigned over the mortal children of eberron and the celestial children of siberys uncontested. There was nothing but suffering, misery, agony, fear, it was literal hell on eberron for most of the world's history. - During that time, how would this have affected the planes? As far as I know, this was never adressed before in any capacity. - Did the perpetual suffering of mortals lead to a permanent nightmare dream of the age on Dal Quor? - Did this constant of mortal suffering lead to the layers of Thelanis being mainly defined by sorrowful and dark stories, for misery is all mortal-kind knew during this age? - Did Feyspires manifest on eberron during that time, and if so, what relationship could the fiends have had with the fey?
Reality-Rewrite by the Daelky: As mentioned in the overview, the daelkyr have, at least once, fully rewritten the entire history of the material world. While I already pointed out that most planes are self-contained and either don't care or mostly don't care about the material, there are some things that are bugging me about the premise of this entire concept. - If the planes are unaffected by the meddling of the daelkyr with the material, does that mean that, for example, the infinite archive of daanvi contains the knowledge of not just the entire history of our prime material plane, but every other prime material plane that has ever existed? And if not, does that mean its archives are being rewritten everytime the prime material changes, thus meaning it is affected indirectly? - The same goes for the vault of memories of dolurrh. Are the stored memories of mortals erased and replaced by those of the dead of the new reality, or does the vault contain the memories of the dead of previous incarnations of the material plane? - Similairly to the parts about thelanis and Dal Quor during the Age of Demons, are the Dream of the Age and the stories of Thelanis rewritten to fit the themes of the newly imposed material reality, or do they stay the same? - On that note, do you think the Daelkyr have to conquer a world first to be able to reshape it with the maze of reality, or can they just do it at any time? If the former is necessary, how is it possible that a single dragon, Vvaraak, had the knowledge of how to (potentially) permanently halt the advancement of the daelkyr and prevent them from rewritting reality as we know it? It seems absurd that no one in the past incarnations of reality had that idea before, especially as Githeberron was described as a far more harmonous and united world (See Sardior https://keith-baker.com/dm-gem-dragons/), with just as powerful and knowledgable dragons. (Note: This point can probably be easily resolved by keeping the incomprehensible and enigmatic plans of the daelkyr in mind, for they may be even want to be bound and knew this would happen.) - Finally for Xoriat, if the planes are unaffected, does that mean that they may have remains of mortals or mortal meddling of past incarnations of the material in some of their layers? For example, the frost giants are living on risia, essentially preserved forever, due to the plane's properties. If that is the case, would the astral plane not be the only plane with remains of past incarnations of eberron, as described in Chronicles of Eberron (Page 114). And if the remains vanish once the material is rewritten, these planes are also indirectly affected by the meddling of the daelkyr
Destruction of Cyra and the moons in general: The destruction of the moon cyra, by the Cul'sir dominion, is a monstrous fact in itself, with immense implications. - If the moons are the anchors of the outer planes to the material, and are an essential part of the material plane itself, what would happen if they are all destroyed? Would the material plane even be able to continue to properly function, or would it only affect manifest zones and have no other effect whatsoever (as it seems to be the case with Dal Quor, and to some extent Xoriat with the Gatekeeper seals). If the later is true, why do the moons exist in the first place? What is their purpose in the fabric of the material plane (Except for being a really cool gameplay and narrative tool for interplanar shenanigans)? - Regarding the former part, do the dragons simply have the power to destroy the moons and cut of all the planes from the material forever? They teached the giants arcane magic, and while the giants likely developed the means to destroy the moon themsevles, the dragons could surely do it as well without many problems. - Another curious fact is mentioned in the Dal Quor section of Exploring Eberron (Page 159), which states that not even planeshift or astral travel can get you to Dal Quor or vice versa. The later is further elaborated on in the astral plane section of chronicles of eberron (Page 115), which states that the color pools (which allow interplanar travel between the planes and the astral plane) of Dal Quor are impossibly black and inaccessable. With these two things in mind, are the moons not evidently much more important to the multiverse as a whole than just for the material plane? Without the moons, interplanar travel by any means is impossible, for any plane. To further emathize on my former point with this, do the dragons simply have the power to destroy the fabric of the entire multiverse by blowing up the moons? That would be incredibly wild and almost absurd, and I cannot imagine that the inhabitants of the outer planes would simply not care, if their only means of interplanar travel is destroyed by the seemingly irrelevant mortals. - Finally, this also brings up a wild question regarding my penultimate part about the previous section for the daelkyr: Could one theoretically blow up Lharvion and prevent the daelkyr from ever meddling with the material plane again, and thus preventing them from altering reality? Also, if the effects of the destruction of cyra are present in the timeless astral plane, which contains countless remains of stuff from the previous incarnations of eberron, and even prevent the other planes from reaching Dal Quor, does that mean Cyra has been wiped out from all possible incarnations and alternate timelines of eberron? This hypothesis is probably the wildest one in this whole post!
Finally, I want to ask you all: What theories do you have about the planes and their interconnections? How do they interact in your eberron, if at all? What things transpired between them in your eberron and what wild events occured in your planar systems?
With all that said, I think I finally reached the end of my essay. Thanks to anyone who takes their time to read this post and I am very curious about your opinions and theories. Cheers! ^^
submitted by kicking_names to Eberron [link] [comments]
Something that I have been pondering my orb about for a long time, is the (causal) relationship the planes have with each other and how they affected another, either directly or indirectly.
I will start with an overview of the planes and their known (meaning explored in canon and kanon sources) relationships with each other. I added sources for some of the statements, because I am a nerd, mainly Exploring Eberron. They might not be perfectly precise though, and some parts of my statements may be from other sources, so sorry if I forgot to add them.
It is a common theme of eberron that the planes are largely self-contained, unchanging, concept-dominated realities, safe for a few exceptions (Dal Quor, Thelanis, Dolurrh), and that they do largely not interact with one another. Furthermore, their inhabitants either don't care about the happenings on other planes (ExE 144) or simply study/monitor them, like the panopticon of Daanvi (ExE 151) or the schoolars of Syrania (ExE 189-190, 193). (Addition: Curiously, this part is a bit contradicted by the astral plane section of Chronicles of Eberron (Page 113), which states that outer planar immortals use the astral plane to travel between the outer planes. Examples are an archfey being transported to daanvi for judgement or a syranian virtue traveling to the infinite archive. So there appears to be some kind of interaction and interest for another among the outer planes.)
The material plane is the centre of the planar system where all the planar concepts come together, and it feels the effects of the planes the most, due to manifest zones, wild zones and the lunar phases.
The likes of Daanvi, Kythri, Xoriat, Lamannia, Mabar, Irian, Fernia, Risia, Shavarath and Syrania are not affected by happenings on neither the material, nor other planes. Events that transpire in the material, for example, no matter how cataclysmic they may be (like the eon-spanning reign of the overlords, the reality-transforming experiments of the Daelkyr and the destruction of the moon cyra, are simply (seemingly) inconsequential to them (Except for Daanvi's Solar of Dal Quor, Tyrala, who vanished after leaving to investigate Dal Quor after Cyra's destruction (ExE 150)).
On the other hand, the likes of Dolurrh, Dal Quor and Thelanis strongly feel the effects of events on the material, and to some degree even another.
Dal Quor's dream of the age is very likely (We don't entirely know) determined by the collective emotions and dreams of the mortals of the material plane, over extended periods of time (ExE 153). The Age of the Dreaming Dark was probably ushered in due to the destruction of Cyra and the detremential consequences it had for the giants and the material world as a whole.
Similairly, Thelanis is affected by the stories mortals tell, and their archfey are actively manipulating events on the material plane to make sure that they stay in power, grow in power, or that a rival looses power (ExE 195). Furthermore, the Feyspires of the Moonlit Valey manifest regulairly in specific manifest zones of the material plane, during the coterminous phases of Rhaan, leading to even greater interaction with the material. Thanks to the mourning, some or all of these might even be (If one wants it to be so in their eberron) permanently manifested on the material plane (ExE 196). Additionally, some of the Feyspires are even linked to other planes, like Shae Tirias Tolai to Dolurrh (https://keith-baker.com/silver-and-bone/) or Taer Lian Doresh (ExE 154).
Dolurrh is logically affected and based on the continued precept of mortals dying. The mortal soul passes to dolurrh after death and is proccessed through the planes natural effects (ExE 156-157), and later on through the more precise processing by the librarian, the smith of souls or the queen of the dead herself (ExE 157-158). All in all, every event that transpires in dolurrh is connected to the precept of mortal death, which makes sense, as it is its purpose to serve as the end of the journey, or the beginning of the next (ExE 156). While something like this has probably never happened before, if by some means no mortals would die anymore, dolurrh's existence would essentially be defunct. This is more of a strong hypothetical, yes, but my point for these planes stands.
Drastic changes on the material will change cause drastic changes to the three aformentioned planes. Mortal dreams and feelings change the theme of Dal Quor's heart, mortal stories and tales change the themes of thelanis and mortal soul processing is essentially the entire 'economy' of dolurrh, so to speak.
For the final part of this overview, I want to talk about Xoriat. In Exploring Eberron (Exe 199) it was established that the Xoriat exists out of time and that the daelkyr can reshape the material plane as they see fit, by manipulating its position in the maze of reality. This happened at least once and possibly even numerous times. When the prime material plane is changed and the former incarnation discarded, it does not simply change the present, but also the past and the future. Thus Xoriat's influence is not simply limited to time-travel, but even the alteration of the timeline itself into an alternate reality. When this happens or happened, some things remain(ed) unchanged. The progenitors, as the creators of the multiverse, always remain, but their battle might have transpired differently. As described in the Keith's blog post on Gem Dragons (https://keith-baker.com/dm-gem-dragons/), in 'Githeberron' Khyber might not have destroyed Siberys' body, but instead his mind, giving an explanation for the source of psionics as opposed to arcane magic. This was called the 'Dream of Siberys', as opposed to the Blood of Siberys, and the Gem dragons are the children of eberron infused with the Dream of Siberys. In the comments, Keith even suggest that in Githeberron or another alternate reality, Khyber was broken apart by Eberron and encased a wounded Siberys to stabilize him, creating a Ring of Khyber and a underworld of siberys instead. In the same comment, he states that the maze of reality can only affect the material plane and the outer planes remain unchanged, supporting the concept that they were constructed as the building blocks of material reality.
With these points in mind, I have been wondering about the impacts and consequences of the following hypothetical a canon events. I would like to hear your opinions on these.
Age of Demons: During the Age of Demons, which supposedly lasted since almost the beginning of time and for eons, the godlike overlords reigned over the mortal children of eberron and the celestial children of siberys uncontested. There was nothing but suffering, misery, agony, fear, it was literal hell on eberron for most of the world's history. - During that time, how would this have affected the planes? As far as I know, this was never adressed before in any capacity. - Did the perpetual suffering of mortals lead to a permanent nightmare dream of the age on Dal Quor? - Did this constant of mortal suffering lead to the layers of Thelanis being mainly defined by sorrowful and dark stories, for misery is all mortal-kind knew during this age? - Did Feyspires manifest on eberron during that time, and if so, what relationship could the fiends have had with the fey?
Reality-Rewrite by the Daelky: As mentioned in the overview, the daelkyr have, at least once, fully rewritten the entire history of the material world. While I already pointed out that most planes are self-contained and either don't care or mostly don't care about the material, there are some things that are bugging me about the premise of this entire concept. - If the planes are unaffected by the meddling of the daelkyr with the material, does that mean that, for example, the infinite archive of daanvi contains the knowledge of not just the entire history of our prime material plane, but every other prime material plane that has ever existed? And if not, does that mean its archives are being rewritten everytime the prime material changes, thus meaning it is affected indirectly? - The same goes for the vault of memories of dolurrh. Are the stored memories of mortals erased and replaced by those of the dead of the new reality, or does the vault contain the memories of the dead of previous incarnations of the material plane? - Similairly to the parts about thelanis and Dal Quor during the Age of Demons, are the Dream of the Age and the stories of Thelanis rewritten to fit the themes of the newly imposed material reality, or do they stay the same? - On that note, do you think the Daelkyr have to conquer a world first to be able to reshape it with the maze of reality, or can they just do it at any time? If the former is necessary, how is it possible that a single dragon, Vvaraak, had the knowledge of how to (potentially) permanently halt the advancement of the daelkyr and prevent them from rewritting reality as we know it? It seems absurd that no one in the past incarnations of reality had that idea before, especially as Githeberron was described as a far more harmonous and united world (See Sardior https://keith-baker.com/dm-gem-dragons/), with just as powerful and knowledgable dragons. (Note: This point can probably be easily resolved by keeping the incomprehensible and enigmatic plans of the daelkyr in mind, for they may be even want to be bound and knew this would happen.) - Finally for Xoriat, if the planes are unaffected, does that mean that they may have remains of mortals or mortal meddling of past incarnations of the material in some of their layers? For example, the frost giants are living on risia, essentially preserved forever, due to the plane's properties. If that is the case, would the astral plane not be the only plane with remains of past incarnations of eberron, as described in Chronicles of Eberron (Page 114). And if the remains vanish once the material is rewritten, these planes are also indirectly affected by the meddling of the daelkyr
Destruction of Cyra and the moons in general: The destruction of the moon cyra, by the Cul'sir dominion, is a monstrous fact in itself, with immense implications. - If the moons are the anchors of the outer planes to the material, and are an essential part of the material plane itself, what would happen if they are all destroyed? Would the material plane even be able to continue to properly function, or would it only affect manifest zones and have no other effect whatsoever (as it seems to be the case with Dal Quor, and to some extent Xoriat with the Gatekeeper seals). If the later is true, why do the moons exist in the first place? What is their purpose in the fabric of the material plane (Except for being a really cool gameplay and narrative tool for interplanar shenanigans)? - Regarding the former part, do the dragons simply have the power to destroy the moons and cut of all the planes from the material forever? They teached the giants arcane magic, and while the giants likely developed the means to destroy the moon themsevles, the dragons could surely do it as well without many problems. - Another curious fact is mentioned in the Dal Quor section of Exploring Eberron (Page 159), which states that not even planeshift or astral travel can get you to Dal Quor or vice versa. The later is further elaborated on in the astral plane section of chronicles of eberron (Page 115), which states that the color pools (which allow interplanar travel between the planes and the astral plane) of Dal Quor are impossibly black and inaccessable. With these two things in mind, are the moons not evidently much more important to the multiverse as a whole than just for the material plane? Without the moons, interplanar travel by any means is impossible, for any plane. To further emathize on my former point with this, do the dragons simply have the power to destroy the fabric of the entire multiverse by blowing up the moons? That would be incredibly wild and almost absurd, and I cannot imagine that the inhabitants of the outer planes would simply not care, if their only means of interplanar travel is destroyed by the seemingly irrelevant mortals. - Finally, this also brings up a wild question regarding my penultimate part about the previous section for the daelkyr: Could one theoretically blow up Lharvion and prevent the daelkyr from ever meddling with the material plane again, and thus preventing them from altering reality? Also, if the effects of the destruction of cyra are present in the timeless astral plane, which contains countless remains of stuff from the previous incarnations of eberron, and even prevent the other planes from reaching Dal Quor, does that mean Cyra has been wiped out from all possible incarnations and alternate timelines of eberron? This hypothesis is probably the wildest one in this whole post!
Finally, I want to ask you all: What theories do you have about the planes and their interconnections? How do they interact in your eberron, if at all? What things transpired between them in your eberron and what wild events occured in your planar systems?
With all that said, I think I finally reached the end of my essay. Thanks to anyone who takes their time to read this post and I am very curious about your opinions and theories. Cheers! ^^
2024.05.16 19:22 JulieSongwriter #85D: Good Morning, Ladies!
Sorry to get this out so late. Bernie has been experiencing side effects from her radiation treatments. Please keep her in your thoughts.
Hope all is well, Ladies!
Heidi, so glad everything worked out. I hope your call with Guy provided you with some new perspectives. And Lita, exciting things ahead!!!
One more quote to highlight from this section of Ikeda Sensei's lecture that we have been studying this week:
The prime mover behind this site is a "BlancheFromage" who now operates a set of other accounts since she was permanently banned from Reddit. She doesn't believe I exist but nevertheless has spent many an hour denigrating me personally on WB, mocking my sexuality and family lifestyle, my history with mental illness, tracking me down to NSFW Reddit sites that I visit (sorry to admit, Ladies, I am no saint), and even my past work with RV campers such as Heidi. When she feels the risk of crossing boundaries and getting herself banned from Reddit again, I guess, she drops links to her WordPress site where she supplies her readers with more dirt on me (and some of you).
But do you know the one thing she hasn't engaged with? This is #85 in our "Good Morning Ladies" series of posts. Most of them have two or more sub-entries (i.e., this is #85D). So let's estimate we are at about 200 posts here. All of them are flaired with "I read it in the World Tribune." They are all rich in content from our publications. Surely, this is what SGI members read and use to understand our movement.
But Blanche dares not engage here at this level of ideas. She would rather have her followers believe that what she says are the core beliefs of the SGI are the core beliefs and not all of the guidances we all read in publications and hear at meetings. So she cowardly hides with the dust mites. Rather than engaging in the plane of ideas, it's so much easier to mock me as "u/JulieProngRider" and as u/Marilynnnn's sockpuppet (I keep telling her we are all u/Andinio's sockpuppets but she ignores that).
A couple of years ago Guy and I critiqued one--that's right, I said one--of Blanche's posts. It took us 18 posts--that's right, 18 rebuttals--to clarify and clean out her junk and trash. Did she engage and respond to any of our posts in detail? She actually did once--only to say I'm a sockpuppet so she doesn't have to respond. A very flimsy excuse, Ladies, to avoid engaging in the field of ideas.
So, Ladies, this battle of words will continue for the rest of our lives. Roll up your sleeves, put on your mascara and lipstick. Why?? It is in the Gosho and it is a proud feature of SGI history.
Thank you, Sensei, for opening the way! We got this!
submitted by JulieSongwriter to SGIWhistleblowersMITA [link] [comments]
Hope all is well, Ladies!
Heidi, so glad everything worked out. I hope your call with Guy provided you with some new perspectives. And Lita, exciting things ahead!!!
One more quote to highlight from this section of Ikeda Sensei's lecture that we have been studying this week:
In terms of our own practice, the hardships mentioned here refer not only to persecution and harassment by the authorities, but to the ignorant criticism we may encounter as we work to spread the Mystic Law.We've all talked about sgiwhistleblowers (WB) and I recommend that everyone read it from time to time. Let's prepare ourselves, Ladies! It's a case study of "the ignorant criticism we may encounter as we work to spread the Mystic Law."
The prime mover behind this site is a "BlancheFromage" who now operates a set of other accounts since she was permanently banned from Reddit. She doesn't believe I exist but nevertheless has spent many an hour denigrating me personally on WB, mocking my sexuality and family lifestyle, my history with mental illness, tracking me down to NSFW Reddit sites that I visit (sorry to admit, Ladies, I am no saint), and even my past work with RV campers such as Heidi. When she feels the risk of crossing boundaries and getting herself banned from Reddit again, I guess, she drops links to her WordPress site where she supplies her readers with more dirt on me (and some of you).
But do you know the one thing she hasn't engaged with? This is #85 in our "Good Morning Ladies" series of posts. Most of them have two or more sub-entries (i.e., this is #85D). So let's estimate we are at about 200 posts here. All of them are flaired with "I read it in the World Tribune." They are all rich in content from our publications. Surely, this is what SGI members read and use to understand our movement.
But Blanche dares not engage here at this level of ideas. She would rather have her followers believe that what she says are the core beliefs of the SGI are the core beliefs and not all of the guidances we all read in publications and hear at meetings. So she cowardly hides with the dust mites. Rather than engaging in the plane of ideas, it's so much easier to mock me as "u/JulieProngRider" and as u/Marilynnnn's sockpuppet (I keep telling her we are all u/Andinio's sockpuppets but she ignores that).
A couple of years ago Guy and I critiqued one--that's right, I said one--of Blanche's posts. It took us 18 posts--that's right, 18 rebuttals--to clarify and clean out her junk and trash. Did she engage and respond to any of our posts in detail? She actually did once--only to say I'm a sockpuppet so she doesn't have to respond. A very flimsy excuse, Ladies, to avoid engaging in the field of ideas.
So, Ladies, this battle of words will continue for the rest of our lives. Roll up your sleeves, put on your mascara and lipstick. Why?? It is in the Gosho and it is a proud feature of SGI history.
Thank you, Sensei, for opening the way! We got this!
2024.05.16 18:48 Odd_Match2206 Section 8 rules
I have been living in section 8 housing for a few years . I am on SSDi. I have a connective tissue disease and most likely will not be able to make enough money to survive in the area where I live without it . The median income where I live is around 70k. I also have a service dog and recently an incident with my dog being attacked by another dog and defending himself has left my current landlord trying to discriminate against me and saying that he will not allow my dog to live with me because of this incident . I have reported him to HUD and they are investigating the matter.
In the meantime, I have been staying at my boyfriend’s condo for a few months with my dog while the investigation is pending. Meanwhile I am paying rent for an apartment I am not even able to use right now as my dog cannot stay with me at this time because of this. My boyfriend is talking about marriage with me. We would both like to get married for multiple reasons. However it is possible if I do get married that I will be kicked off section 8 I believe if my husband is living with me in the apartment I am renting and on the lease . I do not know if I have to report my marriage and if I will be kicked off section 8 because of the marriage itself . From my understanding you do have to report any changes to your household , meaning people that live with you . My boyfriend has thought of an idea for my situation with my dog, me and him. He thought that he could get his condo approved by section 8 to rent to me , he could rent it to me, and collect the money from section 8. Then my service dog will be able to live with me, I don’t have to deal with shitty landlords who don’t care about me , and the extra money can go towards helping me. He would move most of his stuff to his parents house to get approval for section 8.
Because the federal government has not updated their social security benefits to account for inflation and rising costs , I can’t foresee that I will be able to continue paying for my medical expenses, gas, or a car in the future. My boyfriend said he sees this as a way to be able to help me to pay for things I will need in my future and we will still be able to get married. It is not the best situation, but a lot of people are in poverty and inflation is killing our dream of being able to get ahead . I just wanted to come here and ask if this would be considered legal according to section 8 policies .
submitted by Odd_Match2206 to povertyfinance [link] [comments]
In the meantime, I have been staying at my boyfriend’s condo for a few months with my dog while the investigation is pending. Meanwhile I am paying rent for an apartment I am not even able to use right now as my dog cannot stay with me at this time because of this. My boyfriend is talking about marriage with me. We would both like to get married for multiple reasons. However it is possible if I do get married that I will be kicked off section 8 I believe if my husband is living with me in the apartment I am renting and on the lease . I do not know if I have to report my marriage and if I will be kicked off section 8 because of the marriage itself . From my understanding you do have to report any changes to your household , meaning people that live with you . My boyfriend has thought of an idea for my situation with my dog, me and him. He thought that he could get his condo approved by section 8 to rent to me , he could rent it to me, and collect the money from section 8. Then my service dog will be able to live with me, I don’t have to deal with shitty landlords who don’t care about me , and the extra money can go towards helping me. He would move most of his stuff to his parents house to get approval for section 8.
Because the federal government has not updated their social security benefits to account for inflation and rising costs , I can’t foresee that I will be able to continue paying for my medical expenses, gas, or a car in the future. My boyfriend said he sees this as a way to be able to help me to pay for things I will need in my future and we will still be able to get married. It is not the best situation, but a lot of people are in poverty and inflation is killing our dream of being able to get ahead . I just wanted to come here and ask if this would be considered legal according to section 8 policies .
2024.05.16 17:45 Zagaroth [No Need For A Core?] - CH 188: Sounding Out The Swamp
Cover Art <<Previous Start Next >>
GLOSSARY This links to a post on the free section of my Patreon. Note: "Book 1" is chapters 1-59, "Book 2" is chapters 60-133, "Book 3", is 134-193, "Book 4" is CH 194-(ongoing)
Fuyuko, Derek, and Shizoku spent most of a day dealing with their accumulated gains and preparing for their first day of exploration. Shizoku spent a fair amount of that evening's time communing with Bip, her slime familiar. She needed to adjust what spells she had at the ready for dealing with a wetlands environment.
While she was studying her grimoire, Derek and Fuyuko were preparing more physical means of dealing with the wetlands. Most of their work had been dealt with by trading the boat for three pairs of proper swamp boots, but the footwear needed a little adjusting and resizing for each of them.
The over boots were a combination of different techniques for dealing with different sorts of mud, with the base being a raised wooden sole that 'winged' out to resist sinking further into soft mud that was deeper than the ridges raised the sole. These were attached to oiled leather over boots that were useful for wading. The wooden soles were detachable for prolonged wading where they would provide a hindrance.
Derek could reshape the wooden portion to match their feet exactly, and reshape metal fittings if needed, but leather and cloth needed manual adjustment. Given how long they were planning on using these for, it was important to make them fit as perfectly as possible to prevent blisters and sores, even with their normal footwear underneath the boots.
They began their exploration by using the mapping tools they had won in the library to learn the layout of the swamp near the town. It didn't take them long to realize that some of the islands moved very slowly, and Derek was able to use his elemental talents to investigate, leading to the disturbing realization that under the right conditions, mud could have currents and flows.
Shizoku's magic wasn't quite as effective as she would have liked, for most of it was designed to work in other environments. Magic designed to hide your tracks and traces didn't prevent you from making them in the first place, and so did not keep you from sinking into mud. She did have a spell designed to make traversal through any terrain safe and easy, but it didn't last very long and was best reserved for crossing smaller sections of really bad terrain.
Spells used for manipulating and altering plants could also provide small bridges, but these were limited by the strength of the nearby plants. Generally speaking, they were better for clearing plants out of the way.
These difficulties were inspiring ideas of future spells to research, but that required more time than just the little bit of rest they got each day.
Derek's powers were more consistent and easier to use repeatedly or for long periods, but the effects tended to not be as dramatic as the witch's spells. He could make the mud firmer or softer to a degree, but he couldn't create a solid path out of flowing silt for even a few minutes.
Fuyuko found that her long limbs and greater strength allowed her to move easier through the swamp then her friends could, just by virtue of being able to apply more force and leverage. This was why she was leading the way, Derek found it difficult to monitor the details of the mud around them while also working to firm it up constantly, and it was easiest for Fuyuko to cope with any sudden changes that Derek wasn't able to compensate for.
Their outward journey each day was mostly limited by Derek's stamina, and when he was approaching his limits they would use a combination of their maps and Shizoku's divination magics to find the best route back. Such spells required some precision in defining a destination, so they were not very useful when you didn't have a concrete destination in mind.
Because the trio were taking their time to be thorough and to explore all possibilities, it didn't take long for them to begin finding all the bounties that the swamp held in store for them. Shizoku was able to find plants with medical and alchemical uses, though she had to consult the tomes that she had stored in Bip's memories as wetland plants were not very familiar to her. Once she had identified any specific plant, she could give it to Fuyuko as a sample and the luponi could use her better senses to find more of that plant.
