Sideloading 24.5.1 or playing with Frame generation for extended periods can currently crash the game
Devices on 24.5.1 drivers using both Vsync + Frame generation may crash the game during the intro bridge sequence. Having FG enabled on both the official Asus and sideloaded drivers may cause crashes in Ariake/Golden Temple/Komatsu (1-2 hour of gameplay)
To resolve crashes:

• Disabe FSR 3 Frame generation
• Avoid Vsync + FG (may crash once an hour)
• FSR Native AA at 1080p can cause instability
• Toggling Anti-lag off from Adrenaline may allow Frame generation to work for longefix the issue

High texture settings will cause hitches in Komatsu/Shigenoris Rest/Extended map. The game allocates 6, using 5.5-6Gb for high textures:

• Change textures from High -> Medium
• If you must use High textures, change Vram to 6Gig
• Using High will cause minor traversal stutter when system ram spills to 11 Gigs
• 4Gigs/Auto vram with medium textures has no memory swapping issue

General best settings:
900p, 22/25W, 40-60fps (Without FG)
FSR: Quality DRS & Fps target: Disabled - Causes frame pacing issues and poor performance
-Textures: Medium (High requires 6GB vram + hitches more) - Texture filtering: x8 - Shadow: Medium - Level Of detail: Medium - Screen space reflections: Medium - Screen space shadows: Medium - Ambient occlusion: SSAO Quality (Perf is blurry)
If you for some reason want 30fps at 1080p:
FSR Quality, Medium textures with High SSAO, Reflections, Shadows (40 indoors, 30-40 outside)
Cap with RTSS for frame locks
Edit: Nixxes is usually quick, and expect a patch within a dy or two if you experience crashes using FSR Framegen and none of the fixes listed here worked

Mine would be Snape's memories about Lily and the entire sequence, it still gives me chills to this day but nothing compares to it when I watched it for the first time in the theaters, another one was the duel between Voldemort and Dumbledore.

I won't disclose its actual location, so if that's why you're here, sorry to disappoint. It's not time for that yet. However, I do think it's time to start getting the word out. I've noticed an increase in what I'll call "Antennas" lately, or people who can detect cross-planar phase shifts. Without getting into all the math (some of which I don't even know), this is basically a phenomenon which refers to entropy seeping into our universe from other realms or universes or whatever you want to call it. Simply put, people think our universe is a closed system to entropy, meaning that the disorder of any variable in our universe can only increase or decrease in direct proportion to other variables in that same system (the universe). Under this precept, we can establish rules like the Laws of Thermodynamics, and for most people, they're effective. But not for Antennas.
Put another way, if you throw a bunch of bouncy balls into a box, there are a number of different configurations that the balls could take on, with different speeds and magnitudes. You can calculate all of those if you have the right numbers. Now let's say you throw in another set of balls that you don't consider in your calculations of the initial set. Well, then you're not going to get an accurate picture of what's happening. Most people only see the first set and calculate based on that, but some people can see two, three, four or more sets.
You'll understand the concept better when I tell you the story, but I wanted to give you a primer on an important concept that will help you understand why this place, which I'll call "Area X", exists, and what the goals of the people who work there are.
Also note that I'm going to be using the alias "Trent" moving forward. Please refer to me as such in any direct messages.
***
Eighteen years ago I started working as an independent Home Inspector. I dropped out of community college after my first semester (not because I didn't find some of the subjects interesting, but because deference to a man or woman has never been my style) and started working some odd jobs. I did construction work for a couple years, then plumbing. I even drove a garbage truck for six months. I've always found pleasure in using my hands, and getting dirty was never a problem for me. Still, having a boss really dragged ass, so I spent my free time working on creating my own business. It took a few years and lots of savings, but I finally managed to get basic set of Home Inspection equipment: Tyvek coveralls, a cheap half-face respirator, voltage & AFCI/GFCI testers, CO2 and radon monitors, an IR camera, and telescoping mirrors in addition to the boots, safety glasses, electric gloves, ladder, and toolkits I already had on hand.
My buddy at the time was in the business, but he was moving off to the coast, so he helped me get set up and even introduced me to some of his clients. Of course, by that time I had already gotten my State license, but I still was a bit apprehensive to work with insurance agencies. I thought I could make a living working independently, inspecting for mold or sizing up a house for a prospective buyer. Eventually, though, I realized I should probably take every job available to me.
Easing into the business went about as well as it could have. The clients my friend referred to me were very satisfied with my work, and I was able to retain them. Then, in order to increase my reach, I hired someone on Fiverr to build a website for my company which led to a marked increase in traffic and conversions. About six months through, I began to get on a first-name basis with the boys and girls down down at Allstate and Progressive, and they fed me some of the bigger cases. In fact, I got so booked by year's end that I had to hire someone to help manage my schedule and the Excel spreadsheet with all my finances. I capped off a successful year with a 5-star Google rating and a trip to Ireland to visit some family and friends and get piss drunk. When I got back, it was the grindstone all over again, until the summer when I discovered… well, you'll see.
First off, I want to say that I was never one to believe in the paranormal. I grew up watching the movies and hearing the ghost stories round the campfire like every other kid, but it never struck a chord with me. If I can't touch it or see it or hear it, does it really exist? Probably not. So don't go thinking this was a scared man seeing his own shadow. That being said, I had this sense that something was off about this house when I parked along the curb and looked through a large window, perhaps two times the size of my van, to a dingy, dark foyer.
The entire neighborhood was stacked with upper-middle class domiciles, though it seemed like only two thirds of them were occupied, mostly by professionals who commuted to the City every weekday, and the rest were empty. As a man who understands real estate, to say this was strange would be an understatement. Still, I had no problem appraising the mini-mansion for a couple of newlyweds looking to enter the community. I did some research on the property ahead of time, and it seems that it was owned by a couple of old timers who had gone off the grid some time ago. The water and electric bill were both unpaid dating back to 2004 (it was June of '06 now). The bank had repo'd the house (which only had about 100k left on it) and held it for a year and a half before putting it back on the market. I tried to find out more about the old couple who vanished, but there was nothing in the news.
I stepped out of the van in my coveralls and grabbed my suitcase which had my mask, gloves, and eye protection in it. I liked to do a preliminary survey first, running an eye test on the exterior then interior before bringing out the big guns (that way I could identify the areas where I think there could be problems instead of running a metal detector over the whole damn ocean seaboard). I was about to do just that when the window caught my eye again. It felt uncharacteristic of me to be so occupied with this window, but I detoured to the front porch and peeked inside anyway.
Most of the furniture had already been moved out, meaning all that was left was a single three-seater couch, a couple candlesticks on the fireplace mantle, a pristine chandelier overtop a dining room table, and the kitchenware: an oven, gas stovetop, marble countertops, and an island. I could see into the living room very clearly with the afternoon light, but the dining room was dim enough that there were a few structures I couldn't quite make out in the distance. One of them appeared to be some kind of china cabinet or bookshelf—I figured it was the former considering where it was located. The other shadow looked kind of like a grandfather clock. Or at least that's what I thought until it moved.
When I say it "moved", I don't mean to say that it picked up and walked away. If you're not familiar with the Necker Cube, I suggest you search it up, because that kind of illusion is the best way to describe what I saw. At first I was seeing the grandfather clock in a certain way—pushed into the corner of the room—and the next second my vision "corrected" and it was maybe five feet to the left of its former position. I shook my head and looked again and saw the grandfather clock in its second orientation, standing in the center of the room against the wall. I figured I was just seeing things, but even so I spent a little extra time dawdling around the Egress window, taking notes, and delaying the interior inspection.
When I finally grew a pair and went inside, I walked straight to the dining room. Sure enough, the grandfather clock was stowed away in the corner of the room. I spent a couple minutes watching it with my pencil and travel notebook out. I'm the kind of guy that likes to collect hard data when the chips are down. Unfortunately, the clock apparently already had enough fun and was content with sweating me. Oh, well.
I fitted my pencil behind my ear and pocketed my travel notebook, then flipped the rest of the first floor lights on and completed my prelim. I concluded that everything was pretty standard. If anything, the house was in better shape than I'd expect considering it presumably hasn't been lived in for a couple years. I say "presumably" because one can never count out squatters, even during those times. Mainly I was expecting more dust build up and cobwebs than there were. Perhaps someone from the department had come by recently. It's unlikely, but possible.
I did the same check upstairs and it came back mostly clean. There was a bit of staining near the attic I wanted to check for mold. Based on its color, it was probably just a minor case of Aspergillus, but better safe than sorry. Then I got to the basement, and, well, let's just count out the idea of anyone dropping by. I don't know what I was expecting, but it certainly wasn't what I found.
The first thing that caught my eye was the long, slender body of a birch tree lying pale and dead across a large portion of the even larger unfinished basement's cement flooring. I had to do a double take to make sure I wasn't dreaming, but, yep, there it was. Its crown was sealed up in the wall with only its trunk hanging out, which made me think of those medieval pillory devices which locked up people's heads and arms. Then confetti-scattered around the tree and all over the basement floor was a minefield of broken glass and ceramic tangled up with a set of random objects. And when I say random, I mean random. There was an unfurled Somali flag (the blue one with a single star in the center), some packaged drinks and condiments branded with all sorts of different languages (I could only make out Gaelic and Chinese or Japanese, I couldn't quite tell), a broken dome-shaped security camera, an otoscope (the thing the doc uses to check your ears), Hot Wheels cars (okay that one isn't so strange), and the list goes on.
At that moment, I wasn't freaked out or disgusted. I was more or less just confused. I started walking through the rubble, trying to avoid the sharp fragments but pretty confident that my steel toed boots would crush most the pieces anyway, when I heard a clink just up ahead. I was able to spot the coin in time, just before it jingled to a halt atop an old Life magazine. I picked it up and noted right away its oval shape and bronze color—clearly not American made. I tried reading it, but not only was the language not English, it appeared to be so old that most of the lettering had been filed down. I looked up at the ceiling to see if it dropped from a shelf, but there was nothing that could have been holding the coin. I considered for a moment, looking around at the other junk, and had the crazy idea that maybe all this stuff just appeared here. I popped the coin in my pocket and headed back to the van when I stopped by the tree and realized something. It wasn't a birch tree—it was a palm tree. I just didn't realize because of how ashy and decayed the bark was.
Now at this point you might think I've been acting a little nonchalant for such a strange occurrence, and I don't blame you, but if you're gonna stick around with me that's just something you're gonna have to get used to. I guess I was just born with a screw loose, but I really don't scare easily, and I tend to look at everything pragmatically. If you dig deep enough, you'll always find another plausible explanation. That being said, I do want to get to the part about Area X, so let me give you the rundown on what I learned about this basement.
I ended up trekking back to the van and picking up my gear. I was no longer running the routine inspection, obviously, but I figured I might as well throw 30 thousand dollars of scanning equipment at whatever the fuck anamoly existed in that basement. Most of it came back negative. There was a bit higher-than-usual EM interference as picked up on the voltmeters, but nothing that screamed danger close. Still, it was enough for me to set up my volt testers and IR camera while muddling through the rest of the junk. I won't bore you with another list of items, but I did find one thing of value: a diamond necklace. And not just any diamond necklace, it was one of those Queen-wearing, multi-row, big-jeweled necklaces like out of some Historical Fiction movie from the thirties. I almost didn't pocket it because I'm used to expensive items being owned by someone… someone who might want it back. But I figured if there was ever a place the finder's keeper's rule applied, it was probably in this Quantum graveyard.
7 O'clock rolled around and I hadn't eaten. I'm a pretty bulky guy, carrying my share of both muscle and fat, and most people think that means I need to eat a ton but that's really not the case. Mostly I just get dehydrated easily, especially in the summer. That said, I was bordering on famished territory and considered heading out for a bite when I heard another sound. The first thing I did was check my scanners, and sure enough the voltage needle was fully spun to the right side of the dial. EM interference. Then I went to see what had dropped. I was able to pick the object out pretty quickly since I had spent the last 6 hours staring at the mosaic of a basement floor. It was a silver briefcase, like one of those out of a crime novel, and it was cracked open.
