Preface: this is not intended as a Chibnall bashing post, we've had enough of those. I'm not saying that there isn't a lot to bash, but I think S11-13 can be better served through slightly more verbose criticisms and comparisons.
Anyway, I am enjoying Series 14 a lot so far. I think, between the 2023 specials and the previous three episodes, we've had a brilliant and diverse mix of story structures knitted together by well-written and superbly-performed characters. Is it flawless? Absolutely not. Some of my specific issues so far relate to Ruby Sunday feeling a bit underexplored and that the 'big plot arcs / mysteries' are so overly telegraphed its a bit painful. Aside from those two criticisms, I must say I have no real issues with this direction so far. I think Doctor Who was dying for a kick up the arse following the reign of Chris Chibnall, and any bold direction (even a divisive one that contains fourth wall breaks, musical numbers, and potty humour) is a good one.
There is obviously no invalid way of viewing media, and everyone's opinions are equally worthwhile, but I think we ought to place the RTD2 Era in its appropriate context rather than constantly comparing it to 2005-2010. I know it is easy to do that, and an argument could be made that RTD should be held to his previous standards, but S14 is clearly a remedy to S11-13 rather than S1-4. I would even go as far as to say RTD's writings in some ways hasn't even changed and that a lot of the criticisms regarding Space Babies could be equally applied to New Earth, Partners In Crime, and other earlier stories. The Devil's Chord, on the flipside, feels like something never before seen in the show. It is a real breath of fresh air and something I can't imagine in the RTD1 Era.
Each era of the show has had its own problems but the Chibnall Era was so lacking in so many fundamental aspects that made S1-10 (and now 14) so watchable. To list them all would take too long but, among the worst offenders, are the fact none of the companions ever meaningfully challenge The Doctor, who is repeatedly upheld as a paragon of justice despite constantly doing immoral things; there's also the fact dialogue scenes are the opposite of dynamic, nobody talks over one another, and there is no life or energy to conversations, people just stand around listing off exposition or asking questions; most Chibnall Era stories lack either sub-text (meaning they are hollow, or have no themes) or text full-stop (meaning the stories are so painfully underbaked and just a conveyor belt to dish unformed opinions from). This era has its fans and nobody can tell them to not enjoy it, but S11-13 clearly dealt significant damage to the show's reputation and RTD had to come back in to steward it back up to what it once was. The S14 we are now watching, this zany and upbeat wack-a-thon filled with energy, vibrancy, and on-the-nose drama, is a direct response to how stilted, hollow, and emotionless S11-13 were. I think regardless of whether or not it is flawless, it should be compared to the most recent entries in the show's history rather than those from 15 years ago. A quick scour of episode discussion threads just reads like people have forgotten we've just had six years of some of the most banal dross on television.
As a final point, I'd just like to say I am so glad Doctor Who is back at a stage where we - as a fandom - can debate which is the 'best' episode of a season and not just have a really obvious pick (like Demons or Haunting) or have to settle for a 'least bad' choice.
TLDR: Series 14 should be best compared with S11-13, in terms of quality and the behind-the-scenes production principles, instead of S1-4.

The Tang Empire arc began around chapter 390. It's been over 83 chapters, but the plot seems to stagnate and the progression is almost non-existent. Here are some shortcomings:

1. Lack of a formidable antagonist: Perhaps the most significant shortcoming of this arc is the lack of a single, centralised antagonist who actually poses a threat.

• All the fake Mara ever does is make random appearances, devour injured Innate experts, and make inexplicable disappearances while spouting edgy lines. He spends more time running away than actually putting up a fight. This portrays him as a wannabe edgelord and a coward rather than a proper villain in his own right.
• We know nothing about him except that he is a sock puppet for Ji Jinye, used to bait the Eternal Heavens. In other words, he has no value to make the reader emotionally invested in him.
• His strength level is inconsistent. One moment he gets his ass pounded by an Innate Realm - 3rd Layer expert; the next moment, he casually tanks a series of lethal blows from an Innate Realm - 5th Layer expert.

Some good examples of formidable antagonists are:

• Yi Daochi - The best in-story example of a formidable and entertaining antagonist. He stole the show in the 9 sects arc.
• Xi Sanmei - Rather tough and vicious.
• Xu Min - Scheming, actually logical and observant.
• Qiu Sheng - Interesting fighting style and he was quite the threat.
• Ashby - Not exactly intimidating, but he was cruel, had an interesting backstory, and put up quite the fight.

1. Bland fights: I was looking forward to the Flower Anniversary Tournament, but it turned out to be a disappointment. Here are my reasons:

• For a prestigious event of the Main World, the tournament is just an entertainment show with fancy effects to improve the Dongdu government's public image, rather than being an actual contest of strength among the young generation.
• Xie Yan and Ji Yuntao's "fight" against the elders felt like a WWE match scripted to entertain the public. And it was Ji Yuntao who did most of the fighting while Xie Yan was merely spamming primordial spirit detonations. It didn't feel like their reputation skyrocketed, and certainly not in the right direction.
• All the fights in the Tang Empire arc consist of using fancy gimmicks to show off, slap the opponent in the face, then run away. There are no trials of strength or actual life-or-death battles.

Good examples of a properly written tournament are:

• The 5 peaks sword conference in the world of Qun Xiong, where Xie Yan casually swings the FoFS to demolish the five peaks and kill Long Xiaotian. The part where he finishes off Hua Nongyue and her boyfriends with a finger snap is one of the most satisfying minor world climaxes.
• The Global Fighting Summit of the Ba Quan world is a more appropriate example where there were 8 interesting matches showcasing various martial arts; one minor boss fight; and one hell of a boss fight with a post-climax twist.

1. Poorly executed disguises: This is a recurring issue with many arcs:

• It is annoying to watch the protagonist taking foolish risks while relying on his limited set of disguise skills. He always runs the risk of getting his cover blown and implicating the Mo Qing Sect in the process. There was no need for Xie Yan to pretend to be the envoy during the Tang empire arc when he could have harvested thousands of origin points from a minor world at relatively low risk. The cooldown ended months ago. He could have also found a way to deal with the fake Mara's blood river skill.
• In the Xin Mo Sect arc, Xu Min and Yuan Sheng immediately noticed that "Ge Huaiyu" was an imposter. The "Xilan Wei" disguise was a monumental blunder because Xie Yan was dangerously complacent and did not do his homework. Everyone immediately noticed that "Xilan Wei" was an imposter. The envoys' disguise was also busted when Bian Shifei (one of my least favourite characters) found out that all the envoys were one person. Xie Yan certainly needs to improve his disguise skills and stop underestimating the Main World.
• Xie Yan constantly underestimates the Dongdu government. The Dongdu government may be inept, but it is certainly not weak.

Good examples of disguise experts are:

• Ge Huaiyu, who could create reliable masks using the Mantra Of Disguise and replicate the appearance of different martial arts using the Mantra Of Formlessness.
• Zhou Yanping/Ji Jinye, who is proficient in different martial arts, analyses the situation thoroughly, and uses decoys and skilled subordinates to handle delicate missions. Judging by the fake Mara's skills, Ji Jinye does have the ability to imitate martial arts.

My final thoughts:

1. I think the author should establish Main World system missions, similar to the missions in Physical Descent mode. This would clearly outline the objectives of each arc, instead of letting them develop in haphazard directions. The current arc is a mess of tangled sub plots. Introducing main world system missions would make it easier to chart the progress of each arc. Providing a large number of origin points as incentives would also be an excellent addition because it would be more convenient for Xie Yan to efficiently earn more origin points in the main world. He wouldn't have to rely on gimmicks to earn small amounts of origin points in the Main World.
2. Xie Yan should follow Ji Jinye's example and actually analyse the situation and people he is dealing with, instead of recklessly provoking them. He should improve his disguise skills, either by finding skills similar to what Ge Huaiyu had, or learning a sophisticated decoy skill similar to the 4 Confucian masks that Ji Jinye has. Remotely controlling a decoy while sitting in your lair is safer and more efficient when exploring unfamiliar and dangerous territories. There wouldn't be any immediate danger in case the cover is blown and one can respond properly.
3. Better pacing: Tao Du arc lasted for only 13 chapters, yet it is relevant to the overall story. In contrast, the Xilan arc lasted for 55 chapters and the Tang Empire arc is around 80+ chapters, but the plot is mostly stagnant and most chapters are filler. Proper pacing and exposition can enhance the quality of the narrative.

What is your opinion?
Sorry for the wall of text.

Went to the movies the other night to see the new planet of the apes movie. While the trailers were going on the three boomers next to me were talking full volume. Now I don’t expect people to be silent during the trailers (even though it still bothers me) but I let it go.
The lights go down and the opening starts and I still hear a bit of chatter but I figure that was them finishing their conversation. The first frame of the movie is some exposition. The man boomer starts READING THE TEXT OUT LOUD AND ASKING QUESTIONS I assume to his wife. WHO ANSWERS THEM.
I was like nope I’m going to shut this down before they feel like they can do this the whole time. I lean over and say “would you please not talk during the movie.” The woman next to me gives me a confused look but then I see her lean over to the other two boomers she’s with and points at me while saying “he says to stop talking.”
Fine they stop for maybe 10-15 minutes and then the chitter chatter starts again at a very low volume. I kind of accept my fate that I’ll be annoyed through the whole movie and keep thinking if i say something again or go grab an employee to back me up. I end up doing neither until the final moments of the movie. No spoilers but during the resolution of the film, important moment in any movie, they’re back to talking full volume. I’m livid at this point because I was really invested in the story. So i lean over and loudly shush them. The woman closest to me looks disgusted for a second then shushes me back and says “oh you go shush yourself!”
At this point my hearts racing cuz I am not a confrontational person, just really passionate about not having people talk during movies lol. I know this is nothing compared to some of what yall have experienced I was just stunned at the audacity. If I ever bothered someone in public and they asked me to stop whatever it was that bothered them I would just sink into myself so self conscious and feeling bad and embarrassed. Rant over lol.

I have uploaded gameplay from my fresh experience with the game here if you want to see how it looks / plays. My first impressions are shared below:
Based on my limited time with it, I recommend playing Dead Hook on PSVR2, but you should read further to decide if this will be right for you.
It is a roguelite FPS that has the feel of a game like Doom Eternal or Unreal Tournament, and for VR comfort concerns, you should know it is at its best when you are making use of the main gameplay mechanic of the grapple hooks to fling you around the battle arena rooms that have high verticality.
The game has much better story / exposition than typical roguelite where you play as Adam Stone that has some kind of personal relationship with disembodied Grace who wants to return to being corporeal again and is generally suggestive (3:20) & affectionate (21:04) towards Adam referencing their past relationship. Your (Adam's) character got damaged (including vocal-cords, so not voiced) due to malfunction while traveling through space to planet Resaract on the quest to get Mythical Stone of Immortality that will help Grace become corporeal (0:57), so there is a third voiced character in game named Raven who is an AI companion that represents the ship and provides guidance / training and part of the overall storytelling along with Grace.
The gameplay mechanics covered in tutorial (3:20) involve dual wielding variety of possible shooting weapons, EXO suit powers like Flames, Freeze and Gust that can be shot from arms (think Iron Man), use of the Dead Hook to fling yourself around with either hand (think Batman grapple more than Spider-Man web swing), melee combat using fists or even grabbing and tearing weakened enemies apart, special power of dual swords that can do massive damage, and ability to extend chainsaw blade (Ripper) that can be used to rip enemies apart (think Doom Eternal). You kickstart the chainsaw by putting string in your right-hand from your other hand to rev the motor. The game also lets you run rapidly in whatever direction you are moving with Left Control stick by moving your hands physically in running motion. You are also able to grab onto surfaces to vault yourself up and over.
As a roguelite, between runs, you can spend time on the ship check out target practice using available weapons (Earth & Ancient) or buffs (22:09), available bounties to complete on runs that will give you extra rewards (22:53), applying permanent upgrades to your EXO suit at the crafting station (23:07) and bestiary database (24:46) that lets you learn more or select opponents for target practice.
During each run (25:55), you move from procedurally generated arena rooms to next room always moving forward. Between each such room, you often have a choice of which door to choose next with some information given about what to expect in next room. Whenever you clear a room you will get weapon or buff options before proceeding to next room. You can also reach safe rooms (36:08) that won't have any enemies and instead allow you to bank / use money before proceeding. The goal is to keep proceeding as far as you can and the exposition through Grace / Raven will continue both during gameplay and after you complete / start new runs (including failures).
The game is made on Unity Engine but before Gaze Foveated Rendering became available option for developers for PSVR2. That said, the graphics of this game are generally crisp and clear except for text displays that can be blurry until you get closer. Interesting the gameplay capture recording shows all HUD elements in stable positions and relatively clear while in-headset these elements move around and not as clear (too small / far). The performance of the game is rock solid, possibly 90-120 fps. While I recognize that Gaze Foveated Rendering could possibly make the game sharper and ensure no text is blurry even at distance, I really don't have any significant critique for how the game looks because of how fast moving and good it looks in motion while not inducing any VR discomfort for me despite the wild movement.
The sound in the game has strange moments where the volume either increases (1:44 & 13:30) or decreases when the settings for that haven't been modified, but fortunately the game provides settings for Audio that helps you adjust it more to your liking. I don't know if the increases are from creative choices or technical glitches, but once I adjusted them to levels that suit me more, it became more stable.
The game is making use of resistive triggers and controller haptic feedback is also being used in variety of scenarios but perhaps not 100% of the use-cases where I think it should (or maybe the strength of the haptics in some scenarios aren't prominent enough). It is not using headset haptics when you are taking damage which I think is the biggest area of possible improvement as the red-light visual indicator that displays on left / right side of your display isn't a strong indicator of taking damage as I think headset haptics could provide.
The game does not provide many options for VR comfort, but defaults to Snap Turns which can be changed to Smooth Turns with 4 different turn speed options. It does not provide any option for teleport or vignette / tunneling / blinders.
The game features Platinum and any trophies that expect count of x have progression. Good emphasis on skill / challenge trophies where many will unlock through natural play and nothing that looks like would be frustrating / luck based.
This game is fun, but if you can't handle the VR speed / verticality or presence of some blurry text that isn't essential to read, it might not be for you.

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

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

&

“Hear me once more
Show me your smile
This time for sure
I'll see the truth hidden inside your tears
But I, I know
That you're long gone
But I, I will
Go on, howling and hollow”

In these choruses, Cloud asserts that he will get it right this time (“this time” referring to the second chance that is the Remake trilogy). He will make sure he saves Aerith and never lets her go. He knows she’s gone, but he will fight against time to get her back. He longs for her smile and her light again, and he cannot bear the guilt: so he doesn’t. Post-OG Cloud embarks on a new adventure: ”I want to go to a place where everything is new,” said Cloud to Wol and Echo in Eclipse Contact before facing his past and being launched into Remake. “Hollow” makes far more sense now, doesn’t it? It’s a song not only about Cloud’s loss, but also about his determination to save Aerith this time. Given that it’s the theme song of Remake, the fact that “Hollow” fits with our theory perfectly is a very good sign: a theme song is meant to reflect the main plot of a story, indicating as our theory states that Remake is principally, albeit secretly, about Cloud saving Aerith. Because of this hope being set up, I’m confident that they will be together in the end, reunited for good. My dear Clerith friends, this is the hidden purpose of the Remake trilogy. Cloud and Aerith will be reunited.
VI. e) ii. “No Promises to Keep” Lyrics
This is quite obvious. Aerith is resigned to her fate, but still harbors hope that she will meet Cloud again in a permanent reunion:

“Till the day that we meet again
Where or when?
I wish I could say
But believe, know that you'll find me
[…]
Till the day that we meet again
On our street, I want to believe
[…]
Till the day that we meet again
At our place, just let me believe
In the chance that you'll come
Take my hand and never let me go
Take my hand
And believe
We can be
Together evermore
[…]
Still I hope someday you'll come and find me
Still I know someday you'll come and find me”.