Fuyuko also caught the scent of some mud that was strangely familiar, and after she and Derek dug out some of the intensely colored clay, Shizoku was able to recognize it was a valuable type of clay used for making prized teapots and other pottery. This explained why the scent had been familiar to Fuyuko, as Kazue had been excited to introduce her to Cimbu and the fourteen-year-old had been fascinated by the ability to make the little clay dragon spit water without any magic involved and sometimes made some tea just to have an excuse to play with the tea pet and make him spit. Well, once she'd been shown how; tea wasn't something she'd had much experience with before.
Claiming the clay was more problematic. However much they might be able to claim in their explorations and bring back to town, there were only so many other explorers they could trade with as everyone had a limit to how much stuff they could physically haul out. In the end they decided on a single large sack of clay that would be stored in Fuyuko's spatially expanded backpack.
Derek did most of the work of 'mining' the clay, during which they made another discovery: Opals. There weren't an outrageous number of them, but they were decent-sized and high quality. These became a higher priority target than the clay itself, though they kept that too.
The teens didn't forget the lessons they'd been given about the previous level and wanted to fish here too. However, the water was murky in the places it was deep enough to possibly have fish, making it more difficult to know where the fish were.
It was only after they talked with people back at the town that they learned about fish traps, and set about making those. Specifically, eel traps. The eels were prized for both their skin and their flesh. Their skin was both durable and supple and came in a wide variety of colors and patterns, and their flesh was sweeter than most varieties found out in the world. As soon as they learned how to make and set eel traps, those were added to their routine during their explorations.
Their travels throughout the swamp also brought them to many of the scattered 'monster homes' throughout the swamp, including the time that Fuyuko nearly stepped on a kobold enjoying a nice relaxing mud bath. It was a shock for all three of them as none knew about the relatively recent acquisition of the small, scaled race.
Shizoku was fine with the kobold after she got over her shock, but she did less well when they met the crabbit, who was so kind as to sing for them. Not that any of them found the sight of the interior of the 'mouth' to be less than disturbing, but the effect on the little kitsune was profound as she tightened her lips into a forced smile despite the panic showing clearly in the lines and tension around her eyes. She did well enough to keep her reaction under control that the inhabitants chose to ignore it rather than call her out on it, which would have knocked down their standing in the witch's evaluation.
After about a week, they decided that their mapping and exploration of the swamp was about as good as it was going to get. It was time to approach the witch's hut that they'd avoided previously. The Fairy Witch was in a strange, almost manic mood and the trio quickly found out she was obsessed with creating new musical sounds.
"Alright kids," Carmilla said, "you want to pass my swamp? You have to help me out here. Look, the bards I've gotten my hands on have been great and all, even pretty damn creative. But I think I need something from people who don't know as much about music. Here's my workshop, I don't care if it's a new instrument or a new way of playing an old instrument, a different sort of harmony, or whatever. Gimme something new, and you can use anything you want here, the good stuff is in another building. Bah, this lot." She glared at a group of distant figures. "They're boring, won't even respond to me flirting with them, and not a musical bone in their bodies. Well, time to play the part. Have fun in there, but I don't really want to see you again until you got something for me."
The only one of them with any musical training at all was Shizoku, but it had never been something she'd pursued on her own. That left them somewhat aimlessly poking around the workshop and messing around with instruments they found, many of which were obviously experiments that were only finished enough to test.
That did eventually prove to be enough for inspiration. A large lute was laying on top of a narrow table, and Derek frowned thoughtfully at it. "I think I remember seeing something once that looked a little like that, but smaller. Like, it had a long board with a bunch of strings, way more than the lute, but the strings were on the top sort of like the lute, and it had a folding stand so that it sat on the ground. The lady who played it was set up in the square and taking tips, I guess to help pay her way? I don't know where she was traveling to or from, I only saw her once. I remember it being nice, but I don't remember what it sounded like exactly."
That was enough to start the ball rolling. "I think I know that one," Shizoku said, "Gran Gran has one tucked away. I don't think I've seen her play it though. Hmm. Well, she wants something new to her, and I don't think it's portable enough that most people are going to lug one down here, so maybe we can do that. I don't know how to tune without a tuning fork. Wait, Fuyuko, you have sharp ears, think you can figure out proper notes and a scale? "
Fuyuko looked at her blankly. "Um? I don't know, what does it involve?"
Shizoku gave her a quick rundown of how notes relate to each other with harmonies and gave an example by singing a few notes that were close to each other. "So like that, but cleaner. Only, we are supposed to be creative, and I know that there are different scales." She chewed on the idea for a little while more, thinking out loud while the others asked questions.
They agreed that the first step was going to be having a sounding box for the body, once Shizoku explained that was how the instrument amplified sound. Though that meant figuring out the size. Derek suggested that he try to make it as big as Carmilla could play. She wasn't as tall as Fuyuko, but she was pretty tall and had long arms and fingers.
The table seemed like a perfect frame to start with, even if they were going to destroy it, and the three of them set about scavenging the other instruments for parts. They snacked on strips of dried eel when they needed to take a break, and by evening they had a crude sound box built into what had once been the table. Even with Derek's wood-shaping skills, they were having trouble getting the salvaged parts to fit smoothly together into a single box with enough resonance.
Udup, the witch's shadow drake familiar, came out to check on them, and after getting a report on their progress offered to fetch them some food if they wanted to camp out here instead of trekking to town and back. The teens agreed that was the better idea, and it allowed them to tinker with ideas until they turned in for the night.
<<Previous Start Next >>
Also to be found on Royal Road.
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$3. : 10 Early chapters, lore excerpts $5. : 20 Early chapters, Short Stories $10 : 30+ Early chapters, New stories not published anywhere else (Until after I finish this story at least) . . . . . "A Girl and Her Dungeon", "The Celestine Fox", and AU Core 1: "Coreless"
submitted by Zagaroth to redditserials [link] [comments]
GLOSSARY This links to a post on the free section of my Patreon. Note: "Book 1" is chapters 1-59, "Book 2" is chapters 60-133, "Book 3", is 134-193, "Book 4" is CH 194-(ongoing)
While she was studying her grimoire, Derek and Fuyuko were preparing more physical means of dealing with the wetlands. Most of their work had been dealt with by trading the boat for three pairs of proper swamp boots, but the footwear needed a little adjusting and resizing for each of them.
The over boots were a combination of different techniques for dealing with different sorts of mud, with the base being a raised wooden sole that 'winged' out to resist sinking further into soft mud that was deeper than the ridges raised the sole. These were attached to oiled leather over boots that were useful for wading. The wooden soles were detachable for prolonged wading where they would provide a hindrance.
Derek could reshape the wooden portion to match their feet exactly, and reshape metal fittings if needed, but leather and cloth needed manual adjustment. Given how long they were planning on using these for, it was important to make them fit as perfectly as possible to prevent blisters and sores, even with their normal footwear underneath the boots.
They began their exploration by using the mapping tools they had won in the library to learn the layout of the swamp near the town. It didn't take them long to realize that some of the islands moved very slowly, and Derek was able to use his elemental talents to investigate, leading to the disturbing realization that under the right conditions, mud could have currents and flows.
Shizoku's magic wasn't quite as effective as she would have liked, for most of it was designed to work in other environments. Magic designed to hide your tracks and traces didn't prevent you from making them in the first place, and so did not keep you from sinking into mud. She did have a spell designed to make traversal through any terrain safe and easy, but it didn't last very long and was best reserved for crossing smaller sections of really bad terrain.
Spells used for manipulating and altering plants could also provide small bridges, but these were limited by the strength of the nearby plants. Generally speaking, they were better for clearing plants out of the way.
These difficulties were inspiring ideas of future spells to research, but that required more time than just the little bit of rest they got each day.
Derek's powers were more consistent and easier to use repeatedly or for long periods, but the effects tended to not be as dramatic as the witch's spells. He could make the mud firmer or softer to a degree, but he couldn't create a solid path out of flowing silt for even a few minutes.
Fuyuko found that her long limbs and greater strength allowed her to move easier through the swamp then her friends could, just by virtue of being able to apply more force and leverage. This was why she was leading the way, Derek found it difficult to monitor the details of the mud around them while also working to firm it up constantly, and it was easiest for Fuyuko to cope with any sudden changes that Derek wasn't able to compensate for.
Their outward journey each day was mostly limited by Derek's stamina, and when he was approaching his limits they would use a combination of their maps and Shizoku's divination magics to find the best route back. Such spells required some precision in defining a destination, so they were not very useful when you didn't have a concrete destination in mind.
Because the trio were taking their time to be thorough and to explore all possibilities, it didn't take long for them to begin finding all the bounties that the swamp held in store for them. Shizoku was able to find plants with medical and alchemical uses, though she had to consult the tomes that she had stored in Bip's memories as wetland plants were not very familiar to her. Once she had identified any specific plant, she could give it to Fuyuko as a sample and the luponi could use her better senses to find more of that plant.
Fuyuko also caught the scent of some mud that was strangely familiar, and after she and Derek dug out some of the intensely colored clay, Shizoku was able to recognize it was a valuable type of clay used for making prized teapots and other pottery. This explained why the scent had been familiar to Fuyuko, as Kazue had been excited to introduce her to Cimbu and the fourteen-year-old had been fascinated by the ability to make the little clay dragon spit water without any magic involved and sometimes made some tea just to have an excuse to play with the tea pet and make him spit. Well, once she'd been shown how; tea wasn't something she'd had much experience with before.
Claiming the clay was more problematic. However much they might be able to claim in their explorations and bring back to town, there were only so many other explorers they could trade with as everyone had a limit to how much stuff they could physically haul out. In the end they decided on a single large sack of clay that would be stored in Fuyuko's spatially expanded backpack.
Derek did most of the work of 'mining' the clay, during which they made another discovery: Opals. There weren't an outrageous number of them, but they were decent-sized and high quality. These became a higher priority target than the clay itself, though they kept that too.
The teens didn't forget the lessons they'd been given about the previous level and wanted to fish here too. However, the water was murky in the places it was deep enough to possibly have fish, making it more difficult to know where the fish were.
It was only after they talked with people back at the town that they learned about fish traps, and set about making those. Specifically, eel traps. The eels were prized for both their skin and their flesh. Their skin was both durable and supple and came in a wide variety of colors and patterns, and their flesh was sweeter than most varieties found out in the world. As soon as they learned how to make and set eel traps, those were added to their routine during their explorations.
Their travels throughout the swamp also brought them to many of the scattered 'monster homes' throughout the swamp, including the time that Fuyuko nearly stepped on a kobold enjoying a nice relaxing mud bath. It was a shock for all three of them as none knew about the relatively recent acquisition of the small, scaled race.
Shizoku was fine with the kobold after she got over her shock, but she did less well when they met the crabbit, who was so kind as to sing for them. Not that any of them found the sight of the interior of the 'mouth' to be less than disturbing, but the effect on the little kitsune was profound as she tightened her lips into a forced smile despite the panic showing clearly in the lines and tension around her eyes. She did well enough to keep her reaction under control that the inhabitants chose to ignore it rather than call her out on it, which would have knocked down their standing in the witch's evaluation.
After about a week, they decided that their mapping and exploration of the swamp was about as good as it was going to get. It was time to approach the witch's hut that they'd avoided previously. The Fairy Witch was in a strange, almost manic mood and the trio quickly found out she was obsessed with creating new musical sounds.
"Alright kids," Carmilla said, "you want to pass my swamp? You have to help me out here. Look, the bards I've gotten my hands on have been great and all, even pretty damn creative. But I think I need something from people who don't know as much about music. Here's my workshop, I don't care if it's a new instrument or a new way of playing an old instrument, a different sort of harmony, or whatever. Gimme something new, and you can use anything you want here, the good stuff is in another building. Bah, this lot." She glared at a group of distant figures. "They're boring, won't even respond to me flirting with them, and not a musical bone in their bodies. Well, time to play the part. Have fun in there, but I don't really want to see you again until you got something for me."
The only one of them with any musical training at all was Shizoku, but it had never been something she'd pursued on her own. That left them somewhat aimlessly poking around the workshop and messing around with instruments they found, many of which were obviously experiments that were only finished enough to test.
That did eventually prove to be enough for inspiration. A large lute was laying on top of a narrow table, and Derek frowned thoughtfully at it. "I think I remember seeing something once that looked a little like that, but smaller. Like, it had a long board with a bunch of strings, way more than the lute, but the strings were on the top sort of like the lute, and it had a folding stand so that it sat on the ground. The lady who played it was set up in the square and taking tips, I guess to help pay her way? I don't know where she was traveling to or from, I only saw her once. I remember it being nice, but I don't remember what it sounded like exactly."
That was enough to start the ball rolling. "I think I know that one," Shizoku said, "Gran Gran has one tucked away. I don't think I've seen her play it though. Hmm. Well, she wants something new to her, and I don't think it's portable enough that most people are going to lug one down here, so maybe we can do that. I don't know how to tune without a tuning fork. Wait, Fuyuko, you have sharp ears, think you can figure out proper notes and a scale? "
Fuyuko looked at her blankly. "Um? I don't know, what does it involve?"
Shizoku gave her a quick rundown of how notes relate to each other with harmonies and gave an example by singing a few notes that were close to each other. "So like that, but cleaner. Only, we are supposed to be creative, and I know that there are different scales." She chewed on the idea for a little while more, thinking out loud while the others asked questions.
They agreed that the first step was going to be having a sounding box for the body, once Shizoku explained that was how the instrument amplified sound. Though that meant figuring out the size. Derek suggested that he try to make it as big as Carmilla could play. She wasn't as tall as Fuyuko, but she was pretty tall and had long arms and fingers.
The table seemed like a perfect frame to start with, even if they were going to destroy it, and the three of them set about scavenging the other instruments for parts. They snacked on strips of dried eel when they needed to take a break, and by evening they had a crude sound box built into what had once been the table. Even with Derek's wood-shaping skills, they were having trouble getting the salvaged parts to fit smoothly together into a single box with enough resonance.
Udup, the witch's shadow drake familiar, came out to check on them, and after getting a report on their progress offered to fetch them some food if they wanted to camp out here instead of trekking to town and back. The teens agreed that was the better idea, and it allowed them to tinker with ideas until they turned in for the night.
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2024.05.16 17:22 haygurlhay123 “This Time, I Will Never Let You Go”: Cloud’s Mission and the Hidden Purpose of the Remake Trilogy - Literary and Musical Analysis of FFVII - Part 6
(continuation of part 5)
Post-OG Cloud ruminates on what he could have done to save Aerith. Had he not been so lost in his own mind —distracted by Sephiroth and Jenova, consumed by his need to fulfill the emptiness at the core of his identity—, would he have paid more attention to Aerith’s sadness and anticipated her plan to go to the Forgotten Capital alone? Could she have survived if not for his obsession with what tormented him at the time? Could he have figured it out and kept her by his side? He’s angry with himself in retrospect, drowning in guilt, just like in Advent Children.
Here are the choruses, which usually contain the thesis main message of a song:
VI. e) ii. “No Promises to Keep” Lyrics
This is quite obvious. Aerith is resigned to her fate, but still harbors hope that she will meet Cloud again in a permanent reunion:
The last point I want to hit on is the concept of reunion. In OG, this theme was pretty much dominated by the Jenova Reunion. To an OG fan back in 1997, “reunion” meant “Sephiroth and Jenova’s evil plan”. However, in the Remake trilogy, the theme is expanded into something more. The first time Cloud meets Aerith in Remake, she gives him a flower and tells him something she didn’t in OG:
Many moments exclusive to the Remake trilogy serve the same purpose: linking the theme of reunion to Aerith. This expansion of the theme is highly significant. Our theory is that the Remake trilogy exists to reunite Cloud and Aerith, so the fact that the trilogy would implement so many Clerith-centric references to reunion is great support for our theory.
VI. g) i. The Leslie-Cloud Parallel
Let’s consider another instance involving the reunion flower in Remake, more precisely, the chapter 14 subplot surrounding Leslie’s lost lover. In case you need a refresher, Leslie is one of Corneo’s lackeys, although he secretly plans to betray him. He once had a fiancée and things were looking up until she was selected as one of Corneo’s brides. The day before she disappeared (presumably taken by Corneo), his fiancée broke up with him with no explanation. It was confusing and left Leslie perplex. As she broke up with him, she returned a necklace to him, one with a flower pendant. Of course, that flower is the very same reunion flower Aerith gives Cloud in chapter 2.
Evidently, Leslie and Cloud are going through parallel situations. At this point in time, Aerith was just kidnapped by Shinra, and Cloud is on his way to get her back. Both their loved ones have been taken by tyrant rulers, one being slumlord Corneo and the other being the Shinra government. In fact, even Leslie and Cloud’s attitudes share similar disillusioned, cold and stoic qualities. Leslie’s fiancée would evidently be paralleled by Aerith.
The most obvious proof of the Leslie-Cloud parallel is written plainly on the list of Remake’s chapter 14 main scenario objectives. Objective 7, called “For the Reunion”, consists of receiving the grappling guns needed to reach topside and save Aerith. The description of the objective reads as follows:
All this is simple and apparent enough. Just the fact that the theme of reunion is linked to Clerith in this way is proof enough, but there’s another layer to the Leslie-Cloud parallel. Not only does Leslie’s situation reinforce the concept of a Clerith reunion, it also mirrors the specifics of our theory: namely that Cloud will save Aerith from specifically Sephiroth (represented in Leslie’s scenario by Corneo) and that Cloud will take the initiative to accomplish this reunion. These two specific aspects of our theory are reflected by Leslie’s circumstances, meaning the Leslie-Cloud parallel not only pushes the theme of reunion, but also supports our specific theory.
VI. g) i. 1) The Separators: Corneo and Sephiroth
I’ll first prove that Leslie’s scenario is not meant to echo Cloud’s separation from Aerith at the hands of Shinra —or at least not exclusively—, but rather Cloud’s separation from Aerith at the hands of Sephiroth. Corneo would therefore be paralleled by Sephiroth rather than the tyrannical Shinra government.
The first piece of proof for the Corneo-Seohiroth parallel lies within the way in which Leslie’s fiancée broke things off: by lying. Aerith also lies to Cloud to create distance between them, but not pertaining to her kidnapping— rather, pertaining to her fated death. Since Sephiroth is Aerith’s killer and not Shinra, Corneo’s role in the Leslie-Cloud parallel is analogous to Sephiroth’s rather than Shinra’s.
There are two pieces of evidence that the Corneo-Sephiroth comparison makes more sense than the Corneo-Shinra one. The first lies in the fact that Leslie’s breakup resembles Cloud’s resolution scene: the topic of Cloud’s resolution scene is Aerith’s fate at the hands of Sephiroth rather than her kidnapping by Shinra, meaning Corneo and Sephiroth are the antagonists of both heartbreaks.
Let’s examine Leslie’s breakup. Here is how his fiancée broke things off, taken from the English script of Remake’s chapter 14, with tone indicators added by me in bold:
If you’re finding this familiar, then you might be ahead of me. Let’s take a look at what Aerith says to Cloud in his resolution scene, also in the English script of Remake’s chapter 14, with tone indicators added by me in bold:
In both cases, the women know something about their fate that the men don’t and are hiding this impending tragedy from them. Just like Leslie’s fiancée, Aerith uses well-intentioned deception to protect her loved one from the pain that will come from her fate— the lie, of course, is that their love isn’t real. Both women are hopeless, and both men are initially clueless. Aerith’s resolution can’t be about her kidnapping, because Aerith thinks her rescue is anything but hopeless— she’s sure Cloud will come save her from Shinra. She says so herself in OG’s disk 1, chapter 8:
The second piece of evidence supporting my belief that Corneo mirrors Sephiroth and not Shinra in the Leslie-Cloud parallel is the inclusion of the theme of revenge that crops up in the following piece of dialogue:
Additionally, it looks like Leslie’s obsession with revenge as a means to closure is the reason he didn’t bother trying to understand the message his fiancée left him with: he’s focused on his hate rather than his love, and it’s hindering him. He doesn’t succeed in killing Corneo either: his focus and energy are misplaced. Cloud’s desire for vengeance against Sephiroth is also depicted as an obstacle to accomplishing his goals (see how in section “III. c)” of my previous literary analysis). Once more, the Corneo-Sephiroth parallel fits far better than a Corneo-Shinra perspective.
VI. g) i. 2) The Reunion Seekers: Leslie and Cloud
The other aspect of the Leslie-Cloud parallel that supports our theory is that in both scenarios, they both take charge of the situation and decide to actively seek reunion with their respective lovers. The following dialogue excerpt, supplemented by the VA script notes, shows Leslie’s initiative:
VI. g) i. 3) Delayed Realizations
Interestingly, not only does Leslie’s determination mirror Cloud’s, but both men are depicted as realizing the truth too late. Just like Leslie only began searching for his fiancée six months after her disappearance, Cloud only realizes he loves Aerith in OG once she’s died. It took him this long to actually get somewhere in his mission to reunite with her— “somewhere” being the Remake trilogy.
Even Barret’s words highlight the lovers’ delay: “Can never be sure how much someone means to ya till they're gone”. Barret would know: he lost his wife Myrna, whom he loved dearly. The devs have Barret comment on the situation as a man whose lover died, mirroring Cloud’s situation in OG. Just as Barret says, Cloud only truly realized the strength of how he felt for Aerith in OG once she was gone. The gunman’s words apply to both Leslie and Cloud’s tardy initiatives. Regardless of this delay, both men are now determined to see their respective reunions through.
The degree to which the Leslie-Cloud parallel fits our theory is a great sign of its validity: even the details are lining up!
VI. g) ii. Reunion in the Theme Songs
Too easy: in our analysis of the lyrics of the theme songs, we covered how both texts include the theme of reunion. “No Promises to Keep” is especially relevant (see section “VI. e) ii.”), as the entire song is Aerith hoping against fate for a reunion with Cloud (even if you believe the song is about all her companions, that still includes Cloud).
On top of these reunion-themed lyrics, during Aerith’s in-game performance of “No Promises to Keep” at the Gold Saucer production of Loveless, her yellow blossoms signifying reunion bloom all around her as Cloud watches her, captivated.
Another great sign for our theory: the highly significant theme songs are on our side!
VI. g) iii. Waking Up Reunited
The thing I want to juxtapose to our theory is a small yet special moment in chapter 2 of Rebirth that stuck out to me like a sore thumb and got me really excited about sharing it with you. This moment occurs after the battle against the Midgardsormr. We’ll be comparing it to two other clips, describing all three in chronological order, and making deductions based on their similarities.
The first clip I want to address occurs in chapter 8 of Remake (1:32-2:12). There are a couple of things I want to point out in this scene. First, Aerith wakes Cloud from unconsciousness with a cute call of “Hello~?”. Second, despite pretending that he doesn’t, he immediately recognizes her. The VA script notes prove it:
Now onto the Rebirth chapter 2 scene that stuck out to me. After Cloud is saved from the Midgardsormr by Sephiroth, Cloud wakes from an unconsciousness spell with Aerith calling for him (7:20-7:34).
Once more, Aerith wakes him with a cute call (this time, it’s “Wakey, wakey!”), and Cloud recognizes her. In this Midgardsormr clip, unlike their reunion in the church, Cloud verbalizes that he remembers her. This time, there’s more: next, Aerith tells Cloud “おかえり, クラウド”, or “okaeri, Cloud”, which translates to “welcome back, Cloud”. “Okaeri” is what you say in Japanese when someone has returned home. In the third clip we will analyze, Aerith says “okaeri” to Cloud once more. But first, let’s break down this second clip.
I don’t know about you, but this cutscene felt extremely weird to me when I first encountered it. That is, it would have been, if not for the theory I’d begun formulating at that time.
You see, the devs could have chosen for Aerith to ask Cloud if he remembers his own name or where they are, if he’s okay, or check if he responds to his own name. In fact, asking someone who’s been hit on the head to say their own name is a much more common reaction to them finally waking up than asking them if they remember you. Even stranger is Cloud’s reaction: he could have answered “Yeah, you’re Aerith,” or “I remember everything, I’m fine”. Instead, he says her name with this airy and wonderstruck tone. He sounds like he’s opening his eyes to something mystic rather than his comrade leaning over him, like he’s seeing someone unexpectedly for the first time in a while… or rather like he’s waking from a trance of some kind— a trance in which he did not remember Aerith, and now he does. You may see where I’m going with this.
Let’s examine the third clip, wherein Aerith tells Cloud “okaeri” again. More specifically, in chapter 14, Aerith welcomes Cloud back when he snaps out of his zombified, Sephiroth-controlled state and runs toward her. Of course, it’s the sight of her and his memories of meeting her in chapter 2 of Remake that shake him awake (2:17:43-2:18:02).
For a third time, Aerith wakes Cloud. This time, she’s pulling him out of a trance and back to himself. And for a third time, Cloud remembers her. In fact, it’s remembering her that wakes him up. Cloud calls her name and Aerith says “okaeri” in both the post-Midgardsormr cutscene and this third clip. And in both scenes, not only does Cloud return to himself the way someone returns home (recall that “okaeri” is used to welcome someone back home), but he’s also returning to her, recognizing her as his home.
Now we’ve got three scenes lined up: the church reunion scene (both in OG and Remake), the Midgardsormr scene and the hand-reach scene. All three of these recognition scenes feature Cloud being woken up by Aerith and remembering who she is. The main difference is that, in the scenes among these three that are exclusive to Rebirth, Cloud’s return to Aerith is far more meaningful, as he already knows her name, and knows more about who she is to him. Evidently, in the OG church reunion scene, Cloud only remembers being sold a flower by this girl. In the Remake version, he remembers the same thing, plus the attack of the whispers. So there’s something much more weighty about the Rebirth recognition scenes: he remembers more, and he remembers deeper. These aren’t just recognition scenes, they’re also mini-reunions. Of course, as we’ve already analyzed pertaining to the hand-reaching scene, Cloud remembering Aerith is followed by him being the one to take action and run toward her, eager to save her, because she means the world to him. When you place the Midgardsormr scene between the church reunion scene and the hand-reach scene, an evolution of Cloud waking up and remembering Aerith is formed. Each mini-reunion scene adds a piece to the story: the church scene informs us that Cloud and Aerith are meeting again, the Midgardsormr scene tips us off that something mystic is going on from Cloud’s tone when he says Aerith’s name, and the hand reach scene tells us that as a consequence of remembering who Aerith is, Cloud saves her from falling to her death and saving her. “Meeting again”, “mystic”, and “saving Aerith”: these are the keywords of the mini-reunion scenes. They are also the keywords of our theory on Cloud’s mission to save Aerith. This time around Cloud knows more and is more conscious about how he feels for Aerith, just like he feels more when in the hand-reach scene in Rebirth compared to the church reunion scene in Remake. From the latter scene to the former, Cloud gradually wakes up and remembers his love for and loss of Aerith in the OG more and more. Each mini-reunion brings him closer to saving her when he blocks the masamune. This is why I am certain that in part 3, whether Cloud comes to his full senses or not, whether he remembers the events of OG or not, he will save Aerith this time. The Remake trilogy is centered around Aerith, after all. In fact, don’t take it from me, take it from Nojima:
VI. h) Zooming In
In fact, this zooming-in method of directing players’ attention to important narrative beats is far from new.
