This story has been gaining some small online traction over the past couple of days, and Russell Edwards has been namedropped again by Keith Bennett’s brother, Alan Bennett, on social media. I want people to be in no doubt about what Edwards did back in 2022, and I want to make sure that the following ranks near the top of Google searches too so that people can easily find information that discredits this complete and utter charlatan.
Header photo description and credits: Greater Manchester Police employing a drone in the excavation of the site searched for the remains of Keith Bennett on Saddleworth Moor, 2nd October 2022. Manchester Evening News

Who is Russell Edwards?

Edwards is a self-proclaimed “amateur detective”, who has for many years invested a lot of his own time and money into trying to get to the bottom of numerous infamous unsolved cases. He has claimed to have identified Jack the Ripper as a Polish barber named Aaron Kosminski, and wrote a book about his “findings” called “Naming Jack the Ripper” - which have since been called into question along with the credibility of both Edwards and the forensic scientist he collaborated with in regards to both Jack the Ripper and the Moors Murders, Jari Louhelainen.

The known facts of Keith Bennett’s disappearance and murder

Keith was walking to his grandmother’s house on the evening of 16th June 1964 when he was abducted by Ian Brady and Myra Hindley. According to their accounts, he was driven up to Saddleworth Moor and endured sexual assault before he was strangled to death and buried in a shallow grave. There is a detailed and extensive write-up on Brady’s and Hindley’s conflicting accounts linked here. Tragically, to this day Keith Bennett remains the only one of the couple’s victims whose remains were never recovered.
I would strongly encourage everybody to read these FAQs around the search for Keith too. I wrote these up a while ago, and Alan himself has been kind enough to contribute to them as well after the fact.

The 2022 “findings”

First off, here’s where exactly Edwards made his “discovery” in relation to where the other bodies were found. I should state that this area consists of plenty of gullies and peat soil. If you click on the 2022 Search on Saddleworth Moor flair, you‘ll see everything we discussed in this subreddit as the search was being carried out. But I will recap what happened anyway.
In a statement published on 30th September 2022, GMP Force Review Officer Martin Bottomley said:
“At around 11.25am on Thursday 29th September 2022, Greater Manchester Police was contacted by the representative of an author who has been researching the murder of Keith Bennett, a victim of Ian Brady and Myra Hindley. Following direct contact with the author, we were informed that he had discovered what he believes are potential human remains in a remote location on the Moors and he agreed to meet with officers yesterday afternoon to elaborate on his find and direct us to a site of interest.
“The site was assessed late last night and, this morning, specialist officers have begun initial exploration activity. We are in the very early stages of assessing the information which has been brought to our attention but have made the decision to act on it in line with a normal response to a report of this kind.”
It was first reported in the Daily Mail that a “skull” had been found, although the same article then went on to say that “detectives are preparing to exhume a particular area where suspected skeletal remains have been found including what experts believe to be a child’s upper jaw with a full set of teeth”. It was also reported that a small piece of blue and white striped material, and potential samples of body tissue (although this was later discredited as a probable mixture of vegetation and muddy water), had been found.
Edwards had claimed he and his team had conducted extensive soil analysis of the area, which they had discovered 4 weeks before. There were high levels of calcium, which can indicate the presence of human remains (but the team did not mention that it also indicates the presence of limestone or another high calcium natural material). Describing the dig, he said “the smell hit me about 2ft down. Like a sewer, like ammonia. I worked as a gravedigger when I was 19. It hits you, that smell of death. It is distinctive.”
Alan Bennett later stated that the smell was probably methane - of which there are pockets containing it across the moor. Edwards also falsely stated that everything was left in situ - more on that in the paragraph after the next one.
On Saturday 1st October, Greater Manchester Police issued a statement saying that “no identifiable human remains have been found” - despite what several tabloid and local newspapers had been reporting. It was confirmed that drones were being used in the search on the 2nd October, and a statement issued by GMP later that day confirmed that excavation of the site will continue for the foreseeable future.
Edwards and members of his team started posting on Facebook and declaring that Keith Bennett had already been found. On 2nd October, Jari Louhelainen, a Senior Lecturer in Molecular Biology at Liverpool John Moores University and a member of Edwards’ team, posted a photo of himself analysing what he suspected was a “bunch of hair” from the dig site. He later confirmed in the comments of his post (after being called out for posting it in the first place) that it was a “look-a-like plant material”.
On 4th October, Detective Chief Inspector Cheryl Hughes, of GMP’s Force Review Unit, said: “Forensic Archaeologists and Forensic Anthropologists have now completed a methodical archaeological excavation and examination of the area previously dug and refilled by the member of the public. No bones, fabric or items of interest were recovered from the soil.
“These accredited and certified forensic experts are now continuing with a methodical and controlled excavation of the area immediately surrounding the original site to provide a higher level of assurance of the presence or absence of any items of interest. Further soil samples have been taken for analysis, but at this time there is no visible evidence to suggest the presence of human remains. The scene examination is ongoing.
“A report of possible human remains is always treated with seriousness. As such, we have deployed police search advisors who can support our scenes of crimes officers – this will result in more visible and high profile tactics, such as officers walking in lines to identify any potential sites of focus.
“GMP is committed to providing Keith’s family with answers following this report, both from the physical excavation and subsequent analysis of samples. This will take some time but we will keep the family updated at every stage and request that their privacy is respected.
“We have seen the outpouring of support since this news broke so know how our communities feel about this case but we are asking members of the public not to travel to the area and can assure them that we will provide timely and appropriate updates.”
At 2pm on 7th October 2022, Greater Manchester Police announced that they had closed the scene on Saddleworth Moor after finding no evidence to indicate the presence of human remains. “At this time, there is no evidence of the presence of human remains.”
Assistant Chief Constable Sarah Jackson, portfolio holder for crime, said: “We have always said that we would respond, in a timely and appropriate manner, to any credible information which may lead us towards finding Keith. Our actions in the last week or so are a highly visible example of what that response looks like, with the force utilising the knowledge and skills of accredited experts, specialist officers and staff. It is these accredited experts and specialists who have brought us to a position from where we can say that, despite a thorough search of the scene and ongoing analysis of samples taken both by ourselves and a third party, there is currently no evidence of the presence of human remains at, or surrounding, the identified site on Saddleworth Moor. However, I want to make it clear that our investigation to find answers for Keith’s family is not over.
“We understand how our communities in Greater Manchester feel about this case, the renewed interest in it and the shared desire to find Keith. Much of Saddleworth Moor is private land so we would ask that members of the public, in the first instance, report any perceived intelligence to their local police service. The discovery of suspected human remains must be reported immediately to enable the use of specialist resources to investigate appropriately.”
Senior Investigating Officer Detective Chief Inspector Cheryl Hughes said: “The investigation into Keith’s disappearance and murder has remained open since 1964 and it will not be closed until we have found the answers his family have deserved for so many years. We are thankful for their continued support of our ongoing enquiries. This has been a distressing time for them and we ask that their privacy is respected.
“We understand the confusion which may have been caused to Keith’s family and communities across Greater Manchester by reports to the contrary. We hope that by giving this detailed update today, we provide reassurance that GMP are committed to finding accurate answers for Keith’s family.
“In response to the report made on Thursday 29 September 2022, officers met with the member of the public who later provided us with samples and copies of the photographs he had taken. He also took officers to the location from which he had obtained these and provided grid references.
“In the days since, independent accredited forensic archaeologists and certified forensic anthropologists, together with GMP’s Crime Scene Investigators, have completed a methodical forensic archaeological excavation and examination of the identified area and beyond. An accredited forensic geologist also took a number of soil samples – analysis of which is ongoing.
“The items given to us by the member of the public have been examined by a forensic scientist and though this hasn’t yet indicated the presence of human remains – more analysis is required. With regards to the photograph, we have sought the assistance of a forensic botanist. We are now utilising the knowledge and skills of a forensic image expert to put a standard anthropological measurement to the object to assist with identification. At this stage, the indications are that it would be considerably smaller than a juvenile jaw and it cannot be ruled out that it is plant-based.
“The excavation and examination at the site is complete and, to reiterate, we have found no evidence that this is the burial location of Keith Bennett.”

Aftermath

It was discovered that two of Edwards’ team members, Lesley Dunlop (a geologist) and Dawn Keen (a forensic archaeologist) were not accredited professionals in their respective fields. Alan Bennett clarified in a Facebook post on 5th November 2022, in reference to Keen:
“Any professional archaeologist would ask for a scale in any pictures or video taken at a scene [in reference to the fact that police confirmed the object found was too small to be a juvenile jaw], that was not the case here and the reason police had to call in a photographic specialist to determine the scale of the supposed jawbone..which turns out to be too small for a child from what I've been told so far and, of course couldn't be found anyway and could only have been vegetation if anything at all.”
I am not entirely sure what the “blue and white striped fabric” turned out to be - I assume that nothing was found.
Alan has since posted evidence that Russell Edwards had been planning the “discovery of Keith’s remains” as part of a stunt to promote his upcoming book on the case - a book that Edwards has been radio-silent about since all of this controversy.
Edwards has refused to apologise to Keith’s family and despite being proven wrong, and him and his team being called out for the charlatans they are (with even him admitting that his own reputation is in tatters), as of December 2022 he stood by his actions and his claims that he believed he had found Keith’s body.
To my own understanding (though I do not speak on behalf of Alan Bennett or on behalf of anybody who was involved in this whole debacle, let me be clear), there has been complete radio-silence on news of Edwards’ book since this date.

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

Here are the choruses, which usually contain the thesis main message of a song:

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

&

“Hear me once more
Show me your smile
This time for sure
I'll see the truth hidden inside your tears

But I, I know
That you're long gone
But I, I will
Go on, howling and hollow”

In these choruses, Cloud asserts that he will get it right this time (“this time” referring to the second chance that is the Remake trilogy). He will make sure he saves Aerith and never lets her go. He knows she’s gone, but he will fight against time to get her back. He longs for her smile and her light again, and he cannot bear the guilt: so he doesn’t. Post-OG Cloud embarks on a new adventure: ”I want to go to a place where everything is new,” said Cloud to Wol and Echo in Eclipse Contact before facing his past and being launched into Remake. “Hollow” makes far more sense now, doesn’t it? It’s a song not only about Cloud’s loss, but also about his determination to save Aerith this time. Given that it’s the theme song of Remake, the fact that “Hollow” fits with our theory perfectly is a very good sign: a theme song is meant to reflect the main plot of a story, indicating as our theory states that Remake is principally, albeit secretly, about Cloud saving Aerith. Because of this hope being set up, I’m confident that they will be together in the end, reunited for good. My dear Clerith friends, this is the hidden purpose of the Remake trilogy. Cloud and Aerith will be reunited.