I had this sense then that I was standing at a precipice, and if I opened the briefcase and looked inside, I wouldn't be able to stop whatever would come afterwards. Part of me deep down knew that I was just that type of guy that had to know, and maybe this was my Hamlet moment where it would be a trait gone a step too far. But then again I didn't really believe in any of that sentimental bullshit, so I opened the briefcase.
The gun surprised me a little, but not as much as the piece of paper laid atop a case file reading in large black font, "FIND ME". I expected the envelope to have some missing person file in it, but instead there were all these schematics and blueprints for some kind of device. Whatever it was, it was pretty massive. Some of the lengths were hundreds of meters long. And what's more strange is based on the blueprint's locale, it appeared to be underground. I looked back through the pages a couple times, then checked the note—nothing strange there. The gun appeared to be a simple glock. I was no gun expert, but I had been to the range pretty regularly with my construction buddies, so I got used to the feel of a pistol and rifle and some of the different names; however, I realized pretty quickly it wasn't your standard glock when I couldn't find mag-release. That's when I noticed how light the gun felt. I tried to chamber a round, but again, there was no hammer. What the hell kind of gun was this?
I ended up throwing everything back in the briefcase, including the necklace, coin, and a few Koozies I found that were branded with one of my favorite sports teams (never let an opportunity go to waste). I put up all my shit back in the van and spun over to a local burger joint, got my fill, and went home. I made sure to draft an email to the prospective buyers, telling them the house had several patches of black mold and a bit of a rat problem before drifting off to sleep. Although I really didn't do much of that.
When I woke up, I took a cold shower and downed a can of Reign, then commuted to my gym and got a lift and some sauna time in before making the trip back to the house. I brought some extra supplies with me for some experiments I cooked up while not sleeping the previous night.
First, I had two camcorders set up on a couple tripods in either corner of the basement. I wanted clear footage of these mystery objects spawning in. Then I set up a voltmeter in a similar fashion, but I had a wire extending out of it on a circuit which fed to an alarm that would blare when the reading was over 250 volts. Upstairs, I rearranged some of the furniture so that the small number of tables, chairs, clock, cabinets, and other little pillows or vases I could find were scattered across the living room, dining room, and kitchen. Then I pulled up a lawn chair to the front porch window and waited.
I didn't have to wait long though. In about a minute, I started to notice some of the objects moving. It was strange. When a few of them would shift simultaneously, it was like looking at a holographic card that would change shape depending on where your eyes were in relation to the image. Every time I saw a shift, I felt an awkward feeling in my eyes. They went blurry for a fraction of a second, then there was a twinge of pain, as if my brain couldn't handle the contradictory stimulus. It didn't get more crazy than that though—until the alarm went off.
I had cracked open the small rectangular window in the basement to the side of the house so I would hear it. It took four hours and several strange stares from passersby walking their dogs before it rang, so I was a bit lost in my thoughts, but when I heard the beep I perked up fast. It lasted for maybe 5 seconds total, but what I saw was truly miraculous. The best way I can describe it is a pool of silver or gray or translucent light emerging in the foreground between me and the objects in the different rooms. A series of twisting tentacles sprouted from the gray octopus-like head and spun in a way that reminded me of that little kids ride at the amusement parks. Then the objects started to "heat up" is the way I describe it. Their position became relative, meaning they were here one second, there another, then they popped out of existence entirely. Suddenly the rooms were all empty, then they were full of things I had never seen before. Then five seconds passed and the octopus vanished and it was back to the same old objects in their usual places.
It took a few minutes to process what I saw, and even then I wasn't sure I really saw it. I went inside and looked around at my distribution of the house's furnishings. They were all there, intact. Then I went downstairs to check the cams. I rewinded a couple minutes and played it back, but there was no flying object to be found. Instead, there was some gray static that lasted half a second and then the object, a kid's treasure chest toy, was there on the ground. But you want to know the really strange part? I rewinded the tape again, and when I watched the footage back, the treasure chest was always there.
I later came to understand that these poppings in-and-out of our reality are only conceivable to a conscious mind that can track the interference patterns—not rote computational instruments. In fact, even most people can't do it (although everyone has at least a slight awareness of it, even if only subconsciously). Plus, locations like the basement of this house are very rare and kept under tight lock. That became obvious to me two days later when, after my normal morning routine, I pulled up to a driveway and curbside filled with unmarked government vehicles. Either bravely or stupidly, I pulled up to a few officers (they were wearing suits in 85 degree weather, so I assumed…) who were idling by the large fence of crime scene tape and asked them what the score was.
"There was a crime," said the short man with a unibrow.
"Oh, is that right? Damn shame. Someone break in? I have a niece who lives nearby, so…"
The man looked at his two compatriots, both of whom were wearing sunglasses and a "get this civilian fuck out of here" expressions. "Oh, yeah," he started in a reassuring tone that was so condescending it would have annoyed anyone except me, "we found a body. We think it was a homicide. Best to keep your kids away from here for a while."
I thumbed the stubble on my chin, my other hand outstretched on the wheel, and considered moving on, but my mouth had other ideas. "That right? But uh, isn't this house vacant? I mean, I don't remember no one living in it."
The short man, now tall with temper, said, "Yeah, some squatters. We think there was a dispute over some drug money. Nothing for you to worry about though, we got it under control. Now if you wouldn't mind moving along, we have a lot of work to do."
Oh, I'm sure you do, I thought, but only said, "Of course, sir, sorry for keeping you from your job." Then I rolled up the window and cruised on, keeping my eyes on the house which slowly diminished in the side-view mirror.
Luckily I had been smart enough to break down my camp and lug home all my equipment each night, so I didn't leave anything incriminating. I didn't move the furniture back, so maybe that would come back to haunt me, but considering the kind of shit going down in that house, I didn't think they would notice.
For any of you wondering about the conclusion of the house story, I went back a couple weeks later after the suits had left and the tape was taken down and confirmed that not only was the basement entirely cleaned out, but it was no longer exhibiting any strange properties. I looked for a story related to the house, maybe a made up murder of some kind, but there was nothing. That bastard lied to me and didn't even bother to cover his story up.
Now, in the aftermath of an event such as this, I really only had one of two options. I could forget it, move on, continue living life. The necklace was surely worth a fortune. I could sell it and have enough to retire, or at least hire enough people and expand my business large enough to retire within ten or so years. Or I could take all that money and invest it in my own PI business with only a single objective: finding out what those people knew, and why they were hiding it.
I think you know me well enough by now to guess which line of reasoning appealed more to me.
***
For the sake of brevity, I'm going to omit most of my encounters along the journey to discovering Area X. There's a lot to tell, and if it appeals to you perhaps I'd be willing to share at a later date, but for now I want to get this part of the story, the more proximal part, out in the open.
Three years ago, I discovered the source of what I'll call "The Receiver". This is the device that was schematized in the documents that I found in the briefcase. What it does is a complex answer, and how it does it is pretty much all speculation, but here's what I've been able to find out: this universe we live in is a node in a network of many other spaces. These spaces exist in higher dimensions that we cannot directly perceive, but using a conceivable analogy, just think about a flower with petals. The petals are these other dimensions which bleed into our world, which is at the center. However, it's not that pretty. We see the physical world through the lens of spacetime: sizes, speeds, etc. These other dimensions don't necessarily have space or time. In fact, what actually exists there, I couldn't say. The only data I have on them is from two sources: correspondence information and server data from the secret agency (which I'll call "the Organization") that keeps this under wraps, and first-hand experience with realms from these other entities, either directly (I experience it) or through the eyes of someone else with the same or greater abilities than I possess.
I referred to these people with abilities earlier as "Antennas", and I will continue to use the term. Antennas really come in three flavors, marked by the strength of their ability: weak Antennas, like me, are able to observe spontaneous interactions between our universe and other dimensions (phase shifts) when there is a strong force of collision like existed in the basement; moderate Antennas may see phase shifts occur at any point, and they usually are able to retain memories from across the different transformations; strong Antennas, and I don't know if they exist yet, but they are able to consciously interact with these other realms and cause phase shifts to occur.
I mentioned that moderate Antennas are able to retain memories from before and after a phase shift. Technically, all Antennas have this ability, but it's about degree. I can recall only very specific instances and without much detail. Moderates are usually able to pick out much more nuanced minutiae. At the lower end of moderate scale, most of those details fade or get fuzzy over time, but for the very strong Antennas, they hold onto almost everything. One other property that scales with strength is interaction with other conscious entities. Only a small percentage of moderates are able to do this. What's interesting is that these entities can possess (yes, like ghosts) people who aren't even antennas, but no one is aware of such possession at this deep of a level. I have several companions now, and only two have had interactions with these otherworldly beings. Not all of them are malevolent, some of them are whimsical or kind, but there are a fair share of demons out there.
Getting back to the point, Area X started as a government funded project in the 70's. At that time, they were focused on a few subjects: Artificial Intelligence, DNA sequencing, and psychedelics. Yes, they were part of the infamous LSD experiments. But they looked at these subjects through a common lens—there was something that the burgeoning tech industry, fueled by the advent of a commercial computer market, was missing. As the tech giants rose in the early 2000's and began to collect mass amounts of data, this other agency was decades ahead in a different metric, although it was completely (and still is) hidden from the public. Their efforts to understand psychedelic experiences led to a formalized method of understanding interactions between multiple realities. They built certain scanning equipment to detect anomalies like the one I found in the basement; although their tools were much more sophisticated and didn't utilize voltage readings. Then they ran tests in these areas. One area in particular is a hot-bed of phase shift interactions. That's where Area X is located (and the Receiver).
The Receiver is a giant electromagnetic orb that has trapped the kind of multi-dimensional energy that causes the phase shifts; since the Organization seized control of the lab, it's effectively become a map of the Earth in relation to these other worlds. For the past twenty or so years, the Organization has been studying this map, using the data big Tech companies have collected to essentially develop a Rosetta Stone for interpreting the meaning of the fluctuations in their scanning equipment. Recently, the public, though going the long way round, was actually pretty close to a breakthrough in this same department until recently when ultra-powerful LLMs surfaced, and the whole world began going down what I'd argue is the wrong rabbit hole of language processing. But I digress.
Area X is essentially a private military base built for defending the most impactful piece of technology ever invented. With the Receiver, the Organization now has the power to essentially predict any and all future outcomes, the only thing holding them back is the limitations of their own scanning equipment which will get better with time. To put it into perspective, the Organization has access to a kind of data allocation tool which in one day can produce over ten thousand times that the Big Data companies combined would be able to filter through in the next decade. You might think, then, that the problem is merely asymmetric power, and that is certainly a concern, but it isn't the main concern. The main issue is that this organization is actively recruiting (and kidnapping) Antennas from around the world in an effort to find or make one of them into a strong Antenna. In other words, they want a subject who is able not only to see the future, but to manipulate it at will.
balance to the world. I've been working on amassing resources, capital, and building my own team, and now I'm ready. You might ask why I'm posting this here. Wouldn't it be better to keep all this secret? Well, yes, it would be. But that's the problem. Nothing is secret anymore. They know about me and the others, and if I don't make a move, they will. In a way, this is a letter directly to the organization that I know, and I'm coming.
In a different way, I wanted to release this information to the public. There are lots of people out there waking up and realizing that the world they experience is not the one others experience. If you think you might be an Antenna, don't be afraid—you have a special gift that can be controlled. If you want more details on how to control it, or if you're interested in my mission, don't be afraid to reach out. This hasn't always been my life's work, but it is now.
At least until I die.