VI. h) i. Changing Fate
Let’s divert our attention to Nanaki’s Skywheel date (2:28-3:30). The dialogue goes like this: Nanaki brings us the Whispers and suggests the party might eventually forget about their existence, and Cloud says that frankly, if it’s impossible for them to change fate either way, then it would be better for them to forget to Whispers altogether.
This is a very clear message from the devs: “There would be no point in including the Whispers in the Remaketrilogy if we did not make use of their defeat”. They’re telling us through Cloud’s dialogue that they know it would be foul play and bad writing to introduce the theme of defying fate if it didn’t eventually pay off.
As if it weren’t clear enough what the devs are referring to, Nanaki brings up Aerith’s death directly after Cloud delivers the devs’ message to us. He actually makes Cloud promise to save her. This is pretty on the nose. By promising Nanaki he will protect Aerith, the devs are promising us the same. I’m certain that part 3 will deliver on this promise.
If you still aren’t sold, I’d like to direct your attention to the framing of the shot where Cloud says “If we can’t change [fate]” (2:49-2:51). There’s a zoom-in on his mouth, which is a visual cue that translates to “what this character is saying right now is important to the plot”. It’s very indiscreet in theory: the camera literally hones in on the invisible words as though the script has them highlighted, italicized triple-underlined and in bold.
VI. h) ii. Aerith’s Knowledge
We’ve seen the Remake trilogy use this camera framing at least twice so far. The first time occurs in Remake’s chapter 8, before it becomes clear that Aerith knows things from the OG game that she wouldn’t normally know if this were just a remastered version of the same 1997 plot. I’ll let Remake Ultimania‘s description of this moment speak for itself:
The framing of this shot indicates to us that what Aerith says provides an important hint as to the plot’s direction. Sure enough, with hindsight, it’s easy to see that’s true.
VI. h) iii. Tifa’s Question
Another time this framing is used is in chapter 1 of Rebirth, after Cloud recounts the Nibelheim incident. Tifa asks the group why Sephiroth is choosing to come back now, after five years (37:55-37:58).
Once more, we are being signaled that the reason Sephiroth chose to return at the moment he did is significant to the plot, but cannot be revealed explicitly yet. The reason why Sephiroth took five years to return is because that’s how long it took for Cloud to get back on his feet after the Nibelheim incident: Sephiroth wants and/or needs to manipulate Cloud in particular rather than all the other people with Jenova cells in them. It took five years for Cloud to not only go through Hojo’s experiments but also escape Shinra and make his way to Seventh Heaven, where Tifa nursed him back to health— therefore, it took five years until Sephiroth’s favorite pawn was available to be used. There are a few reasons why Cloud is the one Sephiroth wants to use, and all of them would be spoilers at this point in Rebirth to players who don’t know the OG plot. The devs can’t reveal any of them yet, but they do indicate via a close-up shot of Tifa’s mouth that her question is important.
VI. h) iv. The Takeaway
As you can see, this framing of characters’ mouths when they speak signals a plot-significant piece of dialogue. This means Cloud’s words on his gondola date with Nanaki can’t be brushed off as a red herring or an unimportant or throwaway line: it has narrative weight.
VII. a) Shifting Themes
Good storytellers don’t introduce themes as a way to pull the rug from under audiences’ feet by later rendering them completely irrelevant to the plot.
In other words, the devs would not have introduced the notion of fate as an antagonistic force in Remake, nor allowed the players to defeat it in chapter 18, had they planned for these themes not to pay off at all. Think of how good FFVII OG and FF stories in general are, how strong the writing is from a narrative point of view. Nothing is included for no reason or for a cheap reaction— especially not a central theme of a story. Fate and defeating it is a huge point of Remake, and not for no reason.
I mean, think about a storyline all about defying fate ending with a shrug and a “Oh well, we tried.” It would be ridiculous! The devs are better than that.
VII. b) What the Devs Want
The devs are well aware that fans of FFVII have been begging for Aerith’s resurrection since 1997. All those petitions, all those myths of a revival hack… SE knows about them all too well. They were even referenced by FF’s 30th anniversary expo, which partly promoted Remake:
The devs know how well-loved both Clerith and Aerith are. And in fact, they love Aerith at least as much as we do:
I think a lot of people have it in their heads that the devs don’t want anything to change from the OG story, but there’s a lot of evidence that says otherwise. Codirector Toriyama spoke on this, stating the following about the production process of Remake:
(conclusion in
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Post-OG Cloud ruminates on what he could have done to save Aerith. Had he not been so lost in his own mind —distracted by Sephiroth and Jenova, consumed by his need to fulfill the emptiness at the core of his identity—, would he have paid more attention to Aerith’s sadness and anticipated her plan to go to the Forgotten Capital alone? Could she have survived if not for his obsession with what tormented him at the time? Could he have figured it out and kept her by his side? He’s angry with himself in retrospect, drowning in guilt, just like in Advent Children.
Here are the choruses, which usually contain the thesis main message of a song:
“Shine bright once more&
Guide me to you
Smile bright once more
This time I will never let you go”
“Hear me once moreIn these choruses, Cloud asserts that he will get it right this time (“this time” referring to the second chance that is the Remake trilogy). He will make sure he saves Aerith and never lets her go. He knows she’s gone, but he will fight against time to get her back. He longs for her smile and her light again, and he cannot bear the guilt: so he doesn’t. Post-OG Cloud embarks on a new adventure: ”I want to go to a place where everything is new,” said Cloud to Wol and Echo in Eclipse Contact before facing his past and being launched into Remake. “Hollow” makes far more sense now, doesn’t it? It’s a song not only about Cloud’s loss, but also about his determination to save Aerith this time. Given that it’s the theme song of Remake, the fact that “Hollow” fits with our theory perfectly is a very good sign: a theme song is meant to reflect the main plot of a story, indicating as our theory states that Remake is principally, albeit secretly, about Cloud saving Aerith. Because of this hope being set up, I’m confident that they will be together in the end, reunited for good. My dear Clerith friends, this is the hidden purpose of the Remake trilogy. Cloud and Aerith will be reunited.
Show me your smile
This time for sure
I'll see the truth hidden inside your tears
But I, I know
That you're long gone
But I, I will
Go on, howling and hollow”
VI. e) ii. “No Promises to Keep” Lyrics
This is quite obvious. Aerith is resigned to her fate, but still harbors hope that she will meet Cloud again in a permanent reunion:
“Till the day that we meet againVI. f) The Theme of Reunion Explained?
Where or when?
I wish I could say
But believe, know that you'll find me
[…]
Till the day that we meet again
On our street, I want to believe
[…]
Till the day that we meet again
At our place, just let me believe
In the chance that you'll come
Take my hand and never let me go
Take my hand
And believe
We can be
Together evermore
[…]
Still I hope someday you'll come and find me
Still I know someday you'll come and find me”.
The last point I want to hit on is the concept of reunion. In OG, this theme was pretty much dominated by the Jenova Reunion. To an OG fan back in 1997, “reunion” meant “Sephiroth and Jenova’s evil plan”. However, in the Remake trilogy, the theme is expanded into something more. The first time Cloud meets Aerith in Remake, she gives him a flower and tells him something she didn’t in OG:
“Lovers used to give these when they were reunited...”In addition, we’ve already talked about how part 5 of “Aerith’s Theme - The Cetra” from the Remake OST tells the story of Cloud and Aerith’s reunion (see section “V. b) ii. 2)”).
Many moments exclusive to the Remake trilogy serve the same purpose: linking the theme of reunion to Aerith. This expansion of the theme is highly significant. Our theory is that the Remake trilogy exists to reunite Cloud and Aerith, so the fact that the trilogy would implement so many Clerith-centric references to reunion is great support for our theory.
VI. g) i. The Leslie-Cloud Parallel
Let’s consider another instance involving the reunion flower in Remake, more precisely, the chapter 14 subplot surrounding Leslie’s lost lover. In case you need a refresher, Leslie is one of Corneo’s lackeys, although he secretly plans to betray him. He once had a fiancée and things were looking up until she was selected as one of Corneo’s brides. The day before she disappeared (presumably taken by Corneo), his fiancée broke up with him with no explanation. It was confusing and left Leslie perplex. As she broke up with him, she returned a necklace to him, one with a flower pendant. Of course, that flower is the very same reunion flower Aerith gives Cloud in chapter 2.
Evidently, Leslie and Cloud are going through parallel situations. At this point in time, Aerith was just kidnapped by Shinra, and Cloud is on his way to get her back. Both their loved ones have been taken by tyrant rulers, one being slumlord Corneo and the other being the Shinra government. In fact, even Leslie and Cloud’s attitudes share similar disillusioned, cold and stoic qualities. Leslie’s fiancée would evidently be paralleled by Aerith.
The most obvious proof of the Leslie-Cloud parallel is written plainly on the list of Remake’s chapter 14 main scenario objectives. Objective 7, called “For the Reunion”, consists of receiving the grappling guns needed to reach topside and save Aerith. The description of the objective reads as follows:
“Leslie gives them grappling guns, and they wish each other luck in reuniting with their respective loved ones. Leslie walks off, and the three prepare to climb the wall.”The grappling guns are “For the Reunion”, because evidently, the loved one Cloud wants to reunite with is Aerith.
All this is simple and apparent enough. Just the fact that the theme of reunion is linked to Clerith in this way is proof enough, but there’s another layer to the Leslie-Cloud parallel. Not only does Leslie’s situation reinforce the concept of a Clerith reunion, it also mirrors the specifics of our theory: namely that Cloud will save Aerith from specifically Sephiroth (represented in Leslie’s scenario by Corneo) and that Cloud will take the initiative to accomplish this reunion. These two specific aspects of our theory are reflected by Leslie’s circumstances, meaning the Leslie-Cloud parallel not only pushes the theme of reunion, but also supports our specific theory.
VI. g) i. 1) The Separators: Corneo and Sephiroth
I’ll first prove that Leslie’s scenario is not meant to echo Cloud’s separation from Aerith at the hands of Shinra —or at least not exclusively—, but rather Cloud’s separation from Aerith at the hands of Sephiroth. Corneo would therefore be paralleled by Sephiroth rather than the tyrannical Shinra government.
The first piece of proof for the Corneo-Seohiroth parallel lies within the way in which Leslie’s fiancée broke things off: by lying. Aerith also lies to Cloud to create distance between them, but not pertaining to her kidnapping— rather, pertaining to her fated death. Since Sephiroth is Aerith’s killer and not Shinra, Corneo’s role in the Leslie-Cloud parallel is analogous to Sephiroth’s rather than Shinra’s.
There are two pieces of evidence that the Corneo-Sephiroth comparison makes more sense than the Corneo-Shinra one. The first lies in the fact that Leslie’s breakup resembles Cloud’s resolution scene: the topic of Cloud’s resolution scene is Aerith’s fate at the hands of Sephiroth rather than her kidnapping by Shinra, meaning Corneo and Sephiroth are the antagonists of both heartbreaks.
Let’s examine Leslie’s breakup. Here is how his fiancée broke things off, taken from the English script of Remake’s chapter 14, with tone indicators added by me in bold:
“Fiancée: It was all just a dream, wasn't it[?]Now, here is a more literal translation of this quote from the original Japanese (verified by me via DeepL), with tone indicators added by me in bold:
Fiancée: (Hopefully) But one day…
(She trails off, then shakes her head and stops herself.)
Fiancée: (Sadly, hopelessly) — no. Time to wake up. And forget.
(She walks away.)”
“Fiancée: It was only just a dream we had / We were only dreaming...Leslie’s fiancée is clearly breaking up with him to spare him the pain of blaming himself for not being able to protect her from Corneo, as she knows it’s too late for her to escape from the slumlord’s clutches. We know this because we understand that the pendant she gave back to him symbolizes a reunion (especially between lovers, as Aerith told Cloud in chapter 2). In fact, the Japanese version of the script reveals that the fiancée was about to reveal the meaning of the flower, perhaps in the hopes that they would find each other once more, but she lost her nerve at the last second. Notice that she tells Leslie two specific things. One: their love or their future together was only a dream, meaning that it wasn’t real. Two: he should forget about her, because the dream is over now and it’s time to wake up from it.
Fiancée: (Hopefully, as though as a hail Mary) In the language of the flowers...
(She trails off, then shakes her head and stops herself.)
Fiancée: (Sadly, hopelessly) — no. You should forget about me.
(She walks away.)”
If you’re finding this familiar, then you might be ahead of me. Let’s take a look at what Aerith says to Cloud in his resolution scene, also in the English script of Remake’s chapter 14, with tone indicators added by me in bold:
“Aerith: […] you can’t fall in love with me. [It]’s not real […]. (With a sigh, as though from sadness or difficulty, but resolutely) It’s almost morning. Time to go.”Now, here is a more literal translation of this quote from the original Japanese (verified by me via DeepL), with tone indicators added by me in bold:
“Aerith: You can’t let yourself fall in love with me. [It]’s only your imagination […]. (With a sigh, as though from sadness or difficulty, but resolutely) Looks like it’s already morning. Time for me to go.”Just like Leslie’s fiancée, Aerith is rejecting or denying Cloud’s love for her in order to spare him from the pain of not having been able to be with her before her death, as she believes it is inevitable. Just like the fiancée, Aerith also tells Cloud two things. One: their love is imaginary or isn’t real. Two: it’s morning, and she has to go (she says this right before Cloud wakes from the pseudo-dream).
In both cases, the women know something about their fate that the men don’t and are hiding this impending tragedy from them. Just like Leslie’s fiancée, Aerith uses well-intentioned deception to protect her loved one from the pain that will come from her fate— the lie, of course, is that their love isn’t real. Both women are hopeless, and both men are initially clueless. Aerith’s resolution can’t be about her kidnapping, because Aerith thinks her rescue is anything but hopeless— she’s sure Cloud will come save her from Shinra. She says so herself in OG’s disk 1, chapter 8:
“Cloud: Aeris!? You safe?What Aerith is so resigned about in Cloud’s resolution scene isn’t her kidnapping, but instead her fated death at the hands of Sephiroth. Nojima hints at this in FFVII Remake Ultimania:
Aeris: Yeah, I'm all right. I knew that [you] would come for me.”
“If you know Aerith’s fate, then this line would really pull at your heart strings […]” (section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Yoshinori Kitase, Kazushige Nojima”, page 744).Here is what codirector Toriyama had to say on Aerith’s words:
“[While] these words are intended for Cloud, I think Aerith is partly speaking them to herself. The contents of her request may be at odds with how she truly feels inside” (FFVII Remake Material Ultimania Plus, VA Script Notes, “A Dream Shown by Aerith”, “Scenario Staff Q&A - Answered by Motomu Toriyama”).These two quotes by the devs show that Aerith is trying to protect Cloud from her death. Therefore, the Corneo-Sephiroth parallel is far more apt than the Corneo-Shinra parallel.
The second piece of evidence supporting my belief that Corneo mirrors Sephiroth and not Shinra in the Leslie-Cloud parallel is the inclusion of the theme of revenge that crops up in the following piece of dialogue:
“Tifa: Why did you wanna come down here?Leslie’s sentiment toward Corneo resembles Cloud’s feelings toward Sephiroth after Aerith’s death. Revenge links Cloud to Sephiroth, not to Shinra. Corneo and Sephiroth reflect each other in that, as a consequence of their actions toward a woman, the man who loves her desires revenge.
Leslie: Revenge. I know I need to let go, but I can't. I need closure, 'cause without it... I'll never be able to move on” (Remake, chapter 14).
Additionally, it looks like Leslie’s obsession with revenge as a means to closure is the reason he didn’t bother trying to understand the message his fiancée left him with: he’s focused on his hate rather than his love, and it’s hindering him. He doesn’t succeed in killing Corneo either: his focus and energy are misplaced. Cloud’s desire for vengeance against Sephiroth is also depicted as an obstacle to accomplishing his goals (see how in section “III. c)” of my previous literary analysis). Once more, the Corneo-Sephiroth parallel fits far better than a Corneo-Shinra perspective.
VI. g) i. 2) The Reunion Seekers: Leslie and Cloud
The other aspect of the Leslie-Cloud parallel that supports our theory is that in both scenarios, they both take charge of the situation and decide to actively seek reunion with their respective lovers. The following dialogue excerpt, supplemented by the VA script notes, shows Leslie’s initiative:
“Tifa: [Your fiancée] could still be out there.Take note of Leslie’s final response and the determination with which he speaks: “Then I guess I’ll just have to find her first”. Remember that we’re searching for evidence that Cloud is going to be the one reaching out to Aerith in the Remake trilogy, and that it’s his turn to take his future into his hands. He must be more attentive, more active this time. And Leslie’s words of determination reflect this perfectly. Leslie must find his fiancée first, just like Cloud has to be the one to offer his hand to Aerith in the Remake trilogy and fight for her. This is exactly what our theory is all about.
Barret: Can never be sure how much someone means to ya till they're gone. Don't give up on her yet.
Leslie: (Looks at the flower pendant, [recalling his lover’s words) A message in the language of flowers… I wonder what she meant by it.
[…]
Tifa: Reunion.
Leslie: Huh?
Tifa: In the language of flowers, it means ‘reunion.’
(Leslie shifts his gaze from Tifa to the pendant and stares at it for some time. At last he understands the words his lover left him. With that, as if his mind has been made up, he clutches the pendant and hangs it around his neck.)
Leslie: Then I guess I’ll just have to find her first” (FFVII Remake Material Ultimania Plus, VA Script Notes, “Other Notable Stage Directions - Chapters 14-16”).
VI. g) i. 3) Delayed Realizations
Interestingly, not only does Leslie’s determination mirror Cloud’s, but both men are depicted as realizing the truth too late. Just like Leslie only began searching for his fiancée six months after her disappearance, Cloud only realizes he loves Aerith in OG once she’s died. It took him this long to actually get somewhere in his mission to reunite with her— “somewhere” being the Remake trilogy.
Even Barret’s words highlight the lovers’ delay: “Can never be sure how much someone means to ya till they're gone”. Barret would know: he lost his wife Myrna, whom he loved dearly. The devs have Barret comment on the situation as a man whose lover died, mirroring Cloud’s situation in OG. Just as Barret says, Cloud only truly realized the strength of how he felt for Aerith in OG once she was gone. The gunman’s words apply to both Leslie and Cloud’s tardy initiatives. Regardless of this delay, both men are now determined to see their respective reunions through.
The degree to which the Leslie-Cloud parallel fits our theory is a great sign of its validity: even the details are lining up!
VI. g) ii. Reunion in the Theme Songs
Too easy: in our analysis of the lyrics of the theme songs, we covered how both texts include the theme of reunion. “No Promises to Keep” is especially relevant (see section “VI. e) ii.”), as the entire song is Aerith hoping against fate for a reunion with Cloud (even if you believe the song is about all her companions, that still includes Cloud).
On top of these reunion-themed lyrics, during Aerith’s in-game performance of “No Promises to Keep” at the Gold Saucer production of Loveless, her yellow blossoms signifying reunion bloom all around her as Cloud watches her, captivated.
Another great sign for our theory: the highly significant theme songs are on our side!
VI. g) iii. Waking Up Reunited
The thing I want to juxtapose to our theory is a small yet special moment in chapter 2 of Rebirth that stuck out to me like a sore thumb and got me really excited about sharing it with you. This moment occurs after the battle against the Midgardsormr. We’ll be comparing it to two other clips, describing all three in chronological order, and making deductions based on their similarities.
The first clip I want to address occurs in chapter 8 of Remake (1:32-2:12). There are a couple of things I want to point out in this scene. First, Aerith wakes Cloud from unconsciousness with a cute call of “Hello~?”. Second, despite pretending that he doesn’t, he immediately recognizes her. The VA script notes prove it:
“Aerith: Nice to meet you again.So: she wakes him with a cute call, and he recognizes her. Also note that these two elements also apply to the OG church reunion scene.
Cloud actually remembers Aerith, but he pretends not to, perhaps wishing to make himself look cool.
Cloud: Again, huh?
Aerith: What? You don’t remember? How about…the flowers?
Cloud looks at the flowers at his feet and pretends as if he’s only just remembered.
Cloud: Oh, the flower seller” (FFVII Remake Material Ultimania Plus, VA script notes, “Reuniting with Aerith”).
Now onto the Rebirth chapter 2 scene that stuck out to me. After Cloud is saved from the Midgardsormr by Sephiroth, Cloud wakes from an unconsciousness spell with Aerith calling for him (7:20-7:34).
Once more, Aerith wakes him with a cute call (this time, it’s “Wakey, wakey!”), and Cloud recognizes her. In this Midgardsormr clip, unlike their reunion in the church, Cloud verbalizes that he remembers her. This time, there’s more: next, Aerith tells Cloud “おかえり, クラウド”, or “okaeri, Cloud”, which translates to “welcome back, Cloud”. “Okaeri” is what you say in Japanese when someone has returned home. In the third clip we will analyze, Aerith says “okaeri” to Cloud once more. But first, let’s break down this second clip.
I don’t know about you, but this cutscene felt extremely weird to me when I first encountered it. That is, it would have been, if not for the theory I’d begun formulating at that time.
You see, the devs could have chosen for Aerith to ask Cloud if he remembers his own name or where they are, if he’s okay, or check if he responds to his own name. In fact, asking someone who’s been hit on the head to say their own name is a much more common reaction to them finally waking up than asking them if they remember you. Even stranger is Cloud’s reaction: he could have answered “Yeah, you’re Aerith,” or “I remember everything, I’m fine”. Instead, he says her name with this airy and wonderstruck tone. He sounds like he’s opening his eyes to something mystic rather than his comrade leaning over him, like he’s seeing someone unexpectedly for the first time in a while… or rather like he’s waking from a trance of some kind— a trance in which he did not remember Aerith, and now he does. You may see where I’m going with this.
Let’s examine the third clip, wherein Aerith tells Cloud “okaeri” again. More specifically, in chapter 14, Aerith welcomes Cloud back when he snaps out of his zombified, Sephiroth-controlled state and runs toward her. Of course, it’s the sight of her and his memories of meeting her in chapter 2 of Remake that shake him awake (2:17:43-2:18:02).
For a third time, Aerith wakes Cloud. This time, she’s pulling him out of a trance and back to himself. And for a third time, Cloud remembers her. In fact, it’s remembering her that wakes him up. Cloud calls her name and Aerith says “okaeri” in both the post-Midgardsormr cutscene and this third clip. And in both scenes, not only does Cloud return to himself the way someone returns home (recall that “okaeri” is used to welcome someone back home), but he’s also returning to her, recognizing her as his home.
Now we’ve got three scenes lined up: the church reunion scene (both in OG and Remake), the Midgardsormr scene and the hand-reach scene. All three of these recognition scenes feature Cloud being woken up by Aerith and remembering who she is. The main difference is that, in the scenes among these three that are exclusive to Rebirth, Cloud’s return to Aerith is far more meaningful, as he already knows her name, and knows more about who she is to him. Evidently, in the OG church reunion scene, Cloud only remembers being sold a flower by this girl. In the Remake version, he remembers the same thing, plus the attack of the whispers. So there’s something much more weighty about the Rebirth recognition scenes: he remembers more, and he remembers deeper. These aren’t just recognition scenes, they’re also mini-reunions. Of course, as we’ve already analyzed pertaining to the hand-reaching scene, Cloud remembering Aerith is followed by him being the one to take action and run toward her, eager to save her, because she means the world to him. When you place the Midgardsormr scene between the church reunion scene and the hand-reach scene, an evolution of Cloud waking up and remembering Aerith is formed. Each mini-reunion scene adds a piece to the story: the church scene informs us that Cloud and Aerith are meeting again, the Midgardsormr scene tips us off that something mystic is going on from Cloud’s tone when he says Aerith’s name, and the hand reach scene tells us that as a consequence of remembering who Aerith is, Cloud saves her from falling to her death and saving her. “Meeting again”, “mystic”, and “saving Aerith”: these are the keywords of the mini-reunion scenes. They are also the keywords of our theory on Cloud’s mission to save Aerith. This time around Cloud knows more and is more conscious about how he feels for Aerith, just like he feels more when in the hand-reach scene in Rebirth compared to the church reunion scene in Remake. From the latter scene to the former, Cloud gradually wakes up and remembers his love for and loss of Aerith in the OG more and more. Each mini-reunion brings him closer to saving her when he blocks the masamune. This is why I am certain that in part 3, whether Cloud comes to his full senses or not, whether he remembers the events of OG or not, he will save Aerith this time. The Remake trilogy is centered around Aerith, after all. In fact, don’t take it from me, take it from Nojima:
“Aerith's the most important character in the remake so we paid special attention to her lines” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 744).I have full confidence in this fact: one way or another, these two will have a happy ending. This is Cloud’s second chance, and as he swore in “Hollow”, he is not losing her again. That is why I don’t think you should fret, and that our Clerith hearts will be very happy to see these two together again for good in part 3.
VI. h) Zooming In
In fact, this zooming-in method of directing players’ attention to important narrative beats is far from new.
VI. h) i. Changing Fate
Let’s divert our attention to Nanaki’s Skywheel date (2:28-3:30). The dialogue goes like this: Nanaki brings us the Whispers and suggests the party might eventually forget about their existence, and Cloud says that frankly, if it’s impossible for them to change fate either way, then it would be better for them to forget to Whispers altogether.
This is a very clear message from the devs: “There would be no point in including the Whispers in the Remaketrilogy if we did not make use of their defeat”. They’re telling us through Cloud’s dialogue that they know it would be foul play and bad writing to introduce the theme of defying fate if it didn’t eventually pay off.
As if it weren’t clear enough what the devs are referring to, Nanaki brings up Aerith’s death directly after Cloud delivers the devs’ message to us. He actually makes Cloud promise to save her. This is pretty on the nose. By promising Nanaki he will protect Aerith, the devs are promising us the same. I’m certain that part 3 will deliver on this promise.
If you still aren’t sold, I’d like to direct your attention to the framing of the shot where Cloud says “If we can’t change [fate]” (2:49-2:51). There’s a zoom-in on his mouth, which is a visual cue that translates to “what this character is saying right now is important to the plot”. It’s very indiscreet in theory: the camera literally hones in on the invisible words as though the script has them highlighted, italicized triple-underlined and in bold.
VI. h) ii. Aerith’s Knowledge
We’ve seen the Remake trilogy use this camera framing at least twice so far. The first time occurs in Remake’s chapter 8, before it becomes clear that Aerith knows things from the OG game that she wouldn’t normally know if this were just a remastered version of the same 1997 plot. I’ll let Remake Ultimania‘s description of this moment speak for itself:
“When Cloud and Aerith return the rescued children to Oates, the man in the tattered black cloak shows up again at the hideout. The moment the man grasps Cloud’s arm, he’s overcome by another violent headache and sees a vision of Sephiroth. Cloud wonders if this man who supposedly died five years ago could possibly still be alive. When he says as much to Aerith, she gives him a vague reply” (FFVII Remake Ultimania, section 04: “Scenario”, “Chapter 8 Main Story Digest”, page 256).Aerith’s “vague reply” is accentuated by a very deliberate zoom-in on her mouth (1:18:05-1:18:09), and therefore her words.
The framing of this shot indicates to us that what Aerith says provides an important hint as to the plot’s direction. Sure enough, with hindsight, it’s easy to see that’s true.