VI. e) ii. “No Promises to Keep” Lyrics

This is quite obvious. Aerith is resigned to her fate, but still harbors hope that she will meet Cloud again in a permanent reunion:

“Till the day that we meet again
Where or when?
I wish I could say
But believe, know that you'll find me

[…]

Till the day that we meet again
On our street, I want to believe

[…]

Till the day that we meet again
At our place, just let me believe
In the chance that you'll come
Take my hand and never let me go
Take my hand
And believe
We can be
Together evermore

[…]

Still I hope someday you'll come and find me
Still I know someday you'll come and find me”.

VI. f) The Theme of Reunion Explained?

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

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

In addition, we’ve already talked about how part 5 of “Aerith’s Theme - The Cetra” from the Remake OST tells the story of Cloud and Aerith’s reunion (see section “V. b) ii. 2)”).

Many moments exclusive to the Remake trilogy serve the same purpose: linking the theme of reunion to Aerith. This expansion of the theme is highly significant. Our theory is that the Remake trilogy exists to reunite Cloud and Aerith, so the fact that the trilogy would implement so many Clerith-centric references to reunion is great support for our theory.

VI. g) i. The Leslie-Cloud Parallel

Let’s consider another instance involving the reunion flower in Remake, more precisely, the chapter 14 subplot surrounding Leslie’s lost lover. In case you need a refresher, Leslie is one of Corneo’s lackeys, although he secretly plans to betray him. He once had a fiancée and things were looking up until she was selected as one of Corneo’s brides. The day before she disappeared (presumably taken by Corneo), his fiancée broke up with him with no explanation. It was confusing and left Leslie perplex. As she broke up with him, she returned a necklace to him, one with a flower pendant. Of course, that flower is the very same reunion flower Aerith gives Cloud in chapter 2.

Evidently, Leslie and Cloud are going through parallel situations. At this point in time, Aerith was just kidnapped by Shinra, and Cloud is on his way to get her back. Both their loved ones have been taken by tyrant rulers, one being slumlord Corneo and the other being the Shinra government. In fact, even Leslie and Cloud’s attitudes share similar disillusioned, cold and stoic qualities. Leslie’s fiancée would evidently be paralleled by Aerith.

The most obvious proof of the Leslie-Cloud parallel is written plainly on the list of Remake’s chapter 14 main scenario objectives. Objective 7, called “For the Reunion”, consists of receiving the grappling guns needed to reach topside and save Aerith. The description of the objective reads as follows:

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

The grappling guns are “For the Reunion”, because evidently, the loved one Cloud wants to reunite with is Aerith.

All this is simple and apparent enough. Just the fact that the theme of reunion is linked to Clerith in this way is proof enough, but there’s another layer to the Leslie-Cloud parallel. Not only does Leslie’s situation reinforce the concept of a Clerith reunion, it also mirrors the specifics of our theory: namely that Cloud will save Aerith from specifically Sephiroth (represented in Leslie’s scenario by Corneo) and that Cloud will take the initiative to accomplish this reunion. These two specific aspects of our theory are reflected by Leslie’s circumstances, meaning the Leslie-Cloud parallel not only pushes the theme of reunion, but also supports our specific theory.

VI. g) i. 1) The Separators: Corneo and Sephiroth

I’ll first prove that Leslie’s scenario is not meant to echo Cloud’s separation from Aerith at the hands of Shinra —or at least not exclusively—, but rather Cloud’s separation from Aerith at the hands of Sephiroth. Corneo would therefore be paralleled by Sephiroth rather than the tyrannical Shinra government.

The first piece of proof for the Corneo-Seohiroth parallel lies within the way in which Leslie’s fiancée broke things off: by lying. Aerith also lies to Cloud to create distance between them, but not pertaining to her kidnapping— rather, pertaining to her fated death. Since Sephiroth is Aerith’s killer and not Shinra, Corneo’s role in the Leslie-Cloud parallel is analogous to Sephiroth’s rather than Shinra’s.

There are two pieces of evidence that the Corneo-Sephiroth comparison makes more sense than the Corneo-Shinra one. The first lies in the fact that Leslie’s breakup resembles Cloud’s resolution scene: the topic of Cloud’s resolution scene is Aerith’s fate at the hands of Sephiroth rather than her kidnapping by Shinra, meaning Corneo and Sephiroth are the antagonists of both heartbreaks.

Let’s examine Leslie’s breakup. Here is how his fiancée broke things off, taken from the English script of Remake’s chapter 14, with tone indicators added by me in bold:

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

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

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

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

If you’re finding this familiar, then you might be ahead of me. Let’s take a look at what Aerith says to Cloud in his resolution scene, also in the English script of Remake’s chapter 14, with tone indicators added by me in bold:

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

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

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

Just like Leslie’s fiancée, Aerith is rejecting or denying Cloud’s love for her in order to spare him from the pain of not having been able to be with her before her death, as she believes it is inevitable. Just like the fiancée, Aerith also tells Cloud two things. One: their love is imaginary or isn’t real. Two: it’s morning, and she has to go (she says this right before Cloud wakes from the pseudo-dream).

In both cases, the women know something about their fate that the men don’t and are hiding this impending tragedy from them. Just like Leslie’s fiancée, Aerith uses well-intentioned deception to protect her loved one from the pain that will come from her fate— the lie, of course, is that their love isn’t real. Both women are hopeless, and both men are initially clueless. Aerith’s resolution can’t be about her kidnapping, because Aerith thinks her rescue is anything but hopeless— she’s sure Cloud will come save her from Shinra. She says so herself in OG’s disk 1 chapter 8:

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

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

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

Here is co-director Toriyama had to say on Aerith’s words:

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

These two quotes by the devs show that Aerith is trying to protect Cloud from her death. Therefore, the Corneo-Sephiroth parallel is far more apt than the Corneo-Shinra parallel.

The second piece of evidence supporting my belief that Corneo mirrors Sephiroth and not Shinra in the Leslie-Cloud parallel is the inclusion of the theme of revenge that crops up in the following piece of dialogue:

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

Leslie’s sentiment toward Corneo resembles Cloud’s feelings toward Sephiroth after Aerith’s death. Revenge links Cloud to Sephiroth, not to Shinra. Corneo and Sephiroth reflect each other in that, as a consequence of their actions toward a woman, the man who loves her desires revenge.

Additionally, it looks like Leslie’s obsession with revenge as a means to closure is the reason he didn’t bother trying to understand the message his fiancée left him with: he’s focused on his hate rather than his love, and it’s hindering him. He doesn’t succeed in killing Corneo either: his focus and energy are misplaced. Cloud’s desire for vengeance against Sephiroth is also depicted as an obstacle to accomplishing his goals (see how in section “III. c)” of my previous literary analysis). Once more, the Corneo-Sephiroth parallel fits far better than a Corneo-Shinra perspective.

VI. g) i. 2) The Reunion Seekers: Leslie and Cloud

The other aspect of the Leslie-Cloud parallel that supports our theory is that in both scenarios, they both take charge of the situation and decide to actively seek reunion with their respective lovers. The following dialogue excerpt, supplemented by the VA script notes, shows Leslie’s initiative:

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

Take note of Leslie’s final response and the determination with which he speaks: “Then I guess I’ll just have to find her first”. Remember that we’re searching for evidence that Cloud is going to be the one reaching out to Aerith in the Remake trilogy, and that it’s his turn to take his future into his hands. He must be more attentive, more active this time. And Leslie’s words of determination reflect this perfectly. Leslie must find his fiancée first, just like Cloud has to be the one to offer his hand to Aerith in the Remake trilogy and fight for her. This is exactly what our theory is all about.

VI. g) i. 3) Delayed Realizations

Interestingly, not only does Leslie’s determination mirror Cloud’s, but both men are depicted as realizing the truth too late. Just like Leslie only began searching for his fiancée six months after her disappearance, Cloud only realizes he loves Aerith in OG once she’s died. It took him this long to actually get somewhere in his mission to reunite with her— “somewhere” being the Remake trilogy.

Even Barret’s words highlight the lovers’ delay: “Can never be sure how much someone means to ya till they're gone”. Barret would know: he lost his wife Myrna, who he loved dearly. The devs have Barret comment on the situation as a man whose lover died, mirroring Cloud’s situation in OG. Just as Barret says, Cloud only truly realized the strength of how he felt for Aerith in OG once she was gone. The gunman’s words apply to both Leslie and Cloud’s tardy initiatives. Regardless of this delay, both men are now determined to see their respective reunions through.

The degree to which the Leslie-Cloud parallel fits our theory is a great sign of its validity: even the details are lining up!

VI. g) ii. Reunion in the Theme Songs

Too easy: in our analysis of the lyrics of the theme songs, we covered how both texts include the theme of reunion. “No Promises to Keep” is especially relevant (see section “VI. e) ii.”), as the entire song is Aerith hoping against fate for a reunion with Cloud (even if you believe the song is about all her companions, that still includes Cloud).

On top of these reunion-themed lyrics, during Aerith’s in-game performance of “No Promises to Keep” at the Gold Saucer production of Loveless, her yellow blossoms signifying reunion bloom all around her as Cloud watches her, captivated.

Another great sign for our theory: the highly significant theme songs are on our side!

VI. g) iii. Waking Up Reunited

The thing I want to juxtapose to our theory is a small yet special moment in chapter 2 of Rebirth that stuck out to me like a sore thumb and got me really excited about sharing it with you. This moment occurs after the battle against the Midgardsormr. We’ll be comparing it to two other clips, describing all three in chronological order, and making deductions based on their similarities.

The first clip I want to address occurs in chapter 8 of Remake (1:32-2:12). There are a couple of things I want to point out in this scene. First, Aerith wakes Cloud from unconsciousness with a cute call of “Hello~?”. Second, despite pretending that he doesn’t, he immediately recognizes her. The VA script notes prove it:

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

So: she wakes him with a cute call, and he recognizes her. Also note that these two elements also apply to the OG church reunion scene.

Now onto the Rebirth chapter 2 scene that stuck out to me. After Cloud is saved from the Midgardsormr by Sephiroth, Cloud wakes up from 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 a 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 indiscrete in theory: the camera literally hones in on the invisible words as though the script has them highlighted, italicized triple-underlined and in bold.

VI. h) ii. Aerith’s Knowledge

We’ve seen the Remake trilogy use this camera framing at least twice so far. The first time occurs in Remake’s chapter 8, before it becomes clear that Aerith knows things from the OG game that she wouldn’t normally know if this were just a remastered version of the same 1997 plot. I’ll let Remake Ultimania‘s description of this moment speak for itself:

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

Aerith’s “vague reply” is accentuated by a very deliberate zoom-in on her mouth (1:18:05-1:18:09), and therefore her words.

The framing of this shot indicates to us that what Aerith says provides an important hint as to the plot’s direction. Sure enough, with hindsight, it’s easy to see that’s true.

VI. h) iii. Tifa’s Question

Another time this framing is used is in chapter 1 of Rebirth, after Cloud recounts the Nibelheim incident. Tifa asks the group why Sephiroth is choosing to come back now, after five years (37:55-37:58).