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

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

In addition, we’ve already talked about how part 5 of “Aerith’s Theme - The Cetra” from the Remake OST tells the story of Cloud and Aerith’s reunion (see section “V. b) ii. 2)”).
Many moments exclusive to the Remake trilogy serve the same purpose: linking the theme of reunion to Aerith. This expansion of the theme is highly significant. Our theory is that the Remake trilogy exists to reunite Cloud and Aerith, so the fact that the trilogy would implement so many Clerith-centric references to reunion is great support for our theory.
VI. g) i. The Leslie-Cloud Parallel
Let’s consider another instance involving the reunion flower in Remake, more precisely, the chapter 14 subplot surrounding Leslie’s lost lover. In case you need a refresher, Leslie is one of Corneo’s lackeys, although he secretly plans to betray him. He once had a fiancée and things were looking up until she was selected as one of Corneo’s brides. The day before she disappeared (presumably taken by Corneo), his fiancée broke up with him with no explanation. It was confusing and left Leslie perplex. As she broke up with him, she returned a necklace to him, one with a flower pendant. Of course, that flower is the very same reunion flower Aerith gives Cloud in chapter 2.
Evidently, Leslie and Cloud are going through parallel situations. At this point in time, Aerith was just kidnapped by Shinra, and Cloud is on his way to get her back. Both their loved ones have been taken by tyrant rulers, one being slumlord Corneo and the other being the Shinra government. In fact, even Leslie and Cloud’s attitudes share similar disillusioned, cold and stoic qualities. Leslie’s fiancée would evidently be paralleled by Aerith.
The most obvious proof of the Leslie-Cloud parallel is written plainly on the list of Remake’s chapter 14 main scenario objectives. Objective 7, called “For the Reunion”, consists of receiving the grappling guns needed to reach topside and save Aerith. The description of the objective reads as follows:

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

The grappling guns are “For the Reunion”, because evidently, the loved one Cloud wants to reunite with is Aerith.
All this is simple and apparent enough. Just the fact that the theme of reunion is linked to Clerith in this way is proof enough, but there’s another layer to the Leslie-Cloud parallel. Not only does Leslie’s situation reinforce the concept of a Clerith reunion, it also mirrors the specifics of our theory: namely that Cloud will save Aerith from specifically Sephiroth (represented in Leslie’s scenario by Corneo) and that Cloud will take the initiative to accomplish this reunion. These two specific aspects of our theory are reflected by Leslie’s circumstances, meaning the Leslie-Cloud parallel not only pushes the theme of reunion, but also supports our specific theory.
VI. g) i. 1) The Separators: Corneo and Sephiroth
I’ll first prove that Leslie’s scenario is not meant to echo Cloud’s separation from Aerith at the hands of Shinra —or at least not exclusively—, but rather Cloud’s separation from Aerith at the hands of Sephiroth. Corneo would therefore be paralleled by Sephiroth rather than the tyrannical Shinra government.
The first piece of proof for the Corneo-Seohiroth parallel lies within the way in which Leslie’s fiancée broke things off: by lying. Aerith also lies to Cloud to create distance between them, but not pertaining to her kidnapping— rather, pertaining to her fated death. Since Sephiroth is Aerith’s killer and not Shinra, Corneo’s role in the Leslie-Cloud parallel is analogous to Sephiroth’s rather than Shinra’s.
There are two pieces of evidence that the Corneo-Sephiroth comparison makes more sense than the Corneo-Shinra one. The first lies in the fact that Leslie’s breakup resembles Cloud’s resolution scene: the topic of Cloud’s resolution scene is Aerith’s fate at the hands of Sephiroth rather than her kidnapping by Shinra, meaning Corneo and Sephiroth are the antagonists of both heartbreaks.
Let’s examine Leslie’s breakup. Here is how his fiancée broke things off, taken from the English script of Remake’s chapter 14, with tone indicators added by me in bold:

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

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

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

Leslie’s fiancée is clearly breaking up with him to spare him the pain of blaming himself for not being able to protect her from Corneo, as she knows it’s too late for her to escape from the slumlord’s clutches. We know this because we understand that the pendant she gave back to him symbolizes a reunion (especially between lovers, as Aerith told Cloud in chapter 2). In fact, the Japanese version of the script reveals that the fiancée was about to reveal the meaning of the flower, perhaps in the hopes that they would find each other once more, but she lost her nerve at the last second. Notice that she tells Leslie two specific things. One: their love or their future together was only a dream, meaning that it wasn’t real. Two: he should forget about her, because the dream is over now and it’s time to wake up from it.
If you’re finding this familiar, then you might be ahead of me. Let’s take a look at what Aerith says to Cloud in his resolution scene, also in the English script of Remake’s chapter 14, with tone indicators added by me in bold:

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

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

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

Just like Leslie’s fiancée, Aerith is rejecting or denying Cloud’s love for her in order to spare him from the pain of not having been able to be with her before her death, as she believes it is inevitable. Just like the fiancée, Aerith also tells Cloud two things. One: their love is imaginary or isn’t real. Two: it’s morning, and she has to go (she says this right before Cloud wakes from the pseudo-dream).
In both cases, the women know something about their fate that the men don’t and are hiding this impending tragedy from them. Just like Leslie’s fiancée, Aerith uses well-intentioned deception to protect her loved one from the pain that will come from her fate— the lie, of course, is that their love isn’t real. Both women are hopeless, and both men are initially clueless. Aerith’s resolution can’t be about her kidnapping, because Aerith thinks her rescue is anything but hopeless— she’s sure Cloud will come save her from Shinra. She says so herself in OG’s disk 1, chapter 8:

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

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

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

Here is what codirector Toriyama had to say on Aerith’s words:

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

These two quotes by the devs show that Aerith is trying to protect Cloud from her death. Therefore, the Corneo-Sephiroth parallel is far more apt than the Corneo-Shinra parallel.
The second piece of evidence supporting my belief that Corneo mirrors Sephiroth and not Shinra in the Leslie-Cloud parallel is the inclusion of the theme of revenge that crops up in the following piece of dialogue:

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

Leslie’s sentiment toward Corneo resembles Cloud’s feelings toward Sephiroth after Aerith’s death. Revenge links Cloud to Sephiroth, not to Shinra. Corneo and Sephiroth reflect each other in that, as a consequence of their actions toward a woman, the man who loves her desires revenge.
Additionally, it looks like Leslie’s obsession with revenge as a means to closure is the reason he didn’t bother trying to understand the message his fiancée left him with: he’s focused on his hate rather than his love, and it’s hindering him. He doesn’t succeed in killing Corneo either: his focus and energy are misplaced. Cloud’s desire for vengeance against Sephiroth is also depicted as an obstacle to accomplishing his goals (see how in section “III. c)” of my previous literary analysis). Once more, the Corneo-Sephiroth parallel fits far better than a Corneo-Shinra perspective.
VI. g) i. 2) The Reunion Seekers: Leslie and Cloud
The other aspect of the Leslie-Cloud parallel that supports our theory is that in both scenarios, they both take charge of the situation and decide to actively seek reunion with their respective lovers. The following dialogue excerpt, supplemented by the VA script notes, shows Leslie’s initiative:

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

Take note of Leslie’s final response and the determination with which he speaks: “Then I guess I’ll just have to find her first”. Remember that we’re searching for evidence that Cloud is going to be the one reaching out to Aerith in the Remake trilogy, and that it’s his turn to take his future into his hands. He must be more attentive, more active this time. And Leslie’s words of determination reflect this perfectly. Leslie must find his fiancée first, just like Cloud has to be the one to offer his hand to Aerith in the Remake trilogy and fight for her. This is exactly what our theory is all about.
VI. g) i. 3) Delayed Realizations
Interestingly, not only does Leslie’s determination mirror Cloud’s, but both men are depicted as realizing the truth too late. Just like Leslie only began searching for his fiancée six months after her disappearance, Cloud only realizes he loves Aerith in OG once she’s died. It took him this long to actually get somewhere in his mission to reunite with her— “somewhere” being the Remake trilogy.
Even Barret’s words highlight the lovers’ delay: “Can never be sure how much someone means to ya till they're gone”. Barret would know: he lost his wife Myrna, whom he loved dearly. The devs have Barret comment on the situation as a man whose lover died, mirroring Cloud’s situation in OG. Just as Barret says, Cloud only truly realized the strength of how he felt for Aerith in OG once she was gone. The gunman’s words apply to both Leslie and Cloud’s tardy initiatives. Regardless of this delay, both men are now determined to see their respective reunions through.
The degree to which the Leslie-Cloud parallel fits our theory is a great sign of its validity: even the details are lining up!
VI. g) ii. Reunion in the Theme Songs
Too easy: in our analysis of the lyrics of the theme songs, we covered how both texts include the theme of reunion. “No Promises to Keep” is especially relevant (see section “VI. e) ii.”), as the entire song is Aerith hoping against fate for a reunion with Cloud (even if you believe the song is about all her companions, that still includes Cloud).
On top of these reunion-themed lyrics, during Aerith’s in-game performance of “No Promises to Keep” at the Gold Saucer production of Loveless, her yellow blossoms signifying reunion bloom all around her as Cloud watches her, captivated.
Another great sign for our theory: the highly significant theme songs are on our side!
VI. g) iii. Waking Up Reunited
The thing I want to juxtapose to our theory is a small yet special moment in chapter 2 of Rebirth that stuck out to me like a sore thumb and got me really excited about sharing it with you. This moment occurs after the battle against the Midgardsormr. We’ll be comparing it to two other clips, describing all three in chronological order, and making deductions based on their similarities.
The first clip I want to address occurs in chapter 8 of Remake (1:32-2:12). There are a couple of things I want to point out in this scene. First, Aerith wakes Cloud from unconsciousness with a cute call of “Hello~?”. Second, despite pretending that he doesn’t, he immediately recognizes her. The VA script notes prove it:

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

So: she wakes him with a cute call, and he recognizes her. Also note that these two elements also apply to the OG church reunion scene.
Now onto the Rebirth chapter 2 scene that stuck out to me. After Cloud is saved from the Midgardsormr by Sephiroth, Cloud wakes from an unconsciousness spell with Aerith calling for him (7:20-7:34).
Once more, Aerith wakes him with a cute call (this time, it’s “Wakey, wakey!”), and Cloud recognizes her. In this Midgardsormr clip, unlike their reunion in the church, Cloud verbalizes that he remembers her. This time, there’s more: next, Aerith tells Cloud “おかえり, クラウド”, or “okaeri, Cloud”, which translates to “welcome back, Cloud”. “Okaeri” is what you say in Japanese when someone has returned home. In the third clip we will analyze, Aerith says “okaeri” to Cloud once more. But first, let’s break down this second clip.
I don’t know about you, but this cutscene felt extremely weird to me when I first encountered it. That is, it would have been, if not for the theory I’d begun formulating at that time.
You see, the devs could have chosen for Aerith to ask Cloud if he remembers his own name or where they are, if he’s okay, or check if he responds to his own name. In fact, asking someone who’s been hit on the head to say their own name is a much more common reaction to them finally waking up than asking them if they remember you. Even stranger is Cloud’s reaction: he could have answered “Yeah, you’re Aerith,” or “I remember everything, I’m fine”. Instead, he says her name with this airy and wonderstruck tone. He sounds like he’s opening his eyes to something mystic rather than his comrade leaning over him, like he’s seeing someone unexpectedly for the first time in a while… or rather like he’s waking from a trance of some kind— a trance in which he did not remember Aerith, and now he does. You may see where I’m going with this.
Let’s examine the third clip, wherein Aerith tells Cloud “okaeri” again. More specifically, in chapter 14, Aerith welcomes Cloud back when he snaps out of his zombified, Sephiroth-controlled state and runs toward her. Of course, it’s the sight of her and his memories of meeting her in chapter 2 of Remake that shake him awake (2:17:43-2:18:02).
For a third time, Aerith wakes Cloud. This time, she’s pulling him out of a trance and back to himself. And for a third time, Cloud remembers her. In fact, it’s remembering her that wakes him up. Cloud calls her name and Aerith says “okaeri” in both the post-Midgardsormr cutscene and this third clip. And in both scenes, not only does Cloud return to himself the way someone returns home (recall that “okaeri” is used to welcome someone back home), but he’s also returning to her, recognizing her as his home.
Now we’ve got three scenes lined up: the church reunion scene (both in OG and Remake), the Midgardsormr scene and the hand-reach scene. All three of these recognition scenes feature Cloud being woken up by Aerith and remembering who she is. The main difference is that, in the scenes among these three that are exclusive to Rebirth, Cloud’s return to Aerith is far more meaningful, as he already knows her name, and knows more about who she is to him. Evidently, in the OG church reunion scene, Cloud only remembers being sold a flower by this girl. In the Remake version, he remembers the same thing, plus the attack of the whispers. So there’s something much more weighty about the Rebirth recognition scenes: he remembers more, and he remembers deeper. These aren’t just recognition scenes, they’re also mini-reunions. Of course, as we’ve already analyzed pertaining to the hand-reaching scene, Cloud remembering Aerith is followed by him being the one to take action and run toward her, eager to save her, because she means the world to him. When you place the Midgardsormr scene between the church reunion scene and the hand-reach scene, an evolution of Cloud waking up and remembering Aerith is formed. Each mini-reunion scene adds a piece to the story: the church scene informs us that Cloud and Aerith are meeting again, the Midgardsormr scene tips us off that something mystic is going on from Cloud’s tone when he says Aerith’s name, and the hand reach scene tells us that as a consequence of remembering who Aerith is, Cloud saves her from falling to her death and saving her. “Meeting again”, “mystic”, and “saving Aerith”: these are the keywords of the mini-reunion scenes. They are also the keywords of our theory on Cloud’s mission to save Aerith. This time around Cloud knows more and is more conscious about how he feels for Aerith, just like he feels more when in the hand-reach scene in Rebirth compared to the church reunion scene in Remake. From the latter scene to the former, Cloud gradually wakes up and remembers his love for and loss of Aerith in the OG more and more. Each mini-reunion brings him closer to saving her when he blocks the masamune. This is why I am certain that in part 3, whether Cloud comes to his full senses or not, whether he remembers the events of OG or not, he will save Aerith this time. The Remake trilogy is centered around Aerith, after all. In fact, don’t take it from me, take it from Nojima:

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

I have full confidence in this fact: one way or another, these two will have a happy ending. This is Cloud’s second chance, and as he swore in “Hollow”, he is not losing her again. That is why I don’t think you should fret, and that our Clerith hearts will be very happy to see these two together again for good in part 3.
VI. h) Zooming In
In fact, this zooming-in method of directing players’ attention to important narrative beats is far from new.
VI. h) i. Changing Fate
Let’s divert our attention to Nanaki’s Skywheel date (2:28-3:30). The dialogue goes like this: Nanaki brings us the Whispers and suggests the party might eventually forget about their existence, and Cloud says that frankly, if it’s impossible for them to change fate either way, then it would be better for them to forget to Whispers altogether.
This is a very clear message from the devs: “There would be no point in including the Whispers in the Remaketrilogy if we did not make use of their defeat”. They’re telling us through Cloud’s dialogue that they know it would be foul play and bad writing to introduce the theme of defying fate if it didn’t eventually pay off.
As if it weren’t clear enough what the devs are referring to, Nanaki brings up Aerith’s death directly after Cloud delivers the devs’ message to us. He actually makes Cloud promise to save her. This is pretty on the nose. By promising Nanaki he will protect Aerith, the devs are promising us the same. I’m certain that part 3 will deliver on this promise.
If you still aren’t sold, I’d like to direct your attention to the framing of the shot where Cloud says “If we can’t change [fate]” (2:49-2:51). There’s a zoom-in on his mouth, which is a visual cue that translates to “what this character is saying right now is important to the plot”. It’s very indiscreet in theory: the camera literally hones in on the invisible words as though the script has them highlighted, italicized triple-underlined and in bold.
VI. h) ii. Aerith’s Knowledge
We’ve seen the Remake trilogy use this camera framing at least twice so far. The first time occurs in Remake’s chapter 8, before it becomes clear that Aerith knows things from the OG game that she wouldn’t normally know if this were just a remastered version of the same 1997 plot. I’ll let Remake Ultimania‘s description of this moment speak for itself:

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

Aerith’s “vague reply” is accentuated by a very deliberate zoom-in on her mouth (1:18:05-1:18:09), and therefore her words.
The framing of this shot indicates to us that what Aerith says provides an important hint as to the plot’s direction. Sure enough, with hindsight, it’s easy to see that’s true.
VI. h) iii. Tifa’s Question
Another time this framing is used is in chapter 1 of Rebirth, after Cloud recounts the Nibelheim incident. Tifa asks the group why Sephiroth is choosing to come back now, after five years (37:55-37:58).
Once more, we are being signaled that the reason Sephiroth chose to return at the moment he did is significant to the plot, but cannot be revealed explicitly yet. The reason why Sephiroth took five years to return is because that’s how long it took for Cloud to get back on his feet after the Nibelheim incident: Sephiroth wants and/or needs to manipulate Cloud in particular rather than all the other people with Jenova cells in them. It took five years for Cloud to not only go through Hojo’s experiments but also escape Shinra and make his way to Seventh Heaven, where Tifa nursed him back to health— therefore, it took five years until Sephiroth’s favorite pawn was available to be used. There are a few reasons why Cloud is the one Sephiroth wants to use, and all of them would be spoilers at this point in Rebirth to players who don’t know the OG plot. The devs can’t reveal any of them yet, but they do indicate via a close-up shot of Tifa’s mouth that her question is important.
VI. h) iv. The Takeaway
As you can see, this framing of characters’ mouths when they speak signals a plot-significant piece of dialogue. This means Cloud’s words on his gondola date with Nanaki can’t be brushed off as a red herring or an unimportant or throwaway line: it has narrative weight.