I won't disclose its actual location, so if that's why you're here, sorry to disappoint. It's not time for that yet. However, I do think it's time to start getting the word out. I've noticed an increase in what I'll call "Antennas" lately, or people who can detect cross-planar phase shifts. Without getting into all the math (some of which I don't even know), this is basically a phenomenon which refers to entropy seeping into our universe from other realms or universes or whatever you want to call it. Simply put, people think our universe is a closed system to entropy, meaning that the disorder of any variable in our universe can only increase or decrease in direct proportion to other variables in that same system (the universe). Under this precept, we can establish rules like the Laws of Thermodynamics, and for most people, they're effective. But not for Antennas.
Put another way, if you throw a bunch of bouncy balls into a box, there are a number of different configurations that the balls could take on, with different speeds and magnitudes. You can calculate all of those if you have the right numbers. Now let's say you throw in another set of balls that you don't consider in your calculations of the initial set. Well, then you're not going to get an accurate picture of what's happening. Most people only see the first set and calculate based on that, but some people can see two, three, four or more sets.
You'll understand the concept better when I tell you the story, but I wanted to give you a primer on an important concept that will help you understand why this place, which I'll call "Area X", exists, and what the goals of the people who work there are.
Also note that I'm going to be using the alias "Trent" moving forward. Please refer to me as such in any direct messages.
***
Eighteen years ago I started working as an independent Home Inspector. I dropped out of community college after my first semester (not because I didn't find some of the subjects interesting, but because deference to a man or woman has never been my style) and started working some odd jobs. I did construction work for a couple years, then plumbing. I even drove a garbage truck for six months. I've always found pleasure in using my hands, and getting dirty was never a problem for me. Still, having a boss really dragged ass, so I spent my free time working on creating my own business. It took a few years and lots of savings, but I finally managed to get basic set of Home Inspection equipment: Tyvek coveralls, a cheap half-face respirator, voltage & AFCI/GFCI testers, CO2 and radon monitors, an IR camera, and telescoping mirrors in addition to the boots, safety glasses, electric gloves, ladder, and toolkits I already had on hand.
My buddy at the time was in the business, but he was moving off to the coast, so he helped me get set up and even introduced me to some of his clients. Of course, by that time I had already gotten my State license, but I still was a bit apprehensive to work with insurance agencies. I thought I could make a living working independently, inspecting for mold or sizing up a house for a prospective buyer. Eventually, though, I realized I should probably take every job available to me.
Easing into the business went about as well as it could have. The clients my friend referred to me were very satisfied with my work, and I was able to retain them. Then, in order to increase my reach, I hired someone on Fiverr to build a website for my company which led to a marked increase in traffic and conversions. About six months through, I began to get on a first-name basis with the boys and girls down down at Allstate and Progressive, and they fed me some of the bigger cases. In fact, I got so booked by year's end that I had to hire someone to help manage my schedule and the Excel spreadsheet with all my finances. I capped off a successful year with a 5-star Google rating and a trip to Ireland to visit some family and friends and get piss drunk. When I got back, it was the grindstone all over again, until the summer when I discovered… well, you'll see.
First off, I want to say that I was never one to believe in the paranormal. I grew up watching the movies and hearing the ghost stories round the campfire like every other kid, but it never struck a chord with me. If I can't touch it or see it or hear it, does it really exist? Probably not. So don't go thinking this was a scared man seeing his own shadow. That being said, I had this sense that something was off about this house when I parked along the curb and looked through a large window, perhaps two times the size of my van, to a dingy, dark foyer.
The entire neighborhood was stacked with upper-middle class domiciles, though it seemed like only two thirds of them were occupied, mostly by professionals who commuted to the City every weekday, and the rest were empty. As a man who understands real estate, to say this was strange would be an understatement. Still, I had no problem appraising the mini-mansion for a couple of newlyweds looking to enter the community. I did some research on the property ahead of time, and it seems that it was owned by a couple of old timers who had gone off the grid some time ago. The water and electric bill were both unpaid dating back to 2004 (it was June of '06 now). The bank had repo'd the house (which only had about 100k left on it) and held it for a year and a half before putting it back on the market. I tried to find out more about the old couple who vanished, but there was nothing in the news.
I stepped out of the van in my coveralls and grabbed my suitcase which had my mask, gloves, and eye protection in it. I liked to do a preliminary survey first, running an eye test on the exterior then interior before bringing out the big guns (that way I could identify the areas where I think there could be problems instead of running a metal detector over the whole damn ocean seaboard). I was about to do just that when the window caught my eye again. It felt uncharacteristic of me to be so occupied with this window, but I detoured to the front porch and peeked inside anyway.
Most of the furniture had already been moved out, meaning all that was left was a single three-seater couch, a couple candlesticks on the fireplace mantle, a pristine chandelier overtop a dining room table, and the kitchenware: an oven, gas stovetop, marble countertops, and an island. I could see into the living room very clearly with the afternoon light, but the dining room was dim enough that there were a few structures I couldn't quite make out in the distance. One of them appeared to be some kind of china cabinet or bookshelf—I figured it was the former considering where it was located. The other shadow looked kind of like a grandfather clock. Or at least that's what I thought until it moved.
When I say it "moved", I don't mean to say that it picked up and walked away. If you're not familiar with the Necker Cube, I suggest you search it up, because that kind of illusion is the best way to describe what I saw. At first I was seeing the grandfather clock in a certain way—pushed into the corner of the room—and the next second my vision "corrected" and it was maybe five feet to the left of its former position. I shook my head and looked again and saw the grandfather clock in its second orientation, standing in the center of the room against the wall. I figured I was just seeing things, but even so I spent a little extra time dawdling around the Egress window, taking notes, and delaying the interior inspection.
When I finally grew a pair and went inside, I walked straight to the dining room. Sure enough, the grandfather clock was stowed away in the corner of the room. I spent a couple minutes watching it with my pencil and travel notebook out. I'm the kind of guy that likes to collect hard data when the chips are down. Unfortunately, the clock apparently already had enough fun and was content with sweating me. Oh, well.
I fitted my pencil behind my ear and pocketed my travel notebook, then flipped the rest of the first floor lights on and completed my prelim. I concluded that everything was pretty standard. If anything, the house was in better shape than I'd expect considering it presumably hasn't been lived in for a couple years. I say "presumably" because one can never count out squatters, even during those times. Mainly I was expecting more dust build up and cobwebs than there were. Perhaps someone from the department had come by recently. It's unlikely, but possible.
I did the same check upstairs and it came back mostly clean. There was a bit of staining near the attic I wanted to check for mold. Based on its color, it was probably just a minor case of Aspergillus, but better safe than sorry. Then I got to the basement, and, well, let's just count out the idea of anyone dropping by. I don't know what I was expecting, but it certainly wasn't what I found.
The first thing that caught my eye was the long, slender body of a birch tree lying pale and dead across a large portion of the even larger unfinished basement's cement flooring. I had to do a double take to make sure I wasn't dreaming, but, yep, there it was. Its crown was sealed up in the wall with only its trunk hanging out, which made me think of those medieval pillory devices which locked up people's heads and arms. Then confetti-scattered around the tree and all over the basement floor was a minefield of broken glass and ceramic tangled up with a set of random objects. And when I say random, I mean random. There was an unfurled Somali flag (the blue one with a single star in the center), some packaged drinks and condiments branded with all sorts of different languages (I could only make out Gaelic and Chinese or Japanese, I couldn't quite tell), a broken dome-shaped security camera, an otoscope (the thing the doc uses to check your ears), Hot Wheels cars (okay that one isn't so strange), and the list goes on.
At that moment, I wasn't freaked out or disgusted. I was more or less just confused. I started walking through the rubble, trying to avoid the sharp fragments but pretty confident that my steel toed boots would crush most the pieces anyway, when I heard a clink just up ahead. I was able to spot the coin in time, just before it jingled to a halt atop an old Life magazine. I picked it up and noted right away its oval shape and bronze color—clearly not American made. I tried reading it, but not only was the language not English, it appeared to be so old that most of the lettering had been filed down. I looked up at the ceiling to see if it dropped from a shelf, but there was nothing that could have been holding the coin. I considered for a moment, looking around at the other junk, and had the crazy idea that maybe all this stuff just appeared here. I popped the coin in my pocket and headed back to the van when I stopped by the tree and realized something. It wasn't a birch tree—it was a palm tree. I just didn't realize because of how ashy and decayed the bark was.
Now at this point you might think I've been acting a little nonchalant for such a strange occurrence, and I don't blame you, but if you're gonna stick around with me that's just something you're gonna have to get used to. I guess I was just born with a screw loose, but I really don't scare easily, and I tend to look at everything pragmatically. If you dig deep enough, you'll always find another plausible explanation. That being said, I do want to get to the part about Area X, so let me give you the rundown on what I learned about this basement.
I ended up trekking back to the van and picking up my gear. I was no longer running the routine inspection, obviously, but I figured I might as well throw 30 thousand dollars of scanning equipment at whatever the fuck anamoly existed in that basement. Most of it came back negative. There was a bit higher-than-usual EM interference as picked up on the voltmeters, but nothing that screamed danger close. Still, it was enough for me to set up my volt testers and IR camera while muddling through the rest of the junk. I won't bore you with another list of items, but I did find one thing of value: a diamond necklace. And not just any diamond necklace, it was one of those Queen-wearing, multi-row, big-jeweled necklaces like out of some Historical Fiction movie from the thirties. I almost didn't pocket it because I'm used to expensive items being owned by someone… someone who might want it back. But I figured if there was ever a place the finder's keeper's rule applied, it was probably in this Quantum graveyard.
7 O'clock rolled around and I hadn't eaten. I'm a pretty bulky guy, carrying my share of both muscle and fat, and most people think that means I need to eat a ton but that's really not the case. Mostly I just get dehydrated easily, especially in the summer. That said, I was bordering on famished territory and considered heading out for a bite when I heard another sound. The first thing I did was check my scanners, and sure enough the voltage needle was fully spun to the right side of the dial. EM interference. Then I went to see what had dropped. I was able to pick the object out pretty quickly since I had spent the last 6 hours staring at the mosaic of a basement floor. It was a silver briefcase, like one of those out of a crime novel, and it was cracked open.
I had this sense then that I was standing at a precipice, and if I opened the briefcase and looked inside, I wouldn't be able to stop whatever would come afterwards. Part of me deep down knew that I was just that type of guy that had to know, and maybe this was my Hamlet moment where it would be a trait gone a step too far. But then again I didn't really believe in any of that sentimental bullshit, so I opened the briefcase.
The gun surprised me a little, but not as much as the piece of paper laid atop a case file reading in large black font, "FIND ME". I expected the envelope to have some missing person file in it, but instead there were all these schematics and blueprints for some kind of device. Whatever it was, it was pretty massive. Some of the lengths were hundreds of meters long. And what's more strange is based on the blueprint's locale, it appeared to be underground. I looked back through the pages a couple times, then checked the note—nothing strange there. The gun appeared to be a simple glock. I was no gun expert, but I had been to the range pretty regularly with my construction buddies, so I got used to the feel of a pistol and rifle and some of the different names; however, I realized pretty quickly it wasn't your standard glock when I couldn't find mag-release. That's when I noticed how light the gun felt. I tried to chamber a round, but again, there was no hammer. What the hell kind of gun was this?
I ended up throwing everything back in the briefcase, including the necklace, coin, and a few Koozies I found that were branded with one of my favorite sports teams (never let an opportunity go to waste). I put up all my shit back in the van and spun over to a local burger joint, got my fill, and went home. I made sure to draft an email to the prospective buyers, telling them the house had several patches of black mold and a bit of a rat problem before drifting off to sleep. Although I really didn't do much of that.
When I woke up, I took a cold shower and downed a can of Reign, then commuted to my gym and got a lift and some sauna time in before making the trip back to the house. I brought some extra supplies with me for some experiments I cooked up while not sleeping the previous night.
First, I had two camcorders set up on a couple tripods in either corner of the basement. I wanted clear footage of these mystery objects spawning in. Then I set up a voltmeter in a similar fashion, but I had a wire extending out of it on a circuit which fed to an alarm that would blare when the reading was over 250 volts. Upstairs, I rearranged some of the furniture so that the small number of tables, chairs, clock, cabinets, and other little pillows or vases I could find were scattered across the living room, dining room, and kitchen. Then I pulled up a lawn chair to the front porch window and waited.
I didn't have to wait long though. In about a minute, I started to notice some of the objects moving. It was strange. When a few of them would shift simultaneously, it was like looking at a holographic card that would change shape depending on where your eyes were in relation to the image. Every time I saw a shift, I felt an awkward feeling in my eyes. They went blurry for a fraction of a second, then there was a twinge of pain, as if my brain couldn't handle the contradictory stimulus. It didn't get more crazy than that though—until the alarm went off.
I had cracked open the small rectangular window in the basement to the side of the house so I would hear it. It took four hours and several strange stares from passersby walking their dogs before it rang, so I was a bit lost in my thoughts, but when I heard the beep I perked up fast. It lasted for maybe 5 seconds total, but what I saw was truly miraculous. The best way I can describe it is a pool of silver or gray or translucent light emerging in the foreground between me and the objects in the different rooms. A series of twisting tentacles sprouted from the gray octopus-like head and spun in a way that reminded me of that little kids ride at the amusement parks. Then the objects started to "heat up" is the way I describe it. Their position became relative, meaning they were here one second, there another, then they popped out of existence entirely. Suddenly the rooms were all empty, then they were full of things I had never seen before. Then five seconds passed and the octopus vanished and it was back to the same old objects in their usual places.
It took a few minutes to process what I saw, and even then I wasn't sure I really saw it. I went inside and looked around at my distribution of the house's furnishings. They were all there, intact. Then I went downstairs to check the cams. I rewinded a couple minutes and played it back, but there was no flying object to be found. Instead, there was some gray static that lasted half a second and then the object, a kid's treasure chest toy, was there on the ground. But you want to know the really strange part? I rewinded the tape again, and when I watched the footage back, the treasure chest was always there.
I later came to understand that these poppings in-and-out of our reality are only conceivable to a conscious mind that can track the interference patterns—not rote computational instruments. In fact, even most people can't do it (although everyone has at least a slight awareness of it, even if only subconsciously). Plus, locations like the basement of this house are very rare and kept under tight lock. That became obvious to me two days later when, after my normal morning routine, I pulled up to a driveway and curbside filled with unmarked government vehicles. Either bravely or stupidly, I pulled up to a few officers (they were wearing suits in 85 degree weather, so I assumed…) who were idling by the large fence of crime scene tape and asked them what the score was.
"There was a crime," said the short man with a unibrow.
"Oh, is that right? Damn shame. Someone break in? I have a niece who lives nearby, so…"
The man looked at his two compatriots, both of whom were wearing sunglasses and a "get this civilian fuck out of here" expressions. "Oh, yeah," he started in a reassuring tone that was so condescending it would have annoyed anyone except me, "we found a body. We think it was a homicide. Best to keep your kids away from here for a while."
I thumbed the stubble on my chin, my other hand outstretched on the wheel, and considered moving on, but my mouth had other ideas. "That right? But uh, isn't this house vacant? I mean, I don't remember no one living in it."
The short man, now tall with temper, said, "Yeah, some squatters. We think there was a dispute over some drug money. Nothing for you to worry about though, we got it under control. Now if you wouldn't mind moving along, we have a lot of work to do."
Oh, I'm sure you do, I thought, but only said, "Of course, sir, sorry for keeping you from your job." Then I rolled up the window and cruised on, keeping my eyes on the house which slowly diminished in the side-view mirror.
Luckily I had been smart enough to break down my camp and lug home all my equipment each night, so I didn't leave anything incriminating. I didn't move the furniture back, so maybe that would come back to haunt me, but considering the kind of shit going down in that house, I didn't think they would notice.
For any of you wondering about the conclusion of the house story, I went back a couple weeks later after the suits had left and the tape was taken down and confirmed that not only was the basement entirely cleaned out, but it was no longer exhibiting any strange properties. I looked for a story related to the house, maybe a made up murder of some kind, but there was nothing. That bastard lied to me and didn't even bother to cover his story up.
Now, in the aftermath of an event such as this, I really only had one of two options. I could forget it, move on, continue living life. The necklace was surely worth a fortune. I could sell it and have enough to retire, or at least hire enough people and expand my business large enough to retire within ten or so years. Or I could take all that money and invest it in my own PI business with only a single objective: finding out what those people knew, and why they were hiding it.
I think you know me well enough by now to guess which line of reasoning appealed more to me.
***
For the sake of brevity, I'm going to omit most of my encounters along the journey to discovering Area X. There's a lot to tell, and if it appeals to you perhaps I'd be willing to share at a later date, but for now I want to get this part of the story, the more proximal part, out in the open.
Three years ago, I discovered the source of what I'll call "The Receiver". This is the device that was schematized in the documents that I found in the briefcase. What it does is a complex answer, and how it does it is pretty much all speculation, but here's what I've been able to find out: this universe we live in is a node in a network of many other spaces. These spaces exist in higher dimensions that we cannot directly perceive, but using a conceivable analogy, just think about a flower with petals. The petals are these other dimensions which bleed into our world, which is at the center. However, it's not that pretty. We see the physical world through the lens of spacetime: sizes, speeds, etc. These other dimensions don't necessarily have space or time. In fact, what actually exists there, I couldn't say. The only data I have on them is from two sources: correspondence information and server data from the secret agency (which I'll call "the Organization") that keeps this under wraps, and first-hand experience with realms from these other entities, either directly (I experience it) or through the eyes of someone else with the same or greater abilities than I possess.
I referred to these people with abilities earlier as "Antennas", and I will continue to use the term. Antennas really come in three flavors, marked by the strength of their ability: weak Antennas, like me, are able to observe spontaneous interactions between our universe and other dimensions (phase shifts) when there is a strong force of collision like existed in the basement; moderate Antennas may see phase shifts occur at any point, and they usually are able to retain memories from across the different transformations; strong Antennas, and I don't know if they exist yet, but they are able to consciously interact with these other realms and cause phase shifts to occur.
I mentioned that moderate Antennas are able to retain memories from before and after a phase shift. Technically, all Antennas have this ability, but it's about degree. I can recall only very specific instances and without much detail. Moderates are usually able to pick out much more nuanced minutiae. At the lower end of moderate scale, most of those details fade or get fuzzy over time, but for the very strong Antennas, they hold onto almost everything. One other property that scales with strength is interaction with other conscious entities. Only a small percentage of moderates are able to do this. What's interesting is that these entities can possess (yes, like ghosts) people who aren't even antennas, but no one is aware of such possession at this deep of a level. I have several companions now, and only two have had interactions with these otherworldly beings. Not all of them are malevolent, some of them are whimsical or kind, but there are a fair share of demons out there.
Getting back to the point, Area X started as a government funded project in the 70's. At that time, they were focused on a few subjects: Artificial Intelligence, DNA sequencing, and psychedelics. Yes, they were part of the infamous LSD experiments. But they looked at these subjects through a common lens—there was something that the burgeoning tech industry, fueled by the advent of a commercial computer market, was missing. As the tech giants rose in the early 2000's and began to collect mass amounts of data, this other agency was decades ahead in a different metric, although it was completely (and still is) hidden from the public. Their efforts to understand psychedelic experiences led to a formalized method of understanding interactions between multiple realities. They built certain scanning equipment to detect anomalies like the one I found in the basement; although their tools were much more sophisticated and didn't utilize voltage readings. Then they ran tests in these areas. One area in particular is a hot-bed of phase shift interactions. That's where Area X is located (and the Receiver).
The Receiver is a giant electromagnetic orb that has trapped the kind of multi-dimensional energy that causes the phase shifts; since the Organization seized control of the lab, it's effectively become a map of the Earth in relation to these other worlds. For the past twenty or so years, the Organization has been studying this map, using the data big Tech companies have collected to essentially develop a Rosetta Stone for interpreting the meaning of the fluctuations in their scanning equipment. Recently, the public, though going the long way round, was actually pretty close to a breakthrough in this same department until recently when ultra-powerful LLMs surfaced, and the whole world began going down what I'd argue is the wrong rabbit hole of language processing. But I digress.
Area X is essentially a private military base built for defending the most impactful piece of technology ever invented. With the Receiver, the Organization now has the power to essentially predict any and all future outcomes, the only thing holding them back is the limitations of their own scanning equipment which will get better with time. To put it into perspective, the Organization has access to a kind of data allocation tool which in one day can produce over ten thousand times that the Big Data companies combined would be able to filter through in the next decade. You might think, then, that the problem is merely asymmetric power, and that is certainly a concern, but it isn't the main concern. The main issue is that this organization is actively recruiting (and kidnapping) Antennas from around the world in an effort to find or make one of them into a strong Antenna. In other words, they want a subject who is able not only to see the future, but to manipulate it at will.
balance to the world. I've been working on amassing resources, capital, and building my own team, and now I'm ready. You might ask why I'm posting this here. Wouldn't it be better to keep all this secret? Well, yes, it would be. But that's the problem. Nothing is secret anymore. They know about me and the others, and if I don't make a move, they will. In a way, this is a letter directly to the organization that I know, and I'm coming.
In a different way, I wanted to release this information to the public. There are lots of people out there waking up and realizing that the world they experience is not the one others experience. If you think you might be an Antenna, don't be afraid—you have a special gift that can be controlled. If you want more details on how to control it, or if you're interested in my mission, don't be afraid to reach out. This hasn't always been my life's work, but it is now.
At least until I die.