Once more, we are being signaled that the reason Sephiroth chose to return at the moment he did is significant to the plot, but cannot be revealed explicitly yet. The reason why Sephiroth took five years to return is because that’s how long it took for Cloud to get back on his feet after the Nibelheim incident: Sephiroth wants and/or needs to manipulate Cloud in particular rather than all the other people with Jenova cells in them. It took five years for Cloud to not only go through Hojo’s experiments but also escape Shinra and make his way to Seventh Heaven, where Tifa nursed him back to health— therefore, it took five years until Sephiroth’s favorite pawn was available to be used. There are a few reasons why Cloud is the one Sephiroth wants to use, and all of them would be spoilers at this point in Rebirth to players who don’t know the OG plot. The devs can’t reveal any of them yet, but they do indicate via a close-up shot of Tifa’s mouth that her question is important.

VI. h) iv. The Takeaway

As you can see, this framing of characters’ mouths when they speak signals a plot-significant piece of dialogue. This means Cloud’s words on his gondola date with Nanaki can’t be brushed off as a red herring or an unimportant or throwaway line: it has narrative weight.

VII. The Devs

I think it’s important to remember the devs and their commitment to the world of FFVII. They know best for this story, and they’ve proven it to be true many times over. There are many things about the devs’ intentions that the fandom don’t seem to know that I think would give you confidence to find out.

VII. a) Shifting Themes

Good storytellers don’t introduce themes as a way to pull the rug from under audiences’ feet by later rendering them completely irrelevant to the plot.

In other words, the devs would not have introduced the notion of fate as an antagonistic force in Remake, nor allowed the players to defeat it in chapter 18, had they planned for these themes not to pay off at all. Think of how good FFVII OG and FF stories in general are, how strong the writing is from a narrative point of view. Nothing is included for no reason or for a cheap reaction— especially not a central theme of a story. Fate and defeating it is a huge point of Remake, and not for no reason.

I mean, think about a storyline all about defying fate ending with a shrug and a “Oh well, we tried.” It would be ridiculous! The devs are better than that.

VII. b) What the Devs Want

The devs are well-aware that fans of FFVII have been begging for Aerith’s resurrection since 1997. All those petitions, all those myths of a revival hack… SE knows about them all too well. They were even referenced by FF’s 30th anniversary expo, which partly promoted Remake:

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

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

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

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

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

The devs know how well-loved both Clerith and Aerith are. And in fact, they love Aerith at least as much as we do:

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

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“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).

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

The devs care about Aerith, and they’re fully aware we do too.

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

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

Codirector Nomura said the following:

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

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

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

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

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

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

So it's like a light discussion bout how i came to know about these communities. I do believe that the feelings of being gnc started in childhood for a lot of us. Same for me. I was an androgynous, awkward, and tomboyish nerdy kid who became more masculine as time went on.
As a little girl, all i had to do was take one look at some typical action hero, super powered macho dude and be like, yup, he's my bride now :).
My heart fluttered so much every time any of my cartoon crushes were put in an even slightly vulnerable position, maybe they got hurt, fainted or helpless. I might sound like a weirdo, but i used to save videos where they would be unconscious, falling or carried in that pretty thing, objectified sensual kinda manner. (I remember you superman, being all weak and passing out near any kryptonite 😳)
Cuz as a kid all i cared about was being cool and a show off irl, so naturally i was usually a badass in my imaginations who was either a detective, warrior or superhero that saved and bridal carried a helpless man, and the thought of them clinging to me, blushing and being in awe at how badass and strong i was absolutely melted me.
It's how i knew something was a bit different bout the way i perceived romance. Cuz mostly around me, little girls wanted to be the one saved, being the clinging and helpless one and to see how cool and fierce their crushes were. Even if they were badasses, it was very in that girlboss manner, and usually then it would not involve any guy cuz they were "independent" and "did not need saving"
Obvs my tastes became more diverse in future beyond just that.
I noted that people were a little bit gnc on internet like calling guys slutty or bbgirls and stuff like that. I found that i really liked it.
Ultimately, i would say it was my many searches of girlboss x malewife, strong fl x soft ml and similar stuff like this that lead me to rr and then this sub.
Before this, note, that i did not look for romance stuff much cuz, one, i grew up in religious conservative house where we would jump at even a simple kiss scene so i was pretty romantically repressed. Second, i often never felt romantic attraction irl cuz everyone was pretty hardcore het normative. Third, I, in general, don't read romance as a separate genre. Same for family dramas and slice of life. Not my cup of tea. Like its fine as a sub genre within a story but not as its own thing.
What started off me searching for rr romance stuff was interestingly cuz of one media that soon became my favourite anime; JoJo Bizarre Adventure.
I had long seen many memes abt it, including the "best waifu Speedwagon"
Long story short, i began actively binging many memes, without even having seen it. When part 6 was adapted, that's when i was watching it.
I feel like not enough people talk abt how gnc JoJo is, at least in presentation.
Like they were sometimes simultaneously the macho, normative, beefy guys and at same time so genderfucking, dramatic, fabulous and beautiful. Like legit everyone's poses go hard.
Poses are such interesting shit cuz unlike other action media, you'll be getting into the plot and fights and then momentarily they'll make you halt with someone's pose and be like drawing your attention to their objectified, beautiful bodies and energies its so hilarious xD
I mean consider the fact that the anime's best waifu is Speedwagon, and the best mom is Bruno, both of whom are MALE.
When i watched part 1 fr first time i finally understood all those best waifu memes like holy shit bro acts so much like a worried, nurturing and damsel in distress girlfriend
Not only that, like most of the jojo poses are inspired by fashion poses, most of them being done by female models. Dio's iconic pose? Done by female model. Most of Giorno's poses? Same thing here. Risotto? Same. And the body language of these characters. Like even if they may be the most mainstraightest characters, they don't care bout how they appear or carry themselves.
The amount of comments saying stuff like "Bruno got such mom smile" or "Abbachio wine aunt" or "diavolo a goth gf" or "giorno's stand posing with him like he's its baby mana" or "Prosciutto fast walked like a lady or worried mom" or how zesty so many jojos, even the early beefy ones like Joseph or pillar men act is absolutely fantastic. Their poses are such mixture of andro, masc or fem energies like they absolutely do not care.
Don't even get me started on their designs and clothing. Absolute gender fuckery. Pinkiest pink, flowers, earrings, slutty turtlenecks, heart accessories, strapless top, so many boob windows and crop tops, lipsticks, long hair, to name few.
Even if they are the machoest or het normative, they dress like there's absolutely no stigma in their world against how one presents. Rohan, diavolo, abbachio, bruno, dio, narancia, joseph, kakyoin, mista, giorno, anasui to name a few.
Sadly, women are the least gnc part of JoJo, and despite all this mentioned above , some semblance of mainstraightness still exists in jojoverse. There's either that, or just gayness.
Appearance wise the most gnc jojo women i can think of would be either ermes or hot pants. But that's realllyyy a bare minimum :(
Anyway, you can imagine i had many awakenings i didn't even know i had 🥴

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

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

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

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

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

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

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

1. Piece Inclusion

Once more, I find it very telling that of all the pieces included in the credits of Rebirth, the only character themes are Cloud’s and Aerith’s. We start with a song about Aerith’s point of view to mirror *Remake’*s “Hollow”, “No Promises to Keep” (5:18-11:10), followed by the FFVII world theme (11:10-16:12) which of course contains Cloud’s true theme, then we move into a piece whose unofficially translated title is “Parade Battle Ceremony - The Dawn of a New World” as an arrangement of the parade ceremony theme from chapter 4 (16:12-19:03), followed by a theme for the Lifestream springs whose name I don’t have (19:03-21:38), “Junon - Fortified Metropolis” (21:38-24:28), and finally, a gorgeous arrangement of Aerith’s theme (24:28-28:47). No other character is referenced in the credits music: the credits are telling us Rebirth is about Clerith. Our Mission Theory explains why.
V. c) iii. 2) “No Promises to Keep”
At the very end of this song written and performed by Aerith, we’re treated with a sweet little piano conclusion (10:46-11:10): it begins with a variation on Aerith’s theme’s section A (10:46-11:01), and concludes with two ascending arpeggios, each four notes long (11:01-11:10). Each of these ascending arpeggios is a variation of the phrase 1 of Cloud’s true theme’s section A. The differences are minimal. The phrase is usually five notes long rather than four, the first arpeggio ends on the tonic rather than Cloud’s iconic subtonic, and the second arpeggio starts on the subtonic rather than the tonic. The song Aerith wrote concludes with Cloud’s most famous motif. This is also the case in her Gold Saucer performance (3:31-3:41).
V. c) iii. 3) Arrangement of Aerith’s Theme
The final piece in the credits is an arrangement of Aerith’s theme (24:28-28:47) which has noticeably similar elements to the version of her theme that plays during the Jenova Lifeclinger battle in chapter 14 (0:12-3:36), such as the female choirs. Since these female choirs are only heard in the Forgotten City version of Aerith’s theme, and since the credits arrangement of her theme plays at the same time as clips from her chapter 14 pseudo-death roll across the screen, I estimate that this credits arrangement specifically reflects the event of Aerith’s pseudo-death. Recall that composers had access to the credits video as they composed, meaning this piece is specifically written for Aerith’s pseudo-death in Rebirth.
What I find fascinating is that, just like the arrangements of her theme that play during Aerith’s pseudo-death and the Jenova Lifeclinger battle, this credits arrangement contains the sound of Cloud’s pain, rage and protest. Phrase 1 and the first three notes of phrase 2 of Cloud’s true theme section A play on the strings and brass quite loudly and insistently, just as Cloud blocking masamune appears on the credits screen (25:11-25:21). Sephiroth’s dissonant, high and screechy violins appear just as his face comes onto the screen (26:33), and almost as a protective response, phrases 1 and 2 of Cloud’s true theme’s section A return (26:47-27:00). Finally, similarly to what we hear in part 5 of “Aerith’s Theme - The Cetra”, a slightly modified section A phrase 1 of Cloud’s true theme play along with section C phrase 3 of Aerith’s theme (oh wow section A and C section Aerith for Cloud’s theme and section Cloud for Aerith’s theme I just realized that’s such a cute coincidence), though unfortunately they do not meet in the middle like last time since they start two octaves apart (28:20-28:25). I’ve recreated it for you once more here so you can really appreciate it. The fact that their motifs don’t truly reunite like in “Aerith’s Theme - The Cetra” is sad, but the very last thing you see onscreen is Aerith’s goodbye to the Tiny Bronco (27:10-27:42), so it makes sense that this piano conclusion implies that Cloud and Aerith aligned, but not yet reunited for good. That’s exactly what you get from the ending cutscene. It does seem to imply that they will be reunited in part 3, as both the ending cutscene and this piano conclusion read as a “till we see each other again” rather than a “farewell”.
VI. Textual Evidence
Now that the musical evidence is done, let’s compile some textual story evidence that supports our theory!
VI. a) Remake Trilogy (Thus Far) Handholding Explained?
As I’m sure you’ve noticed, handholding is a motif in Cloud and Aerith’s relationship— and an extremely symbolic one at that! When researching for info to validate my theory, I found that this Clerith motif was extremely helpful! Its inclusion in the Remake trilogy, and especially in Rebirth, is hugely significant in my eyes.
VI. a) i. Pre-Remake Trilogy: Aerith’s Initiative
Before examining the significance of Clerith handholding in Remake and Rebirth, we should establish the meaning of this motif in OG and Advent Children.
Cloud and Aerith have reached out to take each other’s hands many times since 1997. Aerith used to literally drag him by the hand a lot, shocking the cold and distant merc, before she left. After her death in OG, Cloud surely longed to be able to feel her hand take his again, cursing himself for not enjoying it while she was alive, and for never being the one to grasp her hand first: he never got to tell her how he feels about her, or to save her. It was always her reaching out for him, saving him.
This is why the scene in OG when Aerith reaches for him from the Lifestream after Cloud defeats Sephiroth in chapter 3 of disk 3 is so touching: Cloud sees her hand and reaches out to take it, so close to finally establishing that mutual connection, but she soon fades, and replaced by Tifa’s hand in the tangible world. He doesn’t get to hold Aerith’s hand again.
That is, not until Advent Children, where near the end of his battle with Bahamut Sin, he sees Aerith reach out to him once again (1:08-1:30). Cloud finally gets to hold her hand for the first time in two years when he lost her. This moment was given extra importance by the devs. In fact, Nojima told us the following:

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

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

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

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

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

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

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

&

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

(continued in

Trying to remember the name of a comedy I saw in theaters about 4 or 5 years ago. It followed a group of middle school boys with the typical plot of the protagonist trying to win over his crush.
There are a few scenes I remember; at one point they accidentally got their hands on a bag of drugs and the black kid ends up giving them up to a cop at a gas station. Same black kid also got his arm dislocated at some point in a scene that I remember being very cringe inducing. There was another scene where the friends all run across a freeway dodging cars, and one says to the protagonist after "Sorry I didn't want to run across 4 lanes of traffic so you could kiss some skank!" Or something like that. The ending also had them talk about how they'll still be friends forever even if they don't hang out all the time. That's basically all I remember

I know I know... yet another Warcraft movie shill post, but hear me out:
Warcraft movies have long been a fan's daydream. As a long time fan and active player I'm no different. In fact I might have gone a bit overboard with fantasies about it, but I did some thinking and research and here's an outline of what I think can make the franchise a success and launch a potential WoW cinematic universe. I know most of this has already probably been said before, but I want to put it all in a single place where we can see if theres any way to push this to Blizzard/Microsoft and make it finally happen.
A three-part telling of the story of Arthas in streamable series format.
Part 1: The Fall of Lordaeron - We follow Arthas from his young Paladin days through the events of discovering the scourge and ending with the Purging of Stratholm. The ending with "This whole city must be purged" is an amazing finale foreshadowing the downfall of the main protagonist.
Part 2: Frostmourn Hungers - Arthas, now on a downwards spiral goes to Northrend and finds Frostmourn. This part would cover his Northrend campaign, slowly corrupting him into the Lich King's will. Includes the return to kill his father, the destruction of Quel'Thalas, resurrection of Kel'Thuzad and ultimately ends with Arthas putting on the Lich King armor and helm.
Part 3: The Lich King - Starting with the WotLK cinematic, it would follow the story of the WotLK expansion and shift focus slightly on the world banding together to defeat Arthas. The ending should be kept exactly the same - the champions of the Horde and Alliance together with Tirion defeat the Lich King exactly as it was told in the game.
Cast ideas:
It is important that the main cast and director crew are fans of WoW and its story, so they represent it well. I've picked a list of several casting choices that have either played WoW or would just fit too well with the character they portray in my opinion. The following list is more of a wish-list, but as with any production - known names bring audience.
Director - Sam Raimi. He is a WoW player and was allegedly "desperate" to direct the first Warcraft movie. Having a good director who is a fan of the lore and game is critical for the success of this (see Last of Us for example)
Arthas - Henry Cavill is the obvious, well-known, best choice. Apart from being so close to how Arthas looks, he would inevitably bring an enormous audience of non-WoW fans and almost guarantee success.
Jaina - Mila Kunis or Cameron Diaz. Both have played WoW and both can portray Jaina in a slightly different way but close to the depiction in the game. Even Ella Purnel (the Fallout role of Lucy) could do a great job here.
Tirion - Gary Oldman. He not only fits the visual representation of Tirion, but even his voice is similar. His previous roles have resemblance to the character arch of Tirion (e.g. Gordon in The Dark Knight)
Uther - Jeff Bridges. Requires no further explanation. He just is Uther.
Bolvar - Travis Fimmel. He did great as Lothar, but he would do even better as Bolvar in my opinion.
Kel'Thuzad - Ralph Fiennes. We dont have much to go off of for his visual depiction in his Human form, but Fiennes portrayal of Voldemort and Hades fits very well with this character.
Darion Mograine - Christian Bale. This is a an important character and Bale's representation of complex conflicting characters could be amazing for this.
Antonidas - Ian McKellen. Simple - nobody can portray an old wise archmage as good as him so far.
The list goes on and on and I wont try to be exhaustive here as the goal is to just give an idea of what it could look like with a star studded cast. Theres an infinite number of good choices, so theres no point in getting stuck on casting. Frankly the only choice that is non-negotiable is Cavill as Arthas in my opinion.
Main reasons why now is the time for it:
Creating a series, rather then movies, is quite crucial. If Last of Us showed us anything, it is that series allows you to tell peripheral stories really well in isolation, without distracting from the main narrative. I dont see a realistic way of telling all the different plots going into the Arthas story without butchering it. Things like The Wrathgate, The Ashbringer, Tirion's backstory, Illidan and his quest against Arthas, etc. would feel out of place in a movie, but quite natural in a series. There is no other way to tell WoW lore along the main story and open up the doors for cinematic universe of movies and series stemming from this main branch.
Streaming services have allowed series to evolve and tell stories in a way that movies never could. They have started a great trend of bringing games to the big screen. This trend seems to be getting stronger and stronger. Classic WoW showed that Warcraft fans are here and hungry for the epicness of the original games. The hype is there. WotLK just ended, so the nostalgia will start crippling in. We just defeated the Lich King, now its time to see the story told in its full potential.
Blizzard appears to be on a downward trend with WoW subs and are seemingly desperate for cash and ideas of bringing the playerbase back into the game in full swing. What better way then telling this story and potentially turning the whole world to fans who would at least want to try the game after watching a great series? Just think of Cavill as Arthas and the amount of wives/gfs who would suddenly find out that WoW might be cool :D
Microsoft taking ownership of Blizzard is another positive - Fallout is part of Microsoft and it is doing great as a series. This might suggest that Microsoft understands the potential of those franchises coming to the screen and being very successful on their own, while bringing lots of new players to the game, thus increasing profits in two separate streams.
If Last of Us, Witcher and Fallout are doing so well - think of the game that everyone and their mother knows. If there was ever a game that virtually everyone knows, has a story that is perfect to film and has great names in the industry passionate about - it is World of Warcraft. Jumping on this band wagon, WoW has a history of coming to the scene and becoming the king. It would be no different as series - the one that makes them all pale in comparison.
It is what WoW has been leading up to. It is what it was destined to become.
This wont be just a success. This would be a grand slam.
P.S. If you agree with me, help me get a petition or buzz going. I'm a noob at this, but classic wow happened with community effort. This can happen too if we will it into existance. If anyone knows how to do this - let me know.

The gray wolf sits in the darkness. She looks back to see a blue crystal clock. The clock turns once and lands on one. One blue flame is lit.
https://www.youtube.com/watch?v=KuZbmLLv1vM

As the moon started to set on the city, the sun started to rise from behind the mountains. A cool brezze flower through Mk’s window; waking him up. He lifts himself up in his sleepy state and looks around, seeing that it was early morning. 

“It’s seven? Might as well get up now.” He got up from bed and walked over to his window. He looked outside to see the moon out while the sun was still rising. “Oh cool. The moon is still out.”

Mk walks out the door and get’s in his car. He drives to the mountain. Once he arrives at the mountain, he walks up the stairs to Monkie King’s (Sun Wukong) training dojo. 

“Monkie King? Are you here?” Mk looked around and didn’t see Monkie King anywhere. “That’s strange…. He said he would be here.”
“And I am”, Sun said from behind Mk. Mk jumped and said, “Don’t do that!”
“Sorry, Sorry”, Sun said. “Ready for training?” Before Sun could take another step, he heard Mk’s bag ball to the ground. He looks back and sees Mk about to attack. “Guss that means yes.” Sun got into his fighting stance and started training in an instant. Mk and Sun continue to fight until Mk stands victorious.
“Yes!”
“Your getting better”, Sun said, picking himself up. He brushed off the dust and dirt from his clothes. “And your powers are getting stronger.”
“Maybe, but they’re not as powerful as you”, Mk says, giving praise to his teacher. Before Sun could say anything else, a crash could be heard from the city below.
“Not again….!”

My jumps down from building to building until he sees a huge demon roaring. 

“Oh come on…. Another demon”, Mk says in annoyance. Before he could act, a shadow figure enveloped by the sun jumps down and lands on a nearby building. They look up at the demon.
“This is gonna be fun.” The gray wolf raises her arm to the side of her and summons a claw-like weapon. “Now it’s time to go back to where you belong!” She jumps up and lands on one of the demon's extra arms and runs up to its face. The demon tries to shake her off, but the gray wolf jumps onto a nearby building and looks down on the demon. She jumps down once again and claws the demon’s face. From the impact of the blow, the wolf jumps up to the same building she was on before; her feet sliding against the roof. The demon roars in pain and agony until it disappears into the shadows. Magic surrounds the wolf’s claw-like weapon and it vanishes. “And that is how it’s done.”
“Wow, Monkie King, that was–”, Before Mk could say another word, he falls back. The gray wolf, wearied out by the situation, tries to walk away, but Mk reapers in front of her and says, “That was amazing Monk– O-Oh, your not Monkie King.” The gray toned wolf blinked a few times and then chuckled.
“Clearly.” The gray wolf looks at Mk’s staff and realized that the staff belong to Monkie King. She thinks, “How does he have Sun’s staff? He must be his apprentice.” She gathered her words and said, “You must be Monkie King’s apprentice. I’ve heard a lot about you.”
“You have”, Mk asks.
“Yes. You're the talk of the celestial realm as of late”, The wolf says. She starts to walk away and says, “I’ll see you around, Mk.” Mk looked back at the mountain and then back at the wolf walking away. He looks at his staff and runs up to the wolf.
“Can you teach me that move”, Mk asks, his eyes growing big like a puppy. The wolf looks down and smiles. She then looks back up at Mk and says, “I’m sorry. I can’t. You already have a teacher. You shouldn’t go behind his back.”
“Oh… well, will I see you again”, Mk asked. The wolf looked back and smiled, then said, “Maybe one day.”
“When?”
“Let fate decide.”