VI. h) iii. Tifa’s Question
Another time this framing is used is in chapter 1 of Rebirth, after Cloud recounts the Nibelheim incident. Tifa asks the group why Sephiroth is choosing to come back now, after five years (37:55-37:58).
Once more, we are being signaled that the reason Sephiroth chose to return at the moment he did is significant to the plot, but cannot be revealed explicitly yet. The reason why Sephiroth took five years to return is because that’s how long it took for Cloud to get back on his feet after the Nibelheim incident: Sephiroth wants and/or needs to manipulate Cloud in particular rather than all the other people with Jenova cells in them. It took five years for Cloud to not only go through Hojo’s experiments but also escape Shinra and make his way to Seventh Heaven, where Tifa nursed him back to health— therefore, it took five years until Sephiroth’s favorite pawn was available to be used. There are a few reasons why Cloud is the one Sephiroth wants to use, and all of them would be spoilers at this point in Rebirth to players who don’t know the OG plot. The devs can’t reveal any of them yet, but they do indicate via a close-up shot of Tifa’s mouth that her question is important.
VI. h) iv. The Takeaway
As you can see, this framing of characters’ mouths when they speak signals a plot-significant piece of dialogue. This means Cloud’s words on his gondola date with Nanaki can’t be brushed off as a red herring or an unimportant or throwaway line: it has narrative weight.
VII. The Devs
I think it’s important to remember the devs and their commitment to the world of FFVII. They know best for this story, and they’ve proven it to be true many times over. There are many things about the devs’ intentions that the fandom don’t seem to know that I think would give you confidence to find out.VII. a) Shifting Themes
Good storytellers don’t introduce themes as a way to pull the rug from under audiences’ feet by later rendering them completely irrelevant to the plot.
In other words, the devs would not have introduced the notion of fate as an antagonistic force in Remake, nor allowed the players to defeat it in chapter 18, had they planned for these themes not to pay off at all. Think of how good FFVII OG and FF stories in general are, how strong the writing is from a narrative point of view. Nothing is included for no reason or for a cheap reaction— especially not a central theme of a story. Fate and defeating it is a huge point of Remake, and not for no reason.
I mean, think about a storyline all about defying fate ending with a shrug and a “Oh well, we tried.” It would be ridiculous! The devs are better than that.
VII. b) What the Devs Want
The devs are well aware that fans of FFVII have been begging for Aerith’s resurrection since 1997. All those petitions, all those myths of a revival hack… SE knows about them all too well. They were even referenced by FF’s 30th anniversary expo, which partly promoted Remake:
“No one expected [Aerith’s death] in the middle of the story. Rumors of a secret way to revive Aerith spread, and it was clear players were having a hard time saying goodbye to her too. Even now, twenty years later, it still feels like a shocking turn of events” (Final Fantasy 30th Anniversary Exposition Pamphlet, page 36).Hamaguchi, codirector of the Remake project, commented on these rumors:
“Interviewer: Do you have a favorite fake rumor about the original FFVII?The devs are also aware of how beloved Clerith is to the FFVII fandom, especially in Japan— in fact, the only FFVII ship name that is an official iOS search term on the Japanese Apple Store is Clerith’s (“クラエア” or “kuraea” in Japanese). Aerith herself is a widely beloved character, particularly, once more, in Japan. For instance, Famitsu and NHK’s recent polls on the best FF heroine and on the best FF character in general both resulted in Aerith ranking number 3, beaten only in the latter poll by Cloud at number 1 and FFX’s Yuna at number 2.
Hamaguchi: I hear a lot about Aerith coming back to life and that's something that's very interesting to hear” (Hamaguchi interview: “129 Rapid-Fire Questions Answered About Final Fantasy VII Rebirth”, by Game Informer).
The devs know how well-loved both Clerith and Aerith are. And in fact, they love Aerith at least as much as we do:
“Cloud's feelings [of guilt] cannot be resolved by anyone other than Aerith. I tried to convey [that Aerith is saying to Cloud] ‘I'm still here for you’” (FFVII Reunion Files, Nojima’s note on Aerith’s character file, page 58).&
“When I saw the finished product of [Aerith’s face in] CG, I thought, "Oh, isn’t she so cute?” (FFVII Reunion Files, Nomura’s note on Aerith’s character file, page 58).&
"The idea of having Aeris die during the story had a great impact on all the dev staff," Toriyama explained, "and personally I decided to dedicate my efforts to depicting Aeris in as appealing a way as possible, so that she would become an irreplaceable character to the player in preparation for that moment" (Toriyama interview “Final Fantasy anniversary interview: Toriyama speaks” by VG247).The devs care about Aerith, and they’re fully aware we do too.
I think a lot of people have it in their heads that the devs don’t want anything to change from the OG story, but there’s a lot of evidence that says otherwise. Codirector Toriyama spoke on this, stating the following about the production process of Remake:
“[…] there were times the original version became a hindrance. Specifically, staff members with a strong attachment to Final Fantasy VII would often hold themselves back for fear of deviating too much from the original. When we created the original game, we obviously didn’t feel bound in that way. We were passionate about creating a brand new Final Fantasy title, and so we dove in and embraced whatever seemed most interesting to us. We wanted to take that approach this time as well, so we made a special effort to liberate ourselves whenever we held back, remembering that it was okay to do the things we wanted to do” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 1: Motomu Toriyama, Naoki Hamaguchi, Teruki Endo”, page 737).Codirector Nomura said the following:
“When I asked Nojima if he’d write the scenario, I was clear about my demands up front. I said, ‘If we're going to remake Final Fantasy VII, I want it to be done like this.’ At that point, I was intent on making something more than just a remake. [Similarly to how] the battle system this time incorporates elements of the original game’s ATB mechanics [while] also been reborn using a real-time approach […], I wanted to make a story that players would feel is fundamentally Final Fantasy VII but also something new” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 745).Clearly, the devs don’t want to be bogged down by the OG, and are making efforts to do things the way they want to rather than the way they were previously done. The newer generation of developers such as codirector Hamaguchi is also involved in these story changes:
“Interviewer: There are also drastically more scenes with Sephiroth than there were in the original game.Kitase, the producer of the Remake trilogy, even says that after working on this project for so long, and after spending almost 30 years on the FFVII project and getting to know the characters, he has realized that:
Nojima: We weren't planning on having him appear so much at first— the idea was only to hint at his presence. But we changed our approach partway through and became more proactive with having him appear, after which the number of scenes he features in rapidly increased.
Nomura: Hamaguchi [codirector Naoki Hamaguchi] came up to me one day and said in a mysterious tone, ‘I'd like to talk to you about something.’ He asked me about having there be a battle with Sephiroth in Midgar. In the original game, Sephiroth’s true body is located elsewhere, so he didn’t think I'd give in to the idea so easily. I think he even prepared materials to persuade me. But in the end I agreed readily [laughs]” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 746).
“The more [he works] on it, the more [he wants] to make all these characters happy. [He wants] to give them a happy ending. The rest of the team’s opinions [obviously] also have to be taken into consideration, so it won't be all happiness and rainbows. But [he] just [wants] to make [the characters of FFVII] happy” (Kitase and Hamaguchi’s interview “Final Fantasy VII Rebirth’s Producer Just Wants 'the Characters to End Up Happy'”, by Vandal, translated by me).Kitase is indeed only one developer, but he’s the producer of this project: that’s the very top position. He oversees everything and nothing goes without his approval. That counts for something. Of course, Kitase is fair and values the input of all the devs, so of course it won’t be “all happiness and rainbows”— but I sincerely believe there’s a big chance that Cloud and Aerith are heading toward their happy ending. Even if this theory is completely bogus, I want to have faith that the devs would not sacrifice good storytelling for nostalgia and a conservative attitude toward preserving the OG story, as that would be cheap of them, and we have not known them to be cheap. This game truly matters to them, so I think they deserve our faith.
(conclusion in
2024.05.16 17:12 christofurious Using Notion for music discovery and festival/concert planning
 | I'm new to using Notion and am trying to wrap my head around how to best implement it for this use case. My wife and I attend a couple of music festivals plus a handful of concerts a year. A lot of the big festivals have a staggered line-up release schedule that typically goes Overall Lineup, then weeks later a Day by Day Lineup, then much closer to the date of the festival an hour by hour schedule that shows what stage the artist will be at. The majority of the time, we don't know a lot of the artists and use the lineups to discover new (to us) music. But when you are talking about a large number of new to us artists, we have to take some notes to keep track of them all! A lot of artists are on "the festival circuit", where they pop up at multiple festivals during their touring. Since we travel to a couple of festivals, we frequently run into situations where the artist will be at the festival as well as touring in our city within a month or two. submitted by christofurious to Notion [link] [comments] In the past, we've used Trello to kind of organize all of this. In trello, we've made a board for the specific festival that has columns per day (Friday, Saturday, Sunday) with each card being the artist. Then we used some labels for which stage they'll be at and a custom field for the timeslot. In the description field, I'll usually put in Spotify data like number of followers and genres. The comments section of the cards is just us putting in our thoughts about the artists or their songs. Finally, we used a custom field for our 1-5 star "rating" of the artist that we use for scheduling conflicts. This system works well enough for each festival as a standalone, but it isn't ideal for using across multiple festivals or multiple years. I have some general ideas on how to do all this AND expand on it with Notion but being so inexperienced with it, I think I'll need some help with some of the concepts. It seems like I should have an "artist" database that has Name, Genre, Spotify Followers, our comments/thoughts about the band, and possibly a way to track which festival or venue we've seen them at (would this part be a related database?). Then have a "festival" database that has Stages, Dates, Timeslots. How would I tie those together? I have this idea of a dashboard that would show a calendar view similar to the festival schedule poster I've attached, but I could click each artist to pull up the artist database entry for them. At some later point when I'm more skilled in Notion, I figure I'd incorporate stuff like local to the festival weather and a trip packing list into the dashboard. Please forgive me for any terminology mistakes and thanks in advance for the help! https://preview.redd.it/b87qseth1t0d1.png?width=970&format=png&auto=webp&s=41d701ac7a4e4baadea0e782e2d026dbf11296d6 |
2024.05.16 16:58 haygurlhay123 “This Time, I Will Never Let You Go”: Cloud’s Mission and the Hidden Purpose of the Remake Trilogy - Literary and Musical Analysis of FFVII - Part 5
(continuation of part 4)
I already considered this piece the second greatest musical evidence for Clerith after the London Symphony Orchestra’s Final Fantasy VII Symphony’s second movement “Words Drowned by Fireworks” and its guide, but now that I know about the Clerith reunion that was baked into the ending, the gap between the two is narrower. Each time I hear Cloud begin to call out for Aerith in part 3 (3:04), I immediately start crying. It sounds so much to me like Cloud’s voice in the dark saying “Aerith…?”, meek and scared. If you’ve read everything so far, you know how long Cloud has been looking for Aerith, lost without her, searching relentlessly for decades in real-life time. Through FFT, DFF, Advent Children, MFF x FFVII… all of it spent looking for his Promised Land. In OG, Cloud was so tormented by Jenova’s manipulation and so consumed by the chase for Sephiroth that he could not realize what or how much he felt for her until she was taken away forever. The piece we’ve just analyzed tells the story of Cloud and Aerith intertwining and separating against their will, and you can truly feel Cloud’s anxiety as he struggles to wrench Aerith out of fate’s cruel grasp. Perhaps it is because of Aerith’s ultimately fatal responsibility, inherited from her mother, that this iteration of her theme is called “The Cetra”.
Though in part 5, Cloud and Aerith reunite… could this reunion symbolize their meeting again in Remake, or something more permanent? I think it’s meant to leave us wondering.
I’m very sensitive to music, and as I’m typing this, I’m crying a bit. I wanted to share my interpretation of “Aerith’s Theme - The Cetra” with you very badly, because it makes me feel so much and really enhances Clerith’s story. I’m overjoyed to have found out about the reunion at the very end. And it’s all because you guys showed love for my last analysis! You guys are giving me gifts every day.
V. b) i. 3) Combined Analysis
Please listen to and watch the scene of Cloud’s MOTF 6 (4:21-8:46) again, and consider section “V. b) i. 2)”. What is Uematsu telling us? Similarly to how main world theme of FFVII informs us that Jenova is sabotaging Cloud’s identity far before it becomes a plot point in OG, “Aerith’s theme - The Cetra” is telling us what not even Remake Cloud consciously knows at this point: he’s been searching desperately for her, and fears losing her once more.
As if that wasn’t proof enough, the timing of the shots and musical phrases is absolutely damning. Recall that part 3 of “Aerith’s theme - The Cetra” specifically symbolizes Cloud’s anxiety surrounding Aerith’s safety. It is this particular part of the piece that plays for the entirety of Aerith’s allusions to her murderers and her death (7:25-7:54), including the very moment where “Cloud feels his chest constrict tightly” (7:51-7:54). What’s more, part 5 the piece, which specifically Cloud freeing Aerith from the restraints of fate, coincides with the moment Tifa grabs Aerith’s hand and pulls her out from the circle of Whispers closing in on her (8:42-8:45). This moment leads me to believe that the reunion in part 5 of the piece indeed symbolizes Cloud succeeding (perhaps with Tifa’s help) in saving Aerith from her tragic fate and reuniting with her for good.
It’s heart-wrenching and brilliant. Our theory stands strong.
V. b) ii. Credits: Piece Inclusion
I find it very telling that the character themes included in the credits of Remake are Cloud’s “Hollow” (0:00-5:24), an orchestral arrangement of Aerith’s theme (5:24-9:24), and an orchestral arrangement of the main world theme, (9:24-14:27) which of course includes Cloud’s true theme. No other character themes appear during the rest of the credits (14:27-18:09). This is telling: the credits are communicating to us that Remake is about Cloud and Aerith. Our Mission Theory only gets stronger.
V. b) iii. Showing Relationships Through Music: Intermingling Character Themes
This doesn’t have to do with the Mission, but here’s a pretty good anti-Cloti argument while we’re here.
As shown in section “V. a) i.” where we explored the roles of Cloud, Jenova and Sephiroth’s themes within the FFVII world theme, the way character themes interact in a piece can tell you a lot about those characters’ relationships. This is certainly the case in “Aerith’s Theme - The Cetra” as well (see section “V. b. ii. 2)”).
I’d like to mention that in all of my listening to the Remake OST and rewatching playthroughs of Remake, I’ve never encountered a single piece that united Cloud and Tifa’s themes. Not once. Let alone a piece that depicts them as intimately or emotionally as “Aerith’s Theme - The Cetra” depicts Cloud and Aerith. Even the most Cloti cutscenes in Remake aren’t supported by pieces mixing or even juxtaposing Cloud and Tifa’s themes. I can’t find any of Cloud’s motifs anywhere during the orchestral arrangement of Tifa’s theme that plays during her resolution scene in chapter 14. I can’t find either of their motifs in the track the plays when Cloud calls Tifa beautiful at Seventh Heaven in chapter 3. A motif from Tifa’s theme does appear in the track that plays during the childhood promise scene in chapter 4, (0:00-0:25), but it never plays at the same time as or even near Cloud’s motifs (1:23-1:47 and 2:03-2:29). They’re distant or otherwise unaffiliated.
The only exception is that an altered version of Cloud’s theme’s section A phrase 1 appears in the background of Tifa’s theme (1:17-1:23). This symbolizes her connection to Cloud and how much of her attention and worry revolve around him— a reference to how she cares so much that it borders on dependency. Of course, it doesn’t go both ways: Tifa isn’t in Cloud’s theme at all. To me, this lack of reciprocity concerning the inclusion of Cloud’s motif in Tifa’s theme signifies that the only time Cloud and Tifa are together is in her head. She does think about him a lot, which we witness in her chapter of Trace of Two Pasts. Tifa loses sleep over him even two years after he left Nibelheim, despite the fact that she barely knew him at all:
V. c) The Rebirth OST
Unfortunately, the full Rebirth OST isn’t out and available where I can listen to it right now. However, based solely on the incomplete OST that’s available to me right now, I can tell you with certainty that the composers were told to incorporate Clerith into the musical storytelling: Cloud and Aerith’s themes intermingle in multiple pieces. I can’t imagine what else I’ll discover once I listen to the full OST. For now, I checked out what was available on YouTube and listened to cutscene audios. This section would be eternal if I included every time Cloud and Aerith’s motifs interact, especially in chapter 14. Trust me, I’d love to talk about every single one, but this thing is long enough already, so let’s just address what pertains to our Mission Theory specifically rather than stopping at every single Clerith reference in the OST.
V. c) i. Ending Cutscene Music
Ending cutscenes are often used to address the next step the characters will be taking as well as their emotional and mental state. They also open up new questions to make the player curious. Indeed, Rebirth’s ending cutscene (18:56-25:00) gives us an impression of how the party members feel by the end of the game: everyone misses Aerith. Barret looks upset and confused at the mention of her (19:35-19:45), the girls are crying and Nanaki is mourning (19:58-20:35). Additionally, we are shown the empty White Materia and Black Materia in Cloud’s possession (20:40-21:24), foreshadowing that they will come to be important in part 3. Cloud and Aerith share a warm goodbye, and exchange promises: Aerith will send smoke signals if something happens to her so a worried Cloud can remain updated on her well-being and she will stop Meteor, and Cloud will stop Sephiroth (23:00-25:00). The fact that this scene is animated in CGI is enough to tell us that the devs consider it narratively important, just like they do Bugenhagen’s observatory and the party’s advance into the Forgotten Capital CGI cutscenes. What did the composers decide to communicate with us about the end of Rebirth and the plot going forward?
Big surprise: Clerith.
During the entire cutscene, only two themes play: Cloud’s and Aerith’s. The cutscene’s music begins only when Cloud notices Aerith among the party members and begins watching her (19:21). She interacts with the rest of the party without their knowledge, different segments of her theme playing one after another. Her theme only stops when Cloud finally looks away from her and to the empty White Materia in his hand (20:45). The music focuses on the mystery and ominousness of these materia, only returning to Aerith once Cloud hears her voice and repeats her message to the party (21:30).
Cloud’s theme appears when he asserts that Barret needn’t worry about him (section A of Cloud’s true theme, 22:41), though soft and tentative, only swelling when Barret and Tifa climb aboard the Tiny Bronco and Cloud finds himself alone with Aerith again (22:57). As he asks Aerith if “[she’ll] be okay getting back” (23:08), the final phrase of section A of his theme plays, but without its concluding note, the tonic. He waits for her to answer him as his theme waits for hers to complete and answer it, that final note dragging long over the seconds (23:09-23:13). She answers with a teasing remark that references their unwillingness to part from each other back in Remake’s Evergreen Park:
What this shows us is that Cloud and Aerith’s relationship is fundamental to the plot of Rebirth and will also be fundamental to the plot of part 3: they are isolated one one-on-one in this cutscene, and the music depicts their warm, sweet interaction as well as the strength of Aerith’s character to contrast with Cloud’s somewhat meek personality. The composers are telling us that these two, specifically, together alone, are hugely important to the plot here. This was already true in OG, but no such emphasis was ever placed on their interactions and relationship in its music. Something is different, deeper, more intense now. The Mission Theory explains why. It also suits our theory that the composers are emphasizing the centrality of Clerith in the plot of the Remake trilogy. Cloud’s love for Aerith is the reason for the trilogy’s existence, and it will be the greatest motivator for Cloud in part 3. It’s a grand announcement.
Just like in Remake, I could not find a single instance of Cloud and Tifa’s themes interacting in Rebirth, apart from at the end of the intimate Skywheel date— but every girl receives this treatment in their intimate dates, so each of these instances can be crossed out. Additionally, the Tifa date is not the canon one, but I digress…
V. c) iii. Credits
V. c) iii. 2) “No Promises to Keep”
At the very end of this song written and performed by Aerith, we’re treated with a sweet little piano conclusion (10:46-11:10): it begins with a variation on Aerith’s theme’s section A (10:46-11:01), and concludes with two ascending arpeggios, each four notes long (11:01-11:10). Each of these ascending arpeggios is a variation of the phrase 1 of Cloud’s true theme’s section A. The differences are minimal. The phrase is usually five notes long rather than four, the first arpeggio ends on the tonic rather than Cloud’s iconic subtonic, and the second arpeggio starts on the subtonic rather than the tonic. The song Aerith wrote concludes with Cloud’s most famous motif. This is also the case in her Gold Saucer performance (3:31-3:41).
V. c) iii. 3) Arrangement of Aerith’s Theme
The final piece in the credits is an arrangement of Aerith’s theme (24:28-28:47) which has noticeably similar elements to the version of her theme that plays during the Jenova Lifeclinger battle in chapter 14 (0:12-3:36), such as the female choirs. Since these female choirs are only heard in the Forgotten City version of Aerith’s theme, and since the credits arrangement of her theme plays at the same time as clips from her chapter 14 pseudo-death roll across the screen, I estimate that this credits arrangement specifically reflects the event of Aerith’s pseudo-death. Recall that composers had access to the credits video as they composed, meaning this piece is specifically written for Aerith’s pseudo-death in Rebirth.
What I find fascinating is that, just like the arrangements of her theme that play during Aerith’s pseudo-death and the Jenova Lifeclinger battle, this credits arrangement contains the sound of Cloud’s pain, rage and protest. Phrase 1 and the first three notes of phrase 2 of Cloud’s true theme section A play on the strings and brass quite loudly and insistently, just as Cloud blocking masamune appears on the credits screen (25:11-25:21). Sephiroth’s dissonant, high and screechy violins appear just as his face comes onto the screen (26:33), and almost as a protective response, phrases 1 and 2 of Cloud’s true theme’s section A return (26:47-27:00). Finally, similarly to what we hear in part 5 of “Aerith’s Theme - The Cetra”, a slightly modified section A phrase 1 of Cloud’s true theme play along with section C phrase 3 of Aerith’s theme (oh wow section A and C section Aerith for Cloud’s theme and section Cloud for Aerith’s theme I just realized that’s such a cute coincidence), though unfortunately they do not meet in the middle like last time since they start two octaves apart (28:20-28:25). I’ve recreated it for you once more here so you can really appreciate it. The fact that their motifs don’t truly reunite like in “Aerith’s Theme - The Cetra” is sad, but the very last thing you see onscreen is Aerith’s goodbye to the Tiny Bronco (27:10-27:42), so it makes sense that this piano conclusion implies that Cloud and Aerith aligned, but not yet reunited for good. That’s exactly what you get from the ending cutscene. It does seem to imply that they will be reunited in part 3, as both the ending cutscene and this piano conclusion read as a “till we see each other again” rather than a “farewell”.
VI. a) Remake Trilogy (Thus Far) Handholding Explained?
As I’m sure you’ve noticed, handholding is a motif in Cloud and Aerith’s relationship— and an extremely symbolic one at that! When researching for info to validate my theory, I found that this Clerith motif was extremely helpful! Its inclusion in the Remake trilogy, and especially in Rebirth, is hugely significant in my eyes.
VI. a) i. Pre-Remake Trilogy: Aerith’s Initiative
Before examining the significance of Clerith handholding in Remake and Rebirth, we should establish the meaning of this motif in OG and Advent Children.
Cloud and Aerith have reached out to take each other’s hands many times since 1997. Aerith used to literally drag him by the hand a lot, shocking the cold and distant merc, before she left. After her death in OG, Cloud surely longed to be able to feel her hand take his again, cursing himself for not enjoying it while she was alive, and for never being the one to grasp her hand first: he never got to tell her how he feels about her, or to save her. It was always her reaching out for him, saving him.
This is why the scene in OG when Aerith reaches for him from the Lifestream after Cloud defeats Sephiroth in chapter 3 of disk 3 is so touching: Cloud sees her hand and reaches out to take it, so close to finally establishing that mutual connection, but she soon fades, and replaced by Tifa’s hand in the tangible world. He doesn’t get to hold Aerith’s hand again.
That is, not until Advent Children, where near the end of his battle with Bahamut Sin, he sees Aerith reach out to him once again (1:08-1:30). Cloud finally gets to hold her hand for the first time in two years when he lost her. This moment was given extra importance by the devs. In fact, Nojima told us the following:
As I’ve said before, if I’m right that Remake is all about Cloud stepping up to be more attentive and active in his relationship with Aerith in order to save her, there should be concrete evidence of this in the Remaketrilogy thus far. If OG Cloud’s memories of and love for Aerith exist somewhere within Remake Cloud’s subconsciousness, then Remake Cloud should be far more active in the Clerith dynamic than OG Cloud was— after all, he’s supposed to know better this time around. Thankfully, the motif of handholding can help us evaluate this. Since we know pre-Remake Cloud was quite passive when it comes to handholding, Cloud initiating handholding in the Remake trilogy would be a strong indication that our theory has validity. Keeping this in mind, let’s see what we can find thus far in the Remake trilogy in relation to handholding, and if Cloud is indeed more active than he was in OG.
VI. a) ii. 1) Hollow Hands
Remake’s theme song “Hollow” makes allusions to the handholding motif: “This time, I will never let you go” is pretty clear. And so is “No Promises to Keep”, wherein Aerith speaks of Cloud “[taking her] hand and never [letting her] go” multiple times. Interestingly, these theme song lyrics seem to suggest that Cloud will be much more active in the Remake trilogy than in OG. “Hollow” even promises that Cloud will come to his senses and take charge of the situation: “this time, [he] will” be the one to offer his hand to Aerith, unlike in OG and Advent Children. This makes a lot of sense with our theory: now that Cloud has lost Aerith once, “this time for sure, [he]’ll” be the one to reach for Aerith’s hand, take initiative and save her the way she saved him.
Even though theme songs are extremely telling of a game’s main themes and intentions, lyrics are still all talk and no proof. What about the game itself? Do Remake and Rebirth deliver on this promise? Let’s see!
VI. a) ii. 2) Resolution Hands
The only significant time Cloud initiates handholding in Remake is during Cloud’s resolution scene in chapter 14 (5:18-5:40), wherein he tries to grab Aerith’s hand but is unable to keep her with him. He fills with determination and tells her in no uncertain terms that he’s coming for her. Just as we predicted, Cloud is the active participant in this iteration of the Clerith handholding motif: he’s even explicitly insisting against Aerith’s wishes that he should “get a say in all this” and that he’s “coming for [her]”. Let’s not forget that Cloud’s resolution is meant to reflect not only Aerith’s kidnapping by Shinra, but also her fated death. Nojima implied this by commenting the following on Aerith’s “Even if you think you have, it’s not real” line:
Hoo boy. I was not disappointed.
VI. a) ii. 3) Golden Hands
Let’s begin with the obvious. In their high-affinity gondola date in chapter 12, Cloud bravely interlaces his fingers with Aerith’s: Cloud’s taken charge not only of handholding, but the most intimate kind of handholding. I’m sure you’ve encountered the phrase “こいびとつなぎ” or “koibito tsunagi by now (literally translates to “lovers’ tie” or “lovers’ connection”); this is the term used in Japanese to refer to the type of handholding Cloud initiates with Aerith on the Skywheel. It’s considered the most intimate form of handholding. In Japan, skinship is normally considered quite significant and indicative of the closeness between two people— you could say it’s a big deal. Cloud also offers Aerith his hand when they step off the Shywheel, once more making the first move. Though some might say that the Skywheel dates shouldn’t be counted as canon, I believe Aerith’s date is indeed canon (I have my reasons but this post is long enough). Even if we discount the Skywheel date however, Clerith's use of the koibito tsunagi returns in a non-optional scene we will touch on later.