VII. The Devs

I think it’s important to remember the devs and their commitment to the world of FFVII. They know best for this story, and they’ve proven it to be true many times over. There are many things about the devs’ intentions that the fandom don’t seem to know that I think would give you confidence to find out.
VII. a) Shifting Themes
Good storytellers don’t introduce themes as a way to pull the rug from under audiences’ feet by later rendering them completely irrelevant to the plot.
In other words, the devs would not have introduced the notion of fate as an antagonistic force in Remake, nor allowed the players to defeat it in chapter 18, had they planned for these themes not to pay off at all. Think of how good FFVII OG and FF stories in general are, how strong the writing is from a narrative point of view. Nothing is included for no reason or for a cheap reaction— especially not a central theme of a story. Fate and defeating it is a huge point of Remake, and not for no reason.
I mean, think about a storyline all about defying fate ending with a shrug and a “Oh well, we tried.” It would be ridiculous! The devs are better than that.
VII. b) What the Devs Want
The devs are well aware that fans of FFVII have been begging for Aerith’s resurrection since 1997. All those petitions, all those myths of a revival hack… SE knows about them all too well. They were even referenced by FF’s 30th anniversary expo, which partly promoted Remake:

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

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

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

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

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

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

&

“When I saw the finished product of [Aerith’s face in] CG, I thought, "Oh, isn’t she so cute?” (FFVII Reunion Files, Nomura’s note on Aerith’s character file, page 58).

&

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

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

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

Codirector Nomura said the following:

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

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

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

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

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

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

(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)

I’ve finished the game with two endings - both choices offered at the end (Lily maxed out) and I was thinking about the themes presented in the story.
There’s a lot of parallels with Gnosticism in the story with an obvious parallel being Mother Sphere and the Demiurge - both are essentially created, flawed ‘gods’ who created the humans of the story and maintain an illusion to prevent humans from seeing the truth.
Into this steps the being that created the Demiurge: Sophia, or in Stellar Blade’s case - Adam. Sophia created the Demiurge by attempting to breach the barrier between herself and the unknowable original god.
In the history of SB, Adam/Raphael Marks creates Mother Sphere in order to manipulate the power of creation and transform humanity to the next level (Human Instrumentality) however MS went rogue and Andro-Eidos supplanted organic humans. MS then modified the memories of Andro-Eidos to make it seem as though they had always been the original humans and prevent them from obtaining the wisdom or ‘sophia’ of the truth of their creation and existence.
I find this interesting because the gender of Sophia is inverted from the traditional esoterica where she represents the feminine yet is of course taking the role of the biblical first man in Stellar Blade. However, also wouldn’t be out of character:
“Her personality is riddled with contradictions. She is at once creator and created; teacher and that which is to be taught; divine presence and elusive knowledge; tempting harlot and faithful wife; sister, lover, and mother; both human and divine.”Excerpt from Gnosticism, Christianity, and Sophia -(https://www2.kenyon.edu/Depts/Religion/Projects/Reln91/GendeGnosticism.htm#:~:text=The%20inferior%20God%20created%20by,evil%2C%20angry%2C%20violent%20God.)
Moreover looking into the gnostic interpretations of Genesis I found the most intriguing passages on this page of the Gnostic Society Library - (http://gnosis.org/library/valentinus/Sophia_Eve.htm)
“The Gospel of Philip "if she (Sophia/Eve) enters into him and he takes her to himself, death will no longer exist" (Gospel of Philip 63). Similarly, according to the Exegesis on the Soul, "once they unite with one another, they become a single life. Wherefore the prophet said concerning the first man and woman, 'They will become a single flesh'. For they were originally joined to one another when they were with the Father, before the woman led astray the man, who is her brother" (Exegesis on the Soul 132:34-133:6…”
“Thus Sophia/Eve will be to be reunited with Christ/Adam and the fall undone. Similarly, the female "seed" within each of us is to be *reunited with its male angelic counterpart.** As Theodotus concludes in his discussion of the separation of Adam and Eve, "the female . . . unites itself with the angels and enters into the Fullness" (Excerpts of Theodotus 21:3). Through gnosis, "we are raised equal to angels, restored to the males, member to member, to form a unity" (Excerpts of Theodotus 22:2). Accordingly, "when Sophia (Wisdom) receives her consort and Jesus receives the Christ and the seeds and the angels; then the Fullness will receive Sophia (Wisdom) joyfully, and the All will come to be in unity and reconciliation" (Valentinian Exposition 39)”
Tl;dr: Stellar Blade’s story is basically the retelling of the Gnostic reversal of the fall from the Garden of Eden.
What are your thoughts guys?
P.S. I have some other thoughts on Raphael Marks and his motivations/actions but they are beyond the scope of interpreting the story through a gnostic framework.