“She what?” 

“She killed the demon on her own”, Mk explained to Mai. “I think she was from the Celestial Realm.”
“What did she look like”, Mai asked.
“She was gray toned and she had a pendant that looked like the moon”, Mk described. “She had gold eyes too.” Sun almost dropped the scroll he was reading and looked away. He could feel a bead of sweat running down his face.
“Hey, Monkie King, do you know who she is”, Mk asked.
“I-I have no idea who she is”, Sun said, acting ignorant. “And IF she was from the celestial realm, she wouldn’t have come down here. Beings from the Celestial realm don’t travel to Earth.” As Sun went back to reading his scroll, a bright blue light caught the side of his eye. The trio looked over and saw a blue lit portal.
“What the?” Mk walks over to the portal and puts his hand through. He goes to pull his hand back out, but the force of the portal pulls him in.
“Mk!” Mie and Sun try to pull Mk out of the portal but they all get pulled in.

A portal appears in the celestial realm and Mk falls from above. He hits the ground. He rubs the back of his head and looks around. 

“Is this… the celestial realm?”
“Mk?” Mk looks back to see the gray wolf looking at him from above. “What are you doing here?”
“It’s you again”, Mk says. “Am I in the celestial realm?
“You are”, the gray wolf says. “But right now, you're in the celestial forest. This is my domain.”
“I’m not here alone”, Mk says. “My friends are here too.”
“Your friends? Does that mean Monkie King is here too”, the wolf asks.
“Yes.” The wolf looks around for a moment and says, “Alright. I’ll help you find your friends. Follow me.”

Mk follows the gray wolf into the forest. Leaves the color yellow and gold fell to the ground. The yellow grass flows as the two walk. 

“Do you live here”, Mk asks.
“Indeed, I do”, the wolf says. “I am this domain's protector among all things.”
“Really?”
“Yes. do you know what an embodiment is”, the wolf asks.
“No”, Mk answered.
“Well, an embodiment is in charge of keeping balance in three places”, the wolf continues, “The celestial realm. Earth. And the lunar realm. There are many embodiments have different responsibilities for what they are named for.”
“So what’s yours”, Mk curiously asks.
“I am the embodiment of Luck and misfortune”, the wolf answers. She looks back and says, “We found them.” Mk looks down and runs over to Sun and Mai.
“Monkie King! Mei!”
“Mk!”
“Thank goodness you're alright”, Sun says. “How did you find us?”
“She helped me.” Sun looks up and sees the gray wolf looking down on him. Sun’s face turned somewhat not convinced and said, “So you came out of hiding, huh?”
“What are you talking about”, the wolf says. “I keep on the low because I don’t like to make a scene.”
“And look at what you did back on earth.”
“Mad that you didn’t kill a demon?” Mai and Mk look at each other and ask in unison, “Do you two know each other?” Sun and the wolf looked at each other for a moment.
“I will slap you, Sun”, the wolf murmured. Sun sighs and says, “She’s my sister.” Mei and Mk looked at both Sun and the wolf and said in unison and surprise, “WHAT?!”
“Yup, I’m his sister”, the wolf days.
“Little sister”, Sun clarified.
“You two don’t look related”, Mei pointed out.
“She looks more like our father and I look more like our mother”, Sun says.
“How did you even get here”, the wolf asked. “Last I checked, the only way to get up here is through the celestial gate.”
“A portal pulled us in here”, Mei said.
“Ah, I see”, the wolf said. “Those would be realm portals. They tend to pop up every now and then.”
“Can you get us home”, Mk asked.
“Well, you can’t go through the celestial gate”, the wolf said. “But there is a way to get you all back on earth. Follow me.” The wolf leads the trio to a wall. The wolf waves her hands in the shape of a moon and a portal opens. “There you go: one portal back to Earth.”
“Thank you”, Mei says. She runs over to the portal and goes through. Sun does the same.
“I guess I’ll see you soon, Mk”, the wolf said. As Mk was about to walk through the portal, he stops, turns around and asks, “What’s your name?” The gray wolf looked at Mk for a moment and smiled.
“Mischief. Mischief Wukong”, she said. Mk smiled and said while waving his arm, “I’ll see you soon, Mischief!” Mk runs through the portal while Mischief waves goodbye. Mischief, the gray wolf, looked at the wall for a moment and then walked back to her home. While she walked, a blue light whispered into her ear.
He’s the one….

Two young cheetah girls run to the front of a traditional, yet modern, Chinese house supported by a platform. 

“Do you think she’s here”, one of them asks.
“I don’t see her”, the other said. From the right side of the building, Mischief opens a sliding door. The twins smile and say, “Mischief”, In unison. Mischief looks over and smiles when she sees Clock Wise and Wise Clock.
“Hello you two”, she says, walking down the steps to the fence where the twins hunh off. “What brings you here?”
“We were playing in the forest, but we found something”, Clock Wise said.
“What is it”, Mischief asked.
“We don’t know”, Wise Clock answered. “But it was black, and it was covering the mushrooms and trees.”
“Black? Can you take me to where you saw it”, Mischief asked. Clock Wise and Wise Clock take Mischief’s hands and lead her into the west of the forest. Clock wise and Wise Clock point over to the tree covered in the black substance. Mischief walks over to the black covered tree and leans down on one knee. She looks at the black substance and her blood runs cold.
“Mischief? What is it?”
“Clock Wise. Wise Clock. Go home and don’y come back until I tell you it’s safe”, Mischief says. Clock Wise and Wise Clock nod their hands and run back to their home. Mischief gets up and summons her claw-like weapon. Black-like mist rolls in and stops at the infected tree. Mischief walks to the right side of the tree and yells, “Show yourself! You are in the domain of luck and misfortune!” Mischief stood in her defensive stance waiting for a attack. She narrows her eyes in agitation; her pupils becoming slits.
“So it is you. At last we meet again, Embodiment of Luck and Misfortune.” Mischief’s hair stood as she slowly looked behind her to see a bug-like demon smiling demonically at her. Mischief’s point-of-view goes dark.

The moon from above started to disappear from the rain clouds rolling in. Its brilliant light slowly becomes nothing but a dark shadow. Tang looked up at the sky as the rain started to come down. 

“I don’t think It’s gonna stop raining”, Tang says, walking back inside.
“I don’t remember the forecast saying it would rain today”, Pigsy pointed out.
“Well, what can you do”, Mei said. She looked over at Mk, looking up at the sky. She walks over to him and asks, “Are you still thinking about Mischief?”
“I don’t know why, but when I looked at her, it looked like she was in pain”, Mk said. He looks over at Sun and asks, “How come you never told me you had a sister?”
“You never asked”, Sun said. “And Mischief doesn’t associate with anyone outside her domain.”
“Right….” Mk looked out into the rain and saw a person walking to the entrance gate. But the person wasn’t normal. They had wolf-like ears and a wolf-like tale. A thunderbolt struck through the sky and showed Mischief hurt and beaten. Mischief looks up with her gold eyes as the lightning strikes through the sky and she mouths, “Help me….” Mischief falls to the ground. Mk and the others run over and help Mischief into the sanctuary. They lay Mischief up ugenst a wall.
“Mischief, What happened”, Mk asks with concern.
“He’s back….”
“Who”, Sun asked.
“The demon king”, Mischief answered in a hurt voice. “He’s the king of all demons on Earth and hell.” Mischief lifts herself up and walks over to the opening. “The embodiment of harmony banished him to the Lunar realm.”
“How did he get out”, Tang asks.
“I don’t know”, Mischief says. “He shouldn’t have been able to escape. He’s in the celestial realm, trying to destroy it.”
“Why?”
“Revenge, Sun”, Mischief says in annoyance. “He wants to destroy the celestial realm for what the embodiment of Harmony did. Mk, Sun, you two are the only ones who can destroy him.” Mk looks at Sun and says, “We have to go.”
“Mk, I don’t think this is–”, Before Sun could say another word, Mk interrupted and said, “This is your home we’re talking about! Mischief can't fight The Demon King. We have to.” Sun looks at Mk and then Mischief. He could see a lost and conflicted look on her face. He knew how much Mischief dedicated her life to protect the celestial realm. It was her home. It was his home too. He wouldn’t forgive himself if something happened to the celestial realm. Sun sighed and said, “Alright. Me and Mk will deal with The Demon King.”
“I can take you to the celestial realm”, Mischief says. She takes one step but holds her arm in pain. Tang and Pigsy held Mischief up to her feet. “I’m fine. I can still lead you there.”
“No, you can’t”, Sun says. “Stay here and rest. We have more than one way to get to the celestial realm.”
“I’ll go with you”, Mei says.
“Be careful”, Mischief says. Sun looks at Mischief and puts his forehead to hers.
“I promise, I’ll come back”, Sun said. He looked at Mischief one last time before creating his cloud. Mk and Mei jump on and the three of them fly to the celestial realm.
“Please be safe…”
“They’ll be fine, Mischief”, Sandy says. Mischief looks up into the sky and thinks, “I hope you're right.”

The trio fly down to the ground and look around to see the trees and ground in a darken state. The trees were nothing more than shadow, and the ground was a dark shade of purple. 

“What happened here”, Mk wondered.
“I’m not sure”, Sun responded. “But this isn’t Mischief domain anymore. It’s not supposed to be like this.” Mei looks over and sees a trail of darkness leading to the upper side of the forest.
“Looks like the dark energy is going upward”, Mei says, pointing to the upper forest.
“Then let’s not waste any time”, Mk says.

The trio make it up to the forest edge and look around. Sun and Mk’s hair stands. They look behind them and see three glowing red eyes looking at them. Mei looks back to see Sun and Mk in a worried state. 