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

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

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

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

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

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

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

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

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

IV. The Hidden Plot Point: Mission Theory

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

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

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

V. Musical Evidence

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

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

&

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

&

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

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

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

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

Penacony's story is peak. I enjoyed reading it, I enjoyed taking notes and writing things down and discussing theories with friends. I definitely expected the dream to have more layers than we thought at first, and to have a 'false wake up' kind of sequence, but a few of the reveals by the storyline's ending just made my head spin!
So, lemme get this straight: Misha is a memory zone meme. He shouldn't be able to appear in reality, only in the memory zone... But we did *see* Misha in 'reality' when we first entered the Hotel. That shouldn't be possible, and that is the big plot hole that pulls the charade of Ena's Dream apart for us and Black Swan. That makes perfect sense.
What's confusing to me is, how could that have happened in the first place?
For us to see Misha in the hotel, we must've already been dreaming by then- Which is fully possible. It would mean as soon as we got in range of the Stellaron, it dragged us into the dream. That's something it should be able to do. But that would also imply we've never actually left the Astral Express since the story quest started. Supporting this, Dan Heng calls Jing Yuang with the Jade Abacus from inside the express, and it's all but stated in the planning conversation with DH and Boothill and etc. that JY wasn't actually called. Meaning, yes, that was all inside the dream. The issue is: Aventurine checked into the hotel at the same time we did, which would mean the act of him checking in and moving to his room also happened inside the dream, and yet he very explicitly wakes up in reality in his room at the end of the questline. How is that possible?
And, second in line for the prize of "What was in reality, and what was in the dream?" is Boothill calling the Galaxy Rangers. I think the game makes it pretty clear that we're still in the memory zone when we wakes up from Ena's Dream, at least to some degree. We see memory bubbles and whatnot. But then, how would Boothill using the artifact in the dream call the Galaxy Rangers in real life? As said before, Dan Heng calling Jing Yuan in the dream didn't call the real Jing Yuan, so how come the real Galaxy Rangers are called now? Is the burial artifact an Emanator of The Signaling?
TL;DR: When did this dream start, and when did it end?
Thanks in advance!

(warning: sorry for my bad english)
I remember something from a film I saw when I was a kid, my dad was watching the film and I only watched one sequence that sorta shocked me
I know the film was quite dark and depressing looking, there was a man who was probably the main character, and he had a horse who seemed to be like his best friend, it was a film with actors and I saw it when I was probably in primary school, and if my memories are so hazy it's because it was a horrible part of my life and so I have almost no memories of it, and the few I have are not good at all
at one point, the man is with his horse in a sort of lake, when I talked to a friend about this scene I thought it might be a false memory because the scene might remind me of The Neverending Story, another film, but it's not that at all
at another point, the man finds a woman he wants (I think) to help or something, but she refuses to say or do anything, but memories of the woman are extremely vague, but at one point she says she'd only do I don't know what if he fed her the heart of his beloved horse
so the man in the marshes, I think, took a knife to kill his horse, which I remember was his best friend, and he brought back the horse's heart by putting it in a bowl to give to the woman, and the woman, at the last moment, said that she wasn't hungry any more, I don't really know (what a bitch) and that's all I remember, which is logical given that it was shocking for a child and very unhealthy.
I did some researches, with friends and with ChatGPT (yeah) and it could have been The Hourglass Sanatorium (1973) but I checked and it wasn't, same for Valhalla Rising (2009), The Reflecting Skin (1990) and right now I'm checking The Horseman on the Roof (1995) but it doesn't seem like it's the good one, so please I need help to find it

(continuation of part 2)
III. e) The Mobius FF x FFVII collaboration
Alright, back to our suspension world-hopping! Let’s visit the realm of Mobius FF, —more specifically, the collaboration between Mobius FF and FFVII—, where I found the most substantial evidence for my theory.
In case you’re unfamiliar with the Mobius FF (MFF) world and games, let’s begin with a bit of a summary of the parts relevant to us. The story takes place in a world called Palamecia, to which people from other worlds are inexplicably summoned. The vast majority of those who are brought there don’t remember anything from their worlds of origin or their lives before Palamecia except their names: these amnesiac people are called Blanks. The main character is Wol, accompanied by a guiding fairy of Palamecia named Echo. Echo knows a lot about the mechanisms of Palamecia, as she’s tied to the realm. The leader of this world is Vox, a being who manifests only as a voice. The first thing all Blanks remember before they wake in Palamecia is Vox telling them the rules of the realm. Incidentally, the crystals of the MFF world are teleportation crystals.
III. e) i. Devs’ Statements
Let’s review some of the MFF x FFVII Remake collaboration devs’ statements before diving into its story.
For both the MFF x FFVII Remake collaboration and the Remake project, Kitase took on the role of producer while Nojima supervised the screenplay and wrote the scenario. The project leader was none other than the Remake trilogy’s Hamaguchi, who told a SE interviewer the following:

“We would love for you to play the [MFF x FFVII] collaboration event as you look forward to [Remake’s] release” (“Celebration of the Overseas Release of the Steam Version and FINAL FANTASY VII REMAKE Collaboration Event”, Square Enix).

He later hints at the collaboration’s storyline:

“This collaboration is focused on Cloud, so the other characters will not make an appearance. Players will join Cloud, who has gone astray in Palamecia, on his adventures and see how the story unfolds based on his decisions. Content-wise, FINAL FANTASY VII fans will surely become fraught with emotion as events unfold in-game (laughs).”

Kitase concurs on the emotional aspect of the collaboration in the same interview:

“When it comes to the story, I seek two things– ‘mystery’ and ‘[…] emotional impact’.”

Clearly, fans of FFVII are supposed to react emotionally to the events of the collaboration. With these statements in mind to give us perspective, we can get into the plot points relevant to our analysis. MFF x FFVII Remake comes in two parts, the relevant plot points of which I will describe and analyze one at a time.
III. e) ii. Eclipse Contact
1) Fact-Finding
Part one of the MFF x FFVII Remake collaboration event is called Eclipse Contact. It came out in 2017 on Aerith’s birthday, February 7th, and its release campaign ran until March. In Eclipse Contact, Palamecia welcomes someone new: Cloud Strife appears in the realm with very little recollection of his core world of FFVII.
Cloud isn’t a Blank, since he recalls the mako reactors in Midgar upon his arrival in Palamecia, and also remembers that he was hired by Avalanche to blow them up:

“Echo: How did you end up in Palamecia?

Cloud: I… That day... I remember now. A job. I had taken a job. I was hired muscle protecting clients. They wanted to stop the reactor... We used a train to get past security... Was it at night? Something happened... Next thing I knew, I was floating through darkness. Then [I woke up here]”.

This piece of dialogue reveals that Eclipse Contact Cloud’s memories end at the very moment when Avalanche arrives at reactor 1 in OG (disk 1, chapter 1): the very beginning of the game. Consequently, Cloud does not remember anything that happened from the beginning of the OG timeline onwards.
Wol and Echo are intrigued by Cloud’s strange case: non-Blanks rarely arrive in Palamecia. The following text appears on the screen shortly after they meet:

“Perhaps he is not truly who he thinks he is.
Perhaps everything is illusory, a dream.
Only one thing is certain, that he must press on, one step at a time, toward the light that shines from the promised land.”

Just like he did in FFT’s Ivalice, Cloud feels the need to find the Promised Land in MFF x FFVII, despite the fact that he lacks memories of the OG timeline. Though Cloud doesn’t remember anything beyond the train ride to reactor 1, he does remember the Promised Land (at least somewhat). This is odd, given that in OG, Cloud didn’t learn about the Promised Land until several chapters into the game.
Wol and Echo agree to help Cloud figure out why he’s here, since there’s clearly something strange going on with his presence in Palamecia. In fact, Cloud brought Midgar’s mako reactors with him somehow, transplanting them onto the landscape of Palamecia. The group decides to bomb these reactors, following Cloud’s instincts in the hopes that it will jog his memory.
Now for my favorite part. After blowing up another reactor, the group is surprised by the appearance of a crystal. A piano rendition of Aerith’s theme begins. When Wol tries to touch the crystal, something akin to a force field rejects him. When Cloud approaches it, however, the crystal responds to his hand by flashing with light. As it begins to glow, Wol concludes that the crystal is linked to Cloud and Cloud alone. Let’s examine the resulting dialogue:

“Echo: This is the light in your memories. The light of home.
Cloud: Home? But I don’t—
Echo: If you don't remember… then your home is lost to you.
Cloud: Then my memories are gone.
Wol: Do you want to reclaim your past?
Cloud: Not interested... I am what I am now. Not what I was.
Wol: Then tell me… This light. If you can’t remember it, what does it mean to you?
Cloud: It's a warm light... I feel at peace. If this place —home— is as warm and peaceful as this light, then I want to go there.
Echo: You can't go there... Not back to the past.
Cloud: I see.
Echo: But even if you can't go back to the past, you can go forward. If you wish for it strongly enough, the crystal will show you the way. The way to a new world. The way to your Promised Land. […]
Cloud: So... Should [I] take [my] chances and make a wish to this crystal?
Wol: Go ahead. It’s your crystal.
Echo: I should warn you that once you start on this journey, there's no coming back.
Cloud: The past is the past. I want to go to a place where everything is new. I’m ready.“

What follows is a moment I call the wishing scene (13:43-14:34). Cloud closes his eyes and wishes on the crystal. It flashes, and suddenly, rainbow-colored ripples of light appear around it. Aerith’s theme is replaced by a slightly modified version of “Midgar, City of Mako”, the track that plays during the opening cutscene of Remake. You can recreate the modification by listening to “Midgar, City of Mako” from 2:00 to 2:23, then skipping to 3:00 and listening until 3:18. You may recognize the musical motif that kicks off the wishing scene as the Lifestream motif, which has become symbolic of the mysteries of the Remake trilogy, as it often plays during scenes where unexplainable plot deviations from OG occur— more specifically, deviations involving multiverse shenanigans. For instance, it plays during MOTF 4. It also plays in Rebirth after Cloud blocks masamune as Aerith is shown dying anyway.
Cloud disappears with his crystal, after which Echo speaks to Wol about Cloud’s journey:

“Echo: Each person gets the Promised Land they justly deserve, not the one they really need. If you’re a bad person, you go to a bad place. If you expect nothing, you get nothing. Even the journey there makes you look deep within yourself to find out who you really are. Cloud should be facing his own past as we speak. It’s cruel, but necessary. That battle was a long time coming”.

Apparently, at least in the context of this collaboration event, the Promised Land can be a reward or a punishment, depending on which you deserve. Echo explains that Cloud will have to face himself and his past on his way to his Promised Land. This means that the Cloud that appears in Eclipse Contact must next embark on a journey that will confront him with his past, test his mettle, and ultimately lead him to the Promised Land he justly deserves.
III. e) ii. 2) Fact Analysis
There’s a lot of vital information to dig into here, mostly provided by Echo. She claims that the crystal’s light is linked to Cloud’s memories of home; Cloud has to have known this home in the past, as it could not otherwise exist in his memories. MFF Cloud must be a post-OG Cloud. Unfortunately, Echo indicates that whatever Cloud’s home is, he’s lost both it and his memories of it. Despite this, Cloud describes his home as warm and peaceful, concluding that he wishes to find it. Though Cloud can’t return to the past, Echo tells him that if he wishes it strongly enough, the crystal can guide him toward a new world, where his home and his Promised Land exist in the future. The fact that Aerith’s theme is playing all throughout these descriptions of Cloud’s lost home, his Promised Land and the past that he can’t return to makes it extremely obvious that these concepts all point to Aerith. Aerith is Cloud’s lost home. Wherever Aerith is, that’s his Promised Land. The time spent with Aerith before her loss is the past he tragically can’t return to. You might have clocked the similarities between Eclipse Contact’s mention of Cloud’s lost home and DFF’s mention of Cloud’s lost dream: in both these titles, Cloud’s home and dream are equivalent to his Promised Land. It’s confirmed yet again that Aerith is the one Cloud hopes to return to, just like every soul returns to the Lifestream. At this juncture of my research, I was curious as to why the last thing Cloud remembers before waking in Palamecia is the run-up to the Reactor 1 bombing mission in OG (disk 1, chapter 1). This mystery will have to persist for a while longer.
The alarm bells in your head might’ve been triggered by the mention of the wishing scene’s rainbow ripple effects— and rightfully so. This visual cue has sparked passionate debate in the fandom since its appearances in Rebirth, as seen in these pictures:
Zack Choosing To Get A Cure For Cloud, Rebirth Chapter 14; Creating a New World/Timeline
Aerith Pushing Cloud Out of that World/Timeline, Remake Chapter 14
Cloud Blocking Masamune, Rebirth Chapter 14; Creating New World/Timeline
You might have read or heard that this rainbow effect signifies that a character has entered another timeline, created a portal to another timeline, created a new timeline or is being shown different timelines. Indeed, whenever the OG timeline is deviated from in a significant way, this effect appears. The pictures above present multiple examples of these shifting realities.
One might propose that the rainbow ripples in Eclipse Contact and Rebirth are unrelated because of the long period between their respective release dates. This long in-between period indeed makes it likelier that the effect was used without forethought in Eclipse Contact, forgotten over the years, and incidentally reused in Rebirth as a plot-important visual cue with no connection to Eclipse Contact. I’m inclined to disagree since the crystal is specifically described as a vessel that can take Cloud “to a new world” by Echo, which is a bit on the nose. Regardless, it’s plausible that there’s no connection. That is, it would be, if the rainbow effect didn’t show up in Remake too.
When the Whispers are finally defeated in chapter 18 of Remake, a burst of the rainbow ripple effects indicate the emergence of multiple worlds, newly freed from the restrictive clutches of fate (1:16:36-1:16:47). Shortly thereafter, Sephiroth takes Cloud to the Edge of Creation and invites him to join forces with him. Cloud refuses, and Sephiroth says the following:

“Seven seconds till the end. Time enough for you. Perhaps. But what will you do with it? Let's see.”