For what it’s worth, Alfreid offers Rosa his hand in the Loveless play too. I can prove that Aerith is the canon Rosa too, but I’m going to save that for my next analysis! You can take my word for it now, or just wait for that analysis to drop. Take it or leave it!
VI. a) ii. 4) Meta Hands
However, the narrative weight of these Clerith handholding instances doesn’t even come close to my very favorite iteration of the handholding motif in Rebirth. I’m referring to what I consider a severely underrated Clerith moment in chapter 13. First, some context: Sephiroth manipulates Cloud into giving over the Black Materia. Cloud seems to be firmly under Sephiroth’s control. However, the sight of Aerith being swarmed by Black Whispers snaps Cloud back into the driver’s seat: he breaks out of Sephiroth’s grasp to run to her and save her. Aerith gets knocked off into a fatal free-fall by a Black Whisper before Cloud can reach her, but he won’t have it: he lunges forward, hand extended. What results is a beautiful shot of their outstretched hands (56:25-56:27).
Let’s analyze this great shot. Notice how the seconds where Cloud is reaching downwards to grasp Aerith’s hand are treated. This key moment is stretched longer by a slow-mo effect, building up the tension and drawing the audience’s focus to the distance between their hands before Cloud actually catches Aerith’s in his, fulfilling the promise he made in “Hollow”. Their hands take up the whole screen in a deliberate close-up shot. All the ambient noises of the scene go quiet: Aerith’s theme is all we hear as Cloud reaches desperately for her. These are blatant audiovisual cues, signalling to the audience that whatever is happening on screen is especially significant. We should therefore examine this specific instance of the Clerith handholding motif to see what the devs are trying to tell us, and maybe it will fit with our theory!
We should begin by comparing this Clerith hand-reach shot to previous ones. If you compare it to the Advent Children’s hand-reach that occurs during Cloud’s battle against Bahamut Sin, it’s evident that Cloud and Aerith’s roles are reversed: just as our theory states, Cloud gets out from inside his head and reaches for Aerith this time. She saved him and the world in OG, and now it’s his turn to save her. This change becomes especially evident when you juxtapose the two scenes and notice how their hands have switched places, reaching from above and below, from left and right. I think the Rebirth hand-reach was deliberately made to look like the Advent Children one —and even the OG one in disk 3, chapter 3—, just to highlight this role reversal.
This Rebirth hand-reach is my favorite out of all because it shows that Cloud is much more conscious and attentive toward Aerith in Rebirth than he was in OG. At this point in OG (disk 1, chapter 25), Cloud is meant to be beating Aerith up at Sephiroth’s command, to the horror of the rest of the party. In fact, a few minutes before Cloud rushes to save Aerith in Rebirth, he has absolutely no problem violently shoving Tifa to the ground when she gets in Sephiroth’s way (53:27-53:33). This shove and Cloud’s earlier attack on Tifa in Gongaga (Rebirth, chapter 9) proves that Sephiroth is just as capable of making Cloud hurt his party members as he was in OG… though Sephiroth can’t seem to make Cloud hurt Aerith. Why is this? Why is it that Cloud beats Aerith in OG, but doesn’t even lay a finger on her —and snaps out of Sephiroth’s control at the mere sight of her in trouble— in Rebirth?
Our theory provides the answer. In disk 1, chapter 25 of OG, Cloud had not yet realized he loved Aerith. Sephiroth was therefore able to make him hurt her. But things are different in Rebirth. The Cloud we see in the Remake trilogy has gone through the OG timeline and traveled back in time, kicking off Remake as his second try at the OG timeline— and he did this precisely because he loves Aerith. His love for her is clearer and stronger in the Remake trilogy than in OG because Remake Cloud is an amnesiac, post-OG, time-traveler Cloud. He’s been through the OG before, has fallen in love with Aerith and realized it before, so this time around, he can’t even lay a finger on her. This is made evident by how closely the moments where Cloud pushes Tifa and saves Aerith are juxtaposed, separated by mere seconds of gameplay. Merely seeing Aerith in trouble wrenched control from Sephiroth and put it in Cloud’s hands again— Sephiroth probably couldn’t have gotten Cloud to attack Aerith if he tried.
This isn’t the only time we get evidence of this though! As Cloud approaches Aerith’s praying form in the Forgotten City, Sephiroth’s Black Whispers swirl around the buster sword: Sephiroth is trying to kill Aerith with it, while Cloud’s struggle to wrench it away plays out visibly on his face. Interestingly, Cloud is not being controlled by Sephiroth here. We know this because we can quite literally see the Black Whispers trying to move his sword, but also because every time Cloud is being controlled by Sephiroth in Rebirth, he has an empty-eyed, zombie-Cloud look on his face. Either that or he laughs or smiles somewhat maniacally. There is never any resistance on his part. To see an example, simply pay attention to Cloud’s blank face as he attacks Tifa in Gongaga in chapter 9 (19:20-20:30). You’ll see the very same expression on his face if you watch this video of Cloud following Sephiroth’s orders in chapter 13 (53:36-54:15). Additionally, look at how strangely Cloud smiles (41:01) as he grasps the Black Materia. Cloud makes none of these faces as the Black Whispers try to take control of his sword: quite the opposite. Cloud looks like he’s trying his hardest to pull his weapon back down and away from Aerith, a horrified look on his face as he grunts from the effort. Once more, Sephiroth is unable to make Cloud hurt Aerith.
Back to my favorite handholding moment. Think about this devs intention for this shot for a minute. The devs have been teasing us as to whether or not Cloud will succeed in saving Aerith in the Remake trilogy since it was first announced, and this slow-mo shot of Cloud catching Aerith’s hand as she falls to her death is a reflection of this tension. The audience holds their breath during those slow-moed seconds, all that hope and fear hanging in the balance. This instance of the handholding motif is a meta way for the devs to reassure us that Cloud will indeed save Aerith. I firmly believe this.
VI. a) ii. 5) Self-Sacrificing Hands
Alright, alright, enough about my favorite! Let’s move to chapter 14 of Rebirth! There’s evidently a lot going on with Clerith in this chapter. Let’s address the Sector 5 date. The handholding is first initiated by Aerith as she tugs him toward the candy vendor and Cloud reacts with a quiet gasp (4:07-4:17). Soon, it becomes a reciprocal embrace: Cloud holds his hand out for Aerith’s and tightens his fingers around hers, smiling at her before they head to the photographer (7:07-7:17).
Then of course, when Aerith pushes Cloud into a portal in her church, you can see Cloud reach his hand up toward her desperately as he falls (17:38-17:58). What I find particularly emotional about this moment is that Aerith pushing Cloud away from her is kind of the opposite of reaching for his hand: it symbolizes Aerith accepting her fate and giving up on a life where she can be with him. This Aerith seems to be a post-OG Aerith who exists separately from the main world we experience in Rebirth, meaning she knows all too well that her fate is to die. In fact, it looks like she is the very same or a similar Aerith to the one who appeared to Cloud in his resolution scene in Remake. By literally pushing Cloud away, just like she figuratively did in Cloud’s resolution scene, she is sacrificing both herself and the happiness she could share with Cloud. She’s going against her heart’s wishes, just like she did in Cloud’s resolution scene when she would not let Cloud take her hand. Indeed, post-OG Aerith seems to be resigned to her fated death and completely devoid of hope: she only wants to ensure the planet’s survival, because she thinks she knows there is no way she can or should be with Cloud. In contrast, Cloud reaches his hand out toward Aerith as he falls into the portal, and even though he does not know that her push symbolizes her self-sacrifice, his outstretched hand represents his protest. So far, our theory is fitting beautifully.
VI. a) ii. 6) Grieving Hands
Later in chapter 14 of Rebirth, after Aerith’s death/non-death, there is more handholding. As Cloud cradles Aerith’s body close to him at the Forgotten Capital, Aerith places her hand on his cheek. Cloud covers it with his, curling his fingers around it (1:03:33-1:03:53). Before he leaves her lying down on her back to go fight Sephiroth, he squeezes her hand as he tells her “I got this”— or, per the Japanese version, “Wait for me”, meaning he’ll reunite with her once he’s done (1:04:56-1:05:10).
VI. a) ii. 7) Hero-Heroine Hands
Next, the koibito tsunagi returns as Cloud and Aerith interlace fingers back to back in a classic hero-heroine pose, right after their two-versus-one fight against Sephiroth. This time, they both reach for each other simultaneously (7:42-8:18), without even having to look down at their hands or talk to each other, as though perfectly in sync. As you can see, Aerith and Cloud are now on the same page. This is different from post-OG Aerith’s attitude in the Sector 5 church earlier in chapter 14, as well as in Cloud’s resolution scene in Remake— my interpretation of this mutual koibito tsunagi is that both of them are agreeing to hold onto each other now, with neither of them pulling back or being inattentive of the other: their priorities are now the same. It seems now they are aligned, and hopefully this means that Aerith will be working together with Cloud so they can reunite again in part 3. Even if she doesn’t prioritize her life and happiness though, we know for sure Cloud will.
VI. b) Blocking Masamune Explained?
Another piece of evidence that Cloud has been through the events of OG before is the fact that he is able to block masamune. Cloud looks up and sees Sephiroth descending with his blade poised to kill Aerith. Screaming, Cloud instantly rips the buster sword from the Black Whispers’ hold and successfully blocks masamune. Hatred and determination fill his eyes as he rallies his strength and successfully pushes Sephiroth away, saving Aerith’s life (6:00-7:26)— at least, in one reality.
Obviously, something about Cloud is different in Rebirth from in OG, otherwise, the events of Rebirth’s chapter 14 would be the same as the events of OG’s disk 1 chapter 28. In my opinion, what happened here is that upon seeing Sephiroth swoop down with masamune, Cloud remembered Aerith’s death in OG, and the post-OG Cloud’s determination to stop it came surging up from within him. This is frankly the very best proof there is that Cloud is far more ready, stable, determined, and clear-headed about Aerith in the Remake trilogy than in OG. Our theory explains why! In fact, this very moment is what our entire theory banks on: Cloud saves Aerith in one reality, as is shown by the rainbow effect produced by the event, and just like that, the promise made in “Hollow” has been fulfilled! However, now we face the question of how to make sure that Aerith is alive and by Cloud’s side when the multiverse converges again into one protected timeline. I’m sure it will be done; we will see how in part 3.
VI. c) Theme Song Lyrics
What the theme songs’ texts have to say about the trilogy so far is quite important, as they summarize the feelings of the characters they represent: Cloud and Aerith. We can glean a lot from their perspectives that could help support the Mission Theory.
VI. d) i. “Hollow” Lyrics
“Hollow”, Remake’s theme song, was written about Cloud’s feelings and rumination. Nojima confirmed that, when he was given directives for the lyric-writing, “Nomura just gave [Nojima] the keywords: ‘told from Cloud's point of view’ and ‘standing in the rain’. [Nojima] interpreted that as ‘a ballad for a man who lost something/someone important’” (Nojima and Uematsu interview “‘I wanted to put the word ‘empty’ in the theme song of Remake. That was how it started’ - Music-Related Interview Part 6: Kazunari Nojima”, by Famitsu). Our theory is about Cloud’s motivations and mission to save Aerith, so “Hollow” is especially relevant.
Let’s run through the lyrics and analyze, starting with the song’s first verse:
Next, here are the pre-choruses:
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I already considered this piece the second greatest musical evidence for Clerith after the London Symphony Orchestra’s Final Fantasy VII Symphony’s second movement “Words Drowned by Fireworks” and its guide, but now that I know about the Clerith reunion that was baked into the ending, the gap between the two is narrower. Each time I hear Cloud begin to call out for Aerith in part 3 (3:04), I immediately start crying. It sounds so much to me like Cloud’s voice in the dark saying “Aerith…?”, meek and scared. If you’ve read everything so far, you know how long Cloud has been looking for Aerith, lost without her, searching relentlessly for decades in real-life time. Through FFT, DFF, Advent Children, MFF x FFVII… all of it spent looking for his Promised Land. In OG, Cloud was so tormented by Jenova’s manipulation and so consumed by the chase for Sephiroth that he could not realize what or how much he felt for her until she was taken away forever. The piece we’ve just analyzed tells the story of Cloud and Aerith intertwining and separating against their will, and you can truly feel Cloud’s anxiety as he struggles to wrench Aerith out of fate’s cruel grasp. Perhaps it is because of Aerith’s ultimately fatal responsibility, inherited from her mother, that this iteration of her theme is called “The Cetra”.
Though in part 5, Cloud and Aerith reunite… could this reunion symbolize their meeting again in Remake, or something more permanent? I think it’s meant to leave us wondering.
I’m very sensitive to music, and as I’m typing this, I’m crying a bit. I wanted to share my interpretation of “Aerith’s Theme - The Cetra” with you very badly, because it makes me feel so much and really enhances Clerith’s story. I’m overjoyed to have found out about the reunion at the very end. And it’s all because you guys showed love for my last analysis! You guys are giving me gifts every day.
V. b) i. 3) Combined Analysis
Please listen to and watch the scene of Cloud’s MOTF 6 (4:21-8:46) again, and consider section “V. b) i. 2)”. What is Uematsu telling us? Similarly to how main world theme of FFVII informs us that Jenova is sabotaging Cloud’s identity far before it becomes a plot point in OG, “Aerith’s theme - The Cetra” is telling us what not even Remake Cloud consciously knows at this point: he’s been searching desperately for her, and fears losing her once more.
As if that wasn’t proof enough, the timing of the shots and musical phrases is absolutely damning. Recall that part 3 of “Aerith’s theme - The Cetra” specifically symbolizes Cloud’s anxiety surrounding Aerith’s safety. It is this particular part of the piece that plays for the entirety of Aerith’s allusions to her murderers and her death (7:25-7:54), including the very moment where “Cloud feels his chest constrict tightly” (7:51-7:54). What’s more, part 5 the piece, which specifically Cloud freeing Aerith from the restraints of fate, coincides with the moment Tifa grabs Aerith’s hand and pulls her out from the circle of Whispers closing in on her (8:42-8:45). This moment leads me to believe that the reunion in part 5 of the piece indeed symbolizes Cloud succeeding (perhaps with Tifa’s help) in saving Aerith from her tragic fate and reuniting with her for good.
It’s heart-wrenching and brilliant. Our theory stands strong.
V. b) ii. Credits: Piece Inclusion
I find it very telling that the character themes included in the credits of Remake are Cloud’s “Hollow” (0:00-5:24), an orchestral arrangement of Aerith’s theme (5:24-9:24), and an orchestral arrangement of the main world theme, (9:24-14:27) which of course includes Cloud’s true theme. No other character themes appear during the rest of the credits (14:27-18:09). This is telling: the credits are communicating to us that Remake is about Cloud and Aerith. Our Mission Theory only gets stronger.
V. b) iii. Showing Relationships Through Music: Intermingling Character Themes
This doesn’t have to do with the Mission, but here’s a pretty good anti-Cloti argument while we’re here.
As shown in section “V. a) i.” where we explored the roles of Cloud, Jenova and Sephiroth’s themes within the FFVII world theme, the way character themes interact in a piece can tell you a lot about those characters’ relationships. This is certainly the case in “Aerith’s Theme - The Cetra” as well (see section “V. b. ii. 2)”).
I’d like to mention that in all of my listening to the Remake OST and rewatching playthroughs of Remake, I’ve never encountered a single piece that united Cloud and Tifa’s themes. Not once. Let alone a piece that depicts them as intimately or emotionally as “Aerith’s Theme - The Cetra” depicts Cloud and Aerith. Even the most Cloti cutscenes in Remake aren’t supported by pieces mixing or even juxtaposing Cloud and Tifa’s themes. I can’t find any of Cloud’s motifs anywhere during the orchestral arrangement of Tifa’s theme that plays during her resolution scene in chapter 14. I can’t find either of their motifs in the track the plays when Cloud calls Tifa beautiful at Seventh Heaven in chapter 3. A motif from Tifa’s theme does appear in the track that plays during the childhood promise scene in chapter 4, (0:00-0:25), but it never plays at the same time as or even near Cloud’s motifs (1:23-1:47 and 2:03-2:29). They’re distant or otherwise unaffiliated.
The only exception is that an altered version of Cloud’s theme’s section A phrase 1 appears in the background of Tifa’s theme (1:17-1:23). This symbolizes her connection to Cloud and how much of her attention and worry revolve around him— a reference to how she cares so much that it borders on dependency. Of course, it doesn’t go both ways: Tifa isn’t in Cloud’s theme at all. To me, this lack of reciprocity concerning the inclusion of Cloud’s motif in Tifa’s theme signifies that the only time Cloud and Tifa are together is in her head. She does think about him a lot, which we witness in her chapter of Trace of Two Pasts. Tifa loses sleep over him even two years after he left Nibelheim, despite the fact that she barely knew him at all:
“The moment she heard the word “Soldier”, the few memories she had with Cloud Strife came flooding back. He never contacted her after they parted ways two years ago […]. She tossed and turned all night. When she counted them again, her memories with Cloud were so surprisingly few that others might find it hard to believe that they grew up as next-door neighbors” (Trace of Two Pasts, translated by pekotranslates on Tumblr).FFVII Remake Ultimania also comments on the superficial nature of Cloud and Tifa’s water tower promise, and how regardless of its naïveté, it became fundamental to Tifa:
“Though rooted in a jejune heroine fantasy of being rescued in a pinch by her hero, this promise is clearly etched in Tifa’s memory” (Tifa’s profile in section 01 of “Character & World”, “An Enduring Childhood Promise” in “Topics of Tifa” page 20).You could argue that “Aerith’s Theme - The Cetra” is only one song wherein Cloud and Aerith’s themes interweave, but you’d be proven wrong by the Rebirth OST…
V. c) The Rebirth OST
Unfortunately, the full Rebirth OST isn’t out and available where I can listen to it right now. However, based solely on the incomplete OST that’s available to me right now, I can tell you with certainty that the composers were told to incorporate Clerith into the musical storytelling: Cloud and Aerith’s themes intermingle in multiple pieces. I can’t imagine what else I’ll discover once I listen to the full OST. For now, I checked out what was available on YouTube and listened to cutscene audios. This section would be eternal if I included every time Cloud and Aerith’s motifs interact, especially in chapter 14. Trust me, I’d love to talk about every single one, but this thing is long enough already, so let’s just address what pertains to our Mission Theory specifically rather than stopping at every single Clerith reference in the OST.
V. c) i. Ending Cutscene Music
Ending cutscenes are often used to address the next step the characters will be taking as well as their emotional and mental state. They also open up new questions to make the player curious. Indeed, Rebirth’s ending cutscene (18:56-25:00) gives us an impression of how the party members feel by the end of the game: everyone misses Aerith. Barret looks upset and confused at the mention of her (19:35-19:45), the girls are crying and Nanaki is mourning (19:58-20:35). Additionally, we are shown the empty White Materia and Black Materia in Cloud’s possession (20:40-21:24), foreshadowing that they will come to be important in part 3. Cloud and Aerith share a warm goodbye, and exchange promises: Aerith will send smoke signals if something happens to her so a worried Cloud can remain updated on her well-being and she will stop Meteor, and Cloud will stop Sephiroth (23:00-25:00). The fact that this scene is animated in CGI is enough to tell us that the devs consider it narratively important, just like they do Bugenhagen’s observatory and the party’s advance into the Forgotten Capital CGI cutscenes. What did the composers decide to communicate with us about the end of Rebirth and the plot going forward?
Big surprise: Clerith.
During the entire cutscene, only two themes play: Cloud’s and Aerith’s. The cutscene’s music begins only when Cloud notices Aerith among the party members and begins watching her (19:21). She interacts with the rest of the party without their knowledge, different segments of her theme playing one after another. Her theme only stops when Cloud finally looks away from her and to the empty White Materia in his hand (20:45). The music focuses on the mystery and ominousness of these materia, only returning to Aerith once Cloud hears her voice and repeats her message to the party (21:30).
Cloud’s theme appears when he asserts that Barret needn’t worry about him (section A of Cloud’s true theme, 22:41), though soft and tentative, only swelling when Barret and Tifa climb aboard the Tiny Bronco and Cloud finds himself alone with Aerith again (22:57). As he asks Aerith if “[she’ll] be okay getting back” (23:08), the final phrase of section A of his theme plays, but without its concluding note, the tonic. He waits for her to answer him as his theme waits for hers to complete and answer it, that final note dragging long over the seconds (23:09-23:13). She answers with a teasing remark that references their unwillingness to part from each other back in Remake’s Evergreen Park:
“[Cloud has] a chat with Aerith, from whom he’s reluctant to part” (chapter 9 in section 04 “Scenario”, “Main Story Digest”, “4. Saying Goodbye”, page 275)”.As soon as Aerith answers Cloud’s question with this romantic callback, her theme answers his too: section C of Aerith’s theme begins with the key’s tonic, resolving Cloud’s incomplete phrase (23:13): she gives him resolution. He chuckles, getting her reference, and the music swells (23:16). The music ebbs and flows thusly, following the rhythms and underlying emotions of their conversation. Finally, the piece ends with phrase 2 of of section A of Cloud’s true theme, following a strong repetition of the first half of Aerith’s theme’s section A. The two make their promises to each other, and “No Promises to Keep” begins, leading us to the credits. This is most definitely a Clerith song, but more on that later.
What this shows us is that Cloud and Aerith’s relationship is fundamental to the plot of Rebirth and will also be fundamental to the plot of part 3: they are isolated one one-on-one in this cutscene, and the music depicts their warm, sweet interaction as well as the strength of Aerith’s character to contrast with Cloud’s somewhat meek personality. The composers are telling us that these two, specifically, together alone, are hugely important to the plot here. This was already true in OG, but no such emphasis was ever placed on their interactions and relationship in its music. Something is different, deeper, more intense now. The Mission Theory explains why. It also suits our theory that the composers are emphasizing the centrality of Clerith in the plot of the Remake trilogy. Cloud’s love for Aerith is the reason for the trilogy’s existence, and it will be the greatest motivator for Cloud in part 3. It’s a grand announcement.
Just like in Remake, I could not find a single instance of Cloud and Tifa’s themes interacting in Rebirth, apart from at the end of the intimate Skywheel date— but every girl receives this treatment in their intimate dates, so each of these instances can be crossed out. Additionally, the Tifa date is not the canon one, but I digress…
V. c) iii. Credits
- Piece Inclusion
V. c) iii. 2) “No Promises to Keep”
At the very end of this song written and performed by Aerith, we’re treated with a sweet little piano conclusion (10:46-11:10): it begins with a variation on Aerith’s theme’s section A (10:46-11:01), and concludes with two ascending arpeggios, each four notes long (11:01-11:10). Each of these ascending arpeggios is a variation of the phrase 1 of Cloud’s true theme’s section A. The differences are minimal. The phrase is usually five notes long rather than four, the first arpeggio ends on the tonic rather than Cloud’s iconic subtonic, and the second arpeggio starts on the subtonic rather than the tonic. The song Aerith wrote concludes with Cloud’s most famous motif. This is also the case in her Gold Saucer performance (3:31-3:41).
V. c) iii. 3) Arrangement of Aerith’s Theme
The final piece in the credits is an arrangement of Aerith’s theme (24:28-28:47) which has noticeably similar elements to the version of her theme that plays during the Jenova Lifeclinger battle in chapter 14 (0:12-3:36), such as the female choirs. Since these female choirs are only heard in the Forgotten City version of Aerith’s theme, and since the credits arrangement of her theme plays at the same time as clips from her chapter 14 pseudo-death roll across the screen, I estimate that this credits arrangement specifically reflects the event of Aerith’s pseudo-death. Recall that composers had access to the credits video as they composed, meaning this piece is specifically written for Aerith’s pseudo-death in Rebirth.
What I find fascinating is that, just like the arrangements of her theme that play during Aerith’s pseudo-death and the Jenova Lifeclinger battle, this credits arrangement contains the sound of Cloud’s pain, rage and protest. Phrase 1 and the first three notes of phrase 2 of Cloud’s true theme section A play on the strings and brass quite loudly and insistently, just as Cloud blocking masamune appears on the credits screen (25:11-25:21). Sephiroth’s dissonant, high and screechy violins appear just as his face comes onto the screen (26:33), and almost as a protective response, phrases 1 and 2 of Cloud’s true theme’s section A return (26:47-27:00). Finally, similarly to what we hear in part 5 of “Aerith’s Theme - The Cetra”, a slightly modified section A phrase 1 of Cloud’s true theme play along with section C phrase 3 of Aerith’s theme (oh wow section A and C section Aerith for Cloud’s theme and section Cloud for Aerith’s theme I just realized that’s such a cute coincidence), though unfortunately they do not meet in the middle like last time since they start two octaves apart (28:20-28:25). I’ve recreated it for you once more here so you can really appreciate it. The fact that their motifs don’t truly reunite like in “Aerith’s Theme - The Cetra” is sad, but the very last thing you see onscreen is Aerith’s goodbye to the Tiny Bronco (27:10-27:42), so it makes sense that this piano conclusion implies that Cloud and Aerith aligned, but not yet reunited for good. That’s exactly what you get from the ending cutscene. It does seem to imply that they will be reunited in part 3, as both the ending cutscene and this piano conclusion read as a “till we see each other again” rather than a “farewell”.
VI. Textual Evidence
Now that the musical evidence is done, let’s compile some textual story evidence that supports our theory!VI. a) Remake Trilogy (Thus Far) Handholding Explained?
As I’m sure you’ve noticed, handholding is a motif in Cloud and Aerith’s relationship— and an extremely symbolic one at that! When researching for info to validate my theory, I found that this Clerith motif was extremely helpful! Its inclusion in the Remake trilogy, and especially in Rebirth, is hugely significant in my eyes.
VI. a) i. Pre-Remake Trilogy: Aerith’s Initiative
Before examining the significance of Clerith handholding in Remake and Rebirth, we should establish the meaning of this motif in OG and Advent Children.
Cloud and Aerith have reached out to take each other’s hands many times since 1997. Aerith used to literally drag him by the hand a lot, shocking the cold and distant merc, before she left. After her death in OG, Cloud surely longed to be able to feel her hand take his again, cursing himself for not enjoying it while she was alive, and for never being the one to grasp her hand first: he never got to tell her how he feels about her, or to save her. It was always her reaching out for him, saving him.
This is why the scene in OG when Aerith reaches for him from the Lifestream after Cloud defeats Sephiroth in chapter 3 of disk 3 is so touching: Cloud sees her hand and reaches out to take it, so close to finally establishing that mutual connection, but she soon fades, and replaced by Tifa’s hand in the tangible world. He doesn’t get to hold Aerith’s hand again.