So, I've kind of posted about this in other threads, specifically on askreddit, but by some users request, I will do my best to fully relay this entire tale up to the current point, as well as provide as much context I am able (and will provide missing context if asked in comments).
TL;DR
A friend of mine of 4 years drank himself into liver failure and his wife cheated on him, so I offered him a free room to try and put his life back together, and I was repaid for the thought with a divorce of my own, but honestly, it's probably not that bad.
Part 1: CONTEXT
Me and my wife have been together since early 2014, and married in late 2017. We have been through much together, including two extended deployments, one of which was 10 and a half months long. We have traveled the world together, lived on both coasts of the US, and despite much of our struggles and how things eventually went down, I was always convinced we would work as a team to overcome any issues.
The friend in question was, largely, an online friend. We met playing an MMO during covid and we quickly formed a very tight knit, but small, community that were very close that included me, my wife, my friend, his wife, and 4 other friends. Covid was a wild time and I was surprised how easy it was to form friends in this group and we kept in touch, as a whole, even once quarantine had ended and most of us had moved on from that particular game. This was a group that, while it started online, we have met most of these people several times IRL and had vacations to spend time together and just hang out.
Part 2: His Problems
Fast forward to about January of 2024. My buddy, from here on out I will refer to as Z (and for a quick add, I will refer to my wife as D), contacts us to tell us his condition is dire and he has been diagnosed with stage 4 cirrhosis of the liver as a consequence of his extensive drinking. Shaken, we quickly charter a flight out to visit. Within a week, we're staying with him and his wife and his roommate and a couple members of his family who are taking care of him. This man is bloated, yellow, and probably about 350lbs now. We are worried, but stay supportive and positive that help can be found, especially since he seems keen on changing his lifestyle for the better. Some of his family start a gofundme that we donate to, and many of the people in our gaming circle who have grown close also donate several thousand dollars (One member of our raid team donated 10k. You never know who is stealth rich on the internet I guess). Me and several other friends discuss the possibilities of helping him get on disability and even getting ourselves tested as compatible living donors. Sad, but hopeful, we depart about a week later, and stay in constant touch.
About a month later, I'm getting a call from one of our mutuals letting me know that "Hey, so I may have goofed up." and tells me how Z's wife had visited him and had a 3 way with him and his wife. I am obviously irate at this and turn to back Z up with comments like "So much for in sickness and in health, huh?" I do what I can to stay supportive, and my wife, D, also makes it a point to stay in touch with him as he has found himself banished to the couch of his apartment. Not even allowed to sleep in his own bed and frequently uncomfortable even being in his bedroom to use the PC.
I'm not particularly rich, but I am not poor either. I served in the military and have a high VA rating which means a constant income and have a steady job and a couple side gigs that pay well enough. My love language, in many ways, is gift giving. I pride myself on being able to pick a good gift, even if it's a little early for an occasion such as a bday or christmas, and will often pull the trigger on something if it means a lot or I think it will help. In this case, my brother was selling an old steam deck because he wanted a new OLED model, so I figured "two birds, one stone", and buy the steam deck off him and send it to Z so we can still game together.
In the intervening months, Z and D start playing games that I have no interest in (Disney Dreamlight Valley), but I am happy to play other games and hang out and chat. Really, nothing seems amiss, but since his banishment, me and my wife are both pushing for him to come and take up the spare bedroom we have in our home. Soon enough, I buy him a plane ticket and he arrives with little more than the clothes on his back and we take him in, no cost other than the expectation that he might help around the house a bit (he was a chef, so having a cook and someone to help clean was ideal for me who often did not have the time or energy to handle these tasks as thoroughly as I would like).
Part 3: The Incident
Now, I am skipping ahead a little bit here, but there's not much to be said about the time between. My wife worked part time hours, and when she did go to work, she'd have him tag along just so he wouldn't "Sit and stew with bad thoughts" at the house alone. I will admit that throughout this entire ordeal, I have had several, several times where my brain tried to warn me, but I ignored ALL of those signs because I trusted him, but more importantly, I trusted her with my life.
One new, frequent argument I found myself having with her was she would fall asleep on the couch, and when I finally tried to go to bed, I'd do my best to wake her and drag her upstairs. These became extremely frequent occurrences and I expressed to her how frustrated I was that I had to fight with her just to come to bed so we could sleep (mind you, this is not even about sex. Often I'm taking her to bed at like, 1am and I work at 7, so I really just wanted her to be sleeping in the bed). Hell, one time, I started catching the vibes that the longer I sat and waited for her to be ready to go upstairs, she just never would be, because they were waiting for me to leave so they could talk in hushed tones. On THAT particular night, I went upstairs alone with her finally awake, and she did not join me for another half hour.
Finally, the day arrives. Its Sunday. We are all downstairs hanging out. One of their newest habits I can't really stand but just dealt with is that she'd sit and crochet while he doomscrolled or strummed on a guitar I bought him and listen to music videos on youtube endlessly. Eventually, I grow weary and give my wife a kiss and tell her I'm gonna go upstairs and play some GW2 for a bit.
About an hour passes, and she enters the game room and tells me "I am uncomfortable. I really need to talk to you. Oh, you're dying!" (As she entered the room, I immediately turn face to talk to her and disregard the game, but she decided that my Charr was more important that what was about to happen, so she of course warns me.) We step into the bedroom and close the door.
"You're going to hate me," she says through tears, "me and Z kissed!" At this point, my brain short circuits and I recall one of my first thoughts being "Oh lord, here we go." and just a general desire to not be a part of this conversation. Shock sets in almost immediately. Still with a healthy dose of denial, I talk to her about what had happened and told her that it needed to end. Even at this point, I did not want to send this man home. Was it shock? Denial? Probably a mixture of the two, or some other additional emotional responses. She gets up after some discussion and goes downstairs, promising to shut him down, but comes back about 15 minutes later sobbing "I couldn't do it! I couldn't end it..." (Side note: In my confused haze of a mind, I feel personally threatened, and after she leaves the bedroom, I lock the door and grab a metal water cub I keep at my side and prepare to actually fight if it comes to it, but once she returns, I back off that idea again.)
Talking with her more, I present her with two options; Couple's therapy, or divorce. BOTH of these options are world ending to her, and she even goes so far as to suggest that just because I said the "D word" that it was what I wanted, which was objectively untrue. We talk back and forth about things I don't quite recall at this point, aside from one point where she comes back and locks herself in the master bath and tells me to call 911, she doesn't care, because she's going to take a bunch of pills, but after a couple of hours, Z shows up to the door and knocks and asks if he can come in. I tell him he may enter, and we talk for a bit. After about 5ish minutes, we decide to go downstairs to the living room and continue the discussion.
Once I sit down on the sofa, I immediately feel like I'm being positioned as the bad guy. I'm in the corner of our sectional, and she's on my left, he's on my right. She tells him "He said it's either a divorce or couple's therapy." "Oh, so he gave you an ultimatum?" I continue to argue that yes, those are the two only options. Z tells me "You're not being fair to her emotions. She is telling you there is another option." I am thoroughly baffled at this statement.
D: I didn't think it was possible and I didn't mean for it to happen, but I have fallen in love with another man. My heart has room for two. I truly have two soulmates. I have never been happier than sleeping on the couch next to my two boys.
Z: There is no reason you guys can't stay married, and we can explore what we've found. I mean, look at how happy she has been since I have been here!
Sick to my stomach, I get up to go vomit in the toilet. Now, I wore a silicone wedding ring, and often find even with a hand wash, a little water tends to get trapped under it. After I finish and wash myself up, I come back and am playing with my ring to dry it. She sees this as a sign that I am uncomfortable again wearing my ring, and takes off her ring as I sit back down and hands me her wedding ring.
Me: Uh, excuse me?
D: This is what you want, I can tell.
Me: No? I was washing my hands and water gets stuck under my ring...
D: Oh... I thought... okay. (And she takes back her ring from me)
I tell her, very clearly, the options are to either end things with him, or end things with me. At this point, I'm still in shock, but sober in mind enough to decide that this is not worth fighting over. I will not argue with my own wife my merits or why she shouldn't just pack up and leave with a jobless, now essentially homeless man, and if she cannot figure that out herself then I will eventually move on.
Crying, sobbing, she sits down in front of him and says, "I'm so sorry, I fought for you. I really did. I told you I'd fight for you and I failed. I loved being your girlfriend, but I need to be a good wife and stay."
Z says "Alright." and starts to go gather his things to leave. As he does, she grabs him and says "No, wait! Please don't go. I don't know what I want."
Z: Ok, well if we're getting all this out in the open, I want to say this. I love this girl. I love her with my whole heart, and without her, life is not worth living. I will not leave this house if you (me) tell me to. Only her. You are taking this very well right now, I can tell you want to hit me (Still in shock, no, I can genuinely say that emotion or thought had not actually registered outside of the event upstairs earlier), but this is my stand.
D: OP, we had a good run. I'm sorry.
And with that, I get up and go to get my sandals and leave the house to get some air. As I try to go, she runs to the door and he follows her. She pushes the door closed and says "No wait, please!"
Me: No, this is the deal. I'm going out to get some fresh air. I am not threatening self harm to "win you back".
D: Will you be back?
Me: I don't know.
Z: Man, I'm telling you, you don't understand, you think I am your enemy, but I am not.
And with that, I leave and shut the door.
In the about, hour, I am gone, I drive around near the house and I call my supervisor who I have a very good relationship with (and I did not want to involve direct friends or family yet because I'm afraid it's too early to start spreading this news). I go over to her house nearby and we chat shortly. After our talk, I have at least something of a clear head and go home, with words for both of them.
As I arrive home, there is no one downstairs. I go upstairs. His door is closed. I knock on the door.
Z: Uh, one second.
I wait for about 5 agonizing seconds, but I refuse to be shut out of rooms in my own home and open the door. He is shirtless, and she is hiding in the corner just out of sight of me. I look him in the eye.
Me: Really?
Z: Yep.
Me: Get out of my house.
And with that, they both silently pack their things and leave.
The second I hear the front door close, I start calling people. I am not above pettiness, and the first person I call is her mom, whom I have a good relationship with. She is SHAKEN and immediately calls her. (I find out later that it was a particularly harsh verbal beating by her, but it really doesn't change anything.)
When I come downstairs to check the state of the house, I see her wedding ring on the counter. I call out of work the next day and lay down and hope I die.
Part 4: Her Problems
So, there is some additional context that I did not add in part 1 because a lot of it is red flags I ignored over the course of our relationship that, in the days following, started to become more and more obvious. There are many that I spent much effort playing off or covering her for, but I will try to briefly list much of what I see as glaring issues in the relationship that were never remedied.
This woman is 30 years old and cannot drive. She can drive and HAS driven my vehicle at the start of the relationship (albeit illegally), but after one tiny little accident where she hit a pole and knocked my side mirror off (which she paid for and fixed before telling me, it really wasn't a big deal. I was on deployment), she never drove again. Attempts to get her behind the wheel would end very quickly after they started, and the conditions to get her in the seat were often extremely time limited, scheduled, or something would come up, and every time I told her "okay, this month we're getting your license for sure" it just wouldn't happen and I'd end up feeling like the one who was at fault.
She does not have her Bachelor's degree because she did not turn in her final project for one single class. Not only that, but she has never truly pursued a career with the things she learned from the coursework, or even used her AA.
For half of the relationship, she did not work at all. When she did, it was often part time work, and if she was saddled with full time hours or, god forbid, overtime, it was a world-ending affair. She would come home and constantly be tired from her few hours at work and would do little more than sit around and crochet.
Our agreement when we bought our house was that she was going to work full time and we were going to split household duties, but I would definitely scoop the cat box because she was allergic (but she wanted cats) and wash dishes (because she hated them), and she would do laundry (because I hated it). In practice, all her version of laundry turned out to be was to throw loads in when one of us was out of clothes and just hit wash and then rotate, and then leave all the clothes in a pile on the bed. EVERYONE KNOWS folding the laundry is the worst part! Come on! Men's clothes are easy! I don't wear that much! (When we would fold, I often finished in a third of her time and would just hang out and chat until she was done)
Ultimately, this meant that for many years now, she was working barely more than part time if she was working at all, and would sort-of do laundry. Meanwhile, I am scooping litter, folding laundry, doing dishes, doing all related yard work, doing all the household cleaning, handling all the finances, I did MOST of the cooking, and all of the grocery shopping (often going alone), driving her from work if I could (she'd uber it if not) and picking her up and driving her home, as well as just generally being a chauffeur for her for 10 years, while working a full time job and a side gig online. Many nights I'd have to stop what I was doing to pick her up at closing hours, and then would sit in the parking lot for 30 minutes while she did tasks like vacuum her little crystal shop that she definitely could have done before close so I didn't end up waiting so damn long. Then we'd come home hang out and eat while we watched TV, and then if I wanted to try and go upstairs to do another hobby, I'd be silently guilted about it because she wanted to sit on the couch and crochet.
Part 5: My Problems
I am not perfect, and admit I have flaws. One of her favorite things to claim to our friends now is that I was "emotionally neglectful", and if there is truth to it, I think I can pin down the day. Before I started working full time again, I was going to school on the 9/11 GI bill. I was not a good student in my younger years, but in time, I have become rather good at school. My first two semesters back I easily maintained a 4.0 GPA. Over the summer in 2022, I, woefully, decided to take a Calc 2 class online because I could not find one in person and wanted to be ready for Calc 3 in the Fall to fill a prereq for my bachelor's, and I really liked the instructor for that Calc 3 class. This calc 2 class was painful. The instructor had clearly recorded all his lectures during Covid and we were simply given the full course of videos and given work assignments and said "Email me if you have questions." This is not how I learn, but I figured, hey, it's one class. I'm working again, but one class isn't a huge deal. I can knock this out.
I was wrong.
After the second exam, I had a low C in the class and I knew I couldn't keep up. I withdrew from the class feeling no other option. I tend to be pretty good at math, and ultimately my dream was to work with 3d printing on an industrial scale with a Mechanical Engineering degree- and if that failed I had my military history (which is engineering relevant) and a degree to fall back on and work should come easily. After clicking that withdraw button, I saw those dreams vaporize. After that, I threw myself into my government civilian job full time and slowly fell into depression. By the end of our relationship, with the toll of doing 99% of the work around the house and for her and with my dreams dead and buried, at age 33, I would wake up and pray I died. I would never kill myself, but I wanted to just die. I felt backed into a corner. I still did everything I could to support her and hoped that one day, she would pick up some of the load and maybe, just maybe, I could go back, but that day did not come (At least not in the way I expected).
Part 6: The Aftermath
This post is already too long, and if I include every single detail that has come to light since, I might actually hit the post cap, but I will go over at least some of it here.
I have had my friends come out in droves. Both of them have been effectively exiled, at least from what I can see, from every friend circle we have. After a couple of days, they flew back to live with, I guess, his parents in Vegas while they sorted shit out, because after I spoke with Z's previous roommate, he adamantly explained he was tired of all the "fucking drama" that Z had been bringing into the house and was just done with it.
I have spoken with many, many people and gotten even more context and even receipts of some of each of their conversations to our mutual friends, and some of the shit I read is just hilarious. He is "not ashamed of pursuing happiness, he is just sad that people got hurt". She is "coming to terms with emotional neglect and felt trapped, but now, yes now, she is free."
I got my neighbors to watch the cats, and took my dog up to visit my closest friend of 20 years and spent about a week and a half drinking, smoking, and talking about all this while surrounded by some of the most beautiful nature the US has to offer. Truly, without this man, I don't think I'd have gotten this far as quickly as I have. He really has been a lifesaver and I truly, to my dying day, will always appreciate him.
Paperwork has been filed, we wish to remain on good terms, and one day I still do hope I can be a friend to her, but she is woefully immature and incapable of adequately performing in an adult society. I have quit my job and am returning to school with a much lighter budget and will be getting that degree I desperately need.
It's been hard, real hard. I have put every ounce of my being into this relationship, and I truly felt like she was part of me, and nothing like this could ever happen. But it's that trust that allowed this to happen. I do not hate her, I'm just disappointed. I will pick up my pieces and, hopefully, find myself whole again soon.
Part 7: Rambling anecdotes
These are some stories I wanted to include in the previous body of text but didn't feel like it kept the same flow (if there even is any at all, I'm not proofreading this). If I remember any others after I post, Ill just toss them in the comments.
Early after Z came to live with us, my mother came to the house to drop off a package. I am pretty sure I was at work, but when my mother came to the door, both of them answered the door and the way my mom describes it "First of all, do you answer the door at your friends house? Also, the way he hovered over her made me uncomfortable. They were in the doorway and he was right up behind her poking his head out." She said my wife had told her that I was feeling unwell and was upstairs sleeping. I can't even be sure at this point.
Shortly before all the things happened, my parents were going out of town to celebrate their own anniversary, and I had agreed to dog-sit their 5 month old puppy (who, while cute, has WAY too much energy and was EXTREMELY difficult to handle, and I have raised several dogs at this point). We met up and took the dog, and then ALL of us (including Z) went to dinner. At dinner, my mother looked at my wife and asked, directly "And so how long have you been married? 6, almost 7 years? Well at least you missed that 7 year itch, huh" and my wife shortly followed with a comment about how she was not hungry and did not eat dinner that night.
All of this happened WHILE THIS CRAZY PUPPY was running around the house, and part of me thinks he pushed this to happen when it did because he could not stand having to help take care of this dog any longer (2 days).
About a week after all this happened, my wife did not text or call me, or respond to any messages or emails I sent her (I didn't send many, but they exist). Frustrated, I text her and tell her I need to talk to her about logistics moving forward, specifically about her belongings. She told me "I will talk to you when I am ready." We did not talk for another week. Also, she told me to stop talking to her mom. (I have a good relationship with both of my in-laws and while her step-father tried to remain impartial to the best of his abilities, he gave me some of the best advice I could possibly have gotten at that time, mostly about how to move forward and cope, as he has personally dealt with this with smaller relationships 3 separate times in his life which he gave me details on, and we are still on good terms.)
Their favorite TV show to watch together was Outlander, which, if you aren't aware, is basically a story about a woman who time travels and has two men in her life.
One of our biggest constant points of contention was my friendship with an old high school buddy (who I spent much of the time in the aftermath hanging out with while healing). We believe, with good reason, that she hated this man because after I had almost been hospitalized for psych reasons due to stress, he had told me I needed to talk to her about working again and doing more to help around the house. She figured out, obviously, who was telling me to say these things, and sent a very, very angry text to his wife. They all apparently made up, but I know she never let that grudge go.
One of the fairly recent hobbies I got into was D&D. It seemed like a good fit for all of us. She loved fantasy and gaming, I enjoyed 3d printing and story telling. She needed friends, and a party of people hangin out would give her at least a few connections to start. Every night she "participated" in D&D, she mostly sat quiet and did not do anything. Hell, I tried to get her to participate in 2 different games, and after she left the first one, she asked to just sit quietly in the discord call (This first one was online only, second was in person) and listen, which was super awkward. In the in person game, after 3 months of playing, she did not know how to play her character at all, and mostly spent her time at the table crocheting. (My buddy even made a comment about how at one point, he was proud of how good I was getting at DMing and I was giving particularly good exposition, and she interrupted me to hand another player at the table a dice bag she made. I don't remember it, but I absolutely believe this happened.)
The day of "the incident", she had a meltdown about how a friend of hers had ghosted her. I told her it was okay, she was much younger anyway and people grow apart. She's probably going through stuff and we should respect that path she's on. She cried about how she has no friends.
Also the day of "the incident", we were in the shower together and she told me she had met her sister's new BF on facetime. I asked "why did she break up with her old one?" "Well... she cheated on him." "Oh, that's a shame. Cheating is probably the most cowardly act a person can do to another. If you're going to start a new relationship, you need to grow a pair and end it before starting a new one." She clearly took my words to heart.
One of my biggest pet peeves about cleaning the house is our dog sheds, a lot. If I see a hairball roll through the house it immediately drains me a bit. We had a roomba. She would send that thing home when it started and never start it again. It barely ran. She would not vacuum.
One of the most common descriptors of her I've heard used by many people now that they're "allowed to" is "She was there, doing the thing with us, but it was like she wasn't there."
Something she thought that I apparently hadn't figured out by the time we talked after everything happened was that they had been talking since February. I told her I wasn't stupid and had figured it out already that this wasn't out of the blue.
Z's wife is currently pregnant with the baby of the man she cheated on him with. (And he is also married)
Anything else I remember Ill leave for comments, I know there is much, much more.

For the longest time, you could go to a "ColinThompson.com" website made by Colin Thompson himself, and browse through it quite unimpeded. Even though I remember everybody saying at the time that this website was badly designed.
The design was never a problem for me, personally. It was a matter of looking at the image on the front - which was apparently called "Nana's Album" - until I found the text drawn onto it that was also the right hyperlink. You can say that reading his books trains you to handle such a clustered and chaotic arrangement of HTML buttons.
After a while, the website started to break, and certain links stopped working. You could still kinda get around on browser history or URL manipulation fairly well. Colin Thompson would also go on long periods of time without updating the website or at any rate, updating the notice that tells you the date of the last update. Books would be published and you would have to go to your library to be able to tell.
Now the website's not up at all. I tried the Wayback Archive too, but then it just got scary as I tried browsing around and a clearly-malicious "info dialogue" appeared saying "owned." It even had the Wayback Machine's name as its title for some reason, too. At that point I just noped out of there.
At this point, I can't show you the Colin Thompson website, because I'm scared to retry the Wayback Machine and no amount of image searching has proven worthy of just literally giving the user a screenshot of a bi-decade spanning website that thousands of people have seen. For some reason it thinks I want his illustrations, even though I typed COLINTHOMPSON.COM WEBSITE.
You know, The Internet really sucks with stuff related to this. I've seen so little coverage and exposition on what Colin Thompson has been up to in his career, and I've read two memorable books of his that aren't even listed on his Wikipedia page. It says that he's alive and 81 years old, but genuinely I would not be that surprised if Wikipedia was failing to inform me that he's actually dead. I would be fucking devastated, but not surprised. If you want to know, those two books are "Watch This Space: In the Pink" and "The Corner of My Eye". Titles are approximate. I don't know when they came out. The second name is actually one of his esteemed trademark self-done "detailed" picture books, but I'd say it's not one of his good ones because you come out of it without much wonder and much of the art inside is highly recycled. Like, yes, recycled from previous illustrations in his other picture books.
I really want to know what Colin Thompson is doing these days and to get the website back. I'm not going to try to act like any of these responsibilities should fall on the shoulders of you, but I posted this because it's just something worth talking about. I'm pretty much the Colin Thompson fan. I'd say that if I still had Colin Thompson's email address, it'd be up to me to do something about it. I think at this point nobody does, because it was colin@colinthompson.com. Yes, colin "at" the original solo-project website that's freaking down right now. We have no options.