“You two alright?” Mei looked in their direction and saw a red face. The demon growled and charged up the hill.
“Run!” The trio run to the open hill. The Demon King whips one of his tales around and hits the trio back into the forest. Mei hits the ground while Sun and Mk both hit trees. Mk looks up and sees Sun in pain.
“So that useless embodiment sent you here”, The Demon King said, a demonic laughter following after. Mk lifts himself up and takes out his staff. The Demon King looks down at Mk and says, “The staff of Ra? Oh you have got to be kidding m–” Mk jumps up to The Demon King’s face and hits the top of his head. The Demon King holds his head in pain.
“What in infernos throne?!” Mk hits The Demon King back and he falls on his side. Mk goes for the finishing blow when The Demon King uses his over sized claws to pin him to the ground. “I have faced warlords, kings, and gods, and this is what I face? To think you could have been more than what you are now.”
“MK!”
“Mischief?” Mk gets up with what little strength he has left and looks up to see Mischief ghost-like rendition. “H-How? Are you dead?” Mischief rolls her eyes and shops the top of Mk’s head.
“I’m not dead”, Mischief exclaims. “It's an astral projection.”
“O-Oh.” Mischief looks to the left and snaps her head up to see The Demon King.
“Is that The Demon King? He wasn’t this big when I saw him”, Mischief says.
“I thought you fought him like this”, Mk said.
“No”, Mischief exclaimed. The ground from below starts to rumble. “There’s not much time. Mk, I can give you my power for a short amount of time, but you have to make the last strike count.”
“Are you sure?”
“You're more powerful than you think. If you can master Monkie King’s power, then you can handle mine”, Mischief says, holding Mk’s hands in her own. She lets go of his hands and takes a few steps back and moves her hands in the kanji moon. “Your will becomes strength, and my will becomes your power.” Blue and silver magic flows into Mk’s being. His staff turned blue. Mk’s eyes glow a brilliant blue and he looks up at The Demon King. “Now, Finish him off!!!” The Demon King looks down in confusion and sees Mk covered in a blue mist like magic.
“What?!” Mk jumps up and punches The Demon King multiple times and pins him down to the ground.
“This ends now!!!” Mk dashes down and destroys The Demon King in one strike. The Demon King looks over to Mk in a weakened state and thinks, “So the moon has chosen their champion…..” Mk lands on the ground and holds his head. The blue and silver magic flies off of Mk and returns to Mischief’s astral form.
“You did well”, Mischief said. She looks up and sees the sky start to become a light blue. She smiles and says, “Thank you, Monkie Kid. I'll see you back on Earth.” With that said, Mischief’s astral projection fades away.
“Mk!” Mk looks back to see Sun and Mei run up to him.
“Are you two okay”, Mk asks.
“Aside from the hurting back, I think we’re good”, Sun says.
“You fought The Demon King without me”, Mei projects.
“Sorry”, Mk continued, “It was happening so fast that I didn’t really think.”
“At Least The Demon King is gone”, Sun says. “Let’s go home.”

Sun raps up the last of Mischief cuts. 

“That should do it”, Sun says.
“Mischief, is there a reason you where on earth”, Mk asked.
“Yeah, I was wondering that too”, Sun says. “You never leave your domain unless it’s to see the council of balance.” Mischief looks away and sighs.
“Well, Since you did save the celestial realm, you deserve to know why I was on Earth”, Mischief says. “I didn’t come to earth to fight a demon. That day, when we met, I was looking for an apprentice.” Sun blinks a few times and says, “An apprentice? Are you sure The Demon King didn’t knock your brains loss?”
“I mean it, Sun”, Mischief says. “I was going to travel outside the city, but when I saw you, Mk, your power was far more powerful than I thought. Mk, I have chosen you to be my apprentice.”
“Hold Up!” Sun hugs Mk in a protective manner and says, “You are not taking Mk to the celestial realm! And plus, Mk already has a mentor: Me.” Mischief rolls her eyes, pushes Sun’s nose and says, “I don’t plan on taking Mk to the celestial realm, you goof. I plan on staying here on earth and at night, I will train Mk. And plus, the celestial realm has gotten a bit stale. You have room for one more?”

Mk’s hand glows a soft red from magic. Mischief’s crest appears and hovers on Mk’s back. Once the spell is done, the crest fades away. 

“That’s it? Mk is your apprentice now”, Mei asks.
“Yes”, Mischief says. “He is now my apprentice. What were you expecting?”
“A light show”, Mei answers.
“ Sorry to disappoint you.”
“Are you sure you're okay with this, Monkie King”, Mk asks, holding his right hand with his left.
“I’m cool”, Sun says.
“Don’t you mean hot”, Mischief teased. She laughed and Sun chased after her.

A being covered in shadows and mist looks at several maps with multiple dates on the top left corner. A red light whispers in the beings leopard ear. The being laughs and says, “So she’s finally chosen an apprentice. This changes nothing. I will have my revenge, and the moon will pay for what she did to me.” 

Here is the first chapter of Monkie Kid: Animal Fury. After seeing the fifth trailer of Monkie Kid season 5, I gave me the boost I needed to work on my AU story.
Monkie Kid: Animal Fury takes place in between season 1, and 2 of Monkie Kid.
Summary: As the journey begins, Mk meets Mischief, the little sister of Monkie King, Sun Wukong and their fate become intertwined.

My Asexual Girlfriend writes fanfiction starring herself
Hey all,
First post, looking for some advice on this.
I (M29) and my partner, (L, 26) have been dating happily for 4 years. We're both Asexual.
She is heavily involved in some fandoms and enjoys writing fanfiction. Its not my thing so I never asked too much about it, when I did she never implied it was anything sexual, but I recently found out that she has some extensive stories (multiple books spanning many chapters) featuring her and a crush from one of these fandoms. These are HEAVILY sexual. There are a lot of other stories that don't feature her as well, which I questioned but have no real problem with (just surprise), I asked her about it and she told me she doesn't identify with the character, its a seperate entity to her. But it uses her name, her likeness, the character speaks like her, enjoys some things I know she enjoys, the characters even have children named names I know she likes.
A lot of these are from before we were together, but some were posted while we were dating. She claims they were written before we started dating and she just felt like posting them.
Now I trust her, but im struggling to get over some of the things I read. Her character being overtly sexual, very intimate details about the scenes. They're stuck in my head like I imagine an allo being if they find out about their partners past sexual experiences.
So my question - how do I get over this? I trust everything shes told me albeit questioning it. Am I being insecure and it means nothing? Any other ace fanfic writers in a similar vein who can reassure me?

I want a movie or even a scene in a movie which looks/feels like a dream. That surreal eerie look to it. The 1933 Alice in Wonderland is one of the very few movies I can name like that.

I found this screenshot while idly looking at YouTube videos, and I really feel like I saw this movie. The art style looks like Corpse Bride or Frankenweenie or anything else Tim Burton did, but I can’t find any proof. The scene is a timelapse of this girl growing up on this bed in the same position making the same traumatized expression. Any and all help naming this movie is appreciated.

Hey all,
First post, looking for some advice on this.
I (M29) and my partner, (L, 26) have been dating happily for 4 years. We're both Asexual.
She is heavily involved in some fandoms and enjoys writing fanfiction. Its not my thing so I never asked too much about it, when I did she never implied it was anything sexual, but I recently found out that she has some extensive stories (multiple books spanning many chapters) featuring her and a crush from one of these fandoms. These are HEAVILY sexual. There are a lot of other stories that don't feature her as well, which I questioned but have no real problem with (just surprise), I asked her about it and she told me she doesn't identify with the character, its a seperate entity to her. But it uses her name, her likeness, the character speaks like her, enjoys some things I know she enjoys, the characters even have children named names I know she likes.
A lot of these are from before we were together, but some were posted while we were dating. She claims they were written before we started dating and she just felt like posting them.
Now I trust her, but im struggling to get over some of the things I read. Her character being overtly sexual, very intimate details about the scenes. They're stuck in my head like I imagine an allo being if they find out about their partners past sexual experiences.
So my question - how do I get over this? I trust everything shes told me albeit questioning it. Am I being insecure and it means nothing? Any other ace fanfic writers in a similar vein who can reassure me?

Hi. I only remember the fact that we could choose reality we wanna be: the real world or the dark world. Not like we teleport there, no, we just start to see the world, but like the dark side of it. Probably we couldn't do that on our will in the beginning of the game
No, it's not Assassin's Creed
The main thing, I do remember a scene from the game that could guide to the name: We are starting to see the dark side of the world, and we see a boss (?) or the evil thing or the main protagonist of the game. Maybe we fought it for a bit or started to run immediately, I don't remember. SO, we had to get to the church! And when we got there, there was a cutscene that the main character opens the church's doors and saying "HA, you can't go definitely in here" or something similar, the main thing that the evil thing couldn't enter the church, so the MC said something about that. And if I remember correctly, as I said, we were seeing everything in dark tones, but the church's inside was bright or not dark themed as the world was before we opened the doors
I do remember it was Medieval times because of the church, plus we had a sword or we were a knight, something like that
So maybe that evil thing was a demon, and the MC was seeing the devil side of the world, plus seeing ET only when seeing the world like that? It wasn't following us, it showed in cutscenes, I guess, though I played only the beginning of the game
I am not sure it was a curse, but maybe the MC just was seeing the world like that? And maybe he couldn't change the realities on his own, but I remembered it like that?
We could run in a town, I guess, at least in the beginning
I am not sure the game got definitely a 3th person camera, but it's most likely. I don't really think it was from a first-person camera, at least in the cutscenes. The game wasn't cartoonish, looked like a real life for me at that time
I remember we were walking on the streets and could grab the grille small gates in the bottom and pull them up a bit so our partner (?) could help us? But I am not sure it's from the game I described above, just got a feeling
(Sometimes, there are so many comments to thank for guessing, so sorry if I won't thank you, just know I will see your comment and still thank you in my mind. In short, thanks in advance!!)