The question “What will you do with it?” implies that the answer is unknown, meaning Cloud is no longer bound to the OG timeline by fate: many alternate futures lay ahead. Sephiroth is telling Cloud and the audience that now, the mystery of the Remake trilogy has become “Which future will Cloud bring into existence? Which among the infinite possible timelines will his choices result in?” After pondering this aloud, Sephiroth leaves Cloud alone to consider the rainbow effects in the sky (1:19:23-1:19:36). Because they generally represent alternate or changing timelines, it’s safe to assume that the rainbow ripples here represent the myriad of possible worlds that Cloud’s actions in those seven seconds could generate. After all, Sephiroth was just talking about them, and chapter 18’s description in Remake reads as follows:

“In a world beyond, Sephiroth shows Cloud a vision of the planet seven seconds before its demise. Having strayed from the course destiny set for them, they strike out on a path towards an unknown future."

This explains why the player is shown Cloud staring at those colors in the apocalyptic sky at world’s end, directly after hearing Sephiroth’s cryptic words: those are all the alternate “unknown future” timelines ahead of him, now unravelled from fate. Amongst those rainbow ripples lies the answer to the question “What will you do with [the seven seconds]?”
Given that Remake was released in 2020 and Eclipse Contact came out in 2017, the major story elements of the Remake trilogy —including the eventuality of alternate timelines— had to have been planned out at the time of Eclipse Contact’s release: while the MFF x FFVII Remake collaboration was being made, Remake was also in production. Also recall that the collaboration event and the Remake trilogy share a codirector in Hamaguchi, a writer in Nojima and a producer in Kitase. Based on all this, it’s more than likely that the rainbow ripples in the Remake trilogy and inEclipse Contact represent the very same thing: alternate worlds and timelines. All this to say that when the rainbow effect appears around the crystal in the Eclipse Contact, it means the crystal is acting as a vessel to another world, just like Echo said.
But that’s not all Echo said: she also mentioned that this other world would take Cloud to his home, to his Promised Land. We’ve already established what that means for Cloud, what it’s meant since two whole decades at the time of Eclipse Contact’s release: this crystal will take Cloud to Aerith. So, where exactly did the crystal take Cloud? In what world can he meet Aerith again?
The music that plays during the wishing scene gives us a huge hint. As I noted before, the track playing in the background is a slightly modified version of Remake’s “Midgar, City of Mako”, which plays in the introduction cutscene of Remake. This is a musical cue that the ending of Cloud’s journey in Eclipse Contact and the very beginning of the Remake trilogy are closely related. Add the fact that the devs wanted players to experience this collaboration event before playing Remake, and it becomes undeniable: the crystal that appeared to Cloud in Palamecia —which offers to lead him to his home and Promised Land, meaning to Aerith—, took him to the world of the Remaketrilogy.
Eclipse Contact is huge. The whole crux of my theory lives and dies right here. However, we still have part two of the MFF x FFVII Remake collaboration event to analyze as well as its promotions to look into before I can drop the thesis on you, so bear with me in order to receive the most thorough analysis of all this possible! I want to give you every drop of proof I can!
III. e) ii. MFF x FFVII Remake Fatal Calling
1) Fact-Finding
Fatal Calling came out February 1 of 2018, and its release campaign ended in March. The game opens with a cutscene: Cloud is floating, seemingly unconscious, through a sparkling, green current of light. The current flows into a circle of bright, white light, surrounded by rainbow ripple effects as Cloud is driven toward and into it. An orb floats along with him. The Advent Children theme “The Promised Land” plays, a choir of mournful, aching, mutedly desperate souls engaged in a lamenting prayer. Sephiroth’s voice echoes:

“Sephiroth: It’s time. You may turn your back on the past, lock your memories away. Hide reality beneath a layer of illusion. But destiny will not die so easily. Yes. At memory’s end you may plead for it all to go away. But the past is a curse, binding your soul. It’s time. Wake to your fate. Rise to your destiny.
Cloud: (In a half-conscious grunt) Reunion…
Sephiroth: The light will lead you. Wake to your fate. Rise!”

Sephiroth’s mentions of Cloud hiding under an illusion and repressing his memories are no doubt allusions to Cloud’s past, which was complicated and darkened by Hojo’s experiments. It makes sense, then, that Cloud responds with “Reunion”. Fatal Calling indeed focuses on Cloud’s relationship to his past, his identity and Sephiroth. Everything involving Nibelheim —where everything started—, Sephiroth’s manipulation, and Hojo’s experiments are on the table. Also noteworthy if not out of place is Sephiroth’s evocation of fate.
Cloud enters a battle with Sephiroth with the help of Wol and Echo, who are surprised to see him back in Palamecia. Cloud tells them about the orb seen floating along with him in the opening cutscene: though he calls it a materia, he doesn’t know how or when he acquired it. Based on his behavior, it appears that Cloud remembers just as little about the events of OG as he did by the end of Eclipse Contact. Wol informs Cloud that whoever he heard speaking to him on his way here was probably Vox pretending to be Sephiroth.
As the group advances, Cloud recalls Midgar and decides they should go there next. At one of Midgar’s mako reactors, the group encounters Sephiroth, who speaks to himself:

“It's still not enough. This... this is but a pale imitation of the power I desire.”

Once Sephiroth has disappeared, Cloud explains what he remembers: Sephiroth was the greatest SOLDIER of all and a hero to Cloud, though Cloud can’t remember what exactly ended this admiration. As players of FFVII OG, we know the event in question is the Nibelheim incident, wherein Sephiroth slaughtered the town’s residents, including Cloud’s mother, after learning of his past. The former war hero also severely injured Tifa, whom Cloud presumed dead when he found her in the old mako reactor with a vicious slash on her chest. Cloud is agitated by the gaps in his memory, so the group resolves to follow Sephiroth for answers. When they find him again, Sephiroth causes Cloud to experience a piercing headache with the mere mention of the Reunion. They fight, but Sephiroth is too powerful— he skewers Cloud with the masamune and taunts his unconscious body:

“Sephiroth: A puppet. I won’t kill you. Not yet. Not until you know true despair.
Wol: If you want despair, we got plenty to go around. Palamecia’s full of it.
Sephiroth: Yes, this planet knows suffering. But it is not the world that was promised to me. I must go home. Tell Cloud, if he wants to see me again, he should face his memories. I will await him there, in the land of memory, where it all began. In Nibelheim.”

Sephiroth darkens Cloud’s materia, turning it black. Later, Wol explains to Cloud that Sephiroth stole the light from his materia, taking Cloud’s strength along with it.
Once Cloud has woken up, the group travels to Nibelheim to uncover the truth about Cloud’s memories. Cloud slowly gathers pieces of his past, shown to the player as titled, diary-like text written from various perspectives. Cloud learns the truth about SOLDIER, Jenova cells, Sephiroth, and what happened in Nibelheim. Let’s examine a few of these diary entries:

“A Warrior’s Tale: There's a girl in Nibelheim I think about. Warm. Cheerful. More grown-up than a child. Haven't talked to her much, but she seems nice. She's going to be leading the SOLDIERs to the mountain reactor. Maybe if I get into the survey team I'll get a chance to talk to her? Nah. She's out of my league.”

Young Cloud’s crush on Tifa is on full display! This must be a memory from his time as an infantryman accompanying Zack and Sephiroth to Nibelheim.

“Tale of the Nameless: I drift along in the mako, asleep. Who am I? Who am I? Who am I? Who am I? Give me a number. I… I… I am… The Reunion. The Reunion must happen.”

This entry could be taken from any one of the Nibelheim survivors’ perspectives, as they were all bathed in mako and turned into Sephiroth clones. I would venture to say this is Cloud’s perspective though, given the reference to this iconic line from OG:

“Cloud: Professor... please give me a number. Please, Professor...
Hojo: Shut up, miserable failure.” (disk 2, chapter 2).

The trio encounters Sephiroth near the old Mt. Nibel mako reactor. Because Sephiroth stole the light from his materia earlier, Cloud goes into the confrontation already drained of his strength. However, when Cloud lifts the materia in his hand, it lights up and creates rainbow ripples in the air around him, similar to those seen in Eclipse Contact and Rebirth. Cloud is healed of his injuries: he closes his eyes for a moment, wearing a peaceful expression. Sephiroth is displeased, but recovers quickly:

“Sephiroth: The guiding light… it healed you.
Wol: […] here, near the mako reactor, the materia regained its light. And your strength returned […]. [Sephiroth]’s here so he can steal the power you've stored inside that materia.
Sephiroth, with a short laugh: I have all the power I need. Cloud. What strength you’ve regained is yours. Use it to fight me. It’s time. Let’s decide this, in this land lost to despair. The prize is home. The Promised Land. There to answer the call of destiny.”

With this second evocation of fate, Sephiroth disappears.
Cloud, Wol and Echo find Sephiroth at the Northern Crater. He mocks Cloud for believing the orb in his possession is materia. Sephiroth waves a hand and his signature black and purple fog surrounds Cloud, immobilizing him. Sephiroth claims that the power Cloud regained at the Mt. Nibel reactor was Sephiroth’s all along. Now that it courses through Cloud’s veins, Sephiroth controls him. He calls Cloud his puppet and finishes with the following before the two vanish, leaving Wol and Echo alone:

“Now, let us return. Back to the Promised Land. The time of the Reunion has come.”

After Cloud finally breaks free and defeats Sephiroth with the help of Wol and Echo, the villain makes a final threat:

“Very good, Cloud. You’ve destroyed an illusion. But the time will come to abandon your illusions and face reality. Then, you will know true pain.”

Sephiroth disappears for the last time, his body surrounded by his signature dark fog and the rainbow ripples. A piano rendition of Tifa’s theme begins. Cloud’s orb rises into the air and becomes a crystal, with the same shape and glow as the one we see in Eclipse Contact. The following dialogue is illuminating:

“Cloud: I will fight. The light will lead me where I need to go.
Wol: You sure? Wasn’t that [crystal] Sephiroth’s?
Cloud: I heard Sephiroth's voice, at the end. Inside me. Whatever he put in me, it’s still in there. Someday I’ll settle that score. If I can't avoid destiny, I might as well face it head-on.
Wol: Yeah. That was quite a speech, Cloud. Surprised you made it through without laughing.
Cloud: Yeah, forget I said it. I will too.
Echo: Forgetting won’t make it go away. Even if the words fade from memory, your dream will never disappear. Not until it becomes real.“
The crystal shines as though in response.
“Echo: See? See, that's how the light of hope works. Hope can turn your dreams into reality.
Cloud: Yeah. I guess so. I might forget this world, but I won’t forget hope. And my reality, that’s for me to live.”

Tifa’s theme ends. Cloud approaches the crystal, and disappears in a beam of blinding light. Once Cloud has vanished with the crystal, Aerith’s theme begins playing. A few pale feathers with a slight orange tint (the color of MFF) float down onto the floor where he stood seconds before. The image fades to black. The credits roll, and Aerith’s theme continues all the way through.
Once both the final name in the credits and Aerith’s theme fade, we’re surprised by a sudden, troubling image: Sephiroth appears in a frightening flash, standing amidst the flames of Nibelheim. When his image fades to black, the collaboration title *“Final Fantasy VII x Mobius Final Fantasy”*appears on the screen. The FFVII title is accompanied by the 1997 meteor logo. Then, a flash of light: the titles reappear, except this time, they read “Final Fantasy VII REMAKE x Mobius Final Fantasy”. The new Remake Meteor logo replaces the 1997 version. As soon as these changes to the FFVII title and meteor logo occur, Aerith’s theme returns. It plays on until the game ends a few seconds later, the screen fading to black.
III. e) ii. 2) Fact Analysis
The introduction cutscene shows that MFF Cloud travelled from Eclipse Contact to Fatal Calling via Lifestream. It’s unclear how much time has passed in between, but the atemporal nature of the Lifestream makes the question irrelevant. My theory that MFF Cloud has died is corroborated by the way he’s depicted in the opening cutscene: his eyes are closed and his body is limp as the Lifestream carries him.
Eclipse Contact ended with Echo’s claim that Cloud will face his true self and confront his past while he journeys to his Promised Land. This description resembles what Cloud experienced in the OG Lifestream sequence (disk 2, chapter 8). Indeed, Fatal Calling revolves around the same topics the Lifestream sequence addresses: the truth about the Nibelheim incident, Hojo’s experiments, young Cloud’s crush on Tifa, etc. The opening cutscene shows Cloud being transported to his Promised Land and facing his past on the way there, just like Echo said he would.
Let’s now take a long detour to examine the song that plays during the opening cutscene of Fatal Calling: “The Promised Land” theme from Advent Children. The title and general subject of this song are obviously relevant to the cutscene, but there must be more to its inclusion than that. Perhaps the lyrics can help us understand its appearance in the opening cutscene of Fatal Calling. Here are the unofficial English lyrics (translated from the original Japanese lyrics by an anonymous fan and verified by me via DeepL):

“Why do we cling together?
Why do we give punishment to lesser hearts?
The planet did not forgive us
Did not forgive us
The planet did not forgive us
Did not forgive us
The pulse of veins flows through the earth
A faint, faint pulse
Of a heart drawn to death
A gentle life returns to the planet
Is it necessary to sacrifice souls?
Why do we cling together?
Why do we beg for forgiveness
In the Promised Land?” (“‘The Promised Land’ (theme)” by Final Fantasy Wiki).

The song appears to be a regretful lament of human behavior, expressed by the repetition of “Why do we […]?” questions. The behaviors listed are all typically human ones: the terms “[clinging] together” and “[giving] punishment to [the] lesser” express the uniquely human nature of tribalism and the consequences of the fear and hatred it can generate, and “[begging] for forgiveness in the Promised Land” is likely a reference to the human hypocrisy of only feeling sorry for one’s crimes when judgement day arrives. This last line describes a scenario where someone remains passive or ignorant in the face of something important, only to realize its essentiality once it’s too late. The repeated“The planet did not forgive us” lines reflect the fear of being condemned forever because of one’s mistakes, as though the planet is a deity one has sinned against. The lyric describing a pulse in the earth is obviously about the planet being alive— a reference to the Lifestream. But the pulse is faint and weak and the planet is dying, perishing because of mankind’s greed. This is an indictment of mako energy. The line “A gentle life returns to the planet” refers to an innocent’s soul returning to the Lifestream after death, while the next lyric “Is it necessary to sacrifice souls?” protests the “sacrifice” of the planet’s soul energy for mako production. In all this darkness, this song’s mention of “forgiveness in the Promised Land” leaves a modicum of hope for a better place, however meek, even though mankind might not deserve it. The song “The Promised Land” is both a lament of mankind’s ways and a plea for mercy, with religious and/or spiritual undertones. The song’s themes seem to be: the Promised Land itself, regret and shame, the sins and foolishness of mankind, the death of innocents, grief, Cetra spirituality, and a meek, quiet hope despite it all. The most interesting aspect of the song is its antithetical portrayal of death as a thing of both despair and hope, condemnation and salvation, cruelty and mercy, suffering and relief. Maybe we can glean more information about this theme’s significance in the world of FFVII if we examine the contexts in which it appears.
Importantly, the song plays in Marlene’s introductory narration of Advent Children, meaning its themes are related or similar to the film’s. I highly recommend listening and watching it again, even if you remember this iconic segment. Marlene references Aerith’s sacrifice as the image of Cloud lowering her into the water is shown. Note that Marlene says “Sadness was the price to see it end” (2:36) after we are shown Aerith’s death and her subsequent unleashing of the Lifestream (1:49-2:24): Aerith’s innocent life was sacrificed for the planet’s survival. The lyrics “A gentle life returns to the planet” and “Is it necessary to sacrifice souls?” suit Aerith’s situation quite well.
The theme also plays in Advent Children as Kadaj dies in Cloud’s arms (1:45:00-1:47:55), hearing Aerith’s gentle voice and reaching up to take her invisible hand. Here is what Aerith says to him in his dying moments as “The Promised Land” plays:

“Aerith’s voice: Kadaj?
Kadaj: Huh?
The dark sky has gone with Sephiroth. Healing rain starts falling from bright clouds. The rain no longer hurts Kadaj.
Aerith’s voice: You don’t have to hang on any longer.
Kadaj: Mother! Is that…?
Aerith’s voice: Everyone’s waiting, if you’re ready.
Kadaj nods his head slightly in acceptance. He holds out his hand, and slowly evaporates into the Lifestream. Cloud watches […]” (Advent Children).