In the annals of gaming history, few titles command the reverence and adoration as the legendary Doom franchise. Born from the minds of John Romero, John Carmack, Adrian Carmack, and Tom Hall, Doom would go on to lay the foundations for just about every modern video game that exists. It was a true tour de force, a success story few could scarce ever imagine.
Released in 1993, Doom was an immediate smash hit, thanks in no small part to its shareware format, which allowed users to experience the first few levels of Knee Deep In the Dead, and then order the full game via the phone number included. Players could then share the floppy disk with their friends, and so on, and so on. It was a truly revolutionary system, and within a single year, Doom had sold over 2 million copies.
The history of the Doom franchise is one of innovation, ultra violence, and controversy (1999's Columbine High School Massacre), and that reputation is one that continued with 2016's DOOM. DOOM was officially revealed at Quakecon 2014, ten years after Doom 3. Players had long resigned to Doom being considered a dead franchise. A reboot had been in the works for a number of years prior, but never got released, having been quietly cancelled by id in 2010. The future was bleak, but the 30 second long teaser ignited a spark that had been burning dimmer every passing year.
Then came E3 2015.
The hype was unreal. The trailer had everything that fans could possibly want. Gore, intense violence, insane run n gun gameplay, a rip-roaring soundtrack and the MFING CHAINSAW. But fans had been let down before. Would it really hold up its promises?
Yes. Yes, it would.
PART I: Presentation
When DOOM burst onto the scene in 2016, it did so with a visual and auditory spectacle that left players awestruck. From the moment the game boots up, players are made aware that this is not your average shooter. You are greeted with a deep, commanding voice. "Rip and tear, until it is DONE."
Immediately, players are greeted with a scene of carnage and the Doom Slayer chained to a table, which, of course, he instantly breaks free from. A zombie attempts to relieve the Slayer of his life but is beaten to the punch with a prompt skull smashing. After putting the other zombies to rest, he interacts with the panel in the corner, is greeted by one Dr. Samuel Hayden, who attempts to justify the outbreak, and decides he would rather kill shit than listen to excuses and destroys the monitor.
That is the introduction to this game. It never wastes the player's time. We aren't here to listen to long droning monologues or watch MGS style cutscenes. id Software knew their audience, and knew what that audience wanted, and they deliver in spades. This introduction sets the tone for the entire experience: relentless action, unapologetic violence, and a protagonist who is as unstoppable as he is uncompromising. The Doom Slayer's disdain for exposition and his single-minded focus on annihilating demons resonate with players who crave a pure, unadulterated gaming experience.
By eschewing lengthy cutscenes and exposition-heavy dialogue in favor of fast-paced gameplay and visceral action, id Software delivers a game that respects the player's time and delivers exactly what they came for: non-stop demon-slaying action. In an era where many games are criticized for padding their runtime with unnecessary filler, DOOM stands out as a shining example of how to create a focused and engaging experience that keeps players coming back for more.
Rather than bombarding players with lengthy exposition or intrusive cutscenes, DOOM opts for a more environmental storytelling approach. Throughout the game, players can discover audio logs, read text-based terminals, and observe environmental details that provide context and background to the events unfolding around them.
The story of DOOM revolves around the Doom Slayer's mission to stop a demonic invasion unleashed by the Union Aerospace Corporation (UAC) on their Martian facility. As players progress through the game, they uncover details about the UAC's experiments with Hell energy, the origins of the demonic invasion, and the Doom Slayer's own mysterious past.
While the story may not be front and center in DOOM, it nonetheless adds depth and richness to the game world, enhancing the overall experience for players who choose to engage with it. And for those who prefer to focus solely on the action, the story remains secondary, allowing them to enjoy the game on their own terms.
That's all well and good, but what about the actual gameplay? Simply put, it is exhilarating. From the moment you are given control of the Slayer, players are thrust into a frenzy of blood and violence, and it never lets up. At its core, DOOM is a first-person shooter that harkens back to the genre's roots while injecting it with a healthy dose of modern flair. The gameplay is fast-paced, frenetic, and utterly unapologetic in its brutality. You're not just a player – you're the Doom Slayer, a force of nature hell-bent on eradicating every last demon in your path.
Central to the gameplay experience is the game's combat loop, which revolves around a delicate balance of aggression and strategy. In DOOM, there's no hiding behind cover or waiting for your health to regenerate – you're constantly on the move, strafing, dodging, and leaping across the battlefield as you unleash a torrent of bullets, rockets, and plasma upon your enemies.
Weapons include the iconic shotgun, heavy assault rifle, plasma rifle, rocket launcher, and the devastating BFG 9000, among others. Each weapon offers different firing modes, such as single shot, burst fire, and continuous beam, providing players with tactical options in combat. A key aspect of combat is the Glory Kill system, which allows players to perform brutal finishing moves on staggered enemies. Glory Kills not only provide health and ammo but also contribute to the flow of combat by encouraging aggressive play. It is incredibly satisfying to watch the Slayer rip an imp in half or stomp their head into the pavement, and doing so rewards you with a large return of health.
The Chainsaw mechanic is another integral part of combat, allowing players to instantly kill most enemies and gain a large amount of ammo in return. However, Chainsaw fuel is limited and must be managed carefully. Like Glory Kills, watching the chainsaw tear demons apart is incredibly satisfying. Certain demons require more fuel but provide the player with more ammo in return. Balancing which demons you chainsaw and which ones you choose to Glory Kill is an important part of combat.
Exploration is key to progression and is rewarding to those players who choose to do. Hidden throughout the levels of the game are Argent Cells, Praetor Tokens, and Rune Trials. Each of these provide upgrades to your health/shield/ammo, suit, and passive abilities respectively. Also hidden throughout the game are levers that lead you to classic levels from Doom 1 and Doom 2, which then unlock the full level of its respective game, playable from the main menu. You can also find toy models of the Doom Slayer, which unlock various character models to view. On some of these models, the Doom Slayer will perform a unique action when picking it up, such as fist bumping the classic Doomguy. It's a nice and cute little touch added by the developers that does a little to add character to the Slayer, who is a silent protagonist.
id Software masterfully blends modern game design with a deep reverence for the classics, paying homage to the series' storied history while introducing new elements that propel the franchise forward. Central to this approach is the game's character design, which strikes a delicate balance between nostalgia and innovation. At its core is the iconic protagonist, the Doom Slayer, whose design pays homage to the original Doom Marine while incorporating modern updates that make him feel both familiar and fresh. With his battle-worn armor, imposing stature, and silent demeanor, the Doom Slayer is the embodiment of raw power and unrelenting rage.
The game's roster of enemies is a veritable who's who of classic Doom foes, reimagined for the modern era. From the lowly possessed soldiers to the hulking Cyberdemon, each enemy is lovingly crafted to capture the essence of its 1990s counterpart while introducing new mechanics and behaviors that keep players on their toes. Whether you're facing off against the agile Revenants, the relentless Hell Knights, or the grotesque Cacodemons, every encounter is a nostalgic trip down memory lane, punctuated by the satisfying sound of demon flesh being torn asunder.
But the main story is not where it ends. DOOM has an arcade mode, where players can run through the levels again, this time trying for high scores and medals while collecting 1 Ups. It's important to move fast and have accurate aim; the more kills you chain together, the bigger your score is. Getting hit reduces your score. At the end of the level, your score is tallied against others on a leaderboard. It's a great way to incentivize players to keep playing, in order to get a better and better score.
There is also multiplayer, where players compete in various game modes such as classic deathmatch, warpath and free for all. Players can become demons by collecting runes on the battlefield and this gives them a distinct advantage; demons are larger, stronger and more resilient. Players are bizarrely restricted to only two weapons and a loadout in multiplayer, which blew my mind. Loadouts. In a DOOM game. The demons are also massively unbalanced and if one team manages to get a particularly powerful demon such as a baron of hell, then it's a guaranteed win. All in all, the multiplayer just isn't great. You are better off replaying the story or arcade mode, or even SnapMap.
SnapMap is id Software's proprietary level editor, and it puts every other editor on the market to shame. SnapMap is an incredible, intuitive, easy to learn system allowing players to create their own multiplayer, co-op and single player maps. There is an extensive tutorial system that teaches users the basics, and goes up in depth, covering how to use AI triggers, switches, combinations, object layering, actions, recalls, audio cues, etc. Never have I ever seen such an in-depth interface on a console game before. While it is only surface level in the grand scheme of things, SnapMap is a great introduction to teaching users how game development works, and I urge everyone to try it out at least once.
Part II: The Music
In DOOM, the music isn't just a background accompaniment – it's a driving force that propels players forward, electrifying every moment of the gameplay experience. Composed by the incredibly talented Mick Gordon, the soundtrack of DOOM is a relentless onslaught of metal and electronica that perfectly complements the game's fast-paced action and visceral combat. From the moment you boot up the game, you're greeted by the iconic strains of the main theme, a haunting melody that sets the tone for the epic journey that lies ahead. As you traverse the game's environments, the music shifts seamlessly between atmospheric ambience and pulse-pounding metal.
But it's not just the composition of the music that makes it so memorable – it's also the way it's integrated into the gameplay itself. Mick Gordon's dynamic scoring system ensures that the music evolves in real-time based on the player's actions, ramping up in intensity during combat encounters and dialing back during quieter moments of exploration. This creates a sense of momentum and flow that enhances the overall pacing of the game
One of the standout features of the soundtrack is its use of unconventional instrumentation and sound design. Mick Gordon's signature sound combines distorted guitars, pounding drums, and industrial noise to create a sonic palette that is as brutal and unforgiving as the game itself. From the deep, guttural growls of the synth bass to the ear-shredding shrieks of the guitar solos, every element of the music is designed to evoke a sense of chaos and destruction, mirroring the relentless carnage unfolding onscreen.
Of course, no discussion of the music in DOOM would be complete without mentioning the iconic tracks that have become synonymous with the game. From the adrenaline-fueled "Rip & Tear" to the bone-crushing "BFG Division," each track is a masterpiece of composition and production, perfectly capturing the essence of the DOOM experience and elevating it to new heights. Mick Gordon's composition for the DOOM soundtrack is a tour de force in heavy metal and industrial electronica, meticulously crafted to evoke the essence of the game's frenetic gameplay.
The backbone of the soundtrack is the distorted guitar, which provides the driving force behind many of the tracks. Gordon's use of extended-range guitars and custom-tuned instruments gives the music its signature low-end punch, while his aggressive playing style adds a raw, visceral energy to the sound. In addition to guitars, Gordon incorporates a wide range of electronic and synthetic elements into his compositions, including synthesizers, drum machines, and sampled sounds. These elements are used to create atmospheric textures, rhythmic patterns, and dynamic effects.
One of the most innovative aspects of Gordon's sound design is his use of audio manipulation techniques, such as granular synthesis and spectral processing. These techniques allow him to deconstruct and manipulate audio in real-time, creating complex textures and effects.
Perhaps the most revolutionary aspect of Mick Gordon's composition for DOOM is his dynamic scoring system, which adjusts the music in real-time based on the player's actions. This system, known as "MIDI-controlled dynamic music," allows the music to seamlessly transition between different layers and variations depending on the intensity of the gameplay. Gordon achieves this dynamic effect by dividing each track into multiple stems or layers, each representing a different element of the music (e.g., drums, guitars, synths). These stems are then triggered and mixed in real-time using MIDI data generated by the game engine, allowing the music to adapt and evolve dynamically as the player progresses through the game.
Part III: Building a Legacy
All too often in this industry, legacy franchises are either left in the dust to be forgotten, or brought back to a limp fanfare, only to be thrust back into the shadows of the past. This happens for a myriad of reasons, and I believe the biggest one is that they don't respect their legacy, and they don't respect the players who engage with them.
At its core, DOOM is a game that understands what players want: fast-paced action, engaging gameplay, and a sense of empowerment. By focusing on these core principles, id Software created an experience that resonated with players old and new, capturing the spirit of the original games while pushing the series forward. Central to this approach is the game's unwavering commitment to respecting the player. From its minimalist storytelling and streamlined level design to its intuitive controls and dynamic difficulty system, DOOM prioritizes the player's experience above all else, ensuring that every moment of the game is engaging, immersive, and satisfying.
One of the most notable ways that DOOM respects the player is through its approach to difficulty. Rather than imposing artificial barriers or punishing players for their mistakes, the game encourages experimentation and mastery through its responsive gameplay mechanics and adaptive enemy AI. Players are given the freedom to approach encounters in their own way, whether it's through brute force, cunning strategy, or a combination of both.
Another key aspect of DOOM's player-centric design is its emphasis on accessibility. From its difficulty settings and intuitive user interface to its robust accessibility features, such as colorblind modes and customizable controls, the game ensures that players of all skill levels and abilities can enjoy the experience without feeling excluded or overwhelmed.
But perhaps the most important way that DOOM respects the player is through its commitment to fun. At its core, DOOM is a game that prioritizes the player's enjoyment above all else, delivering a seamless and exhilarating experience that keeps players coming back for more. Whether you're blasting demons with a shotgun, exploring hidden secrets, or rocking out to Mick Gordon's pulse-pounding soundtrack, DOOM is a game that never stops prioritizing YOU.
DOOM's legacy is one of respect – respect for the player, respect for the franchise, and respect for the medium of video games as a whole. By prioritizing fun, accessibility, and player agency, id Software created an experience that not only honors the legacy of the original games but also sets a new standard for what a modern first-person shooter can be. And for that, we owe them a debt of gratitude.

So this is a post I made in the Classic Fallout subreddit, but it was immediately removed by the moderators. I fail to see how it broke any of the subreddit's rules, since I've presented my points in a clear and respectful manner, so I'm posting it here. I reckon this community is probably more open for discussion than that one. Moderators, if you find any issues with the post, warn me so I can make proper adjustments, but please don't outright remove it.
EDIT: The mods of Classic Fallout said the original post was just caught in a filter, but I had just assumed it was manually removed. It's been approved. I apologize for the confusion. Either way, it's good to post it here too and see the opinions of each community.
So on September of last year I've finished Fallout 1 for the first time and posted a review here. I was absolutely amused by it. Absolute masterpiece.
After procrastinating for months, I finally decided to actually play Fallout 2 (with the Unofficial Patch installed), and finished it last week after 81.7 hours. This is gonna be my "review" of the game.
Things I liked
So, starting with the things I liked about the game: the UI is much improved over Fallout 1, being more intuitive. From the "take all" button, to not being able to loot corpses with no items, to having more digits on the barter menu, to not needing to click again on your destination after a random encounter in the world map, the game feels much better to play and has aged better as well. I'm still of the opinion that both games aged pretty well, considering they're from the 90s, but Fallout 2 certainly has the edge.
I really enjoyed how they improved companion interaction. From dialogue, to inventory management, as well as combat control, it's undeniable that companions are orders of magnitude superior in Fallout 2. Also, making the amount of companions you can have on your party be based on your Charisma really helps putting it to good use, as opposed to Fallout 1, where this stat was virtually useless.
Moreover, Fallout 2 has many more locations, factions, missions, weapon variety and overall content than Fallout 1. Which is great, since one of my few complaints with the first game is that it felt a bit short. Not only that, but there's generally more outcomes for quests and potential for roleplaying. Yall know much better than me about all the crazy stuff you can do in New Reno, for example.
Also, THE HIGHWAYMAN IS SO FREAKING AWESOME I LOVE IT.
Now, to the stuff I didn't like...
The early game just sucks
The Temple of Trials, as well as the first 2-3 hours of the game are really hard to bear. The game kinda forces you into a melee build, otherwise your chance to hit is gonna be too low, turning it into a very frustrating experience. It totally undermines your choices on character builds. Fallout 1, on the other hand, starts you with a knife and a Colt 6520, which encompasses both melee and ranged.
Not only that, but it feels like it's too long before you can get your hands on an actual firearm in this game, since you are broke at early levels and item prices are quite steep, and there doesn't seem to be many lootable guns available early on. I've tagged Melee Weapons, and despite not using them for 95% of the game, I don't regret this choice, because it made the early game much more enjoyable.
Honestly, the Temple of Trials should have been designed in a different way, with many more options on how to tackle it based on your character's abilities, or just outright removed, to be very honest. I've watched a video from Tim Cain where he said it was originally supposed to optional, as you'd be able to convince the other tribal to skip it. Too bad it wasn't the case.
The story is just not as interesting as Fallout 1's story
To be honest, I'm not a big fan of the concept of being a tribal, but I rolled with it. The thing is that overall the plot didn't have me as engaged as Fallout 1's. I did not care as much about Arroyo as I cared about Vault 13. I also didn't really feel like "The Chosen One".
Multiple times I felt dissatisfied with the dialogue options. They tended to be a little too "extreme" for my taste. You either have to act all sassy or like a very naive person, with not many options in between. I didn't have this problem with Fallout 1, as there were always very honest, straight-forward, level headed dialogue options available. I had an 8 Intelligence in Fallout 2, just like in Fallout 1, but the first game conveyed much better the idea of my character being smart in dialogue.
The world seems a bit disjointed, and not as cohesive as Fallout 1's world. It's very hit or miss, really. In one hand, there are very interesting locations, such as Vault City and New Reno, but other locations honestly feel weird and out place, such as San Francisco, with the Shi Vs. The Hubologists. Not only that, but it seems that the more south you go, the more "incomplete" the game feels. The NCR feels specially underdeveloped: I did two missions for Tandy, prevented a guy from blowing himself up on the power generator and freed the slaves to join the NCR, but even months after joining them. there were no missions for me, as Elise would say something like "Well, there's nothing for you to do, as I'm just reporting to the NCR that you are now a member". I assume that's a byproduct of cut content, as I heard apparently 1/4 of the content was cut.
The Brotherhood feels specially weird not well developed in this game. They have two bases with literally nothing in them, aside from generic NPCs, and one with some great gear and a super computer that can improve your stats. And that's it. There's no apparent explanation for them to know your name and even know about "The Prophecy of The Chosen One", as is suggested when Matt is killed by Frank Horrigan. It seems that they only know about you to keep the player curious and incentivize them to go to key locations and move the plot forward. As you're like: "how do these guys know my name? I gotta get to their next base to find out", but when you get there and ask for answers, they say some BS like: "we know about a lot of things... Now steal the Vertibird plans for us and we'll grant you access to some powerful gear".
The Enclave, despite being a cool concept, are not as interesting and well developed as The Master.

• First of all, they don't have as good exposition as The Unity. In Fallout 1, you start not knowing about The Unity or The Master, but then you gradually put the pieces together (talking to NPCs, learning about the FEV at West Tek, reading Richard Grey's Logs, etc.) and learn about them, to then have the legendary dialogue with the Master and learn their true intent. In Fallout 2, on the other hand, you go from knowing virtually nothing about the Enclave to knowing everything about them, and that's if you actually talk to the President or that scientist. You kinda get a massive "lore dump" upon arriving the Oil Rig. For this comprasion, I'm assuming you talk to NPCs and search for logs in both playthroughs.
• Second, The Master is a much more interesting and cooler final boss than Frank Horrigan, which is just a generic though evil guy you HAVE to fight (no Speech checks or anything like that), otherwise you can't finish the game. He honestly feels like an afterthought: "well, we have to put a final boss in the game, so just roll up a BBEG with 999 HP and a cool design quickly!".
• Thirdly, you can't (and there's no reason to) join the "evil faction". In Fallout 1, you could be convinced by The Master and join his Army, getting the "evil ending". In Fallout 2, even if you wanted to, you couldn't join the Enclave, as they don't even consider you human to begin with. Now, it makes sense from a lore perspective, but it certainly removes nuance and takes away form the RPG experience, as there's only one possible ending because of that (excluding killing the Elder at Arroyo, which is much more of a gimmick ending).