That is, not until Advent Children, where near the end of his battle with Bahamut Sin, he sees Aerith reach out to him once again (1:08-1:30). Cloud finally gets to hold her hand for the first time in two years when he lost her. This moment was given extra importance by the devs. In fact, Nojima told us the following:
“The ending scene of the battle with Bahamut, the scene where Aerith reaches out her hand, is an homage to the last scene from a previous production. It was [Nomura]'s idea” (FFVII Reunion Files, “Story Digest”, “Summoned Beast”, page 113).VI. a) ii. The Remake Trilogy (Thus Far): Cloud’s Initiative
As I’ve said before, if I’m right that Remake is all about Cloud stepping up to be more attentive and active in his relationship with Aerith in order to save her, there should be concrete evidence of this in the Remaketrilogy thus far. If OG Cloud’s memories of and love for Aerith exist somewhere within Remake Cloud’s subconsciousness, then Remake Cloud should be far more active in the Clerith dynamic than OG Cloud was— after all, he’s supposed to know better this time around. Thankfully, the motif of handholding can help us evaluate this. Since we know pre-Remake Cloud was quite passive when it comes to handholding, Cloud initiating handholding in the Remake trilogy would be a strong indication that our theory has validity. Keeping this in mind, let’s see what we can find thus far in the Remake trilogy in relation to handholding, and if Cloud is indeed more active than he was in OG.
VI. a) ii. 1) Hollow Hands
Remake’s theme song “Hollow” makes allusions to the handholding motif: “This time, I will never let you go” is pretty clear. And so is “No Promises to Keep”, wherein Aerith speaks of Cloud “[taking her] hand and never [letting her] go” multiple times. Interestingly, these theme song lyrics seem to suggest that Cloud will be much more active in the Remake trilogy than in OG. “Hollow” even promises that Cloud will come to his senses and take charge of the situation: “this time, [he] will” be the one to offer his hand to Aerith, unlike in OG and Advent Children. This makes a lot of sense with our theory: now that Cloud has lost Aerith once, “this time for sure, [he]’ll” be the one to reach for Aerith’s hand, take initiative and save her the way she saved him.
Even though theme songs are extremely telling of a game’s main themes and intentions, lyrics are still all talk and no proof. What about the game itself? Do Remake and Rebirth deliver on this promise? Let’s see!
VI. a) ii. 2) Resolution Hands
The only significant time Cloud initiates handholding in Remake is during Cloud’s resolution scene in chapter 14 (5:18-5:40), wherein he tries to grab Aerith’s hand but is unable to keep her with him. He fills with determination and tells her in no uncertain terms that he’s coming for her. Just as we predicted, Cloud is the active participant in this iteration of the Clerith handholding motif: he’s even explicitly insisting against Aerith’s wishes that he should “get a say in all this” and that he’s “coming for [her]”. Let’s not forget that Cloud’s resolution is meant to reflect not only Aerith’s kidnapping by Shinra, but also her fated death. Nojima implied this by commenting the following on Aerith’s “Even if you think you have, it’s not real” line:
“Those who know what befalls Aerith later on will find the line really heart-wrenching” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 744).Given this note by Nojima, it looks like we’re supposed to watch Cloud’s resolution scene with Aerith’s fated death in mind. Considering this, Cloud’s “I’m coming for you” line sure seems like an subconscious promise that he will save Aerith from her tragic fate. This subconscious promise could be the result of post-OG Cloud’s feelings and intentions rising to the surface. Nevertheless, he’s absolutely determined and he’s staying true to the promise he made in “Hollow”. I think it’s fair to say that this instance of the handholding Clerith motif does indeed fit perfectly with our theory. This is only one strong example though, and we need a pattern in order to pat ourselves on the back on this. So, let’s keep looking! There isn’t any handholding initiated by Cloud beyond that point in Remake. At this point in my research, I moved on to Rebirth to go digging for handholding there.
Hoo boy. I was not disappointed.
VI. a) ii. 3) Golden Hands
Let’s begin with the obvious. In their high-affinity gondola date in chapter 12, Cloud bravely interlaces his fingers with Aerith’s: Cloud’s taken charge not only of handholding, but the most intimate kind of handholding. I’m sure you’ve encountered the phrase “こいびとつなぎ” or “koibito tsunagi by now (literally translates to “lovers’ tie” or “lovers’ connection”); this is the term used in Japanese to refer to the type of handholding Cloud initiates with Aerith on the Skywheel. It’s considered the most intimate form of handholding. In Japan, skinship is normally considered quite significant and indicative of the closeness between two people— you could say it’s a big deal. Cloud also offers Aerith his hand when they step off the Shywheel, once more making the first move. Though some might say that the Skywheel dates shouldn’t be counted as canon, I believe Aerith’s date is indeed canon (I have my reasons but this post is long enough). Even if we discount the Skywheel date however, Clerith's use of the koibito tsunagi returns in a non-optional scene we will touch on later.
For what it’s worth, Alfreid offers Rosa his hand in the Loveless play too. I can prove that Aerith is the canon Rosa too, but I’m going to save that for my next analysis! You can take my word for it now, or just wait for that analysis to drop. Take it or leave it!
VI. a) ii. 4) Meta Hands
However, the narrative weight of these Clerith handholding instances doesn’t even come close to my very favorite iteration of the handholding motif in Rebirth. I’m referring to what I consider a severely underrated Clerith moment in chapter 13. First, some context: Sephiroth manipulates Cloud into giving over the Black Materia. Cloud seems to be firmly under Sephiroth’s control. However, the sight of Aerith being swarmed by Black Whispers snaps Cloud back into the driver’s seat: he breaks out of Sephiroth’s grasp to run to her and save her. Aerith gets knocked off into a fatal free-fall by a Black Whisper before Cloud can reach her, but he won’t have it: he lunges forward, hand extended. What results is a beautiful shot of their outstretched hands (56:25-56:27).
Let’s analyze this great shot. Notice how the seconds where Cloud is reaching downwards to grasp Aerith’s hand are treated. This key moment is stretched longer by a slow-mo effect, building up the tension and drawing the audience’s focus to the distance between their hands before Cloud actually catches Aerith’s in his, fulfilling the promise he made in “Hollow”. Their hands take up the whole screen in a deliberate close-up shot. All the ambient noises of the scene go quiet: Aerith’s theme is all we hear as Cloud reaches desperately for her. These are blatant audiovisual cues, signalling to the audience that whatever is happening on screen is especially significant. We should therefore examine this specific instance of the Clerith handholding motif to see what the devs are trying to tell us, and maybe it will fit with our theory!
We should begin by comparing this Clerith hand-reach shot to previous ones. If you compare it to the Advent Children’s hand-reach that occurs during Cloud’s battle against Bahamut Sin, it’s evident that Cloud and Aerith’s roles are reversed: just as our theory states, Cloud gets out from inside his head and reaches for Aerith this time. She saved him and the world in OG, and now it’s his turn to save her. This change becomes especially evident when you juxtapose the two scenes and notice how their hands have switched places, reaching from above and below, from left and right. I think the Rebirth hand-reach was deliberately made to look like the Advent Children one —and even the OG one in disk 3, chapter 3—, just to highlight this role reversal.
This Rebirth hand-reach is my favorite out of all because it shows that Cloud is much more conscious and attentive toward Aerith in Rebirth than he was in OG. At this point in OG (disk 1, chapter 25), Cloud is meant to be beating Aerith up at Sephiroth’s command, to the horror of the rest of the party. In fact, a few minutes before Cloud rushes to save Aerith in Rebirth, he has absolutely no problem violently shoving Tifa to the ground when she gets in Sephiroth’s way (53:27-53:33). This shove and Cloud’s earlier attack on Tifa in Gongaga (Rebirth, chapter 9) proves that Sephiroth is just as capable of making Cloud hurt his party members as he was in OG… though Sephiroth can’t seem to make Cloud hurt Aerith. Why is this? Why is it that Cloud beats Aerith in OG, but doesn’t even lay a finger on her —and snaps out of Sephiroth’s control at the mere sight of her in trouble— in Rebirth?
Our theory provides the answer. In disk 1, chapter 25 of OG, Cloud had not yet realized he loved Aerith. Sephiroth was therefore able to make him hurt her. But things are different in Rebirth. The Cloud we see in the Remake trilogy has gone through the OG timeline and traveled back in time, kicking off Remake as his second try at the OG timeline— and he did this precisely because he loves Aerith. His love for her is clearer and stronger in the Remake trilogy than in OG because Remake Cloud is an amnesiac, post-OG, time-traveler Cloud. He’s been through the OG before, has fallen in love with Aerith and realized it before, so this time around, he can’t even lay a finger on her. This is made evident by how closely the moments where Cloud pushes Tifa and saves Aerith are juxtaposed, separated by mere seconds of gameplay. Merely seeing Aerith in trouble wrenched control from Sephiroth and put it in Cloud’s hands again— Sephiroth probably couldn’t have gotten Cloud to attack Aerith if he tried.
This isn’t the only time we get evidence of this though! As Cloud approaches Aerith’s praying form in the Forgotten City, Sephiroth’s Black Whispers swirl around the buster sword: Sephiroth is trying to kill Aerith with it, while Cloud’s struggle to wrench it away plays out visibly on his face. Interestingly, Cloud is not being controlled by Sephiroth here. We know this because we can quite literally see the Black Whispers trying to move his sword, but also because every time Cloud is being controlled by Sephiroth in Rebirth, he has an empty-eyed, zombie-Cloud look on his face. Either that or he laughs or smiles somewhat maniacally. There is never any resistance on his part. To see an example, simply pay attention to Cloud’s blank face as he attacks Tifa in Gongaga in chapter 9 (19:20-20:30). You’ll see the very same expression on his face if you watch this video of Cloud following Sephiroth’s orders in chapter 13 (53:36-54:15). Additionally, look at how strangely Cloud smiles (41:01) as he grasps the Black Materia. Cloud makes none of these faces as the Black Whispers try to take control of his sword: quite the opposite. Cloud looks like he’s trying his hardest to pull his weapon back down and away from Aerith, a horrified look on his face as he grunts from the effort. Once more, Sephiroth is unable to make Cloud hurt Aerith.
Back to my favorite handholding moment. Think about this devs intention for this shot for a minute. The devs have been teasing us as to whether or not Cloud will succeed in saving Aerith in the Remake trilogy since it was first announced, and this slow-mo shot of Cloud catching Aerith’s hand as she falls to her death is a reflection of this tension. The audience holds their breath during those slow-moed seconds, all that hope and fear hanging in the balance. This instance of the handholding motif is a meta way for the devs to reassure us that Cloud will indeed save Aerith. I firmly believe this.
VI. a) ii. 5) Self-Sacrificing Hands
Alright, alright, enough about my favorite! Let’s move to chapter 14 of Rebirth! There’s evidently a lot going on with Clerith in this chapter. Let’s address the Sector 5 date. The handholding is first initiated by Aerith as she tugs him toward the candy vendor and Cloud reacts with a quiet gasp (4:07-4:17). Soon, it becomes a reciprocal embrace: Cloud holds his hand out for Aerith’s and tightens his fingers around hers, smiling at her before they head to the photographer (7:07-7:17).
Then of course, when Aerith pushes Cloud into a portal in her church, you can see Cloud reach his hand up toward her desperately as he falls (17:38-17:58). What I find particularly emotional about this moment is that Aerith pushing Cloud away from her is kind of the opposite of reaching for his hand: it symbolizes Aerith accepting her fate and giving up on a life where she can be with him. This Aerith seems to be a post-OG Aerith who exists separately from the main world we experience in Rebirth, meaning she knows all too well that her fate is to die. In fact, it looks like she is the very same or a similar Aerith to the one who appeared to Cloud in his resolution scene in Remake. By literally pushing Cloud away, just like she figuratively did in Cloud’s resolution scene, she is sacrificing both herself and the happiness she could share with Cloud. She’s going against her heart’s wishes, just like she did in Cloud’s resolution scene when she would not let Cloud take her hand. Indeed, post-OG Aerith seems to be resigned to her fated death and completely devoid of hope: she only wants to ensure the planet’s survival, because she thinks she knows there is no way she can or should be with Cloud. In contrast, Cloud reaches his hand out toward Aerith as he falls into the portal, and even though he does not know that her push symbolizes her self-sacrifice, his outstretched hand represents his protest. So far, our theory is fitting beautifully.
VI. a) ii. 6) Grieving Hands
Later in chapter 14 of Rebirth, after Aerith’s death/non-death, there is more handholding. As Cloud cradles Aerith’s body close to him at the Forgotten Capital, Aerith places her hand on his cheek. Cloud covers it with his, curling his fingers around it (1:03:33-1:03:53). Before he leaves her lying down on her back to go fight Sephiroth, he squeezes her hand as he tells her “I got this”— or, per the Japanese version, “Wait for me”, meaning he’ll reunite with her once he’s done (1:04:56-1:05:10).
VI. a) ii. 7) Hero-Heroine Hands
Next, the koibito tsunagi returns as Cloud and Aerith interlace fingers back to back in a classic hero-heroine pose, right after their two-versus-one fight against Sephiroth. This time, they both reach for each other simultaneously (7:42-8:18), without even having to look down at their hands or talk to each other, as though perfectly in sync. As you can see, Aerith and Cloud are now on the same page. This is different from post-OG Aerith’s attitude in the Sector 5 church earlier in chapter 14, as well as in Cloud’s resolution scene in Remake— my interpretation of this mutual koibito tsunagi is that both of them are agreeing to hold onto each other now, with neither of them pulling back or being inattentive of the other: their priorities are now the same. It seems now they are aligned, and hopefully this means that Aerith will be working together with Cloud so they can reunite again in part 3. Even if she doesn’t prioritize her life and happiness though, we know for sure Cloud will.
VI. b) Blocking Masamune Explained?
Another piece of evidence that Cloud has been through the events of OG before is the fact that he is able to block masamune. Cloud looks up and sees Sephiroth descending with his blade poised to kill Aerith. Screaming, Cloud instantly rips the buster sword from the Black Whispers’ hold and successfully blocks masamune. Hatred and determination fill his eyes as he rallies his strength and successfully pushes Sephiroth away, saving Aerith’s life (6:00-7:26)— at least, in one reality.
Obviously, something about Cloud is different in Rebirth from in OG, otherwise, the events of Rebirth’s chapter 14 would be the same as the events of OG’s disk 1 chapter 28. In my opinion, what happened here is that upon seeing Sephiroth swoop down with masamune, Cloud remembered Aerith’s death in OG, and the post-OG Cloud’s determination to stop it came surging up from within him. This is frankly the very best proof there is that Cloud is far more ready, stable, determined, and clear-headed about Aerith in the Remake trilogy than in OG. Our theory explains why! In fact, this very moment is what our entire theory banks on: Cloud saves Aerith in one reality, as is shown by the rainbow effect produced by the event, and just like that, the promise made in “Hollow” has been fulfilled! However, now we face the question of how to make sure that Aerith is alive and by Cloud’s side when the multiverse converges again into one protected timeline. I’m sure it will be done; we will see how in part 3.
VI. c) Theme Song Lyrics
What the theme songs’ texts have to say about the trilogy so far is quite important, as they summarize the feelings of the characters they represent: Cloud and Aerith. We can glean a lot from their perspectives that could help support the Mission Theory.
VI. d) i. “Hollow” Lyrics
“Hollow”, Remake’s theme song, was written about Cloud’s feelings and rumination. Nojima confirmed that, when he was given directives for the lyric-writing, “Nomura just gave [Nojima] the keywords: ‘told from Cloud's point of view’ and ‘standing in the rain’. [Nojima] interpreted that as ‘a ballad for a man who lost something/someone important’” (Nojima and Uematsu interview “‘I wanted to put the word ‘empty’ in the theme song of Remake. That was how it started’ - Music-Related Interview Part 6: Kazunari Nojima”, by Famitsu). Our theory is about Cloud’s motivations and mission to save Aerith, so “Hollow” is especially relevant.
Let’s run through the lyrics and analyze, starting with the song’s first verse:
“I would be lost, drifting alongMakes sense with our theory in mind, doesn’t it? This is post-OG Cloud remembering Aerith and what she means to him. “Hollow” seems to be told from the perspective of the post-OG Cloud hidden somewhere in Remake Cloud: a suppressed or eroded part of him that remembers Aerith clearly. Or maybe it’s told by Cloud after the events of the MFF x FFVII Remake collaboration and before the start of Remake, asserting his mission to save Aerith.
Floating up high, time after time
And there you'd be, shining brightly
Your smiling face to guide my way
Bloody and bruised, brought to my knees
When beaten down, when broken up
You would appear, reach out to me
Heal every wound and make me whole”
Next, here are the pre-choruses:
“Was it all, a dream? Will I never know?&
Foolish and blind to everything
Had I realized, had I thought it through
Would you be here in my embrace?”
“With your every smile, hiding something more(continued in
Dark mysteries lurking beneath
But I was consumed with this emptiness
This selfishness, this void to fill”
2024.05.16 15:29 Virtual-Pie5732 How do you deal with a parent who constantly questions everything you did, and never let's you feel like you can make your own decisions?
I've always struggled to make decisions sometimes even having almost full blown panic attacks when I had to make something really big.
As an adult I have discovered that one of the main reasons I struggle stems from the fact that my mother never let me make my own decisions, or she would question literally anything I do.
I started lifting weights for fun and recently started training to compete. Anytime she contacts me and if I'm on my way to the gym she'll be like "Why are You going to the gym? Weren't you just at the gym? Do you really need to work out so much? Is that even good for your body?" She'll even comment on the amount of protein I consume despite the fact that I've been doing this for THREE YEARS!
Even something a simple as going to the store needs to be scrutinized.
Me: trying to leave
Mom: where you going?
Me: Just out
Mom: out where?
Me: The store.
Mom: What store?
Me: * give store name.* * About to leave again.*
Mom: why do you need to go to the store?
Me: to get some stuff
Mom: what stuff
Me: I don't have time to stand here and list all the things I need to get.
Mom: Well how long are you going to be gone? Me: I don't know.
Mom: You don't know?!
Me: gives arbitrary time.
Mom: " Do you think it's a good idea to go to the store right now?"
Me: have now fully checked out
I've almost missed out on great job and career opportunities because she had to throw her 2 cents in and made me question myself.
And even if she doesn't out right question me she'll make a comment that makes me question myself.
Like I got a job offer that had me in Europe for a year. Great money, my housing was fully paid, and I got per diem for food. Before I left she kept asking me if I really wanted to go, and when I finally said yes she was like "okay, you're an adult. You can make your own decisions."
Really because it doesn't feel like it, feels like your trying to guilt me for daring to be my own person.
The only time she doesn't do it (or rather can't) is When I'm at a family function. If she starts her long line of questioning, someone will step in and say something to the degree of "Can you just let her do her thing, she's a full-grown woman?"
Edit: fixed the dialogue section that was scrunched together.
submitted by Virtual-Pie5732 to entitledparents [link] [comments]
As an adult I have discovered that one of the main reasons I struggle stems from the fact that my mother never let me make my own decisions, or she would question literally anything I do.
I started lifting weights for fun and recently started training to compete. Anytime she contacts me and if I'm on my way to the gym she'll be like "Why are You going to the gym? Weren't you just at the gym? Do you really need to work out so much? Is that even good for your body?" She'll even comment on the amount of protein I consume despite the fact that I've been doing this for THREE YEARS!
Even something a simple as going to the store needs to be scrutinized.
Me: trying to leave
Mom: where you going?
Me: Just out
Mom: out where?
Me: The store.
Mom: What store?
Me: * give store name.* * About to leave again.*
Mom: why do you need to go to the store?
Me: to get some stuff
Mom: what stuff
Me: I don't have time to stand here and list all the things I need to get.
Mom: Well how long are you going to be gone? Me: I don't know.
Mom: You don't know?!
Me: gives arbitrary time.
Mom: " Do you think it's a good idea to go to the store right now?"
Me: have now fully checked out
I've almost missed out on great job and career opportunities because she had to throw her 2 cents in and made me question myself.
And even if she doesn't out right question me she'll make a comment that makes me question myself.
Like I got a job offer that had me in Europe for a year. Great money, my housing was fully paid, and I got per diem for food. Before I left she kept asking me if I really wanted to go, and when I finally said yes she was like "okay, you're an adult. You can make your own decisions."
Really because it doesn't feel like it, feels like your trying to guilt me for daring to be my own person.
The only time she doesn't do it (or rather can't) is When I'm at a family function. If she starts her long line of questioning, someone will step in and say something to the degree of "Can you just let her do her thing, she's a full-grown woman?"
Edit: fixed the dialogue section that was scrunched together.
2024.05.16 14:49 SHIR0YUKI Shiny living dex progress from an area I totally forgot about
 | Yo guys, back again with another update on my "shiny living dex", if you have no idea what I'm talking about or why I'm only doing final evos, you can check my first post submitted by SHIR0YUKI to pokemonradicalred [link] [comments] Anyways, if you saw my previous post where I spoke about the unexpected table encounter of viridian forest and was about to do pewter city next, hate to tell ya but I haven't done pewter city yet, because guess what? THERE WAS ANOTHER AREA! 😂 For those unaware, and I wouldn't blame you because I completely forgot about it as well, there is a gap in the fence just after the viridian forest exit gate. If you go through that gap, you have access to a small section of diglets cave, normally what you'd find in there is the thief TM, but horrifyingly for me I found a new encounter table with 16 NEW pokémon to shiny hunt 😭 Viridian forest was bad enough, but this was downright painful. My single longest hunt, shiny trapinch took somewhere around 2800+ encounters and shiny fatigue is a real thing. I nearly damn miss the bugger when he finally did pop up shiny because I was just in the zone of listening to music, pressing R on my controller and knocking out whatever popped up. I'm so glad at that very moment my sister decided to distract me with a question and I looked at the screen before just knocking out the damn shiny. The shiny gods definitely blessed me there after torturing me a little with that way too long hunt lol. Just in general, every shiny hunt took so long in this cave. My current plan now is to do pewter, the route east of pewter, then skip mount moon, battle misty to increase my level cap (my starter went over the cap and doesn't listen to me and other pokémon are getting scarily close) then pop back to mount moon and continue the hunt. Yes I'm aware each floor has a different encounter table for day and night with some overlap, although I'm not sure if this has more than the 33 shinies I needed from viridian forest. Wish me luck guys, I'm gonna need it. Good news by the way, I'm officially over 100 shinies! My current shiny count is 121!! By the way, favourite shinies of this small section of dig let's cave is (un)fortunately shiny trapinch and shiny noibat. I believe trapinch may be a custom? I'm not sure but his colouring doesn't look like what I remember. For noibat I just have no idea, never saw it's shiny as far as I can remember. Imgur link for shinies I've caught so far. |
2024.05.16 14:39 WinterMisanthropy201 Type me please (opinions)
Sorry for any mistakes. My english isn't good enough.
Background: Men with 23 years, no college formation yet.
I’ll be glad if all of you help me with yojr opinions. How much details, better .
submitted by WinterMisanthropy201 to Socionics [link] [comments]
Background: Men with 23 years, no college formation yet.
Section 1
- How do you work? Why do people go to work? Are there any parameters that determine whether you can do work or not? What are they?
I work very slow. I don’t have problems working faster for a while, but if is too much starts to annoy me. We works humankind needs recurses to act and solve our existencial and material problems. But i can’t exclude other forces among work like capital, the human “progress”. The parameters for my work is something abstract, technological, creative and philosophical. I often like write about ideas, deal with machines and computers, reading about political philosophy. I have problems to get a job on those areas because i dont have iniciative to chase it. - How do you determine the quality of work? How do you determine the quality of a purchase? Do you pay any attention to it?
I determine the quality of work if it brings expected results and seems organized. The same for a purchase. I don’t pay any attention for it, i just want may these things fulfill their role, whatever the cost. - There is a professional next to you. How do you know they are a professional? How do you evaluate their skill?
- If you struggle to do something, how do you fix that? Do you know if your performance is better or worse than others?
- How do you measure the success of a job? What standard do you use? Do you pay attention to it? When should you deviate from this standard?
Section 2
- What is a whole? Can you identify its parts? Are the parts equivalent to the whole?
- What does "logical" mean? What is your understanding? Do you think that it correlates with the common view? How do you know you are being logical?
- What is hierarchy? Give examples of hierarchies. Do you need to follow it? Why or why not? Explain how hierarchy is used in a system you are familiar with.
- What is classification? How does classification work? Why is it needed and where is it applied? Give examples.
- Are your ideas consistent? How do you know they are consistent? How do you spot inconsistency in others' ideas?
Section 3
- Can you press people? What methods do you use? How does it happen?
- How do you get what you want? What do you do if you have to work to get what you want?
- How do you deal with opposition? What methods do you use to defend your interests?
- When do you think it's ok to occupy someone's space? Do you recognize it?
- Do others think you are a strong-willed person? Do you think you have a strong will?
Section 4
- How do you satisfy your physical senses? What examples can you give? What physical experiences are you drawn to?
- How do you find harmony with your environment? How do you build a harmonious environment? What happens if this harmony is disturbed?
- What does comfort mean to you? How do you create it? Comfort is where I can recharge my energy. That's basically my sofa and my bed.
- How do you express yourself in your hobbies? How do you engage yourself with those things?
- Tell us how you'd design any room, house or an office. Do you do it yourself, or trust someone else to do it? Why?
Section 5
- Is it acceptable to express emotions in public? Give examples of inappropriate expression of emotions.
- How do you express your emotions? Can you tell how your expressions affect others in a positive or negative way?
- Are you able to change your demeanor in order to interact with your environment in a more or less suitable way? How do you determine what is suitable?
- In what situations do you feel others' feelings? Can you give examples of when you wanted to improve the mood of others?
- How do others' emotions affect you? How does your internal emotional state correlate or contrast with what you express?
Section 6
- How can you tell how much emotional space there is between yourself and others? How can you affect this space?
- How do you determine how much you like or dislike someone else? How does this affect your relationships?
- How do you move from a distant relationship to a close one? What are the distinguishing characteristics of a close relationship?
- How do you know that you are a moral person? Where do you draw your morality from? Do you believe others should share your beliefs on what's moral? Why?
- Someone you care about is acting distant to you. How do you know when this attitude is a reflection of your relationship?
Section 7
- How can you tell someone has the potential to be a successful person? What qualities make a successful person and why?
- Where would you start when looking for a new hobby? How do you find new opportunities and how do you choose which would be best?
- How do you interpret the following statement: "Ideas don't need to be feasible in order to be worthwhile." Do you agree or disagree, and why?
- Describe your thought process when relating the following ideas: swimming, chicken, sciences. Do you think that others would draw the same or different connections?
- How would you summarize the qualities that are essential to who you are? What kind of potential in you has yet to be actualized and why?
Section 8
- How do people change? Can you describe how various events change people? Can others see those changes?
- How do you feel and experience time? Can time be wasted? How? Yes. You can estimate how much time a task takes. You can plan how you wanna use your time. You can set deadlines for whatever you are doing. Time can be wasted on things you don't value because you can't gain back time.
- Is there anything that cannot be described with words? What is it? If so, how can we understand what it is if language does not work?
- How do you anticipate events unfolding? How can you observe such unfoldments in your environment?
- In what situations is timing important? How do you know the time is right to act? How do you feel about waiting for the right moment?
I’ll be glad if all of you help me with yojr opinions. How much details, better .
2024.05.16 13:57 lunaluvssu Should I section myself?