Kadaj is brought into the Lifestream by Aerith as she provides rain from the Lifestream. All those with geostigma are healed by the rain, and Tifa feels Aerith’s presence as the party celebrates:

“Tifa, looking out at the falling rain […]: Somehow, I knew you were there. Thank you” (Advent Children).

Cloud stands in the rain with a smile —his first in the whole film—, closes his eyes and basks in Aerith’s healing with his face upturned. He is finally at peace:

“Cloud’s expression is one of peace as the [Lifestream] rain patters against him” (Final Fantasy VII Advent Children English script, “[83] Atop the Shinra Building”).

One thing is clear: the track “The Promised Land” accompanies Aerith. It only makes sense, since we’ve seen overwhelming evidence that she is Cloud’s Promised Land, and since she occupies the Lifestream —which some consider the Promised Land as it is where souls go after death— during the events of Advent Children. Note that when the piece plays, Cloud is shown either mourning Aerith and releasing her into the river at the Cetra capital, or basking in her presence, smiling with relief at the peaceful feeling that she’s somewhere near: these two opposing scenes reflect the song’s antithetical portrayal of death.
Additionally, the song’s themes of regret, shame concerning one’s sins and a small hope perfectly describe Cloud’s character arc and feelings in Advent Children. Cloud regrets his inability to save Aerith, which he considers a sin. Further, he only realized how important she is to him once it was too late to tell her. And of course, he harbors a fragile yet important hope that he’ll be reunited with her in the Promised Land:

“‘Can sins ever be forgiven?’ — Cloud asks this to Vincent, who mutters a brief answer. For both of them, ‘I couldn't protect my loved one’ is the sense of guilt that they carry, so their words resonate with weight” (FFVII 10th Anniversary Ultimania Revised Edition, “Chapter 2: Character in FFVIIWorld”, “Vincent Valentine”, “In Advent Children”, page 72).

&

"’It is my sin that I couldn't protect my loved one’ — under this assumption, Cloud closes off his heart. What will the reunion with Aerith bring him? ‘I... think I want to be forgiven. Yeah, I just want to be forgiven’” (FFVII 10th Anniversary Ultimania Revised Edition, “Chapter 2: Character in FFVIIWorld”, “Cloud Strife”, “In Advent Children”, page 40).

&

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

Just as the song and Marlene express in the introduction of the film, Aerith was innocent, and her sacrifice generated great grief. Cloud finally experiences peace when he feels her presence in the healing rain, and he smiles: he’s glad to be with her again, even if it’s only for a brief moment of tangential respite.
The scene depicts Aerith guiding Kadaj into the Lifestream as the song plays, tying her to the concept and theme song of the Promised Land once more. This connection is later solidified by Tifa’s thanks to the late flower girl. All of this evidence shows us that this musical theme is intimately linked to Aerith, as it never plays in her absence. After all, the song speaks of sins, the death of innocents, forgiveness, grief, a small sense of hope, regret and the afterlife: all themes relevant to Cloud’s feelings surrounding Aerith’s death in and outside of Advent Children.
The Remake OST also includes a version of this piece called “The Promised Land - Cycle of Life”. This iteration of the theme begins playing in the wake of the first bombing mission, right after Sephiroth taunts Cloud with his mother’s dying words in Sector 8 (chapter 2). Sephiroth appears to Cloud surrounded by flames, evoking the Nibelheim massacre, and the theme begins playing in the background once he disappears, continuing (13:17-15:30) as Cloud walks through the sector, encountering fires and destruction all around him. This version of the Promised Land theme is meant to emphasize the deaths of the innocent Nibelheim townsfolk and the innocents in Sector 8. This dreadful atmosphere is amplified by the cries of despair that ring all around as Cloud passes by NPC Sector 8 residents. Perhaps the themes of tribalism and mankind’s sin are relevant to this scene as well, since Shinra and Avalanche are two distinct and warring groups whose quarrels, regardless of their necessity, result in the deaths of innocents. The theme of guilt also emerges, reflecting the Avalanche members’ feelings upon seeing the unintended collateral damage of the explosion. “The Promised Land - Cycle of Life” plays until Cloud encounters Aerith on Loveless. So it seems in this scenario, the heavy weight of death and despair is lifted when Cloud meets the lively, cheery Aerith. Once more, Aerith is central to the musical theme of the Promised Land, as well as to the concept itself.
I also noticed that a version of the song plays as Cloud and the party ready to enter the Forgotten Capital to save Aerith in Rebirth’s chapter 14: it truly adds the weight of her upcoming death to the scene.
Back to Fatal Calling, the scene where Cloud regains his strength is quite mysterious. Wol says Cloud’s orb regained its “guiding light” light because of its proximity to the mako reactor. In the moment his strength is replenished, Cloud is shown tilting his head back and closing his eyes: this is reminiscent of the scene in Advent Children when he stands under Aerith’s healing Lifestream rain, feeling at peace. The rainbow ripples shining from the orb indicate that something is crossing the boundaries of worlds. Since the mako reactor pumps up the Lifestream, being near a reactor also means being physically near the Lifestream. This means Aerith’s spirit is within proximity. In my opinion, Aerith was able to heal Cloud from the Lifestream, just like in Advent Children. However, Aerith is not in Palamecia with him: her healing had to travel there through the Lifestream, transcending the boundaries of worlds, hence the rainbow ripples.
Let’s now address the appearance of Tifa’s character theme in Fatal Calling. Since Fatal Calling is all about discovering Cloud’s past in Nibelheim and then in Hojo’s lab, it makes lots of sense for Tifa’s theme to play as the crystal appears. In OG’s Lifestream sequence (disk 2 chapter 8), she’s the one there helping Cloud sort through his past instead of Wol and Echo. Cloud even picks up a piece of his childhood crush on Tifa in Fatal Calling as a shard of his memory. After all, this crush was the catalyst for him joining SOLDIER, and everything that transpired in consequence:

“Cloud: That was the first time I heard about Sephiroth. If I got strong like Sephiroth, then everyone might... If I could just get stronger... Then even Tifa would have to notice me” (FFVII OG, disk 2, chapter 8).

Additionally, it’s fitting that her theme should begin right after Sephiroth speaks of “[abandoning] your illusions and [facing] reality”, considering that Cloud’s false persona was concocted by Jenova using Tifa’s mistaken impressions of Cloud:

“While being tended to by a station worker in the Sector 7 Slum train station, [Cloud] was reunited with Tifa, and using the abilities of Jenova’s cells, formed a new personality” (FFVII 10th Anniversary Ultimania Revised Edition, “Chapter 2: Character in FFVII World, “Cloud Strife”, “Cloud Behavior Record, Compilation of FFVII”, page 40).

&

“(Image caption:) A new personality takes shape the moment he sees Tifa” (FFVII Story Playback, “Story Check: Tifa’s Flashback”).

&

“Tifa (to Cloud): Deep down, you're a pretty nice guy. Didn't see it when we were kids, but...” (Remake, chapter 14).

(Continued in part 4)

Ive been trying to remember what this game was called for years. Small ramble one of my aunts passed away( i think I was 12 at the time so thats why I put 2012 but i think Ive heard mention of this aunt passing in 2006 so thats why I gave a year time span) I would go over to her house for a while after and play games on the consoles she had with my brothers she had a ps2 I think a ps1 and a gamecube.
Console:ps2
Graphics: mix of kingdom hearts final fantasy
Genre: Fantasy,open world, turnbased combat
Estimated release year: 2006-2012
Other details: I swear it wasn't final fantasy but it felt like it. From what I can remember it was like 3d and the camera followed your character
It was open world I think there was a brother and sister I think they got separated, they had some kinda catchphrase they would say a lot
the battle sequence would happen as you ran around and maybe you bumped into something and then you entered into turn based combat.
I think you could have a team of like 4 characters when you fought. I do remember some minor cursing in the dialogue I think you played as the brother mostly.
There was a cave area and it wasn't far from like a big town pretty sure the town had windmills and water wheels it seemed like kind of a busy town and it felt like a fantasy story.
I swear if I saw pictures of like the main characters and gameplay areas I could tell you immediately if it was right. The character I'm assuming is the brother did seem to like to curse quite a bit in his dialogue.
It was pretty colorful and adventurous along with the fantasy aspects of fighting creatures and monsters and I think there were points you fought some people too. I didn't play it very long but it was very interesting to me
The brother character may have had gray or silver hair and he has some muscle too him. I dont remember being able to use characters that had spells in the turn based combat sequences but I won't completely rule that out.
I think you did get a minimap on your screen and in the big overworld map you may have been able to teleport I'll add more info as I remember it.
I know for a fact it wasn't Blue dragon
Suikoden seems close but I also dont think thats it and the characters im saying are a brother and sister pair very well may be not actually related but i feel like that was their dynamic. The one I'm calling the brother character I distinctly remember him cursing kindve a lot or a medium amount idk why that specifically stuck with me.
Theres a chance it could be one of the final fantasy games as ive never really played them but besides the MC having a penchent for swearing I'm almost 100% sure his name wasn't cloud and theres just something about my memory that says it wasn't final fantasy
There was also cool background music that would change depending on the environment you were in it had kindve an upbeat feel to it. And I think when the subtitles came up when characters were speaking it didn't have their faces next to the text box like a lot of games do.