Inconsistency in tone, pop culture references, 4th wall breaks and straight up bad lore
So the game has a serious problem with tone. It has a serious main quest and serious side quests with moral dilemmas and politics, but this is all disturbed by constant jokes, references and 4th wall breaks that completely destroy the immersion for me.
See, within the first 10 hours or so I was really, really enjoying the game. By the time I was doing the Vault City - Gecko side quest, I was convinced that the game was indeed better than Fallout 1, due to it's massive world with many quests, choices and consequences. I was like "yeah, they really doubled down on the RPG aspects of the game". The thing is that I had not experienced any 4th breaks or egregiously silly stuff yet, aside from maybe the "Rat God", but then I encountered the talking Deathclaws at Vault 13. That's what I mean by "bad lore". Seriously, I'm gonna have to call BS on that concept, no matter what justification you give me. It's just dumb. And what disappoints is that it's at Vault 13, a location I was eager and curious to see in the sequel. What could have happened to it? What could have changed in 80 years, specially after the events of the first game? ... Uh, talking Deathclaws? Well, that's certainly subverted expectations... just not in a good way. Honestly, they could have just made the Vault empty, have the GECK there to be found as normal, and leave the player curious to learn what happened, to then reveal at the end that the Enclave captured everyone.
What's strange is that only after encountering the talking Deathclaws that the 4th wall breaks started appearing to me. I don't know if this is just a coincidence, but I started getting all those silly random encounters, with the Mad Brahmins being the first one (which, coincidentally gave me the "Hope you've saved your game, cause you're dead" deathscreen right after). Do they only start appearing after you find Vault 13? Now, I've made a list of all silly/dumb/4th wall break encounters I've got.

• Mad Brahmins: Just dumb.
• Bridge Keeper: Arguably one of the most egregious ones, and I got his one like four times throughout the playthrough.
• Sacred head of the Vault Dweller: Not gonna lie, that was actually kinda funny, though very immersion breaking.
• Café of Broken Dreams: Bruh.
• Guardian of Forever: That one was really, really idiotic.

As for the pop culture references, I didn't catch most of them, since I'm a zoomer and a lot of them are very specific to the 90s. Didn't watch Monty Python or most of the other media referenced in the game either, so they didn't annoy me like the actual 4th wall breaks. There were a lot of instances where I was like "yeah, that's probably a reference to some 70s - 90s movie or show I didn't watch ".
There is room for silly stuff in Fallout, obviously. Silly/humorous stuff that didn't annoy me at all were things like the Yakuza Vs. Mobster combat encounters, the hilarious video call with the Enclave soldier, or Sargent Arch Dornan "Trooper, what are you doing here, GET BACK TO YOUR GUARD POST!!!".
In short, the game could have a very serious tone and immersive setting, just like the first one, if it wasn't for the constant breaks the developers inserted to try to give it some comic relief. The thing is that they overdone it, while Fallout 1 did humor just right: Harry and his stupidly named squad) were really funny in a way that enhanced the world building. So were the low Int dialogue options. Thankfully Obsidian came up with Wild Wasteland for New Vegas, which solved this issue. I wish Fallout 2 had a similar feature, so people can choose if they want to enable all the silly stuff or play a more serious game. Do you guys know of any mod that does this?
Some mild annoyances
I've encountered some mild annoyances in dialogue, such as Renesco not acknowledging that I've already talked to him, making it so everyime I interacted with him my only dialogue options would be to either introduce myself or say "I think I'm at the wrong place, bye" and leave, even though we've already met. Also, when I first talked to Tandy, she responded me with "What?" and my only dialogue option would be to tell her I had solved the Vault 15 situation, only to end conversation and then having to talk to her again so introduce myself. I suppose this can happen if you deal with the New Khans at Vault 15 before talking to Tandy for the first time, which I did. The game has some weird dialogue oversights/bugs like this that I think are valid to point out. I didn't encounter issues like this in Fallout 1.
Also, in the end-game slides, there was contradiction between the Gecko's and Vault City's slides. It was said that Vault City's isolationsm made them stagnate and be absorbed by the NCR, while at the same time saying that Gecko's power plant optmizations helped Vault City expand, and that they let their xenophobia aside and a new era of cooperation between ghouls and humans started.
The end-game slides said that I wiped the Deathclaws at Vault 13, when was actually the Enclave that did this. Weird.
The game has only 13 Talking Heads. Now that's a bummer, specially considering that Fallout 1 had 21. It's even more noticable when you take into account that Fallout 2 has many more NPCs overall, so there are actually far more "Talking Heads per capita" in the first game than in the second, and it shows. Now, that's probably because they've made this game within less than a year IIRC, so I won't blame them. Fallout 1 was also supposed to have many more talking heads.
Now, these are some mild annoyances that don't take much away from the experience, but I felt were valid to point out.
Conclusion
Now, this long wall of text probably made it seem I disliked the game, but I really didn't. It's a very good game, and an exceptional CRPG. I just think it's not on the same level as Fallout 1, solely because of it's (in my opinion) weaker story and constant breaks in immersion that aren't that funny to begin with and add nothing of substance to the experience. There are no engine optimizations, quality of life additions and gameplay and UI improvements that make up for the lack of that eerie, almost opressive, yet epic atmosphere and story the first game has. The sequel doesn't live up to the expectaions for me, so I rank it lower. Overall, 8/10.

So on September of last year I've finished Fallout 1 for the first time and posted a review here. I was absolutely amused by it. Absolute masterpiece.
After procrastinating for months, I finally decided to actually play Fallout 2 (with the Unofficial Patch installed), and finished it last week after 81.7 hours. This is gonna be my "review" of the game.
Things I liked
So, starting with the things I liked about the game: the UI is much improved over Fallout 1, being more intuitive. From the "take all" button, to not being able to loot corpses with no items, to having more digits on the barter menu, to not needing to click again on your destination after a random encounter in the world map, the game feels much better to play and has aged better as well. I'm still of the opinion that both games aged pretty well, considering they're from the 90s, but Fallout 2 certainly has the edge.
I really enjoyed how they improved companion interaction. From dialogue, to inventory management, as well as combat control, it's undeniable that companions are orders of magnitude superior in Fallout 2. Also, making the amount of companions you can have on your party be based on your Charisma really helps putting it to good use, as opposed to Fallout 1, where this stat was virtually useless.
Moreover, Fallout 2 has many more locations, factions, missions, weapon variety and overall content than Fallout 1. Which is great, since one of my few complaints with the first game is that it felt a bit short. Not only that, but there's generally more outcomes for quests and potential for roleplaying. Yall know much better than me about all the crazy stuff you can do in New Reno, for example.
Also, THE HIGHWAYMAN IS SO FREAKING AWESOME I LOVE IT.
Now, to the stuff I didn't like...
The early game just sucks
The Temple of Trials, as well as the first 2-3 hours of the game are really hard to bear. The game kinda forces you into a melee build, otherwise your chance to hit is gonna be too low, turning it into a very frustrating experience. It totally undermines your choices on character builds. Fallout 1, on the other hand, starts you with a knife and a Colt 6520, which encompasses both melee and ranged.
Not only that, but it feels like it's too long before you can get your hands on an actual firearm in this game, since you are broke at early levels and item prices are quite steep, and there doesn't seem to be many lootable guns available early on. I've tagged Melee Weapons, and despite not using them for 95% of the game, I don't regret this choice, because it made the early game much more enjoyable.
Honestly, the Temple of Trials should have been designed in a different way, with many more options on how to tackle it based on your character's abilities, or just outright removed, to be very honest. I've watched a video from Tim Cain where he said it was originally supposed to optional, as you'd be able to convince the other tribal to skip it. Too bad it wasn't the case.
The story is just not as interesting as Fallout 1's story
To be honest, I'm not a big fan of the concept of being a tribal, but I rolled with it. The thing is that overall the plot didn't have me as engaged as Fallout 1's. I did not care as much about Arroyo as I cared about Vault 13. I also didn't really feel like "The Chosen One".
Multiple times I felt dissatisfied with the dialogue options. They tended to be a little too "extreme" for my taste. You either have to act all sassy or like a very naive person, with not many options in between. I didn't have this problem with Fallout 1, as there were always very honest, straight-forward, level headed dialogue options available. I had an 8 Intelligence in Fallout 2, just like in Fallout 1, but the first game conveyed much better the idea of my character being smart in dialogue.
The world seems a bit disjointed, and not as cohesive as Fallout 1's world. It's very hit or miss, really. In one hand, there are very interesting locations, such as Vault City and New Reno, but other locations honestly feel weird and out place, such as San Francisco, with the Shi Vs. The Hubologists. Not only that, but it seems that the more south you go, the more "incomplete" the game feels. The NCR feels specially underdeveloped: I did two missions for Tandy, prevented a guy from blowing himself up on the power generator and freed the slaves to join the NCR, but even months after joining them. there were no missions for me, as Elise would say something like "Well, there's nothing for you to do, as I'm just reporting to the NCR that you are now a member". I assume that's a byproduct of cut content, as I heard apparently 1/4 of the content was cut.
The Brotherhood feels specially weird not well developed in this game. They have two bases with literally nothing in them, aside from generic NPCs, and one with some great gear and a super computer that can improve your stats. And that's it. There's no apparent explanation for them to know your name and even know about "The Prophecy of The Chosen One", as is suggested when Matt is killed by Frank Horrigan. It seems that they only know about you to keep the player curious and incentivize them to go to key locations and move the plot forward. As you're like: "how do these guys know my name? I gotta get to their next base to find out", but when you get there and ask for answers, they say some BS like: "we know about a lot of things... Now steal the Vertibird plans for us and we'll grant you access to some powerful gear".
The Enclave, despite being a cool concept, are not as interesting and well developed as The Master.

• First of all, they don't have as good exposition as The Unity. In Fallout 1, you start not knowing about The Unity or The Master, but then you gradually put the pieces together (talking to NPCs, learning about the FEV at West Tek, reading Richard Grey's Logs, etc.) and learn about them, to then have the legendary dialogue with the Master and learn their true intent. In Fallout 2, on the other hand, you go from knowing virtually nothing about the Enclave to knowing everything about them, and that's if you actually talk to the President or that scientist. You kinda get a massive "lore dump" upon arriving the Oil Rig. For this comprasion, I'm assuming you talk to NPCs and search for logs in both playthroughs.
  
• Second, The Master is a much more interesting and cooler final boss than Frank Horrigan, which is just a generic though evil guy you HAVE to fight (no Speech checks or anything like that), otherwise you can't finish the game. He honestly feels like an afterthought: "well, we have to put a final boss in the game, so just roll up a BBEG with 999 HP and a cool design quickly!".
  
• Thirdly, you can't (and there's no reason to) join the "evil faction". In Fallout 1, you could be convinced by The Master and join his Army, getting the "evil ending". In Fallout 2, even if you wanted to, you couldn't join the Enclave, as they don't even consider you human to begin with. Now, it makes sense from a lore perspective, but it certainly removes nuance and takes away form the RPG experience, as there's only one possible ending because of that (excluding killing the Elder at Arroyo, which is much more of a gimmick ending).
  

Inconsistency in tone, pop culture references, 4th wall breaks and straight up bad lore
So the game has a serious problem with tone. It has a serious main quest and serious side quests with moral dilemmas and politics, but this is all disturbed by constant jokes, references and 4th wall breaks that completely destroy the immersion for me.
See, within the first 10 hours or so I was really, really enjoying the game. By the time I was doing the Vault City - Gecko side quest, I was convinced that the game was indeed better than Fallout 1, due to it's massive world with many quests, choices and consequences. I was like "yeah, they really doubled down on the RPG aspects of the game". The thing is that I had not experienced any 4th breaks or egregiously silly stuff yet, aside from maybe the "Rat God", but then I encountered the talking Deathclaws at Vault 13. That's what I mean by "bad lore". Seriously, I'm gonna have to call BS on that concept, no matter what justification you give me. It's just dumb. And what disappoints is that it's at Vault 13, a location I was eager and curious to see in the sequel. What could have happened to it? What could have changed in 80 years, specially after the events of the first game? ... Uh, talking Deathclaws? Well, that's certainly subverted expectations... just not in a good way. Honestly, they could have just made the Vault empty, have the GECK there to be found as normal, and leave the player curious to learn what happened, to then reveal at the end that the Enclave captured everyone.
What's strange is that only after encountering the talking Deathclaws that the 4th wall breaks started appearing to me. I don't know if this is just a coincidence, but I started getting all those silly random encounters, with the Mad Brahmins being the first one (which, coincidentally gave me the "Hope you've saved your game, cause you're dead" deathscreen right after). Do they only start appearing after you find Vault 13? Now, I've made a list of all silly/dumb/4th wall break encounters I've got.

• Mad Brahmins: Just dumb.
• Bridge Keeper: Arguably one of the most egregious ones, and I got his one like four times throughout the playthrough.
• Sacred head of the Vault Dweller: Not gonna lie, that was actually kinda funny, though very immersion breaking.
• Café of Broken Dreams: Bruh.
• Guardian of Forever: That one was really, really idiotic.

As for the pop culture references, I didn't catch most of them, since I'm a zoomer and a lot of them are very specific to the 90s. Didn't watch Monty Python or most of the other media referenced in the game either, so they didn't annoy me like the actual 4th wall breaks. There were a lot of instances where I was like "yeah, that's probably a reference to some 70s - 90s movie or show I didn't watch ".
There is room for silly stuff in Fallout, obviously. Silly/humorous stuff that didn't annoy me at all were things like the Yakuza Vs. Mobster combat encounters, the hilarious video call with the Enclave soldier, or Sargent Arch Dornan "Trooper, what are you doing here, GET BACK TO YOUR GUARD POST!!!".
In short, the game could have a very serious tone and immersive setting, just like the first one, if it wasn't for the constant breaks the developers inserted to try to give it some comic relief. The thing is that they overdone it, while Fallout 1 did humor just right: Harry and his stupidly named squad) were really funny in a way that enhanced the world building. So were the low Int dialogue options. Thankfully Obsidian came up with Wild Wasteland for New Vegas, which solved this issue. I wish Fallout 2 had a similar feature, so people can choose if they want to enable all the silly stuff or play a more serious game. Do you guys know of any mod that does this?
Some mild annoyances
I've encountered some mild annoyances in dialogue, such as Renesco not acknowledging that I've already talked to him, making it so everyime I interacted with him my only dialogue options would be to either introduce myself or say "I think I'm at the wrong place, bye" and leave, even though we've already met. Also, when I first talked to Tandy, she responded me with "What?" and my only dialogue option would be to tell her I had solved the Vault 15 situation, only to end conversation and then having to talk to her again so introduce myself. I suppose this can happen if you deal with the New Khans at Vault 15 before talking to Tandy for the first time, which I did. The game has some weird dialogue oversights/bugs like this that I think are valid to point out. I didn't encounter issues like this in Fallout 1.
Also, in the end-game slides, there was contradiction between the Gecko's and Vault City's slides. It was said that Vault City's isolationsm made them stagnate and be absorbed by the NCR, while at the same time saying that Gecko's power plant optmizations helped Vault City expand, and that they let their xenophobia aside and a new era of cooperation between ghouls and humans started.
The end-game slides said that I wiped the Deathclaws at Vault 13, when was actually the Enclave that did this. Weird.
The game has only 13 Talking Heads. Now that's a bummer, specially considering that Fallout 1 had 21. It's even more noticable when you take into account that Fallout 2 has many more NPCs overall, so there are actually far more "Talking Heads per capita" in the first game than in the second, and it shows. Now, that's probably because they've made this game within less than a year IIRC, so I won't blame them. Fallout 1 was also supposed to have many more talking heads.
Now, these are some mild annoyances that don't take much away from the experience, but I felt were valid to point out.
Conclusion
Now, this long wall of text probably made it seem I disliked the game, but I really didn't. It's a very good game, and an exceptional CRPG. I just think it's not on the same level as Fallout 1, solely because of it's (in my opinion) weaker story and constant breaks in immersion that aren't that funny to begin with and add nothing of substance to the experience. There are no engine optimizations, quality of life additions and gameplay and UI improvements that make up for the lack of that eerie, almost opressive, yet epic atmosphere and story the first game has. The sequel doesn't live up to the expectaions for me, so I rank it lower. Overall, 8/10.