I was just returning back from another interview. It has been the third one this month.
I failed to make the cut yet again.
Life hasn’t been easy for an ex-soldier with the economic downturn currently underway.
The COVID pandemic had also wiped out all my savings.
So I was open to securing any job that would help me pay my bills.
I hadn’t eaten all day and just passed by a McDonalds. It was crowded and I thought to myself, ‘Let me just order a takeout’.
I could see a few vehicles waiting in front of me.
There was a guy in his motorcycle honking incessantly demanding the customer in front to keep it moving.
He was a tall man with long hair and clearly looked edgy and irritable. Both his arms were heavily tattooed. He stepped down from his bike and started to walk towards the car in front of him.
I couldn’t make out what he way saying but I could see the conversation was getting heated.
I got down from my car and walked towards the biker guy.
As I got closer, the biker banged on the hood of the car and was pointing his finger at the man threateningly.
The guy in the car was looking a little alarmed. He had a young boy seated next to him.
The woman working at the driveway counter appealed to the biker to maintain his cool. He would hear none of it.
She then proceeded to call the police and this made the biker more irate. He snatched the receiver from her and hit her face with it. She fell backwards and started bleeding from the nose.
The biker then proceeded to turn his gaze towards the man in the car. He opened the door and dragged the guy outside.
He drew his hand back to throw a punch at him.
I caught his arm from behind and kicked him hard in the shins. He yelped in pain and let go of the other man.
He then turned back angrily to take a look at me. He was wearing a black jacket with the name Kenny embossed in front.
I said, “Listen Kenny. I have had a really bad day. So you either stop this madness or I am going to break your bones.”
He snarled and threw a punch at me with all his might. I swerved to the right and ducked just in time, causing him to miss completely.
Next, he whipped out a switch blade from his pocket and lunged towards me with it. I side stepped him and counterattacked with a punch to his plexus. He went down on one knee.
I caught hold of his knife arm and ordered him to drop it.
“Drop the knife kenny!! This is your last warning”, I repeated.
He started to fidget with his other arm around his shoe. I realized he had another weapon hidden in his sock.
So before he could attempt anything else, I twisted his forearm and landed a crushing blow to his elbow. It snapped into two and he lay on the floor yelping in pain.
By this point, other people came forward to intervene and help with the situation.
As Kenny was being led away by the police, he kept staring at me with madness in his eyes.
“I am coming back for you. This is going to be the biggest regret of your life”, he yelled.
I didn’t care and started going back to my car.
Then the man who was threatened by Kenny came forward and shook my hand.
“Hi. I am Rupert. That is my son Henry”, he said.
I waved my hand at the boy and he waved back.
“I would like to thank you for what you did for me back there”, he said.
“You not only helped me maintain my dignity but also helped me save face in front of my son”, he continued.
“This means a lot to me as a dad” he said.
I nodded in acknowledgement not sure what I was to add to the conversation.
He then reluctantly asked,” Is there anything I can do to repay the favour? Please feel free to ask . Anything. I would be most grateful.”
I thought for a moment. I could see the man was wealthy.
“If it’s not too much of an ask, I would appreciate a job if available. If you feel that is difficult, no problem. Forget I asked. No worries.” I said.
He smiled back at me warmly. He reached into his pocket and handed me a card.
“Please come to my office tomorrow. We can talk” he signed off.
From that moment on, I became the personal bodyguard and chaperone of his 8 year old son Henry. We immediately hit it off and became pals. I looked after all his son’s travelling arrangements.
We would also go to McDonalds every week for his favourite Burger and fries. I later learnt that his father was a very wealthy man who made most of his money during the dot com bubble.
I also became friends with the female employee at the driveway counter who had earlier been attacked by that biker punk Kenny.
Her name was Stella and it didn’t take very long for the two of us to start dating.
With a fulfilling job and a loving girlfriend by my side, my life was finally back on track. I couldn’t be happier.
And then one day - it all came crashing.
Henry and I as usual visited the McDonalds joint and I was surprised to see Stella missing at the counter.
I asked the staff about her and they said she hadn’t turned up today.
I thought that was weird. She had stayed over at my place and I saw her leave for work in the morning.
I tried calling her number but it was unreachable.
I dropped Henry at home and headed towards Stella’s apartment.
She had given me a spare key and I opened the door with it. Everything was in its place.
I tried her number again. It remained not reachable.
I decided to go back to my apartment to check if she might be there.
When I reached the door, I could see the lock had been smashed. The door was left slightly open.
I took out my side arm and slowly entered the apartment.
I could see a life size figure of Ronald McDonald the clown sitting on my sofa.
The famous mascot was sitting cross legged with one arm resting on the backrest. Just like how he likes to sit on benches outside McDonald outlets all across the world.
I was a little taken aback, but quickly switched on the lights to take a closer look.
As I moved closer, my knees buckled under my own weight.
It was Stella. She was the one who was dressed as the clown.
There were injury marks around her neck. She had been strangled to death.
I managed to call the cops while still reeling from the shock.
I also noticed her right hand which was resting on her thigh, was close fisted. When I pried it open, there was a crumpled piece of paper inside.
It read -
“She was really begging me for mercy.
Where was soldier boy when she needed him huh?
Boo Hoo….I’m Lovin It!!
I’m Lovin it!!
Signed Yours Kenny”
I could feel a surge of anger envelop me. And yet I lay there helpless.
Had it not been for the surveillance cameras at the entrance of my home, I would have been in jail by now.
The police could clearly see Kenny carrying Stella’s body and breaking into my apartment.
They put out a nationwide notice for Kenny and he’s been on the run ever since.
Even after 2 months following Stella’s death, the police were not any closer to catching the culprit.
But I did apprise Henry’s dad of the situation. His life was also at risk after considering what happened to my girlfriend.
But our collective worry was for Henry. We didn’t want to see him suffer for no fault of his.
So I started training Henry to take his own safety seriously. I devised multiple safeguards to keep him protected while being outdoors. Always ensured that I was personally there to drop and pick him up from school.
My boss appreciated all that I was doing for his son. He knew I had taken Stella’s death hard.
He was a generous and compassionate man and I liked working for him.
Although he did notice I wasn’t my usual cheery self anymore.
One day when I was waiting at the office, he tossed the keys of his new car at me.
“This should perk you up. Take her for a spin” he said.
“And also go pick Henry up from school”, he finished as he left for a meeting.
I got down to the parking lot, and there she was … waiting. The new Bugatti Chiron.
I opened the door and took the driver’s seat. The fresh smell of the leather upholstery was already lifting my spirits.
‘Boss was right! I am perking up’, I thought to myself.
I drove around the block and stopped by McDonalds to pick up the usual order for me and Henry.
I felt a tinge of sadness when I could no longer see Stella at the counter.
Anyways, I picked the order and started my way towards school.
As I went past the restaurant, I saw an old jeep parked by the side of the road. I didn’t think much of it at that moment.
When I reached Henry’s school, I parked the car a few feet away from the entrance. A couple of minutes later, I noticed the same jeep I saw at McDonalds go past me and park 20 mts in front.
I would have never given it a second glance had I not spotted it at the restaurant.
The jeep had 3 passengers. They looked like bikers with tattoos, beard and long hair.
And then there was Kenny standing behind a tree to avoid detection. But I spotted him.
He was gesturing towards them to get ready. I could see his Harley parked just a few feet away.
They were planning some kind of ambush.
The school bell rang and the children were already out on the streets.
I could see Henry at a distance in the courtyard. He was slowly making his way towards the gate.
I immediately called him on the phone and told him to go to the Principals office and stay there. I made it clear under no circumstances was he to venture out until I gave him the all clear. He understood.
He was safe as long as he was within the school’s premises.
The next thing to do was move to another location. The children were already pouring onto the streets, and the last thing I wanted was to see a child getting hurt.
I started the car and went past the jeep before taking the next turn. I kept driving.
Few moments later, the jeep caught up with me and the driver violently swerved towards the left causing me to go off course. My car came to halt.
The guys quickly alighted from the jeep and they were all armed to the teeth.
Kenny came in his motorcycle and stopped his bike a few feet ahead of me. He took out his shotgun and had it aimed straight at my chest.
The firing started before I even had the time to react.
I instinctively ducked for cover with my eyes closed.
But in my heart, I knew my time was up!!
As the seconds went by, even with all those bullets being sent my way - my body felt strangely light.
‘Am I in heaven already?’ I thought to myself.
I slowly opened my eyes and tilted my head upwards to take a peak.
And I realized I was sitting in an armoured bullet proof car.
The entire biker gang were mad with rage, doing everything possible to penetrate that thick armour plate.
Kenny was barking orders at his gang to continue the onslaught. He then pointed his finger at me and yelled, “I am coming for you.”
I looked down at the seat next to mine and saw the takeout I had ordered.
Just to piss him off even further, I took out my Big Mac and slowly took a big bite.
I sat there in gastronomic bliss savouring my burger, while being under a continuous hail of bullets.
The firing suddenly stopped. Kenny the psycho was livid as hell - to see me have a good time.
I looked him in the eye while I took a sip of my favourite milkshake.
And then, continued to chomp on my burger.
He looked a little crestfallen at how his plan was misfiring and then frantically gestured his troops to keep at it. The firing started again.
But it didn’t last long. They eventually all ran out of ammo and his buddies began to flee the scene, as we could hear sirens at a distance.
The attack had taken a toll on the car. But it managed to withstand all that damage. All that firing.
A life saver!
I looked at Kenny again. Only one thought was running through my head now.
‘My Turn’.
I switched on the ignition and rammed the car straight into Kenny. He hit the bonnet hard while the car continued to race forward.
He was clinging on to dear life with his outstretched hands desperately clutching at the sides of the car.
Next in the demolition line, was his prized Harley Davidson.
I hit it full steam and watched it smash to smithereens - with parts scattering all across the road.
Then, I hit the brakes and Kenny was sent flying 10 feet forward.
After impact, he slowly staggered to his feet - all bloody and bruised.
His face was swollen like an apple.
He was pleading towards me with folded hands to show him mercy.
‘This is for Stella. And She’s lovin it’, I said out loud.
I hit the accelerator again.

I'm currently trying to find an anime that has a scene with a cute seal cat in it but I can't remember the name or what the anime was about. By seal cat I literally mean the head looks like a cat but the body is that of a seal. I tried googling it but all I get are AI images and youtube is no good either. If anyone knows about the anime I'm talking about please share. Much appreciated!