Just came out of sectioning a few weeks ago. The first week back home was good but I feel the same again now. Except now thinking of buying a gun, is the idea of buying a gun risky enough to myself where I should seek help ASAP? Sectioning the first time didn’t help, the facility i was at was just med-ing people up and sticking them infront of the TV. Vacation in a week, just trying to take it day by day. Haven’t told anyone about what I’m thinking. Scared they’ll section me unwillingly and I have a vacation so..lol.
submitted by lunaluvssu to SuicideWatch [link] [comments]
2024.05.16 12:14 Kitsunara_ Help to type 🙋♀️
Hello guys, I've been trying to typify myself but I always identify with different functions and maybe my compression is not the best in the subject.
I'm a girl and I'm 21 years old, English is not my main language so sorry for any mistakes.
Section 1
How do you work? Why do people go to work? Are there any parameters that determine whether you can do work or not? What are they?
I work because I have no choice, that's how the world I was born is and that's how I'm going to live, I admire those who try to change the course of things like a superhero but I'm a mere citizen.
Because people have dreams and goals and they can't achieve what they want without money unless they're lucky enough to be born into an elite family, if so they won the lucky roulette wheel of life.
I don't work well in heavy environments, I survived only 1 day in a factory because a woman keep screaming at me, everyone tried to convince me to try harder but I was feeling to overwhelmed.
How do you determine the quality of work? How do you determine the quality of a purchase? Do you pay any attention to it
Result.
I'm a bit picky with the quality of my stuff, especially the fabric of my clothes. It's because of comfort but also for aesthetics.
There is a professional next to you. How do you know they are a professional? How do you evaluate their skill?
They get the job done on time and well done. I don't think there's only one way to do things, we are all taught in a certain way but then we also adapt, we end up creating our own way of doing things that work for us.
If you struggle to do something, how do you fix that? Do you know if your performance is better or worse than others?
It depends, I usually learn by trying until it works but I can't always use this technique so I seek tutorials or ask for help.
Definitely, I'm very paranoid about my job, I hate feeling incompetent. If I have the conditions and knowledge to take the initiative to do something at work, I'll do it, but if I'm insecure then I'd rather stay quiet I don't want to mess things up.
How do you measure the success of a job? What standard do you use? Do you pay attention to it? When should you deviate from this standard?
I like easy jobs, constant stress is not for me. Easy, the money, the free time I will have, the responsibilities (few I expect) and the effort.
Section 2
What is a whole? Can you identify its parts? Are the parts equivalent to the whole?
I'm so confused, am I supposed to give a definition or come out with some abstract sentence?
What does "logical" mean? What is your understanding? Do you think that it correlates with the common view? How do you know you are being logical?
Logic to me is something that makes sense, when your actions and words are coherent and when you take into account all the factors to make a correct decision. Contrary to what the Alphas may believe, Logic is not coldness, in fact, to be completely logical you have to take the emotions of others and your own into account, otherwise you are just emotionally unavailable. For example, killing half the population just because someone killed your cat is not logical, you're actually being driven just by emotions.
What is hierarchy? Give examples of hierarchies. Do you need to follow it? Why or why not? Explain how hierarchy is used in a system you are familiar with.
In short, it's when you're on the first floor and need to climb the stairs to get to the second, you may be able to pay someone to build an elevator to get up there faster, or you can't afford it and you have to overcome all the conditions, shortness of breath, pain in your legs, the stairs that are old and falling apart...
Hierarchy is something natural and will always exist, no matter how much you hate it, the world is not a fair place and there will always be someone eating fried chicken in a lamborghini at the expense of a child who makes clothes for shein.
If you're ambitious you have to do it, but if you're like me who just want to have money to live a "basic life", then you don't need to climb so many stairs, just the necessary ones.
What is classification? How does classification work? Why is it needed and where is it applied? Give examples.**
Is when you take a product, tangible or not (e.g. a bread or skills) and give it a certain punctuation/category according to certain requirements.
Obviously, imagine that you built a building made of toothpicks (product) that would collapse 1 minute after being exposed to the wind because no one had the brilliant idea to take into account the meteorological conditions (requirement)
Are your ideas consistent? How do you know they are consistent? How do you spot inconsistency in others' ideas?
I'm usually an introspective person, so even when my ideas are incoherent I think about them at some point and "correct" the incoherence, unless I'm really emotional I think that during those moments no one is coherent.
Yes, but I usually prefer to keep quiet if it's none of my business.
Section 3
Can you press people? What methods do you use? How does it happen?
Usually no, first of all I don't like to force anyone to do anything because I don't like to be forced either, second that I'm not good at forcing people especially strangers and it's the main reason to have been bullied and still have problems with people walking over me.
What I do is that I tell the advantages of doing something the way I want or admit that it would be convenient for me.
What can happen is when I do something for a person over and over again and they never reciprocate, and there is when I can be a manipulative and childish (passive-agressive)
How do you deal with opposition? What methods do you use to defend your interests?
It depends on the situation, I react badly if it's the example I gave earlier. If someone starts trying to control me indirectly, I can react two ways, or I play dumb for the sake of peace or the manipulation goes directly against my interests and in that case I walk away (with strangers) or protest (people close to me).
When do you think it's ok to occupy someone's space? Do you recognize it?
When they occupy yours is the only situation I can think of right now.
Do others think you are a strong-willed person? Do you think you have a strong will?
I don't know what others think.
It depends if it's about something I'm sure I want, for example a lot of people say I'm crazy for wanting to leave the country but I made that choice for myself and that's what I'm going to do, if I don't change my mind until then (which usually doesn't happen). Otherwise I think I can be seen as lazy, I need a very strong motivation that comes from myself.
How do you satisfy your physical senses? What examples can you give? What physical experiences are you drawn to?
I really like hot baths and pleasant smells. I'm a bit paranoid about my own smell, I'm always putting on deodorant for example.
On the other hand I'm not very good with my internal health, I have to force myself to remember to drink water and food is optional, I don't usually eat breakfast and especially at work I only eat salty snacks or soup most time. I tend to eat more when I want to be greedy or have food available, if I have to do it then I don't eat or I make something simple. I have a friend who judges me for it (I think she has strong Si).
I like some extreme activities, for example I've done canoeing which I loved and every summer I go to the scariest carousels at the fair, I feel free.
How do you find harmony with your environment? How do you build a harmonious environment? What happens if this harmony is disturbed?
I like quiet environments where everyone is genuinely fine and not pretending, so if any of my friends are feeling bad I try to help them. I also like to go to beautiful places with friends or alone like organize a picnic, go to a waterfall...
What does comfort mean to you? How do you create it?
Being in a place alone where I don't need to be anxious all the time, where I can let my guard down, eat sushi while listening to the sound of the rain in warm pajamas and under my blanket creating some fake scenario on my head.
How do you express yourself in your hobbies? How do you engage yourself with those things?
When I was a kid I tried to start playing piano but I dind't last long because It requires a long time to get results and I didn't want to practice at home. I prefer simpler hobbies without commitments, for example playing video games, painting, reading books, and trying new hobbies.
I'd really like to start trying to go to craft classes, but short classes to then be able to try another one until maybe I find one that suits me.
Tell us how you'd design any room, house or an office. Do you do it yourself, or trust someone else to do it? Why?
If I had the money I would call someone to take care of the big part, I would tell them exactly what I want, then I would just take care of the details.
Is it acceptable to express emotions in public? Give examples of inappropriate expression of emotions
That's not a question of being acceptable or not, emotions can't always be controlled, you never know what someone is going through behind the scenes.
But I admit that I prefer people who don't show emotions in an dramatic way, for example in my work there are a lot of people who start screaming and who are clearly exaggerating and I have to control myself not to laugh.
I'm mostly touched by people who are more reserved with their emotions because I identify with them.
How do you express your emotions? Can you tell how your expressions affect others in a positive or negative way?
I never had emotional support so I like to deal with my emotions alone.
I don't know if I consider myself a very emotional person , I have my moments where I start crying for many different reasons because I kept a lot of things inside me, I also have days where I'm in a very bad mood without knowing why and I start being mean to close people.
I'm a very private person, I don't like exaggerated demonstrations, a lot of "i love you" and compliments make me bored and seem fake.
Are you able to change your demeanor in order to interact with your environment in a more or less suitable way? How do you determine what is suitable?
These questions make me think that I don't know myself that well.
I think so, I know how to dress up and not talk about inappropriate things even if I make some mistakes, like smiling in the middle of a funeral because my colleague told a joke or showing involuntary annoyance when someone try to do a lot of small talk with me.
In what situations do you feel others' feelings? Can you give examples of when you wanted to improve the mood of others?
I am fickle in many aspects of my life, empathy is one of them, sometimes I have a lot and sometimes I don't have any. It really depends on my relationship with people and how much I like their personality. I'm very suspicious of other people's motives.
My father doesn't usually cry a lot and he's not manipulative at all. I suspect he's a Lse or sli, so when he cries I know it's real and it affects me, in other hand my mother is manipulative and when she starts crying I always think it's fake or that she deserves it (maybe she is a iei).
Section 6
How can you tell how much emotional space there is between yourself and others? How can you affect this space?
Complicated, I wouldn't say I'm completely blind to how others feel about me, but I'm definitely very pessimistic and because of that I like to be reassured about what my loved ones think about me.
I'm very suspicious of others and sometimes I start overthinking that everyone hates me or wants to hurt me. As soon as a friend has a more negative reaction, sometimes because of their own problems that have nothing to do with me, I get hurt or I start trying to guess what they are thinking about me and as you can imagine it's almost always negative. Although now I'm starting to try to be less negative because you never know what others are thinking or feeling.
How do you determine how much you like or dislike someone else? How does this affect your relationships?
By personality, values, way of seeing the world, I like people I identify whit and I can trust. People with character that I consider dubious I try to not interact.
I have a very small group because I have a set pattern, at the same time they are different obviously but what unites us is that we are all very open-minded and we don't like to meddle in other people's lives.
How do you move from a distant relationship to a close one? What are the distinguishing characteristics of a close relationship?
We start talking, I like what they are about and it's that simple. Sometimes it takes me 3 months to consider someone a friend, other times I only see the person 3 times and I already know I can trust them.
It has happened once that I stayed in a "friendship" because I wanted company at school, but I stopped seeing him as a friend and started seeing him as an acquaintance.
How do you know that you are a moral person? Where do you draw your morality from? Do you believe others should share your beliefs on what's moral? Why?
I am a moral person in my own criteria. There are people who follow the morality of religion, others follow the morality of a group... Some of them I consider wrong and stupid, but I just don't make friends with these people and it's as simple as that.
The only thing that everyone should do is to respect others because it made life easier for everyone and it's such a simple thing if everyone does it.
Someone you care about is acting distant to you. How do you know when this attitude is a reflection of your relationship?
I don't know, it depends on the situation.
But I try not to take it personally (don't mean that I don't take it, on the contrary but I try to suppress it). What I do is that I ask what happened or i leave them alone. I don't like is chasing after others so I've ended friendships without knowing why, the person just stops talking to me and I take that as a sign.
Section 7
How can you tell someone has the potential to be a successful person? What qualities make a successful person and why?
I would say that one of the things is to have the ability to always be ahead of others, to have that special touch that some people have.
Where would you start when looking for a new hobby? How do you find new opportunities and how do you choose which would be best?
I already have ideas of hobbys that I want to try, so I would look in my internal library and choose the one that I felt like doing. I like manual and simple activities (I'm not an artist) I've done canoeing and I don't hate extreme activities, but I don't think it's considered a hobby and I don't know if I would do it that often either.
How do you interpret the following statement: "Ideas don't need to be feasible in order to be worthwhile." Do you agree or disagree, and why?
Ideas have to start somewhere, at first they may not make sense, but then when more ideas come up and they are molded, they can become a possibility. Or maybe people just want to come up with crazy ideas and that's okay too.
Describe your thought process when relating the following ideas: swimming, chicken, sciences. Do you think that others would draw the same or different connections?
I didn't make any connection, unlike the guy I took this questionnaire from. I just read the sentences and nothing else.
How would you summarize the qualities that are essential to who you are? What kind of potential in you has yet to be actualized and why?
The part that I fear the most, having to describe myself even more with qualities (gives me the impression that I'm bragging). This is going to feel more like a list than a text, sorry for the disappointment. I'm faithful, I like to make people's lives easier (if they haven't done me wrong), I strive to do what I promised, I hate being in debt.
I definitely have to improve my charisma and try to get along with new people more until I get used to it and don't get so bored.
Section 8
How do people change? Can you describe how various events change people? Can others see those changes?
Everything changes people, the personality you have today was the result of all the moments of your life and also of your brain (parts more or less developed and this also affects).
We're always changing every day, it's just that we're so used to the changes that sometimes we don't even notice it.
Sometimes I go through a similar situation that has happened before and I see how much I have changed in the way I deal with the problem.
How do you feel and experience time? Can time be wasted? How?
I think time is the most powerfyl weapon, you learn to deal with things with time, time brings peace but also chaos, time makes life evolve both positively and negatively, time kills you but also brings life. Time is truly the most important thing there is, when a certain moment passes you can no longer go back and fix things.
It all depends on the point of view, today you can consider it something important but later you see that it was a waste of time, the important thing to keep in mind is to think about the future because what has already happened cannot be changed.
Language is limiting, you can indulge feelings in others through sentences but you are never sure how others will interpret it.
I would say feelings and experience is one of the things, you have to go through them and let others go through too.
How do you anticipate events unfolding? How can you observe such unfoldments in your environment?
I don't really know, I think from what has already happened, from the people involved, from myself.
I sometimes tend to try to predict things and I like to be prepared for all eventualities because it makes me feel safer, but I also know that predictions are not 100% certain. I've missed opportunities because of this.
In what situations is timing important? How do you know the time is right to act? How do you feel about waiting for the right moment ?
It depends on when I've decided it's time to act.
I'll use the example of my driver's license, I started getting my license 1 year before the end of school but then I decided to finish school first to focus on my license after (also out of laziness I admit). My parents bothered me a lot because I needed to get the license but I only did it when I saw that I needed it to work and I couldn't leave it for later anymore (can expire). It was a bad choice, but I needed a reason to have motivation.
I finally finished this, I couldn't take it anymore. Thank you for reading this far ;)
submitted by Kitsunara_ to Socionics [link] [comments]
I'm a girl and I'm 21 years old, English is not my main language so sorry for any mistakes.
Section 1
How do you work? Why do people go to work? Are there any parameters that determine whether you can do work or not? What are they?
I work because I have no choice, that's how the world I was born is and that's how I'm going to live, I admire those who try to change the course of things like a superhero but I'm a mere citizen.
Because people have dreams and goals and they can't achieve what they want without money unless they're lucky enough to be born into an elite family, if so they won the lucky roulette wheel of life.
I don't work well in heavy environments, I survived only 1 day in a factory because a woman keep screaming at me, everyone tried to convince me to try harder but I was feeling to overwhelmed.
How do you determine the quality of work? How do you determine the quality of a purchase? Do you pay any attention to it
Result.
I'm a bit picky with the quality of my stuff, especially the fabric of my clothes. It's because of comfort but also for aesthetics.
There is a professional next to you. How do you know they are a professional? How do you evaluate their skill?
They get the job done on time and well done. I don't think there's only one way to do things, we are all taught in a certain way but then we also adapt, we end up creating our own way of doing things that work for us.
If you struggle to do something, how do you fix that? Do you know if your performance is better or worse than others?
It depends, I usually learn by trying until it works but I can't always use this technique so I seek tutorials or ask for help.
Definitely, I'm very paranoid about my job, I hate feeling incompetent. If I have the conditions and knowledge to take the initiative to do something at work, I'll do it, but if I'm insecure then I'd rather stay quiet I don't want to mess things up.
How do you measure the success of a job? What standard do you use? Do you pay attention to it? When should you deviate from this standard?
I like easy jobs, constant stress is not for me. Easy, the money, the free time I will have, the responsibilities (few I expect) and the effort.
Section 2
What is a whole? Can you identify its parts? Are the parts equivalent to the whole?
I'm so confused, am I supposed to give a definition or come out with some abstract sentence?
What does "logical" mean? What is your understanding? Do you think that it correlates with the common view? How do you know you are being logical?
Logic to me is something that makes sense, when your actions and words are coherent and when you take into account all the factors to make a correct decision. Contrary to what the Alphas may believe, Logic is not coldness, in fact, to be completely logical you have to take the emotions of others and your own into account, otherwise you are just emotionally unavailable. For example, killing half the population just because someone killed your cat is not logical, you're actually being driven just by emotions.
What is hierarchy? Give examples of hierarchies. Do you need to follow it? Why or why not? Explain how hierarchy is used in a system you are familiar with.
In short, it's when you're on the first floor and need to climb the stairs to get to the second, you may be able to pay someone to build an elevator to get up there faster, or you can't afford it and you have to overcome all the conditions, shortness of breath, pain in your legs, the stairs that are old and falling apart...
Hierarchy is something natural and will always exist, no matter how much you hate it, the world is not a fair place and there will always be someone eating fried chicken in a lamborghini at the expense of a child who makes clothes for shein.
If you're ambitious you have to do it, but if you're like me who just want to have money to live a "basic life", then you don't need to climb so many stairs, just the necessary ones.
What is classification? How does classification work? Why is it needed and where is it applied? Give examples.**
Is when you take a product, tangible or not (e.g. a bread or skills) and give it a certain punctuation/category according to certain requirements.
Obviously, imagine that you built a building made of toothpicks (product) that would collapse 1 minute after being exposed to the wind because no one had the brilliant idea to take into account the meteorological conditions (requirement)
Are your ideas consistent? How do you know they are consistent? How do you spot inconsistency in others' ideas?
I'm usually an introspective person, so even when my ideas are incoherent I think about them at some point and "correct" the incoherence, unless I'm really emotional I think that during those moments no one is coherent.
Yes, but I usually prefer to keep quiet if it's none of my business.
Section 3
Can you press people? What methods do you use? How does it happen?
Usually no, first of all I don't like to force anyone to do anything because I don't like to be forced either, second that I'm not good at forcing people especially strangers and it's the main reason to have been bullied and still have problems with people walking over me.
What I do is that I tell the advantages of doing something the way I want or admit that it would be convenient for me.
What can happen is when I do something for a person over and over again and they never reciprocate, and there is when I can be a manipulative and childish (passive-agressive)
How do you deal with opposition? What methods do you use to defend your interests?
It depends on the situation, I react badly if it's the example I gave earlier. If someone starts trying to control me indirectly, I can react two ways, or I play dumb for the sake of peace or the manipulation goes directly against my interests and in that case I walk away (with strangers) or protest (people close to me).
When do you think it's ok to occupy someone's space? Do you recognize it?
When they occupy yours is the only situation I can think of right now.
Do others think you are a strong-willed person? Do you think you have a strong will?
I don't know what others think.
It depends if it's about something I'm sure I want, for example a lot of people say I'm crazy for wanting to leave the country but I made that choice for myself and that's what I'm going to do, if I don't change my mind until then (which usually doesn't happen). Otherwise I think I can be seen as lazy, I need a very strong motivation that comes from myself.
How do you satisfy your physical senses? What examples can you give? What physical experiences are you drawn to?
I really like hot baths and pleasant smells. I'm a bit paranoid about my own smell, I'm always putting on deodorant for example.
On the other hand I'm not very good with my internal health, I have to force myself to remember to drink water and food is optional, I don't usually eat breakfast and especially at work I only eat salty snacks or soup most time. I tend to eat more when I want to be greedy or have food available, if I have to do it then I don't eat or I make something simple. I have a friend who judges me for it (I think she has strong Si).
I like some extreme activities, for example I've done canoeing which I loved and every summer I go to the scariest carousels at the fair, I feel free.
How do you find harmony with your environment? How do you build a harmonious environment? What happens if this harmony is disturbed?
I like quiet environments where everyone is genuinely fine and not pretending, so if any of my friends are feeling bad I try to help them. I also like to go to beautiful places with friends or alone like organize a picnic, go to a waterfall...
What does comfort mean to you? How do you create it?
Being in a place alone where I don't need to be anxious all the time, where I can let my guard down, eat sushi while listening to the sound of the rain in warm pajamas and under my blanket creating some fake scenario on my head.
How do you express yourself in your hobbies? How do you engage yourself with those things?
When I was a kid I tried to start playing piano but I dind't last long because It requires a long time to get results and I didn't want to practice at home. I prefer simpler hobbies without commitments, for example playing video games, painting, reading books, and trying new hobbies.
I'd really like to start trying to go to craft classes, but short classes to then be able to try another one until maybe I find one that suits me.
Tell us how you'd design any room, house or an office. Do you do it yourself, or trust someone else to do it? Why?
If I had the money I would call someone to take care of the big part, I would tell them exactly what I want, then I would just take care of the details.
Is it acceptable to express emotions in public? Give examples of inappropriate expression of emotions
That's not a question of being acceptable or not, emotions can't always be controlled, you never know what someone is going through behind the scenes.
But I admit that I prefer people who don't show emotions in an dramatic way, for example in my work there are a lot of people who start screaming and who are clearly exaggerating and I have to control myself not to laugh.
I'm mostly touched by people who are more reserved with their emotions because I identify with them.
How do you express your emotions? Can you tell how your expressions affect others in a positive or negative way?
I never had emotional support so I like to deal with my emotions alone.
I don't know if I consider myself a very emotional person , I have my moments where I start crying for many different reasons because I kept a lot of things inside me, I also have days where I'm in a very bad mood without knowing why and I start being mean to close people.
I'm a very private person, I don't like exaggerated demonstrations, a lot of "i love you" and compliments make me bored and seem fake.
Are you able to change your demeanor in order to interact with your environment in a more or less suitable way? How do you determine what is suitable?
These questions make me think that I don't know myself that well.
I think so, I know how to dress up and not talk about inappropriate things even if I make some mistakes, like smiling in the middle of a funeral because my colleague told a joke or showing involuntary annoyance when someone try to do a lot of small talk with me.
In what situations do you feel others' feelings? Can you give examples of when you wanted to improve the mood of others?
I am fickle in many aspects of my life, empathy is one of them, sometimes I have a lot and sometimes I don't have any. It really depends on my relationship with people and how much I like their personality. I'm very suspicious of other people's motives.
My father doesn't usually cry a lot and he's not manipulative at all. I suspect he's a Lse or sli, so when he cries I know it's real and it affects me, in other hand my mother is manipulative and when she starts crying I always think it's fake or that she deserves it (maybe she is a iei).
Section 6
How can you tell how much emotional space there is between yourself and others? How can you affect this space?
Complicated, I wouldn't say I'm completely blind to how others feel about me, but I'm definitely very pessimistic and because of that I like to be reassured about what my loved ones think about me.
I'm very suspicious of others and sometimes I start overthinking that everyone hates me or wants to hurt me. As soon as a friend has a more negative reaction, sometimes because of their own problems that have nothing to do with me, I get hurt or I start trying to guess what they are thinking about me and as you can imagine it's almost always negative. Although now I'm starting to try to be less negative because you never know what others are thinking or feeling.
How do you determine how much you like or dislike someone else? How does this affect your relationships?
By personality, values, way of seeing the world, I like people I identify whit and I can trust. People with character that I consider dubious I try to not interact.
I have a very small group because I have a set pattern, at the same time they are different obviously but what unites us is that we are all very open-minded and we don't like to meddle in other people's lives.
How do you move from a distant relationship to a close one? What are the distinguishing characteristics of a close relationship?
We start talking, I like what they are about and it's that simple. Sometimes it takes me 3 months to consider someone a friend, other times I only see the person 3 times and I already know I can trust them.
It has happened once that I stayed in a "friendship" because I wanted company at school, but I stopped seeing him as a friend and started seeing him as an acquaintance.
How do you know that you are a moral person? Where do you draw your morality from? Do you believe others should share your beliefs on what's moral? Why?
I am a moral person in my own criteria. There are people who follow the morality of religion, others follow the morality of a group... Some of them I consider wrong and stupid, but I just don't make friends with these people and it's as simple as that.
The only thing that everyone should do is to respect others because it made life easier for everyone and it's such a simple thing if everyone does it.
Someone you care about is acting distant to you. How do you know when this attitude is a reflection of your relationship?
I don't know, it depends on the situation.
But I try not to take it personally (don't mean that I don't take it, on the contrary but I try to suppress it). What I do is that I ask what happened or i leave them alone. I don't like is chasing after others so I've ended friendships without knowing why, the person just stops talking to me and I take that as a sign.
Section 7
How can you tell someone has the potential to be a successful person? What qualities make a successful person and why?
I would say that one of the things is to have the ability to always be ahead of others, to have that special touch that some people have.
Where would you start when looking for a new hobby? How do you find new opportunities and how do you choose which would be best?
I already have ideas of hobbys that I want to try, so I would look in my internal library and choose the one that I felt like doing. I like manual and simple activities (I'm not an artist) I've done canoeing and I don't hate extreme activities, but I don't think it's considered a hobby and I don't know if I would do it that often either.
How do you interpret the following statement: "Ideas don't need to be feasible in order to be worthwhile." Do you agree or disagree, and why?
Ideas have to start somewhere, at first they may not make sense, but then when more ideas come up and they are molded, they can become a possibility. Or maybe people just want to come up with crazy ideas and that's okay too.
Describe your thought process when relating the following ideas: swimming, chicken, sciences. Do you think that others would draw the same or different connections?
I didn't make any connection, unlike the guy I took this questionnaire from. I just read the sentences and nothing else.
How would you summarize the qualities that are essential to who you are? What kind of potential in you has yet to be actualized and why?
The part that I fear the most, having to describe myself even more with qualities (gives me the impression that I'm bragging). This is going to feel more like a list than a text, sorry for the disappointment. I'm faithful, I like to make people's lives easier (if they haven't done me wrong), I strive to do what I promised, I hate being in debt.
I definitely have to improve my charisma and try to get along with new people more until I get used to it and don't get so bored.
Section 8
How do people change? Can you describe how various events change people? Can others see those changes?
Everything changes people, the personality you have today was the result of all the moments of your life and also of your brain (parts more or less developed and this also affects).
We're always changing every day, it's just that we're so used to the changes that sometimes we don't even notice it.
Sometimes I go through a similar situation that has happened before and I see how much I have changed in the way I deal with the problem.
How do you feel and experience time? Can time be wasted? How?
I think time is the most powerfyl weapon, you learn to deal with things with time, time brings peace but also chaos, time makes life evolve both positively and negatively, time kills you but also brings life. Time is truly the most important thing there is, when a certain moment passes you can no longer go back and fix things.
It all depends on the point of view, today you can consider it something important but later you see that it was a waste of time, the important thing to keep in mind is to think about the future because what has already happened cannot be changed.
- Don't typify me according to clichés, thank you.
Language is limiting, you can indulge feelings in others through sentences but you are never sure how others will interpret it.
I would say feelings and experience is one of the things, you have to go through them and let others go through too.
How do you anticipate events unfolding? How can you observe such unfoldments in your environment?
I don't really know, I think from what has already happened, from the people involved, from myself.
I sometimes tend to try to predict things and I like to be prepared for all eventualities because it makes me feel safer, but I also know that predictions are not 100% certain. I've missed opportunities because of this.
In what situations is timing important? How do you know the time is right to act? How do you feel about waiting for the right moment ?