Wilhelm Windelband

11 May 1848 – 22 October 1915
Part of a Series on the Philosophy of History
Wilhelm Windelband and the Place of History among the Sciences
Saturday 11 May 2024 is the 176th anniversary of the birth of Wilhelm Windelband (11 May 1848 – 22 October 1915), who was born in Potsdam on this date in 1848.
One way to understand Windelband’s contribution to the philosophy of history is to position his work in relation to the old question of whether history is an art or a science. Those who say that history is an art point out that history is expressed in a prose narrative, and that history, like poetry and drama, has not surpassed its ancient models. Thucydides marks a high point in history as Aeschylus marks a high point of tragedy.
Those who say that history is a science can cite the research and the evidence that history requires and that art does not. While the humanities today may have fallen away from a condition of previous excellence, when the curriculum for the humanities was as difficult and as rigorous as that of the sciences, but in a different way, there remains the possibility of the humanities as a rigorous discipline. A student in the humanities was once expected to master Greek and Latin, and, if his research took him into ancient history where Greek and Latin were no help, then he might also have to master ancient Assyrian or Aramaic, as well as the auxiliary sciences of history, like sigillography and vexillology, and so on. Among those who argue that history is a science, Leopold von Ranke is most frequently cited as the man who made history scientific, though Ranke’s methods of text criticism arguably extend back in time at least to the renaissance, when Lorenza Valla proved that the Donation of Constantine was a forgery. In any case, the study of language unified the humanities much as mathematics unifies the natural sciences.
Wilhelm Windelband was among those who argued that history is a science, but if you argue that history is a science, the next step is to say what kind of science it is, because it doesn’t seem to be a science like physics or mathematics. This is where Windelband made his lasting contribution. Windelband argued that history is a science, but that it is a peculiar kind of science.
Windelband was among the first to make a principled distinction between the physical sciences and the social sciences, or, if you prefer, between the natural sciences and the humanities. Windelband’s principled distinction within the sciences is his distinction between the idiographic and the nomothetic. As far as my knowledge extends, this distinction was given its first exposition in Windelband’s 1894 rectorial address as Strasbourg. Here is how he formulated it at that time:

“In their quest for knowledge of reality, the empirical sciences either seek the general in the form of the law of nature or the particular in the form of the historically defined structure. On the one hand, they are concerned with the form which invariably remains constant. On the other hand, they are concerned with the unique, immanently defined content of the real event. The former disciplines are nomological sciences. The latter disciplines are sciences of process or sciences of the event. The nomological sciences are concerned with what is invariably the case. The sciences of process are concerned with what was once the case. If I may be permitted to introduce some new technical terms, scientific thought is nomothetic in the former case and idiographic in the latter case. Should we retain the customary expressions, then it can be said that the dichotomy at stake here concerns the distinction between the natural and the historical disciplines.” (Wilhelm Windelband, Rectorial Address, 1894)

In brief, the nomothetic is the lawlike and the universal, while the idiographic is individual and the particularistic. A distinct methodology is required for the exposition of the nomothetic and the idiographic, but the fact that each branch of science does have a methodology for the exposition of their chosen object of knowledge demonstrates that they are both sciences, though different kinds of sciences. Near the end of his rectorial address, Windelband says that, despite the distinction he has formulated, the ultimate aim of scientific knowledge is its ultimate unity:

“…in the total synthesis of knowledge, which is the ultimate aim of all scientific research, these two cognitive moments remain independent and juxtaposed. The general nomological regularity of things defines the space of our cosmic scheme; it transcends all change and expresses the eternal essence of reality. Within this framework, we find the vital development of the structure of all the individual forms which have value for the collective memory of humanity.”

The idea that nomological regularity defines the space of our cosmic scheme suggests that the nomological is the ultimate basis of science and scientific knowledge, and the idiographic must find a place for itself within the interstices of this nomological scheme; there are several other passages in his rectorial address that also suggest this. But Windelband also says that the nomothetic and the idiographic remain independent and juxtaposed, and he concludes this talk with an interesting juxtaposition:

“A description of the present state of the universe follows from the general laws of nature only if the immediately preceding state of the universe is presupposed. But this state presupposes the state that immediately precedes it, and so on. Such a description of a particular, determinate state of the arrangement of atoms, however, can never be derived from the general laws of motion alone. The definitive characteristics of a single point in time can never be immediately derived from any ‘cosmic formula.’ The derivation of the description of a single temporal point always requires the additional description of the previously existing state which is subordinated to the law. General laws do not establish an ultimate state from which the specific conditions of the causal chain could ultimately be derived. It follows that all subsumption under general laws is useless in the analysis of the ultimate causes or grounds of the single, temporally given phenomenon. Therefore, in all the data of historical and individual experience a residuum of incomprehensible, brute fact remains, an inexpressible and indefinable phenomenon.”

Given this juxtaposition, we could also characterize the nomothetic and the idiographic as the distinction between general laws and brute fact. Natural science is the science of general laws; history is the science of brute fact. Each requires the other: general laws must work upon brute fact, and brute fact is made comprehensible by its subsumption under general laws. Formulated in this way, it makes sense that the science of general laws would require a distinct method from that of a science of brute fact.
Now I want to return to the problem with which I started: is history an art or a science? Windelband, as we have seen, says that history is a science, but it is a peculiar kind of science with its own methodology, and that methodology is idiographic. This claim doesn’t go down well among many philosophers of science. Among philosophers, especially since the advent of Newtonian science, physics has been taken to be the paradigm of a natural science. Physics is also often called a “hard” science, and mathematics a “pure” science, but what makes a science hard or soft, or pure or impure, is a problem that only philosophy can attempt to address. Physics is also clearly nomological, and physicists are justly proud of their precise statement of the laws of nature in a mathematical formalism.
Many of those who would make history a science want to assimilate history to the natural sciences, and they assume that there is, or there ought to be, a methodological unity across all the sciences. In other words, there are no kinds of science, there are no distinct classifications of science each with their own methodology. Science is one, and not many. For Windelband, science is many, not one, and it must remain many because of the juxtaposition of general laws and brute fact.
Can we call this for either side? Has the past century and a quarter of scientific discovery and philosophy of science given us a way to decide between the claims that science is one and science is many? In a word, no. I will go further and make a more radical claim: my response to this is that no sciences are scientific. Before you call me a nihilist, let me try to explain.
The individual special sciences, like physics or biology, are scientific to some degree, but all fall short of converging on complete scientificity. I have often pointed out, though not in any of these Today in Philosophy of History episodes, that there is no science of science. Individual sciences are pursued scientifically, but we have no general method for the foundation of a new science and no general method for the expansion and progress of an existing science. Intuition still plays a crucial and substantive role in the development of science. The progress of science, then, is idiosyncratic, subject to the intuitive perspicacity of its practitioners.
Our understanding of science is pre-paradigmatic, to use a Kuhnian term, even if particular sciences are fully paradigmatic. It seems paradoxical that the individual sciences can be as well defined as any part of human knowledge, while the whole enterprise of science remains essentially unknown to us. If we could christen this paradox with a memorable name maybe the realization of not knowing what we are doing when we do science would get some traction and some theoretical attention.
Whether or not this is a paradox, it shouldn’t surprise us, since it’s baked into the very substance of science. Science progresses when it manages to hit upon a productive set of abstractions that we can use to leverage a very narrow way of looking at the world. When I say that about “managing to hit upon the right abstractions” this is key here, because, given the lack of a science of science, there is no method of converging upon optimally productive abstractions; we can only cast about for them.
Finding productive abstractions is idiosyncratic: some individuals have a much better feel for converging on productive abstractions than others. This idiosyncratic efficacy is a function of science remaining an art rather than being a science—that is to say, science itself is an art to some degree. To give a sense of really how “out to sea” we are when it comes to scientific knowledge, consider this: In the absence of a rigorous science of science, it would be nice at least to have a proof that a rigorous science of science is possible, or that it is impossible—one way or the other—but we don’t even have this much.
Now, it seems clear to me that some sciences are more science and less art, while other sciences are more art and less science. It also seems clear to me that physics is more science, and history is more art, but they both occupy points on the art-science continuum, and in this sense, if no other, all scientific thought is unified in not being perfectly or exhaustively scientific.
One of the first steps we might take in formulating a science of science would be a taxonomy of the sciences. Windelband seems to do this by giving us a fundamental distinction that exhaustively divides all sciences between the nomothetic and the idiographic. Windelband’s distinction, if strictly observed, cleaves science in two, with the natural sciences on one side of the division, and the historical sciences (or, if you prefer, the humanities) on the other side. But he didn’t always insist on his distinction as being an exhaustive classification, and he gave a different sense to his distinction in a little book titled Theories in Logic in English. This was originally written in German as “Die Prinzipien der Logik” and appeared in the Enzyklopadie der Philosophischen Wissenschaften, 1912, but the English translation was published as a short book.
In Theories in Logic Windelband suggests that sciences might be more or less nomothetic, more or less idiographic, and the nomothetic or idiographic proportion of a science may change over time:

“…we have to distinguish between those sciences which are governed by laws and those which deal with events, between nomothetic and ideographic inquiry. It is this which really makes the difference in intellectual interest between Natural Science and the Humanities. But we cannot repeat too often that we are here only speaking of ultimate aims and hence of those sciences which appear as polar opposites, between which the real work of Science moves in manifold gradations, so that in any particular case we can only speak of a preponderance of one or the other moment—as Rickert, in his penetrating analysis of this relation, has pointed out. The ultimate goal of all investigation of Nature is to attain timeless generic concepts of being and happening, but that does not exclude the fact that the way thereto leads over stages of simpler interconnexions in which it rests and provisionally halts. For it is precisely in the real that the nomothetic rationalisation of Reality must find its limits. On the other hand, the specific object of all historical inquiry is a construction which is significant chiefly because it can never recur, and which has to be lifted out of its entanglement in the non-significant elements lying all around it. To understand such a construction, however, History requires general concepts and axioms, which she is certainly more likely to borrow successfully from general experience than from the natural sciences… and it creates for itself the possibility of characterising this unique object by a peculiar kind of generic concept and by a comparative study of the conformity of events to law.” (p. 57)

Windelband’s original distinction implies that natural science and the humanities are polar opposites in terms of their methodology, but in fact the development of science involves “manifold gradations” in which the nomothetic and the idiographic preponderate by turns. This means that natural science (and the humanities as well) might swing like a pendulum between a nomothetic pole and an idiographic pole, being now more nomothetic, and now more idiographic. I think Windelband was right about this, but if the whole of science can tend toward the nomothetic or the idiographic, then his distinction isn’t the kind of beginning of a taxonomy of sciences that we would want to pursue if we wanted to formulate a science of science.
If you think about it, it’s remarkable that so much thought and effort has been poured into the sciences and into philosophy of science, and yet we don’t have any kind of workable classification of the sciences other than a university catalog and the arrangement of books in the library by subject matter. If we were to take a page out of Carnap, we would start with classificatory concepts of science, that is to say, a taxonomy, and then we work our way to comparative concepts, and eventually converge on fully quantitative concepts. We could argue that physics has a greater number of quantitative concepts than history, therefore on this Carnapian basis physics is closer to converging on scientific status than history, and I wouldn’t disagree with this. It’s a lot like my earlier claim that physics seems to be more science and history more art, though both are on the same art-science continuum.
Carnap’s schema of scientific concepts has been widely influential and widely criticized. For my part, the longer I have thought about this, the more I have come to see that an optimal taxonomy is one of the last things that a science arrives at, and, if I am right about this, then a science of science that could render both physics and history fully, completely, and exhaustively scientific would arrive last of all at a satisfying taxonomy of the science. Given this desideratum, it might well be premature to seek a taxonomy, but, on the other hand, there is a big difference between a workable taxonomy and an optimal taxonomy. The development of a science often passes through a sequence of taxonomies that become more adequate as they are repeatedly revised.
I would expect the same to be true of a science of science, so I would expect to see a rough, workable taxonomy of the sciences followed by revisions that would render it more adequate over time. Does Windelband’s distinction between the nomothetic and idiographic sciences give us this rough, working taxonomy that could be the basis of further elaboration? Maybe yes; maybe no. If Windelband is to be the basis of a science of science that can comprehend both physics and history and everything in between, it would need to be set in a much more comprehensive theoretical framework, and this has not yet been done.

Video Presentation

https://youtu.be/nOnELO64kwE
https://www.instagram.com/p/C60x--UNqtW/
https://odysee.com/@Geopolicraticus:7/wilhelm-windelband-and-the-place-of:1

Podcast Edition

https://spotifyanchor-web.app.link/e/UhiNEf1BvJb
https://music.amazon.com/podcasts/a31b8276-53cd-4723-b6ad-a39c8faa4572/episodes/3b2e6e57-d9fe-45b0-a1ec-f51f951f1fe7/today-in-philosophy-of-history-wilhelm-windelband-and-the-place-of-history-among-the-sciences
https://www.iheart.com/podcast/269-today-in-philosophy-of-his-146507578/episode/wilhelm-windelband-and-the-place-of-175323097/
​

Well I just finished the campaign of Homeworld 3 today and I have to say I am massively dissatisfied with the presented story. I feel utterly disappointed that after 20 years of waiting for a sequel to one of my favorite game franchises; we got something like this.
I feel like this game's story and narrative direction went in a direction that goes counter to the fundamental experience the first 2-3 games delivered that made them memorable so many decades after the fact. I honestly think it is the worst/weakest game of the franchise narratively speaking. All the other aspects of HW3 are fantastic. I 1000% understand what Rob and the rest of the folks at BBI were trying to accomplish here when they said the tech wasn't available 20 years ago with HW2. This game is beautiful and it shows. Visuals, Audio, ship design, UI, are fantastic. Gameplay and mechanical issues are fixable so I'm not going to fault them for that being a bit rough at launch.
I'll try to explain as best I can, but I'm not the best at fully expressing my thoughts out into text, so (BRING SAJUUK TO BEAR) with me.
For context, I've been in the Homeworld community for a LONG TIME. Since the Relicnews days. Not as long as Uber, Shin, or some of the other folks, but long enough to have made many friends from this community I still know to this day, and also I am one of the moderators on the HWU Discord server. So I have spent the better part of my entire life a part of this community in some way.
Here we go... (quote shameless stolen borrowed from The Way of Kings)

Journey Before Destination

The ancient code of the Knights Radiant says “journey before destination.” Some may call it a simple platitude, but it is far more. A journey will have pain and failure. It is not only the steps forward that we must accept. It is the stumbles. The trials. The knowledge that we will fail. That we will hurt those around us.
But if we stop, if we accept the person we are when we fall, the journey ends. That failure becomes our destination.