I am testing out reinforcement learning for the first time with gymnasium.
I am following a youtube tutorial.
I am getting the following error when I run the training loop:
ValueError: setting an array element with a sequence. The requested array would exceed the maximum number of dimension of 1.
Here is my training loop (I am getting the error at `env.step`):
``` import gymnasium as gym
env = gym.make('LunarLander-v2')
print(f"Action space: {env.action_space}") print(f"Observation space: {env.observation_space}")
import numpy as np
num_games = 250 load_checkpoint = False
agent = Agent(gamma=0.99, epsilon=1.0, lr=5e-4, input_dims=[8], n_actions=4, max_mem_size=100000, eps_min=0.01, batch_size=64, eps_dec=1e-3)
if load_checkpoint: agent.load_models()
scores = [] eps_history = [] n_steps = 0
for i in range(num_games): done = False observation = env.reset() score = 0
while not done: action = agent.choose_action(observation) print(env.step(action)) observation_, reward, done, _, info = env.step(action) score += reward agent.store_transition(observation, action, reward, observation_, int(done)) agent.learn()
observation = observation_
scores.append(score) avg_score = np.mean(scores[max(0, i-100):(i+1)]) print('episode: ', i,'score %.1f ' % score, ' average score %.1f' % avg_score, 'epsilon %.2f' % agent.epsilon) if i > 0 and i % 10 == 0: agent.save_models()
eps_history.append(agent.epsilon)
x = [i+1 for i in range(num_games)] ```
Here is my agent (where `DeepQNetwork` is the generic 3-layer FC network):
```
class Agent: def __init__(self, gamma, epsilon, lr, input_dims, batch_size, n_actions, max_mem_size=100000, eps_min=0.05, eps_dec=5e-4): self.gamma = gamma self.epsilon = epsilon self.eps_min = eps_min self.eps_dec = eps_dec self.lr = lr self.action_space = [i for i in range(n_actions)] self.mem_size = max_mem_size self.batch_size = batch_size self.mem_cntr = 0 self.iter_cntr = 0 self.replace_target = 100
self.Q_eval = DeepQNetwork(lr, n_actions=n_actions, input_dims=input_dims, fc1_dims=256, fc2_dims=256) self.state_memory = np.zeros((self.mem_size, *input_dims), dtype=np.float32) self.new_state_memory = np.zeros((self.mem_size, *input_dims), dtype=np.float32) self.action_memory = np.zeros(self.mem_size, dtype=np.int32) self.reward_memory = np.zeros(self.mem_size, dtype=np.float32) self.terminal_memory = np.zeros(self.mem_size, dtype=bool)
def store_transition(self, state, action, reward, state_, terminal): index = self.mem_cntr % self.mem_size self.state_memory[index] = state self.new_state_memory[index] = state_ self.reward_memory[index] = reward self.action_memory[index] = action self.terminal_memory[index] = terminal
self.mem_cntr += 1
def choose_action(self, observation): if np.random.random() > self.epsilon: state = T.tensor([observation]).to(self.Q_eval.device) actions = self.Q_eval.forward(state) action = T.argmax(actions).item() else: action = np.random.choice(self.action_space)
return action
def learn(self): if self.mem_cntr < self.batch_size: return
self.Q_eval.optimizer.zero_grad()
max_mem = min(self.mem_cntr, self.mem_size)
batch = np.random.choice(max_mem, self.batch_size, replace=False) batch_index = np.arange(self.batch_size, dtype=np.int32)
state_batch = T.tensor(self.state_memory[batch]).to(self.Q_eval.device) new_state_batch = T.tensor( self.new_state_memory[batch]).to(self.Q_eval.device) action_batch = self.action_memory[batch] reward_batch = T.tensor( self.reward_memory[batch]).to(self.Q_eval.device) terminal_batch = T.tensor( self.terminal_memory[batch]).to(self.Q_eval.device)
q_eval = self.Q_eval.forward(state_batch)[batch_index, action_batch] q_next = self.Q_eval.forward(new_state_batch) q_next[terminal_batch] = 0.0
q_target = reward_batch + self.gamma*T.max(q_next, dim=1)[0]
loss = self.Q_eval.loss(q_target, q_eval).to(self.Q_eval.device) loss.backward() self.Q_eval.optimizer.step()
self.iter_cntr += 1 self.epsilon = self.epsilon - self.eps_dec \ if self.epsilon > self.eps_min else self.eps_min
```
Any and all help would be greatly appreciated.

Hey everyone,
Is it possible for photo files to seemingly spontaneously vanish off of a hard drive, never to be seen again?
I took a vacation and shot a ton of pictures on my Nikon D810, RAW format, with a Sandisk Extreme Pro 128GB "Compact Flash" memory card. I loaded all these pictures onto my G Tech 8TB external hard drive, which I had set up as a RAID array (thinking if one drive fails, the data will be safely duplicated on the second drive.
I went to look at the pictures not too long after ward, maybe a couple of months after they were transferred tot he hard drive, and nearly ALL the pictures were simply missing. Vanished. There were some sub-folders i had created to house a time lapse sequence, and most of those were gone, too. All drone video footage and stills were gone, along with the subfolder.
I tried to run a recovery using just about every DIY recovery software out there (EaseUS Data Recovery, Disk Drill, Tenorshare 4DDiG, Ontrack Recovery Pro; I even sent in the drive to 2 different prominent data recovery labs. One couldn't seem to find the files, the other never provided evidence of being able to recover the files, but was willing to charge $3500 to do so.
The hard drive is back in my possession. Has anyone ever heard of such a situation, where pictures just vanish off the hard drive, and even a professional recovery attempt turns up nothing?
I made two mistakes.
1) I ran a recovery attempt on a different memory card that turned up pics from the final 2 days of the trip, and like an idiot, put the recovered photos on the same target hard drive I was attempting to recover things from,
2) There was another trip shortly after the initial trip, and I loaded pics from that trip also onto this hard drive. I don't recall if the pics from the first trip were still intact or not; possible they were still there, OR had already vanished - not sure.
I haven't moved any files around, added or deleted anything since. Honestly willing to offer a reward at this point to anyone that can figure out what's going on, if the data is still somewhere in a corrupted sector or if the pics may be gone forever. Happy to provide specific info, but as my rant demonstrates, I'm rather desperate at this point.

hi all!
i got a 5 on the ap calc bc exam and wanted to know how others have fared taking calc 3 their freshman year at umich? are there certain professors to try to get? any tips?
also, how much of calc 3 involves series and sequences? my memory is a bit weak on those topics
thanks in advance

I purchased a Wyse 5070 off of eBay in September 2023. It ran continuously without issue for about eight months. Now, it fails to boot.
The power LED cycles in the following pattern:

• < 1 second amber (orange)
• < 1 second white
• many seconds off
• (repeat)

The unit does not post any message to an external display (or at least, it doesn't post one fast enough).
I cannot find the LED blinking sequence in the user manual.
Does anyone know what this could mean?
I recently installed an M.2 SATA drive, but I cannot imagine that being the cause of any issues, since it ran fine for nearly a month with the new drive.
EDIT 1: I removed the drive to no effect.
EDIT 2: I genuinely do not understand what is happening. After half an hour of fiddling and watching it loop through amber-white-off... I pressed the power button and it turned on without issue. I couldn't believe my eyes! I turned it off to check if this was consistent... and it went back to looping.
EDIT 3: I somehow got it to boot up again and I was able to launch the pre-boot diagnostic. It crashed during the memory test, I think.

I'm trying to use FFmpeg to "record" a simulation by piping it the raw texture data. The problem is that each frame takes a different amount of time to generate, and that's showing in the output video. My current command looks like this:

-f rawvideo -vcodec rawvideo -pix_fmt argb -s 1366x768 -i - -vf "vflip" -framerate 30 -pix_fmt yuv420p -c:v libx264 output.mp4 

How can i make it so that the input will behave more like feeding it a sequence of images instead of... whatever its doing now? Again, currently, the output video, even though the video itself is at 30fps, is showing the simulation at the speed that its happening instead of 1/30 seconds per frame.
UPDATE: It seems that the issue was actually the way i was feeding it frames. The textures were being generated on the GPU and read back asynchronously, so I was receiving them out of order. I tried to fix that by saving the frames, and reordering them once I had the right order, but I didn't realize that the saved frames shared the same memory, so it was writing duplicate frames. I fixed it by copying the frame data for a couple frames at a time into a buffer, and then writing that to the pipe. Even though I give the pipe 8 frames at a time in chunks, its getting the framerate right now. That said, I did need to move the -framerate 30 to before -i -

Credit to Blue for the wonderful cover art of Trilvri
Thank you to:
u/SpacePaladin15 for creating the Nature of Predators universe.
u/EdibleGojid, author of Dark Cuts, for proofreading.
EmClear, aspiring author, for proofreading
You, the reader, for your support. I love reading your comments.
Please consider reading the works of my proofreaders as they’re all authors of excellent stories and be sure to check the links below for more of my work and beautiful art from members of the community.
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Memory transcription subject: Sawvek, Junior Extermination Officer
Date [standardised human time]: October 5th, 2136
Hard foam presses uncomfortably up against delicate pressure points situated across the length of my entire body, building up to an unbearable ache that makes me shift and turn against the thin mattress pad. I yank at the rough old blanket I’d taken out of storage and clutch it even tighter around my body, trying to keep out the chill. The best racks, the ones near the heating vents, had already been claimed long before I’d decided to move into the Guild House’s Barracks and it doesn’t seem likely that the current occupants will be giving up their spots any time soon.
My mind is still racing from the events of last paw, replaying the scene over and over again in my dreams and in my head. The way my brother had looked at me… That look on his face when he’d seen the real me…
My paw gives a sympathetic throb in memory, still aching from where it had met the wall, but at least I had been able to wrap it up a bit and stop the bleeding. I feel like I should take it as a small miracle that it isn't broken. More medical bills are the last thing I need right now.
I turn about in the bunk once more, rolling around in vain to try and find a comfortable position that doesn’t seem to exist. Through a conscious act of will I try to empty my mind and sleep, but the very act of trying not to think about things only brings them bubbling back up to the surface of my thoughts. My heartbeat echoes in my ears, a damnable drumming sound brought about by the exertion of my own restless tossing and turning. Out in the hallway I can hear the muffled shuffling of feet and murmurs of conversation. The Guild Hall never sleeps, and it seems that neither would I this paw.
Electing to abandon the attempt as hopeless, I cut my rest claw short and get up, venturing out into the hallway. If I can’t sleep anyway then I might as well start my waking claw early, maybe get in a little exercise. It’s not so bad when it’s self-directed, almost fun in a way. If our family had the money to support it then maybe I could have been an athlete of some variety growing up. I had always possessed something of a natural physicality.
“Stop wasting time with worthless questions about what could have been, Killer.” The voice interjects, early and active today by the sound of it. “You’ll never amount to anything more than a wild predator kept on a leash.”
There’s nothing to do but sigh and carry on. It was right after all. This is it. This is my life now.
Making my way down the hallway towards the gym I find myself walking past a row of private offices assigned to some of the more veteran officers on staff. Most are empty at this claw, their occupants either asleep or off doing other work. One room in particular catches my attention though, the one belonging to our newest PRED Team Commander.
The door leading inside is open and ajar, seemingly forgotten in the midst of more pressing business and granting me a look inside. The entire room is a mess, papers and binders strewn about everywhere with official looking documents littering the floor. A map of the city decorates the otherwise unadorned and impersonal space. On its face it hosts a variety of multicoloured pins, all connecting seemingly arbitrary locations as well as photographs of people and places from the records department. The face of the former PRED Team Commander, Vrienna, looks out at me once again with the same cruel eyes that decorate the memorial wall. Beside her photo are another pair of eyes, a pair I recognise, but not one I would have expected to see here.
Trilvri, my brother’s creepy coworker, the one who’d brought him home the night he’d drunk himself into a stupor, stares out at me from the wall. He was younger in this photo, barely of age, if even that, and dressed in a regulation space corps flight suit, but I could still recognise him. Trilvri’s eyes appear somehow more lively than when I had met him in person, though it does nothing to improve his overall disposition, looking, as they are, as if behind them resides only hatred and a feral desire to kill and rend. Come to think of it, he had mentioned he used to be in the corps hadn’t he? ‘Used to’ being the operative word. When I’d asked he hadn’t seemed particularly fond of his time in the service…
Situated as he is next to Vrienna like that, their pitch-black wool and evil-looking eyes bear a striking resemblance. It was the exact same sort of predatory expression that bore into your soul, the kind that made me feel weak and exposed, the same kind that was worn by-
“What do you think you’re doing in my office?” A voice asks from behind, nonplussed, but with a casual depth of power and authority behind it that makes me freeze on the spot.
“Commander Glagrig, Sir!” I turn about on the spot, fixed at attention in the doorway as I stare up at the man himself. “I’m sorry to intrude. I noticed someone had forgotten to close the door so I was just going to secure it.”
“I see.” Glagrig doesn’t seem to believe a word of it, but neither does he seem inclined to press the issue. “At ease. Tell me, do you recognise the man in the photo there? Have you ever seen him before?”
“No, Commander.” I lie reflexively as I shift to a parade rest, not fully knowing why, but knowing that whatever is going on I want no part of it, for me or my brother. It’s only after the fact that it occurs to me that lying might be worse than telling the truth.
“How… regrettable.” The prestige officer says plainly and I can’t tell whether he believes me or not. “If you do ever catch sight of this individual, then be sure to let me know immediately.”
“Y-Yes, Commander.” I subconsciously swallow with apprehension, hoping that he doesn’t notice. I want nothing more than to run away as quickly as I can, but I haven’t been dismissed yet.
“Junior Officer Sawvek, was it?” Glagrig carries on, looking me up and down, dissecting me with his eyes. “You have quite the interesting record on file and Officer Intalran is quite adamant about your potential. Your simulator results speak for themselves, even if they are just simulations.”
“Thank you, Commander.” I can feel myself growing dizzy as I answer with uncertainty.
“Don’t thank me,” the all-consuming void in front of me replies with no hint of warmth, “just remember that your performance is under evaluation. It’s in my interests to keep note of promising young aspirants who might someday join my team, and I would hate to see you squander your talents.”
“I-I understand, Commander.” I flick my tail in agreement, straining not to look away towards the floor.
“Dismissed.” Glagrig brushes past me as he enters his office, moving to shut the door behind himself.
“Um, Commander?” I ask just before the door shuts, feeling a beckoning call of curiosity that even the predatory prestige exterminator couldn’t crush. “If you don’t mind me asking… Why do you have all that stuff up on the wall there?”
The door opens again, just a crack, and I can feel my superiors' weighty presence bearing down on me, almost suffocating in its intensity. “It’s simply a personal matter. I have reason to believe that the prior investigation regarding the kelach incident was conducted according to… insufficient standards. The predator responsible was never found and I intend to remedy that deficiency.”
“How hard could it be to find a kelach?” I tilt my ears in confusion. “They're huge!”
“Despite initial reports,” he answers with an ominous, cold tone that sends a chill up my spine, “it may be possible that we're dealing with something far more dangerous than just a kelach.”
“T-Thank you, Commander.” I flick my tail in appreciation and the door closes.
I breathe a sigh of relief as the malevolent aura recedes. That was too close.
“And you’re a complete moron going back to ask him more questions afterwards, Killer.” The voice rises with amusement. “What? Do you want him to figure you out and turn you to cinders? Only a matter of time, Killer.”
“Ugh, shut up.” I mutter under my breath, quickly turning back around to make sure Commander Glagrig didn’t hear me, but when no reprisal comes I quickly depart. If I’m gonna be stupid I should at least try not to do so right in front of his office.
As the imminent threat of our in-house prestige exterminator dwindles so too does the energy driven by the adrenaline of the encounter. It figures that the moment I roll out of bed I want to take a nap again, but I know the moment I lie back down I’ll be back to full wakefulness in an instant. That’s just how that sort of thing works. With that in mind there’s really only one solution, a big, steaming hot cup of tea.
Making my way towards the tea machine I spot Jonsco, the feisty little primitive that mans our dispatch centre, smacking the top of the dispenser with a clenched paw while holding a mug underneath it.
“Is the tea machine fixed?” I ask as I pull out a mug from the cabinet myself.
Jonsco sighs heavily and shoots me a combative glare. “For the last time it’s not my brahking job to fix this damn tea machine! You got a problem with that then you can go pester someone else about it!”
I shrink back under the harsh rebuke. Jonsco may be small, but there was as much rage and fury condensed into that little package as anyone else in this department. Maybe more.
“I… I didn’t mean to imply…I just wanted to know if it was working again or not… Sorry.” I sputter out, feeling properly admonished as I look away towards the ground.
Jonsco looks at me quizzically, his hard glare softening somewhat as he seems to truly see me for the first time before returning to his usual scowl.
“Right…Whatever you say…” With one final smack the machine coughs and chokes, sputtering to life with a struggle, and a small trickle of freshly brewed tea begins to fill Jonsco’s cup. “The machine is on the fritz again as usual, but if you hit it just right, do a little percussive maintenance, then you can get it started again.”
“Thanks, Jonsco.” I lean back against the wall and watch as the mug slowly fills, impressed by the primitives know-how. “That's actually pretty smart of you.”
“For a ‘primitive’ right?” The words are barbed and spiteful, but lack his typical enthusiasm, more of a simple statement of fact than a real question. I couldn't exactly deny it, those had been my thoughts, and so the silence drags on awkwardly, marked only by the splash of tea falling into the steadily rising pool.
“What are you doing here at this claw anyway?” I eventually ask, dodging the question entirely. “We’ve still got at least another half-claw until our crew's shift is supposed to start.”