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

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

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

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

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

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

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

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

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

IV. The Hidden Plot Point: Mission Theory

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

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

So you see, Remake Cloud’s mind is a little more complicated than OG Cloud’s mind. Everything is still the same in Remake as in OG, but with the added complication that his future self is hidden in his subconscious mind, probably trying to get out.
There is actually pretty good evidence of this. I’m sure you’re aware that whenever Jenova is trying to hide something from Cloud or altering his memory and/or perception, the screen glitches green with an audio cue (34:15-34:29, 1:15:30-1:15:41 and 1:17:14-1:17:29). Guess what? These Jenova audiovisual cues also occur during the MOTFs (ie: MOTF 3 2:58-3:07 and MOTF 4 0:29-0:42). Whenever post-OG Cloud’s consciousness encounters anything that reminds it of losing Aerith, the strength of its pain helps it push memories of Aerith to the surface so that RemakeCloud can consciously see them. Remake Cloud then experiences sensations and/or visions, all from his future self’s memories as they rise to the surface, propelled by grief. Jenova can’t allow Remake Cloud to fully recover his post-OG memory, so in order to shut down the process, its cells jump in to repress the MOTFs: this results in the classic Jenova audiovisual cues. The only time Jenova doesn’t bother to fight against a MOTF is the sixth, as it is quite weak: no visions occur, only a tight sensation in his chest.
IV. b) iii. Eclipse Contact and Cloud’s Memories of Reactor 1
There is one problem I have trouble decoding. In Eclipse Contact, Cloud tells Wol and Echo that the last thing he remembers is the run-up to his arrival at mako reactor 1 (FFVII OG, disk 1, chapter 1). Recall that usually, people summoned to Palamecia have no memories of their world of origin and lives before that point at all. So then why is it that upon being summoned to Palamecia, Cloud recalls the events that took place right before the start of the OG game? This strikes me as highly relevant since this is the exact point in time where post-OG Cloud’s consciousness needs to be transported to in order for Remake to begin, but I haven’t been able to figure out a solid hypothesis on what it could mean. My best guess is that this is the devs’ way of signalling to us that the events of the MFF x FFVII Remake collaboration occur before the very beginning of post-OG Cloud’s second try at the OG timeline (Remake).
Now that I’ve shown you how I’ve come to form my Mission Theory and we’ve done some pesky housekeeping, let’s connect some dots, shall we? It’s time to really get into it and see if any of my wild speculation tracks with content from the Remake trilogy so far.
V. Musical Evidence
What about the music of the game? Any hints there? Let’s try to see if we can find support for the Mission Theory in the music made for the Remake trilogy thus far!
As a preface to my musical evidence analysis, I want to insist on something: the story guys tell the soundtrack guys everything. In a high-quality production such as Remake, people who make music for audiovisual media are told everything in advance. They need to know the secrets of every little scene, because their job is to depict whatever is happening through music.
Therefore, if the Mission Theory is true, then there has to be musical evidence for it.
V. a) Preface: The Basics of the FFVII OST
There’s a lot of evidence in the music of the Remake trilogy that we have to address, but before we get into it, I do have to give you the basics of the FFVII soundscape! For the easiest experience, I suggest you keep a tab open for every link I provide for you until the music analysis is over, because we will be hopping from one musical theme to another and then back again.
V. a) i. The World Theme: Cloud’s Troubled Identity
The world theme of FFVII is a perfect example of how musicians working on an OST have to know the secrets of a story as they compose for it. On top of representing the FFVII world as a whole, it doubles as Cloud’s character theme… except that isn’t exactly right. You see, this piece does indeed contain Cloud’s true theme, but Sephiroth and Jenova’s musical motifs also contaminate it. This, of course, symbolizes how Cloud experiences identity sabotage because of these two antagonists. The result is that globally, the world theme does indeed represent Cloud’s character, but it isn’t exclusively Cloud’s in the same way that Cloud’s mind isn’t exclusively his. It’s brilliant storytelling through musical motifs, and evidently requires Uematsu to know in advance that Sephiroth manipulates Cloud’s identity in the story.
For future reference, let’s isolate Cloud’s true theme from Jenova and Sephiroth’s influence.
V. a) i. 1) Sephiroth: Dissonance and Semi-Tone Motif
I’m sure you know Sephiroth’s infamous theme: “One-Winged Angel”. The first motif we need to know is Sephiroth’s threatening, repetitive dissonance motif, which plays all throughout the piece (plays solo at 0:00 to 0:04). The second motif is what I call the semi-tone motif. “One-Winged Angel” has a ton of minor 2nd intervals, which is what we call the relationship between two notes that are only a semi-tone apart. You might recognize the minor 2nd interval in the foreboding Jaws theme. Just like in Jaws, the minor 2nd interval or semi-tone is commonly used to indicate an impending, life-threatening danger, a monster, predator, evil, or insanity; suits Sephiroth quite nicely!
V. a) i. 2) Jenova: Parasite Motif
The track “J-E-N-O-V-A” contains many competing melodies and has generated many variations of those melodies —almost like clones— that all represent aspects of the alien’s character. The main Jenova motif is simply a descending, two-octaves-long, arpeggiated mb6 chord (eight notes total). I’ve played it for you here. Sometimes, this motif is altered to form variations. For instance, in “Listen to the Cries of the Planet”, a variation of Jenova’s main motif is created by changing the order of the notes and reducing the number of notes to only six (0:00-0:03), however, it remains an arpeggiated mb6 chord. Regardless of the alteration, if you hear an arpeggiated mb6 chord, it means Jenova is creeping close by or that its influence is at work.
The variation of the mb6 arpeggiated chord that concerns us alters Jenova’s main theme so it ascends from the tonic to the b6 note and descends back to the tonic, then ending on the lower dominant for a total of eight notes. I’ve played it for you here. I call this variation the “parasite motif”, because it is often heard when Cloud is being controlled by Jenova. For instance, it plays when Cloud loses himself and becomes unusually violent in Rebirth’s chapter 13 (17:25-18:34), signalling to us that Jenova is in control. It is also the main motif of the track “Who… Am I?”, which evidently symbolizes Jenova’s fuelling of Cloud’s identity crisis— though here, the parasite motif is shortened to its six first notes.
V. a) i. 3) Cloud’s True Self
Now that we can recognize Sephiroth and Jenova’s motifs, let’s return to the world theme to isolate Cloud’s true self. Cloud’s true theme can be heard from 0:51 to 3:48. It consists of a section A (0:51-1:54), followed by a section B (1:54-2:41), and then returns to section A (2:41-3:48).
After Cloud’s true theme concludes however, it seems he experiences a psychic interference: doubt and confusion weave through the world theme (3:48-4:09), representing an instability in his identity. I call this interruption of Cloud’s true theme the “interference section”. It symbolizes a moment of psychic interference or weakness within Cloud that Sephiroth and Jenova take advantage of to take control of Cloud.
The end of the interference section introduces Jenova’s parasite motif. It slithers in (4:09), later joined by Sephiroth’s dissonance motif (4:16): Cloud’s mind and identity are being hijacked by the two antagonists in service of their evil plans.
They torment Cloud, dominating his mind until he manages to free himself: section A of Cloud’s true theme begins playing again (6:06), closing the loop of the theme.
Based on this musical storytelling, if you already knew the character motifs going into OG, you might’ve suspected something odd was going on with Cloud’s identity, and that Jenova and Sephiroth were involved. All this to say that whatever music is playing at any given time can give us hints as to what is going on. That’s the power and significance of a good soundtrack. Trust me when I say that with Uematsu and his team, we’re in excellent hands. And remember: the story guys tell the soundtrack guys everything.
V. a) ii. Aerith’s Theme
Another base we have to cover before checking out the Remake soundtrack is Aerith’s theme. I’m sure everyone here is familiar with it, but I insist that you refresh your memory. It consists of a section A (0:00-0:34), a section B (0:34-1:13) and a section C (1:13-2:00), concluding with a repeat of section A.
V. a) iii. Motifs and Timing in FFVII OSTs
I’m going to analyze pieces in great detail, which people who haven’t studied or paid attention to soundtracks may find strange. To prevent anyone from making the mistake of thinking that I’m reading too much into things, I want to emphasize that the music that plays during the Remaketrilogy’s cutscenes is carefully timed, composed and arranged to match the events in the cutscenes, as they are provided in advance to the musicians. Composers pay lots of attention to whatever is going on onscreen so they can include the corresponding musical motifs as accompaniment at the exact right moments, always striving to get the timing perfect. I’m not exaggerating the effort and minutia involved in soundtrack composition and arrangement. Here are just a few sound staff comments from the “Material 4: Soundtrack” section of the FFVII Remake Material Ultimania to prove it:

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

&

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

&

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

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

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

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

I should begin this by saying this isn't meant to doom say or post about BTS. No doubt in my mind their first album with all members when they return will be massive. However with their absence it is only natural that there be a top dog in the boy group scene while they're largely absent. My real question for discussion is in the topic, but who could come close to becoming their rival when they come back? Is it Stray Kidz? Seventeen? Zerobaseone? Or is it another I didnt name as there are definitely more but I am posting this on a work break.
Please keep the comments respectful, I want a discussion not an insulting contest.

My mind keeps going back to the symbolism of the Two of Pentacles card, which came up in a tarot reading I did for myself the other day. I had asked the cards how to get through the next nine days, with the two-year anniversary of a trauma hanging over me - the trauma being that someone I had loved and trusted for years broke my trust and turned out to be just a compulsive womanizer, a pathological liar, a sick and emotionally abusive covert narcissist.
The way I see the cards working is that they can’t tell a person anything the person doesn’t already know - but our subconscious and unconscious minds know a lot that doesn’t rise to the level of our surface consciousness. The imagery and symbolism of the tarot cards gives the mind a puzzle of trying to interpret how a given set of cards drawn and placed into a meaningful pattern relates to the question they ask. So it prompts a meditation that can help bring the knowledge of one’s intuition and instincts and subconscious up to the forefront of consciousness. It’s a very powerful tool even if you don’t believe in serendipity and grace, but in my experience, there’s a lot of serendipity and grace at work too behind the seeming randomness of the cards.
Anyway, the Two of Pentacles is someone trying to juggle and balance things and dance against the background of a roiling sea. And the suit of Pentacles is about practical life matters, money, career, domestic concerns, and so on. So yesterday, I was thinking what that meant for me was that I needed to spend the time focusing on practical things to distract myself from ruminating and worrying, by juggling all my efforts towards various goals like being productive at work, managing my finances, getting exercise, spending time with friends, and taking care of errands and tasks at home. The problem with trying to use distractions to escape from trauma is that, at the end of the day, you lie down in bed, and then everything you tried to run away from by keeping busy during the day swirls up in your thoughts, and the pain comes crashing in on you.
So that happened last night. It was a bad night. I went around and around and around in the same circles in my head. Why would someone treat me that way? Did I just misunderstand him? Did I judge him too harshly? Was it all my fault? What could and should I have done differently? Is there something I still could do to fix things, to change things, to make things better, to heal, to find closure? What was going on in his head, who was he really, what happened to him to make him this way? The endless circle of questions, and going through my crazy-quilt patchwork of memories where some things have faded and some things have stood out and grown larger, seams have ripped and torn, and nothing adds up into a coherent story that I can make sense of.
I finally thought: Why can’t I just settle on the narrative that makes the most sense and then put it behind me and move on? What happened was that someone I trusted turned out to be a dysfunctional dud of a person. Clive was a messed-up jerk. As for Oonagh, I thought she was a friend too, but really I didn’t know her very well, and she turned out to be just another flaky, immature scene person. And John was probably only so nice to me because he was hoping we could date, and when he finally understood that it was Clive I had been in love with and that I was shattered by the breakup, John lost interest in me. So that was what happened. It sucked, it was horrible, it triggered my PTSD symptoms that had been in remission for 20 years before that. But I do have a narrative about it that makes sense, and what I need to do is just write it all off as a loss, write all three of them off as former friends who just turned out not to be good friends to me. I still have a lot of friends and resources and joy and blessings, and I need to focus on the happy possibilities ahead of me instead of the grief and hurt that I suffered through for the past two years.
So then, with those thoughts, I calmed down, and I finally fell asleep, after all the crying and loud sobbing and shaking. Mornings and evenings are always some of the worst times for rumination, but it was just really a bad night.
So now I think this is what the Two of Pentacles was foretelling for me: emotionally, I am sailing on stormy seas for the next two weeks. I will have ups and downs, I will be struggling to keep on an even keel, to keep from floundering or capsizing. On a practical level, I have lots to keep me busy, though everything is really pretty great. But it’s a precarious time, and I have to be very strong and brave and focused and mindful to get through it safely.

This is my error. I am not sure how to solve this error, my library is present in the path.
https://preview.redd.it/95i9xvwsgs0d1.png?width=1830&format=png&auto=webp&s=0f86b2ce958f8f013e61ee6cf08a0cedfb0c96dc

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