It depends on when I've decided it's time to act.
I'll use the example of my driver's license, I started getting my license 1 year before the end of school but then I decided to finish school first to focus on my license after (also out of laziness I admit). My parents bothered me a lot because I needed to get the license but I only did it when I saw that I needed it to work and I couldn't leave it for later anymore (can expire). It was a bad choice, but I needed a reason to have motivation.
I finally finished this, I couldn't take it anymore. Thank you for reading this far ;)
2024.05.16 10:47 mylostlights Ice Cream Piano Analysis
I get frustrated with genius annotations, especially re: Vampire Weekend's discography. While I was reading through some of the lyrics last night, it struck me how surface level many of the associations are on the lyric page for "Ice Cream Piano," which is a shame for such a thematically rich song.
That said, I decided to take a stab at dissecting the song as a whole, while tying some of the more obscure references with themes in the larger project.
This ambiguity is a carried theme throughout the rest of the song, and as the lyrics continue, which side is throwing out accusations becomes less relevant. The implied goal of these first lines is to frame the rest of the song as an argument between two individuals, and to show the sneaky ways in which their conflicting viewpoints mirror each other.
I think it's important to mention here that, ahead of "Father of the Bride," Ezra spoke about wanting to move away from the more impressionistic style present in earlier Vampire Weekend records and experiment in writing lyrics where the general theme of the song can be understood in the first few lines. Furthermore, during the Zane Low release interview for "Only God Was Above Us," Ezra dove deep into the track listing process, stating he knew early on that "Ice Cream Piano" needed to be the opening track.
Knowing these two facts, these deceptively unassuming lines in fact carry a significant weight. Where the high-level reading describes a conflict between two individuals, the deeper understanding is that they each represent a conflicting philosophy or idea -- a conflict that will serve as the central thematic core for the album as a whole.
Armistice, simply stopping conflict, is so beyond an option because they're hypocrites -- criticizing the other based on one's subjective position. In her eyes, he's the soldier; in his, police. In this metaphor, one serves as the agitator and the other as defender.
When split at their conflicting point as "I am a gentleman," and separately, "I refuse to show my gentleness," it continues to follow the theme set in Verse 1 of a conversation between two individuals. So, the verse can be read as:
It becomes clear here that Ezra seems to be less interested in the specific opposing ideas and more in the conflict between the two, and the dissonance between that conflict and each of the participant's apparent similarities. The words each one says are weaponized before they are even uttered, demolishing any chance for good faith discussion.
The first, and most obvious, is the phrasing of "Ice Cream Piano" in the title and "I Scream Piano" in the verse; pointing back to the song's overarching metaphor, "Ice Cream Piano" and "I Scream Piano" are simple homophones, which is to say they are two different phrases spoken the same way -- here, two ideas saying the same thing.
The second bit of wordplay is the actual usage of "I scream piano." Ezra is purposefully employing the Italian-rooted musical usage of "piano" which, when present in a composition, means to play that section quietly. The second half of the line turns yet another self-contradictory observation into a double-entendre; the "screaming" piano is softened by the instruction of "piano."
The first line of the chorus, when coupled with the second, paints a picture of someone who desperately wants to express their beliefs but, whether it be because the screams are quiet or because screams themselves are not songs, the "singer" and their "song" are rejected by the world at large.
Framing this whole verse as a dream connects these ideas to the larger themes of the song, as being unable to run or scream in a dream is a fairly common experience for people, it seems as though Ezra is using the chorus here to highlight the end of the second verse, "the truth which is you've got nothing to say."
Another equally valid analysis is to literalize the quiet screaming; the anger and animosity between the couple motivates them only to scream, and never to sing. Their unending fighting reduces any opportunity for growth through debate to rubble; at this point, they just don't fucking like each other.
Here, the specific namedrops highlight the same conflict described earlier in the song; the Serbians and Kosovo were once a united country as Yugoslavia, but were split by civil war as a result of fundamental ideological differences at the end of the last millennium. Moreover, the usage of "talk" versus "whisper" implies open discussion about the first (Serbia) and the need to sweep the more complicated history of the second (The Kosovar Albanians, the Kosovo War) under the rug.
The conflict between Romania, Kosovo, and Serbia is a deeply complicated and delicate situation that spans generations of ideological and political conflict. The mention of the Romanian's history surrounded by the context of Serbia and Kosovo, and the subsequent criticism of that observation, again highlights the nature of the conflict between the two individuals in the song: where one recognizes the material legacy of these terrible "vampires," the other points out that the new generation is not the old, and are not necessarily beholden to their crimes or traditions.
Fuckin Ezra, man
submitted by mylostlights to Vampireweekend [link] [comments]
That said, I decided to take a stab at dissecting the song as a whole, while tying some of the more obscure references with themes in the larger project.
Verse 1
"Fuck the world," /you/ said it quiet No one could hear you, no one but /me/ "Cynical, you can't deny it"Ezra seems to be describing a conversation between "himself" and "his partner" reacting to an unspecified issue. "She" reacted to something, and "he" criticizes that reaction. However, there is some ambiguity regarding who exactly is saying the last line; is it the singer himself, or is he quoting her as he did the opening line?
This ambiguity is a carried theme throughout the rest of the song, and as the lyrics continue, which side is throwing out accusations becomes less relevant. The implied goal of these first lines is to frame the rest of the song as an argument between two individuals, and to show the sneaky ways in which their conflicting viewpoints mirror each other.
I think it's important to mention here that, ahead of "Father of the Bride," Ezra spoke about wanting to move away from the more impressionistic style present in earlier Vampire Weekend records and experiment in writing lyrics where the general theme of the song can be understood in the first few lines. Furthermore, during the Zane Low release interview for "Only God Was Above Us," Ezra dove deep into the track listing process, stating he knew early on that "Ice Cream Piano" needed to be the opening track.
Knowing these two facts, these deceptively unassuming lines in fact carry a significant weight. Where the high-level reading describes a conflict between two individuals, the deeper understanding is that they each represent a conflicting philosophy or idea -- a conflict that will serve as the central thematic core for the album as a whole.
"You don't want to win this war 'cause you don't want the peace Armistice, /we/ never tried it *You're* the soldier, *I'm* police Listen, baby, we can't deny it You don't want to win this war 'cause you don't want the peace"As this section of the song is accompanied by a second vocal track, we can assume these lines as sung to each other, implying that their only point of agreement is the recognition of the other's uncompromising nature.
Armistice, simply stopping conflict, is so beyond an option because they're hypocrites -- criticizing the other based on one's subjective position. In her eyes, he's the soldier; in his, police. In this metaphor, one serves as the agitator and the other as defender.
Verse 2
The word was weaponized as soon as it had passed your lipsThe "word" here seems to be either war or peace. But with either it's a loaded offer because, as implied earlier, they're not engaging with the other's viewpoint in good faith and, as such, their criticisms are unfounded. His distaste towards cynicism and her more myopically aligned viewpoint sit diametrically opposed. Their definition of peace is incompatible. As the music builds, it seems to come in conflict with Ezra's vocals; he's nearly shouting as they climb and create a barrage of competing sounds.
I am a gentleman, I refuse to show my gentleness Fuck around and find out, the angry child recites this every day The universe will pry out, the truth which is you've got nothin' to sayWhat's interesting about this verse is that, on first reading, the beginning of each statement seems to support the last -- as if said by the same person. However, on closer inspection it seems as though the following mocks the prior; "I am a gentleman, I refuse to show my gentleness" is clearly self contradictory -- as are the other two when read as single statements.
When split at their conflicting point as "I am a gentleman," and separately, "I refuse to show my gentleness," it continues to follow the theme set in Verse 1 of a conversation between two individuals. So, the verse can be read as:
I am a gentleman, I refuse to show my gentleness Fuck around and find out, the angry child recites this every day The universe will pry out, the truth which is you've got nothin' to sayWhen one side says something, the other interrupts and mocks that statement. This pattern can be observed in the following two lines. However, by choosing to frame both the initial statement and its contradiction in the first person, Ezra is able to explore the narcissism present in the respective ideologies of the two individuals. They cannot see past their own egos to agree with the other, because the criticisms levied by one are exactly those which the other is accusing them of. As the verse continues, this rising tension and anger becomes more pointed and prevents either side from finishing a complete statement, the screams of one silence the other; and as they are both screaming, neither is able to say anything of import.
Fuck around and find out, the angry child recites this every dayFollowing this, the second line is a slightly more direct accusation, presumably in the third person.
The universe will pry out, the truth which is you've got nothin' to sayThe final line is a direct accusation, and the only of the three in second person.
It becomes clear here that Ezra seems to be less interested in the specific opposing ideas and more in the conflict between the two, and the dissonance between that conflict and each of the participant's apparent similarities. The words each one says are weaponized before they are even uttered, demolishing any chance for good faith discussion.
Chorus
In dreams, I scream piano, I softly reach the high note The world don't recognize a singer who won't singThere are a couple bits of wordplay happening here, outside of the dream imagery.
The first, and most obvious, is the phrasing of "Ice Cream Piano" in the title and "I Scream Piano" in the verse; pointing back to the song's overarching metaphor, "Ice Cream Piano" and "I Scream Piano" are simple homophones, which is to say they are two different phrases spoken the same way -- here, two ideas saying the same thing.
The second bit of wordplay is the actual usage of "I scream piano." Ezra is purposefully employing the Italian-rooted musical usage of "piano" which, when present in a composition, means to play that section quietly. The second half of the line turns yet another self-contradictory observation into a double-entendre; the "screaming" piano is softened by the instruction of "piano."
The first line of the chorus, when coupled with the second, paints a picture of someone who desperately wants to express their beliefs but, whether it be because the screams are quiet or because screams themselves are not songs, the "singer" and their "song" are rejected by the world at large.
Framing this whole verse as a dream connects these ideas to the larger themes of the song, as being unable to run or scream in a dream is a fairly common experience for people, it seems as though Ezra is using the chorus here to highlight the end of the second verse, "the truth which is you've got nothing to say."
Another equally valid analysis is to literalize the quiet screaming; the anger and animosity between the couple motivates them only to scream, and never to sing. Their unending fighting reduces any opportunity for growth through debate to rubble; at this point, they just don't fucking like each other.
Verse 3
You talk of Serbians, whisper Kosovar Albanians The boy's Romanian, third generation Transylvanian I see the vampires walkin', don't be gripped by fear, you aren't next We're all the sons and daughters of vampires who drained the old world's necksRussian iconography is further mentioned throughout "Only God Was Above Us," and serves as one of the more important throughlines of the album -- connecting Ezra's familial history in Eastern Europe, their ties with Russia, and its relationship to modern issues. This, as the first reference in the album to Russia at large, works as a bit of place setting.
Here, the specific namedrops highlight the same conflict described earlier in the song; the Serbians and Kosovo were once a united country as Yugoslavia, but were split by civil war as a result of fundamental ideological differences at the end of the last millennium. Moreover, the usage of "talk" versus "whisper" implies open discussion about the first (Serbia) and the need to sweep the more complicated history of the second (The Kosovar Albanians, the Kosovo War) under the rug.
The conflict between Romania, Kosovo, and Serbia is a deeply complicated and delicate situation that spans generations of ideological and political conflict. The mention of the Romanian's history surrounded by the context of Serbia and Kosovo, and the subsequent criticism of that observation, again highlights the nature of the conflict between the two individuals in the song: where one recognizes the material legacy of these terrible "vampires," the other points out that the new generation is not the old, and are not necessarily beholden to their crimes or traditions.
Chorus 2
In dreams, I scream piano, I softly reach the high note The world don't recognize a singer who won't sing
Outro / Chorus 3
In dreams, I scream piano, I softly reach the high note The world don't recognize a singer who won't singThe repetition of the choruses at the end of the song, combined with the strong call-and-response of the instrumentation between and after the chorus and outro sections, points towards an unending conflict. By the end of the song's narrative, neither side has arrived at a compromise. In reference to the album, "Ice Cream Piano" serves as a massive "YOU ARE HERE" marker on a larger map of western and American political culture. There's a pretty clear line to draw from the struggle between the two characters described in this song and the ouroboric nature of modern-day political discourse, as we witness two parties cannibalize each other in an attempt to garner support from a majority of peoples. But to say that's the entire message of the song feels reductive to the incredible songwriting here. Even that conclusion lends to the broader observation of two ideas that exist only to oppose the other.
Fuckin Ezra, man
2024.05.16 08:18 haygurlhay123 “This Time, I Will Never Let You Go”: Cloud’s Mission and the Hidden Purpose of the Remake Trilogy - Literary and Musical Analysis of FFVII - Part 2
(continuation of part 1)
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:
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:
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:
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:
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:
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:
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:
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:
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:
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:
The expo also had pamphlet descriptions of the farewells depicted. Here is the general summary of FFVII‘s farewell story according to that pamphlet:
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)
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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.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: …
Flower girl: Something wrong? Do I resemble someone?”
Cloud: No… it’s nothing.”
“Cloud: Get your hand off her!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:
Thug: What did you say!?
Cloud: Didn't you hear me? Get your dirty hand off her!
[…]
Cloud, to Aeris: Go… now.”
“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.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.
Tifa: What?
Cloud: An answer from the Planet… the Promised Land... I think I can meet her... there” (disk 3, chapter 3).
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.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:
Cloud gasps at her words. She doesn’t notice” (Dissidia 012: Treachery of the Gods, report 5: “Unexpected Fulfillment 2”).
“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?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:
Cloud: Concern... Maybe a sense of loss" (Dissidia 0.13: Light to All, chapter 1: “Beyond Doubt”, “Beyond the Continent”).
“Terra: And you, Cloud... What's your dream?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: I've lost mine" (Dissidia 0.13: Light to All, chapter 3: “The Chosen Battle”, “Gateway of True Intent”).
“Cloud: Even if I have my doubts... I have to find my own answer […] Until then, I'll keep fighting.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:
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”).
"Sephiroth: This disease called hope is eating you alive. The world of suffering was born out of such half-baked ideals.This final line suggests Cloud has finally found a reason to fight: he wants to meet someone unspecified.
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”).
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.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.
WoL: The battle has come to an end...
Tidus notices that his crystal has begun to emanate a blue glow.>! His crystal is a movie sphere from his core world of FFX: a capsule containing sounds and images that people record for later viewing. Tidus’ crystal likely represents the specific movie sphere recorded by his love interest Yuna, which revealed that she’d loved him from the beginning.!<
Tidus: Gotta go, huh...
The blue glow transfers to him as well. He turns to look at the others
[…] Tidus grins at the others, then turns and runs toward a nearby lake. He leaps into it in a manner reminiscent of [the events] of FFX. He vanishes as he descends toward the lake.
Zidane: We're not vanishing. We're returning—
Zidane is sitting on a tree limb as he says this. His crystal begins to glow gold, as does he. His crystal is shaped like a highly important ‘progenitor of all life’ crystal from his core world of FFIX.
Zidane: — to where we're supposed to be.
Zidane spins around the tree limb with the use of his tail and launches toward the sun. He's lost to view.
A white feather then drifts down from that direction and Squall catches it. The feather is reminiscent of his love Rinoa Heartilly, whose character symbol is a white feather. In fact, Squall’s crystal looks like a mix of his revolver gunblade from FFVIII and Rinoa’s feather motif. [Squall glows blue.]
Squall: Perhaps we can go on a mission together again.
Squall vanishes.
Cloud is then visible, standing in [a] flower field. The flowers are white and yellow. Cloud has his crystal, a light green materia from his core world of FFVII, in hand.
Cloud: [(Chuckles shortly, like a scoff)] Not interested.
Cloud walks off into the flower field, gaining a green glow. He vanishes.
A snowflake then falls into Terra's right hand as her crystal begins to glow pink. The flames drawn on her crystal represent her power, which is connected to the element of fire: her character arc in FFVI.
Terra: I think I've learned how to keep going. Thank you— and take care.
Terra glows pink and then vanishes. Bartz throws a stick. He's glowing pink as well.
Bartz: When you're having the most fun, that's when time always flies. His crystal is the Adamantite from his core world of FFV.
Bartz vanishes.
Cecil: It's mine to pass on—
A moon appears behind Cecil and goes through its phases as he begins to glow blue. His crystal has shadowed and illuminated parts, representing the duality of his character, which is central to his personal arc in his core world of FFIV. It also represents his brother Golbez, who has chosen the darkness. Cecil considers his familial bond with Golbez his guiding light and hopes to be with him someday.
Cecil: — this strength I've gained from everyone.
Cecil vanishes.
Onion Knight hugs his crystal and looks up toward the sky. His crystal is shaped like those found in his core world of FFIII**.**
Onion Knight: Everyone... thank you!
Onion Knight briefly glows blue and then vanishes.
There are wild roses at Firion's feet. He and WoL are looking toward the sky. WoL suddenly begins walking away while Firion looks down and sees the roses.
Firion: This isn't the end. Another dream is waiting to begin.
His crystal is the color of the wild roses that were at the center of his dream and of his motivation to fight Chaos. The roses are also the emblem of the Rebel Army he was a part of in his core world of FFII. His crystal is shaped like Pandaemonium, the final dungeon of his core world story. Firion gains a violet glow and then vanishes.
WoL is walking through the field and then comes to a stop. He's looking at something.
WoL: May the light forever shine upon us.”
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.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.
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).
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.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…
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).
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)
2024.05.16 07:33 sirspecial56 My best work after 4 years of composing ٩( ᐛ )و (string quintet)
I think I have really triumphed with this piece I just made. I’m not formally trained in music and I’m a high schooler. This feels like the culmination of all my hard work since I was just a extremely confused kid with no music knowledge so I feel like this is a big step forward for me. I put quite a bit of elbow grease into this one. I wanted to share a bit of my happiness and pride in my piece . This is something I’m truly proud of. To put it simply this piece feels way more human and emotional than my other works do.
The beginning sections are inspired by Concerto Grosso for strings “Palladio” 1. Allegretto.
There’s always room for improvement or course. For example, I don’t know how to play any instruments in this piece but I’m pretty sure there’s articulations that could help my piece be playable or more realistic, especially slurs. I love advice about that.
I think next time I want to try and add more harmonic interest into my piece as I stay in the same key and don’t modulate. So I started learning about Neapolitan chords and such. Please give me advice without being snotty. Last time I posted , someone said something kind of unprompted along the lines of “this is why we shouldn’t spread stupid ideas like we don’t need music theory” and that was annoying and probably against the subreddit’s rules. Thank you for your time.
submitted by sirspecial56 to composer [link] [comments]
The beginning sections are inspired by Concerto Grosso for strings “Palladio” 1. Allegretto.
There’s always room for improvement or course. For example, I don’t know how to play any instruments in this piece but I’m pretty sure there’s articulations that could help my piece be playable or more realistic, especially slurs. I love advice about that.
I think next time I want to try and add more harmonic interest into my piece as I stay in the same key and don’t modulate. So I started learning about Neapolitan chords and such. Please give me advice without being snotty. Last time I posted , someone said something kind of unprompted along the lines of “this is why we shouldn’t spread stupid ideas like we don’t need music theory” and that was annoying and probably against the subreddit’s rules. Thank you for your time.
2024.05.16 07:30 J-Dissenting Finally! Proof that "Lawtubers" are stupid as fuck. Schizo-post.
I have long held a deep-seated hatred for Lawtubers. I'm not talking about lawyers on social media generally. I'm talking specifically about those losers who graduated from a podunk law school, with no academic accolades at all, couldn't get hired at even a shitty law firm, and spent their career doing shitlaw (if any law at all) before going on YouTube to live stream and pretend like they're legal experts. They give us actual, practicing lawyers a bad name and they have committed the grave sin of making me want to blow my brains out any time I happen to unwitting find myself listening to them speak.
The star of this post is Good Lawgic. I made a previous post about how these morons manage to get law degrees (now deleted because I do an auto-prune of my Reddit history every few months to deal with other schizos), but the reason I'm making this post is his latest grift: https://www.givesendgo.com/UngagTrump
For those who haven't been following along the countless Trump lawsuits, in the NY "I paid to cover up having sex with a porn star" lawsuit, the judge issued a gag order preventing Trump from being himself and saying his usual unhinged shit about jurors and the family members of the judge/court staff/etc.
Good Lawgic, who regularly covers this kind of shit, must have finally saw an opportunity to make a buck "practicing law" because he started a crowdfund for himself to file an appeal to overturn the gag order on the grounds that it is unconstitutional. The wonderful thing? He links his petition! It's here: https://acrobat.adobe.com/id/urn:aaid:sc:us:6d741966-3725-45b3-b46d-feb3e3ba4f88
I gotta say, I was excited. I can finally read him write! If you guys don't know, lawyers don't debate for a living. You can't tell how good a lawyer is based on online debate performance (for a number of reasons I won't get into here). We write for a living. Seeing a lawyer's writing is really the only way to truly assess their competence. Here, he has done the kindness of displaying his incompetence for everyone to see. I won't go through all of the grammatical mistakes because there's so fucking many of them. He should've at least asked ChatGPT to fix his grammar. Shit, he should've asked ChatGPT to write the whole brief instead.
Those of you who aren't lawyers might think that this looks okay. But hopefully by the end of this post, I'll have successfully convinced you that Good Lawgic is a grifting, incompetent loser.
I'll elaborate. The "meat" of this document is on pages 5 to 19, or the "Memorandum of Law in Support of Temporary Restraining Order". This is basically the legal argument portion.
Now, if you're going to ask for a TRO, or literally anything from a court, at least start by stating the relevant legal standard. What do you need to prove to be granted a TRO? I don't practice in NY state law (federal court gigachad here btw), so based on a quick google search, in NY, it's this: https://casetext.com/regulation/new-york-codes-rules-and-regulations/title-22-judiciary/subtitle-a-judicial-administration/chapter-ii-uniform-rules-for-the-new-york-state-trial-courts/part-202-uniform-civil-rules-for-the-supreme-court-and-the-county-court/section-2028-e-temporary-restraining-orders
Nowhere in Good Lawgic's "Memorandum of Law" does he even recite this standard, much less explain why it's met. In a brief, after stating the relevant legal standard(s), you need to argue, with facts and/or precedent, why that standard is met or not met (depending on what nets you a win). Do you know how you do this analysis? With citations. Citations to the factual record are necessary for factual assertions, and citations to precedential cases are necessary for explaining why your position is legally correct. They must also be easily discoverable by whoever is reading your brief. For comparison, read this ACLU brief, also written in favor of lifting a gag order on Trump (though in a different case and written as an amicus brief, which is radically different from a TRO petition): https://www.aclu.org/cases/united-states-v-trump-amicus-brief?document=Proposed-Brief-Amici-Curiae-of-the-ACLU-%26-ACLU-DC-in-Aid-of-the-Courts-Re-evaluation-of-its-Gag-Order#legal-documents
In the ACLU brief, these actual, practicing lawyers cite almost every line. As they should. Seriously, pick a random page, and you'll see that to the extent possible, every statement, assertion, and argument is supported by some citation. The reality is, Good Lawgic didn't write a brief. He wrote an editorial full of conclusory statements and sophistry. His "Memorandum of Law" belongs on Breitbart, and he obviously has no idea how to write an actual legal argument for a court. There's nothing legal about his petition. He just says shit without citations. It's a Memorandum of Feels and Vibes. This is how a "NY litigator of 25 years" writes? Are you kidding me?
Oh, wait, his entire work experience is (checks LinkedIn) debt collection.
submitted by J-Dissenting to Destiny [link] [comments]
The star of this post is Good Lawgic. I made a previous post about how these morons manage to get law degrees (now deleted because I do an auto-prune of my Reddit history every few months to deal with other schizos), but the reason I'm making this post is his latest grift: https://www.givesendgo.com/UngagTrump
For those who haven't been following along the countless Trump lawsuits, in the NY "I paid to cover up having sex with a porn star" lawsuit, the judge issued a gag order preventing Trump from being himself and saying his usual unhinged shit about jurors and the family members of the judge/court staff/etc.
Good Lawgic, who regularly covers this kind of shit, must have finally saw an opportunity to make a buck "practicing law" because he started a crowdfund for himself to file an appeal to overturn the gag order on the grounds that it is unconstitutional. The wonderful thing? He links his petition! It's here: https://acrobat.adobe.com/id/urn:aaid:sc:us:6d741966-3725-45b3-b46d-feb3e3ba4f88
I gotta say, I was excited. I can finally read him write! If you guys don't know, lawyers don't debate for a living. You can't tell how good a lawyer is based on online debate performance (for a number of reasons I won't get into here). We write for a living. Seeing a lawyer's writing is really the only way to truly assess their competence. Here, he has done the kindness of displaying his incompetence for everyone to see. I won't go through all of the grammatical mistakes because there's so fucking many of them. He should've at least asked ChatGPT to fix his grammar. Shit, he should've asked ChatGPT to write the whole brief instead.
Those of you who aren't lawyers might think that this looks okay. But hopefully by the end of this post, I'll have successfully convinced you that Good Lawgic is a grifting, incompetent loser.
The Legal Standard
He doesn't state it. Lol. Lmao, even.I'll elaborate. The "meat" of this document is on pages 5 to 19, or the "Memorandum of Law in Support of Temporary Restraining Order". This is basically the legal argument portion.
Now, if you're going to ask for a TRO, or literally anything from a court, at least start by stating the relevant legal standard. What do you need to prove to be granted a TRO? I don't practice in NY state law (federal court gigachad here btw), so based on a quick google search, in NY, it's this: https://casetext.com/regulation/new-york-codes-rules-and-regulations/title-22-judiciary/subtitle-a-judicial-administration/chapter-ii-uniform-rules-for-the-new-york-state-trial-courts/part-202-uniform-civil-rules-for-the-supreme-court-and-the-county-court/section-2028-e-temporary-restraining-orders
Nowhere in Good Lawgic's "Memorandum of Law" does he even recite this standard, much less explain why it's met. In a brief, after stating the relevant legal standard(s), you need to argue, with facts and/or precedent, why that standard is met or not met (depending on what nets you a win). Do you know how you do this analysis? With citations. Citations to the factual record are necessary for factual assertions, and citations to precedential cases are necessary for explaining why your position is legally correct. They must also be easily discoverable by whoever is reading your brief. For comparison, read this ACLU brief, also written in favor of lifting a gag order on Trump (though in a different case and written as an amicus brief, which is radically different from a TRO petition): https://www.aclu.org/cases/united-states-v-trump-amicus-brief?document=Proposed-Brief-Amici-Curiae-of-the-ACLU-%26-ACLU-DC-in-Aid-of-the-Courts-Re-evaluation-of-its-Gag-Order#legal-documents
In the ACLU brief, these actual, practicing lawyers cite almost every line. As they should. Seriously, pick a random page, and you'll see that to the extent possible, every statement, assertion, and argument is supported by some citation. The reality is, Good Lawgic didn't write a brief. He wrote an editorial full of conclusory statements and sophistry. His "Memorandum of Law" belongs on Breitbart, and he obviously has no idea how to write an actual legal argument for a court. There's nothing legal about his petition. He just says shit without citations. It's a Memorandum of Feels and Vibes. This is how a "NY litigator of 25 years" writes? Are you kidding me?
Oh, wait, his entire work experience is (checks LinkedIn) debt collection.