“I could ask you the same thing, you know?” The angry little dispatch operator retorts. “I'm here early working an overtime shift so I can afford to put food on my family's table. It's expensive feeding that many mouths. What's your excuse?”
“I had a fight with my brother…” I rub the back of my neck as I turn away abashedly, “moved out of the apartment and into the barracks full time… couldn't sleep…”
“Well then you should hurry up and work on patching things up with him.” Jonsco looks at me with an uncharacteristic hint of sympathy in his eyes. “Your family are the only ones who might actually care. This Gods-damned place is a slyther’s nest and no one here gives a speh about you or your problems. If you want my advice, you should do your best to spend as little time in this cesspool as possible.”
With his cup now full, Jobsco steps back from the machine and begins walking out towards the main hall.
“Thanks, Jonsco.” My words stop him in his tracks as he walks away from me. “I appreciate it.”
“... You're welcome.” He says after a short pause, glancing back to look at me one more time before leaving. “See you around, Sawvek.”
Taking advantage of the tea machine while it’s still mostly working, I fill up my own cup and drink deeply of the warm, fragrant beverage. The taste is bitter and unpleasant, just about the quality I would expect of this Guild Hall, but even at the first taste it’s evident that it’s been loaded with an extra strength dose of caffeine. I down the drink quickly and rinse out the cup before continuing on my journey towards the training hall. Fatigue begins to fall away as I walk, bit by bit as the drug makes its way into my bloodstream, blocking off sleep receptors and energising me. I know I’ll probably pay for it later, no amount of caffeine can actually replace sleep, but for now it feels good and I can see how some people can get addicted to the stuff.
A loud, metallic clanging emanates from the gym as I approach, something unexpected for this time of paw. No one's reserved space in the gym for this claw and not many people are industrious enough to sweat on their own initiative. Peeking my head inside the door I spy Bikim, the perfect, privileged, ‘holier than thou’ brahkass occupying the otherwise empty weight room. His irritatingly handsome face is taut with strain as he performs a series of weighted squats, his back and leg muscles straining underneath his short-cropped wool, and he pants heavily under the exertion.
I’m half tempted just to leave and go back to bed despite the fact that there’s no way I’d be getting any sleep with the tea running through my system. It’s too early in the paw to deal with Bikim’s speh. Before I can slip away unnoticed though, he spots me. I give a heavy sigh and continue my way inside. There's nothing to be done for it now. Trying to back out now would only make things worse later, a sign of weakness.
“What… Do you want… Predator?” Bikim asks between gulps of air as he reracks his weights, practically hanging off the bar to support himself on shaky legs.
“Good paw to you too, Bikim.” I say, forcing civility into my tone. “I’m here to use the equipment. Same as you. I'm allowed.”
“Whatever…” He eyes me with suspicion. “Just keep your distance… I don't want to catch any of your taint.”
“Believe me,” I flick my tail out in irritation, “I intend to.”
Looking around the room for available spots, I march my way over towards a cable machine on the opposite side of the room. Not nearly as far from Bikim as I would like, but the farthest I can get without leaving the weight area entirely. Bikim watches me all the while as I seat myself down and begin adjusting the machine. Eventually he grows tired of watching me fumble around with the machine and returns to his own exercises with a displeased flick of the tail, quite obviously judging me for my lack of experience with the equipment.
A tense sort of quiet settles over the room as we each go about our business, trying our best to ignore one another. Bikim slowly winds his way around the room, cycling from station to station to exercise all the different parts of his body in sequence before repeating it all again. He seems to bypass my corner of the room, glancing over at me with each repetition of his pattern. For myself, I stay put where I am, taking advantage of the varied exercises offered by the versatile machine to experiment with different muscle groups. Occasionally I slip up, dropping the weights with a loud clang that always draws Bikim’s ire. Every time he seems just a bit more disgruntled, a bit less patient. Eventually, the constant disruption reaches a tipping point and the pompous, self-entitled jerk walks over to confront me.
“Do you always do this?” He asks rhetorically. “If you keep slamming the weights like that you're gonna break it. Your form is speh so either fix it or lower the weight so you don't have to keep compensating. Better yet, just leave. You’ve been monopolising the cable machine for almost half a claw now. I don't know why you're even here in the first place.”
“Oh, look at Mr. Know-it-all thinking he can just go around telling us what to do, eh Killer?” The voice rises to the challenge. “Where does a guy like that who's been handed everything his whole life think he can get off with telling us how we should be doing anything?”
“Brahk off Bikim!” I don't even try to reign in the predator inside, feeling justified in letting it roam free for once. “I didn't ask for your advice and you don't get to kick me out of the weight room just because you can't wait your turn! I'm here because I don't have anywhere else to go! Ever since Intalran dragged me into this stupid Guild this brahking job has taken over my entire life! I don't even have a home to go back to anymore!”
Bikim's body tenses at my tirade and his tail flicks out aggressively like a whip.
“That's your own damn fault, predator!” He shouts back, eager for the excuse to vent his own frustrations. “Maybe if you weren't just some blood-starved beast out roaming the streets then you wouldn't be here right now! I’ve read your file! You got a history of herdless behaviour and physical altercations! Someone should have institutionalised you a long time ago, but someone took pity on you and let you slip through the cracks because of your poor dying mommy! They should have known it would come back to bite them! A normal, functional member of the herd wouldn't even think to pick a flamer up off the ground and burn another person to death with it! But you? You did it instinctively! You revelled in it!”
“You think that was easy for me!” I get up and walk towards him as I yell incredulously. “You think I asked for that to happen! You think it was fun for me to get choked out and almost eaten! That thing I burned wasn't even a person anymore! It was a predator in the middle of a feeding frenzy! So yeah, I did what I did, and you know what? It's a good thing I did! If I wasn't a freak of nature then that thing would have kept on going and kept on killing! Last I checked, preventing that sorta thing was supposed to be your job, but I had to be the one to step up! Now I have to live with the consequences of my actions every paw, knowing that I’m a Protector-damned killer that doesn't belong anywhere! Maybe you, in your infinite wisdom, would've known the perfect thing to do in that situation, but I’m not you! I’ve had to work and struggle for every little thing I have! Not just had it handed to me on a silver platter!”
“Oh, so you got me all figured out do you?” Sarcasm drips from Bikim's mouth as he looks down on me. “You don't know me. You don't know my life or what I’ve been through, how hard I’ve worked to get where I am. You just see the end product from cycles of effort and assume that it's always been that way, that it's always been that easy. It hasn't.”
“Yes, I’m sure you had it so hard growing up Bikim.” Saying it aloud almost makes me laugh. “You’re such a child of privilege that it drips off of you with every move you make and every word you say. I hate people like you, thinking that you're better than everyone else just because you were lucky enough to be born into wealth and status. Try living like the other side for a change, scrounging for every credit just so you can afford to eat, and then try to tell me how hard you had it with a full belly and a warm home!”
“You’re right, predator,” Bikim says contemptuously, “I am a child of privilege. My family has a long and decorated military tradition, my father is a captain for the space corps, a brahking hero, and I’ve reaped the benefits of that. That privilege came at a cost though, and that’s called expectations. Second best is not good enough and I've had to put in ten times the effort as anyone else my whole life just to meet standards! At least you grew up with a father who was there for you and loved you without the condition that everything you do is perfect!”
“All that talk about reading my file and you didn't even get past the first page did you?” I snap at him with a snarl. “ I didn't grow up with a father at all! He's been dead since I was in elementary school! Killed in action! I barely even remember him anymore!”
That one seems to give Bikim pause, but I’m not done yet.
“If you and your whole family are such a bunch of brahking heroes then how come you're here, working as a common garrison exterminator in a run-down backwater city like this?” I taunt. “Shouldn't you be out gallantly fighting the Arxur with one of the fleets or on a colony pacification force rather than making my life here harder than it already is?”
“That's the price for failing to meet expectations,” Bikim quiets down, drawing away from the world and into himself, “the price for knocking up a beautiful, wonderful girl right after graduation and refusing to get rid of it afterwards. You get cut off. You lose that privilege, and you do whatever you have to in order to provide and try to be a good role model for your son.”
Now that one threw me for a loop. In the short time I’ve known Bikim I’ve had a lot of thoughts about him, few of them good, but never would I have expected him to be the type to take responsibility… For anything. Still, there is one thing about his story that doesn't line up…
“Oh really?” I take a step back as I watch for his reaction closely. “I seem to recall Jonsco mentioned just the other day that your wife had left you for a Human.”
“Don't you bring that brahking primitive into this!” Bikim's anger flares in an instant before returning to a subtle simmer of regret. “We’ve just been having a… a rough patch in our relationship. I’m not giving up on us. I’ll win her back. She's just… confused and being taken advantage of! It's all that damn predators fault!” Bikim sighs and sits down on a nearby bench. “You're not the only one whose had something taken from them because of this job. You're not the only one without a home to go back to.”
Looking at Bikim now, a sad, pathetic man moping on the bench with nothing better to do on his rest claw than to try to externalise his inner pain… I find it hard to stay angry at him. He's still a narcissistic brahk ass and a complete jerk, but it's hard to truly hate someone when you actually know them. I had made quite a few assumptions about him when we first met, and he certainly hadn't helped my impression of him since, but… perhaps I was wrong to judge him so harshly?
“Nah,” the voice chortles, “he’s a piece of speh that got what he brahking deserves for being an insufferable prick.”
Overhead the intercom crackles to life and I can hear Jonsco's voice reverberating over the airwaves.
“Officers Vaesh and Sawvek please report to the briefing area for assignment. Repeat. Officers Vaesh and Sawvek please report to the briefing area for assignment.”
“Sounds like it's time for your first field assignment, Kid.” Bikim says, staring up at the intercom. “At least it gets you out of my wool. Try not to brahk it up and make the rest of us look bad.”
“Hmph.” I turn to leave, muttering to myself. “Stupid brahkass.”
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A/N - Hello! Sorry this one took a while. Like I mentioned before I got delayed working on my Ficnapping chapter as well as a crossover One-shot that's still in progress (but hopefully will be done soon). In other news we have new art of Sawvek's life-changing encounter in the Builder's Lane Bloodbath as drawn by Miglove and you can still find that and everything else Nature of Family in the new Master Post linked up above.
If you like the story then please remember to upvote, comment, and use the “!Subscribeme” function to be alerted to all new posts. I post as often as I can but real life has a tendency of getting in the way and my job makes it almost impossible to keep to any kind of schedule. Your engagement and support go a long way towards helping to keep me on track and motivated, so thank you very much for reading and I hope you'll stay tuned for next chapter!

Hi Jedi Survivors ! I'm a big fan of SW and my top 5 most favourite video games in this galaxy far away are the Kotor series , Jedi Knight series, Shadows of the Empire, X-Wing Alliance and The Phantom Menace.
That being said, I really loved JFO and it rightfully earned his place among these other titles.
Respawn Entertainment did a wonderful job at making the formula even better in JS : the world is more opened, the maps are bigger, the exploration and travelling goes faster, the gameplay adds more combat diversity, and the game really looks gorgeous.
I've had a lot of fun playing this sequel, with wonderful locations to visit, epic fights, fun dialogues between the characters, in the cantina, a lot of interesting things to find without them being mandatory, which is really appreciated.
The scenery is great, the music perfectly captures the moments, and combat animations and finisher moves are really cool.
It's an epic and exciting adventure in SW.
Now the game still have some major issues that I hope will be improved in the third game.
​

1. First of all, the story : it starts really well, gets your attention and curiousness on top, makes you want to learn more about everything, but the rythm is irregular, sometimes even weird, and starts to fall apart at some point. Without entering into the details, I'd say that the story was way better, more interesting and more coherent in JFO.
   
2. My second issue with the game is that even if it's called Jedi xxx, it still doesn't feel like being a Jedi as much as in the Jedi Knight series, Kotor or TPM.
   

And that's because of two reasons :
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• Our lightsabers, even if they improved a bit over JFO, still look like glowing sticks that we use as bats instead of being one of the deadliest combat weapon of the galaxy.

Even worst, these lightsabers, since they're not deadly laser beams that cuts through everything in the galaxy except for one very rare, limited and expensive matter, can now magically slide over all kind of surfaces in order to slow down your fall, and prevent you from dying after jumping or falling from heights, but without cutting these surfaces.
Lightsabers are supposed to cut through everything, not the other way around.
​

• We don't really act like Jedis throughout the games. By this, I mean that we're not travelling the galaxy solving conflicts and saving people everywhere we go. And, overall, when you look at it, even if he tries to do the right thing and help others, to be good, Cal mostly follows his own goals, help and try to save his friends / family instead of acting for the greater good / as a Jedi.

I would love them to improve on this side too so that we would feel more like we're helping people, and making a real impactful difference into their lives. Being a Jedi isn't just about swinging a lightsaber and killing enemies.
Also, in JFO, I loved how Cal used the Force to retrieve memories of objects. It wasn't pictured at all in JS cinematics / story except for maybe once, and I find this a bit disappointing.
To finish on this subject, I think that Cal should do more things in the Jedi way, even if there is no Jedi Order anymore.
3) And my 3rd biggest disappointment is not having at least some small turret shooting sequences.
The Mantis felt more like a character and a house in JFO, even without turret shooting, but in JS it just felt like a cinematic loader.
Star Wars is supposed to have more stuff happening in space, and it would be great if they added at least some parts of the story or small missions with fighters to shoot on from a flying ship.
Finally, it's a very good game, and the best SW video game we had since 20 years I'd say, but there is some issues to fix, storytelling to improve, and Jedi /lightsaber gameplay / feel / utilization to improve.
It makes total sense that we can't just open all doors by using the Force or cutting through them with our lightsabers. But I was more expecting to be able to cut through some doors Ep I style than to have an even more immersion-breaking reminder that the thing we're calling a lightsaber is a glowing bat with a bzzz sound.
I hope the 3rd game will improve on all these, and also change we handle our lightsabers ; it would be nice to have more variety of single-handed lightsaber attacks than just attack in front / jump attack bacically, and acknowledge the 7 Forms of lightsaber combat and allow us to chose between ataru, soresu, vaapad etc.
​
​

Daily Notes and Daily Covid Count - May 15, 2024
The number of reported Covid cases today was 166.
I'm having to use paywall bypass links for so many stories, the post title may just have the word "bypass" in it instead of "bypass link". Less to type As time goes on, more and more places, even medical study sites, have closed free access to Covid articles.
News is thin today. As to a small surge, I think you should plan that it will happen. Even if the new variants do or do not cause a rise, cases seem to always start increasing as we head towards the massive travel of Memorial Day. Seems to cause an increase most years from about now to peaking just into June a bit.
The USDA has waived restrictions (at least for 180 days) on handling of samples that may contain H5N1 virus. This applies to public health labs and healthcare facilities. This will enable more labs (academic/commercial) to aid in the process of virus identification, diagnosis & sequencing. But caution is needed as handling H5 requires using CDC safety and PPE guidelines.
Stay safe!

Prozac blew a hole through my nervous system. Now I struggle with a CFS-like condition, if not CFS itself. Honestly, the depression and anxiety I feel now makes me feel like I was just being a bitch before they medicated me because this is a whole other level of actual psychitric illness. I used to simply be undisciplined and without a purpose, maybe overly sleepy, but looking back at it now, a little guidance would have gone a long way. Instead I got coerced into being legally laced xd
I can barely comprehend most of what I read, I sleep 16 hours a day on average. My ability to learn/recall information is stunted. Can't workout without oversensitivity and pain, I'm way weaker than what I used to be. I developed an IBS-like condition.
Retook all the human benchmark tests to see if it was all in my head and I performed notably worse on all of them, especially the ones requiring memory. Used to score 130ms average on reaction time, now it's 160ms on a good day. Sure it's fast, but the decrease in my cognitive function is palpable. I can barely even score 8 when ~11 was my average on the sequence memory test. I make totally random mistakes in my writing and speech that I never made before, at least not at this level.
It feels like I'm 70 when I am literally 21. I'm honestly terrified that my youth is going to be taken away from me and that I'll never reach the potential I used to have and will only be a fraction of the person I could have been.
W. Some recovery stories would be nice, I took these pills about a year ago now and I haven't gotten better ever since the artificially produced mania and acute psychosis it caused. I'm still going to try my best to transcend this and become the best version of myself I was intended to be.