Why do people love HW1/HWC to this day? What about those games made them so well loved by the community that they are widely considered the de-facto games of the series when it comes to their story telling? But what about it was good that made it that way?
DanVanCrone wrote a fantastic piece on the old Relicnews forums that the entire forum base loved to referenced for many years of how heartfelt and masterful the story connected with its audience.
For me and many others. it was the experience of the story; the journey that took place within those games that gave us the player something to connect with; to relate with. The story of Homeworld presented a simple premise. A people on a planet who discovered their home was not their own. Their true home was out somewhere among the stars. The reasons how they got here or why lost to time and ancient memories turned to myth and legends. Their struggle to survive, their rise out of near extinction to climb into the heavens and stumble upon a lost secret that would transform their entire society in such a way that would drive them across the galaxy.
So we set out on this journey not as a third party viewing Commander Shepard do his thing, or as a specific character; but as someone who had their place right along side the entire Kharakian people as they set out to find their home. Sure we had Fleet Command/Intel, as they were voiced and spoke, but their agency as a character was done in such a way presented them moreso as proxies or acted as a voice for the entirety of the Kharakian (Kushan) people. Karan did have her own voice due to the nature of her linkage to the Mothership and so she had a sort of duality with her position. But both her and Fleet Intelligence were able to act as a means to deliver the emotions for moments of pain, grief, anger, sadness, revenge, hope and everything we experienced as we played the campaign.
We experienced the journey to Hiigara along with the entire crew of the Mothership. We had the welling of anger and sadness when Kharak burned. The anxiousness and anticipation at the Bridge of Sighs as we gained entry to the Hiigaran system. Panic, concern, worry as we fought to survive in orbit around our Homeworld.
The story of Homeworld was never about a character or about chasing 'a thing' but moreso the exploration and experience of an idea that resonated with everyone; to find your home. In doing so, the story unfolded naturally of uncovering the history of what happened in their past of how they came to be on Kharak, experiencing loss, exacting revenge, hope for the future and eventually tears of joy at the accomplishment that the did in fact find Hiigara. And we were there along the way as an active participant to experience all of it along the way as if we were there with them.
The glorious vistas of the galaxy as we jumped from mission to mission. We cried at the end NIS as we saw the epilogue of our journey. The lives lost from the conflict of the fight to gain our Homeworld. The awe and wonder of seeing a lush world to those who knew only endless sands, and especially when we saw Karan insisting that she be the last person to disembark and set foot on the Homeworld.
The agency we had as a player was not viewed through the lens of one person; but through the eyes of an entire people and the journey they took. The universe had enough backstory written within the manual to lay the foundational ground work just enough that you didn't need a lot of technical exposition dumps, or have to have things blatantly explained to you right to your face. So in a sense, you were like part of the crew going on the journey along with them, as part of them.

Homeworld Catacylsm

HWC worked much the same way within its own twist. For this game, the focus was much smaller in scope and placed you with the crew of the Kiith Somtaaw mining vessel.
Here HWC built upon the foundations that HW1 put in place with the lore of the Kiiths, the fallout of returning to Hiigara, and touched upon and provided interested world building elements about the universe. From the aspects of Kiith politics; and the explorations of galactic geopolitics resulting from the Return of the Kushan people.
It was an underdog tale and also one that mirrors and parallels aspects of a Hero's Journey. Only again the hero here is not a person but a group of people. The story aspect of The Beast acted as narrative driving force to drive those concepts of the growth and journey of the Kuun-Lan and her crew as they had that Hero's journey.
You fight alongside the Kuun-Lann, you feel and hear the fear in their voices of the ship engineers as they struggle to understand the Beast when it captures and subverts ships. The tension as the story progresses as the circumstances get more dire. The interactions with the Bentusi and seeing a culture so powerful be shook to their core was a fantastic element of exploring who the Bentusi were as a people. We saw the horrors of the Imperialist experiments and their alliance with the Beast. We got the the thrill of victory with the Siege cannon working as we fought back in the last mission. And lastly at the end of the epilogue sequence where the Somtaww fought, died, and earned their place among the great martial Kiith; the naming of their children as Beastslayers. Truly it was fantastic story telling under the guise of using science fiction and some space horror.
All of the gameplay, and the emotions come out as the story and narrative is experienced. Everything that is told within the game, works within the confines of the established lore of the game, and the prior game. Nothing is over explained, nothing is just hand-waved away. We saw them grow as a crew, saw their fear, stumbles falls, and triumphs along the way. All this while exploring and growing the established lore of the Homeworld universe.
In my view those two stories worked so well for so many people because fundamentally, they were a story of the Journey; not the destination. We lived through those experiences as if we were there with them; we experienced the ups and downs of the emotions of the stories told about the people and their growth within those stories. We were able to connect and relate to those experiences in our own way. And in my view, the ability to connect to those stories made them so fantastic.

“And so, does the destination matter? Or is it the path we take? I declare that no accomplishment has substance nearly as great as the road used to achieve it. We are not creatures of destinations. It is the journey that shapes us. Our callused feet, our backs strong from carrying the weight of our travels, our eyes open with the fresh delight of experiences lived.”

The Stumble

"What you saw belongs to you. A story doesn't live until it is imagined in someone's mind."
"What does the story mean, then?"
"It means what you want it to mean," Hoid said. "The purpose of a storyteller is not to tell you how to think , but to give you questions to think upon. Too often, we forget that.”

In my view Homeworld 2 is where things started to have problems.
Many of us in the community know of the development of Homeworld 2, its cancellation, its rushed story and development. However the story of HW2 mostly throws out the concepts mentioned before. While the story and gameplay is presented in the same way as the prior two games; in my view it fails to present the user a story and experience they can truly and fundamentally connect with and is more 'generic science fiction'.
The driving force of the story is some prophecy we've never seen or heard of before this game in any of the lore. And the main reason for all of it is the now retconned nature of the hyperspace cores. Throw on top of this heavy leaning into the religious themes and mysticism focusing on Karan and Makaan who now and take the stage as the primary protagonists and antagonists of the story.
The character motivations of the Makaan/Vaygr, Karan, and the Bentusi are in my view mostly shallow or very hollow to the point its basically cookie cutter tropes without a lot of nuance to it. The story becomes and is less about the people and more about a MacGuffin game of Hide and Seek. The prior exploration and expansion of the HW universe is entirely ignored in favor of this hide-and-seek of the cores that the entire game has driving it forward. There's no understanding of the growth of the world, of the Kushan people, geopolitics, or anything like that. Just lots of woo-woo mysticism about the Cores and the Progenitors.
With regards to the plot; we're mainly just told 'hey the bad guys are coming, keep the cores away and go find the others'. The Bentusi are unceremoniously killed off without any real build up or explanation. Why are they the last? What happened to them? None of that is explored in a way that gives us any sort of satisfying reason to why this makes sense when they detonate their Harbour Ship to give us their Magic Space Core.
To me there's no personal emotional connection to the story. Why should I care about a magic space prophecy I've never heard of until now? Why are the Vaygr the way they are? None of that is given time to breathe or has enough depth to make me care beyond superficially. The narrative doesn't make you feel less of an active participant in the journey you are going through, and makes you more of a passive viewer of a conflict that has little explanation as to why you should care or understand the importance of said driving forces. The reasons for getting to and through the the game feel rushed so much that the narrative doesn't have a lot of depth or time to breathe in my view.
While the backstory in the manual does give context to the pre-exile events and how it does relate to the events in game which helps with overall universe world building; it's done so in such a way that is retconning the fundamental established soft-rules of the universe that HW1 and HWC laid the ground work on which further compounds or allows the weak story of HW2 to take place, and undercuts the accomplishments of the Kushan people as I will explain shortly.

The Fall - Homeworld 3

However the worse crime is what was squandered with the ending of the HW2. The epilogue of Homeworld 2 put forth a massive chance for some incredible story options to take place with the opening of the Hyperspace Gate Network across the galaxy. A chance for exploring stories that can connect with the player on that personal level like HW1 and HWC and the explorations of what could be explored in this new open universe. What will the Hiigarans do now, what about the Taiidan, the other Inner Rim species, what now will the galaxy look like with the Bentusi gone, why were the gates closed in the first place?! So many fantastic ideas were possible with scopes as large or as small as possible. The discovery, exploration of the Homeworld Galaxy would have been tremendous.
Instead we got the story of Homeworld 3.
Now I don't want to be unnecessary harsh or mean to the writers or the team at BBI/Gearbox for the effort they put into the work for Homeworld 3. This game is a niche title and not anywhere near popular like COD, or Warcraft or Zelda. But to be frank, I really truly feel that y'all need to have some direct constructive criticism of this story's campaign. I don't know what the motivation was for putting this story together, or what was attempting to be told here, but whatever story you were trying to tell did not land well.
I backed this game on fig at the Admiral level, so I threw down hard for this and am truly grateful we got the game at all. I truly want BBI and Gearbox to take this to heart in a way this is not demeaning, but a cold bucket of water that I feel needs to be throw.
The best way I can succinctly put this is that the story of Homeworld 3 lacks the fundamental soul that made Homeworld 1 and Homeworld Cataclysm the absolutely best in the franchise. This game makes Homeworld 2's rushed narrative and slight stumbles look somehow not that bad by comparison. Those on the HWU discord know my passionate dislike of the overall story of HW2 and the retcons that introduced that were further compounded by HWDOK. The story of HW3 makes HW2 look polished and well thought out by comparison.
So I'll be straight with my gripes on this.

• More and worse of the same that came from Homeworld 2. Retcons of established lore, de-emphasizing and diminishment of the motivations of the persons and people's in the prior games. Putting the Progenitor hyperspace cores as the singular driving force of the entire franchise
  
• Everything is now about KARAN SJET. Karan saved the Kushan people. Karan lead the revenge against the Taiidan, Karan found the magic space cores. Karan opened the hyperspace gate network, Karan tries to stop the anomaly. Karan probably cured cancer and saved JFK from assassination for all I know.
  
• The compounding of the Progenitor hyperspace SpaceMagic and making Karan the primary protagonist of the series continues to massively undercut the accomplishments of the Kharakian people off at the knees. The entire back story of HW1 that details their struggle and clawing up the tech tree, the struggle to survive on the harsh conditions of Kharak, how the discovery of the Guidestone and the goal of Hiigara the singular unifying goal of reaching their lost Homeworld uniting their entire population. Everything the HW1 manual details and gloriously shows the accomplishments of their PEOPLE to get to where they were at the start of HW1. All of that is diminished because 'magic hyperspace core'. I could go on but you get the gist. (I won't get into the further compounding retcons of HWDOK, but this just furthers that same narrative direction.) In my view, the Homeworld series has and never been about a person, but the story and journey of a group or people whose plight or experience is something that can be emotionally and personally related to by anyone.
  
• Karan was only a small person out of her entire population and only ONE person of the entire crew of the mothership. She was not some messianic figure, but someone who sacrificed for her people. Now I get the messianic implications of that, but the first game was never about her.
  
• HW2 already crossed over the line of making the story about a person rather than about the people. HW3 takes that and makes it worse. Gone is a story about the Hiigaran people and how their place in the Inner Rim has taken hold a century after landing back home. No explaination of how the inner rim has changed since the gates opened. Nothing about the Galactic Council. Nothing about other species or factions.
  
• The world building of HW3 is basically non-existent or is very poorly done as compared to the last games. No real understanding of the world at large since the ending of the last game or how the events have unfolded and affected the universe as we have come to understand it. Unless you go on the HWU website to get some level of backstory to get an idea of what's going on leading into HW3, you'll have no idea what the hell is happening.
  
• The antagonist of HW3 makes the life-size cardboard cutout of Makaan win the Oscar for best actor in a science fiction video game. They are bad and lack any sort of depth at all as a character. They instead come off at worst as cringe at and best cliché trope-y bad. Throughout the entire campaign we have no idea how/why/what they are doing the things they are doing. Nothing is explained that makes any sense. They just monologue at us with some over the top badguy speeches without any real understanding of what they are after or what their motivations are. Seriously, the the cut scenes from Homeworld 1 with Emperor Riesstiu IV the Second or Makaan from HW2 had more narrative depth and in universe understanding of their motivations than the antagonist of HW3. I have seriously no idea how this Incarnate Queen got the power she did, or why she was doing what she was attempting. No reasons why beyond I AM BADGUY WITH ULTIMATE POWER. JOIN ME OR DIE. It was the equivalent of 'Somehow Palpatine has returned levels of bad. How did she get the Progenitor tech she did, how did she live as long as she does, how does she have magic hyperspace cores that let her go into the Magic Hyperspace Navigator Mind Realm?? No idea Something the OG Homeworld games did very well was of show don't tell, and telling just enough for it to make sense without having to go into crazy techno battle or massive mystical assumptions of how things worked. This is one of those moments I feel like it did the opposite of that. We're shown a WHOLE LOT OF STUFF, but have no way to reconcile it in game in a way that narratively makes sense or resonates with the playeuniverse.
  
• The massive in-universe violations of established lore regarding hyperspace. Holy shit this is so bad I don't even know how this came about. The Progenitor hyperspace cores and their special spacemagic look mostly normal by comparison. There is no lore or story elements that help explain how any of this is possible. It's never explained at all beyond 'it happened just go with it'. Absolutely nothing, nada, not a bit of information is explained or made attempts to understand at how the Incarnate Queen is using hyperspace as a weapon. The violation of the mass override safety interrupts or gravity blocking or interfering with hyperspace is never explained at all. Nothing to show how she is THROWING PLANETS AT OTHER PLANETS. This is the equivalent of the Holdo Manuver from 'The Force Awakens'; massively cool to see on screen; but holy shit this violates so many in-universe conventions of how FTL travel works that it fundamentally causes problems.
  
• MASSIVELY more leaning into the mysticism aspects and moreso science fantasy side of storytelling are done within this game than the prior four games. I am not sure on the motivations here, but I feel like it was done in such a way that that leaves much to be desired for HOW/WHY. I get that they may have been trying to lean more into the nature of the Unbound and how the Navigators of the mothership class vessels are connected to their ships and have a much more profound view of the universe (similar to what the Bentusi alluded to). But this just felt very out of place and didn't make a lot of sense to me why it was presented in this way. I feel like it could have been done better or in such a way that helped it link up better to the ideas of the Unbound, but this was not it.
  
• The way HW3 story plays feels like someone only had a cursory understanding of the Homeworld lore and just did their own thing with it irrespective of the established lore and world building that was previously done. Shutting down the gate network??? WHY. This just takes the ending of HW2 and throws all those chances I mentioned and just throws it in the trash.
  
• No explanation of why the Incarnate Queen thinks she can make a new race of Unbound?? Why is this important? Don't know! Why are Karan and Imogen somehow special and able to stop her within the Hyperspace Mental universe? No idea and it really pushes things way into Science fantasy.
  
• Imogen as a character I feel is 'okay'. I am not sure if its the relationships she has with the other characters in the game, or if its just the story as a whole doesn't give her a lot to work with. To me it feels like there some aspect of her story and character I feel is missing from the game. Again its probably my displeasure of the game focusing on individual characters instead of larger abstractions of people like the prior games before HW2.
  

Final Thoughts

Fundamentally I know this is a personal opinion of mine and not everyone will agree with it. That's fine, but for me I have so many issues with the story and many of the pillars that are supposed to hold it up that at a certain point I can only say that the story is for me very bad and goes against the grain of what the foundational games to me setup for the franchise. It does nothing to grow or expand the HW universe lore in any interesting ways. I say this as someone who's been in and grown up with the Homeworld community for the last 26 years.
Story-wise; it's disappointing, bland, and generic at the very least and doesn't live up to the GOAT levels of quality the originals of HW1 and HWC (and to an extent HW2) put forth; to being insultingly bad at worst. I don't mean this as an slight to the writing staff as I know that a LOT of the OG folks involved with the first games were involved, but I really feel like there was a misstep here. It plays well and the pacing is kinda faster than I'd have wanted within a Homeworld game. However the core story ideas that make up the game are poorly explained, weak, or are so counter the established lore that for me it doesn't hold up well. This is magnified by the antagonist motivations and actions being poorly explained which in turn doesn't give the story or world to grow in any meaningful way.
I honestly don't know where or how the path the franchise has taken can be corrected. In my personal opinion, its gone off in a direction that gave the first games their unique style that made them attractive in the first place. Without doing massive retcons to entirely course correct to bring the game to where I personally think would be more akin to the original games I don't know where they'll try to take the game. This recent game I feel it has pushed more into the generic bland science fantasy genre with this newest entry into the franchise; rather than taking the careful slow burn, grounded science fiction based abstract story approach that connects with a player on a deeply personal level.
For me, while may it may have the gameplay mechanics and RTS genre DNA of seasoned devs in the industry that have been involved with Homeworld and other games over the years, it lacks the soul that made the first games who they were and is Homeworld game in name only.
Thank you for coming to my TED talk.

This is a notice for any current or prospective members of the club known as Christian Students on Campus at UT in Austin. This club is associated with a church known as The Church in Austin, which itself is associated with a denomination known as The Lord’s Recovery (a.k.a. “The Local Churches”).
You can see my own personal testimony of Christian Students on Campus in this post.
Every now and again, people will give testimony against this denomination and the clubs affiliated with them. Oftentimes, members of these churches who operate in these clubs are quick to bring up an article published by The Christian Research Institute (CRI) in order to defend themselves. I believe it is important to be aware of this article and the context surrounding it.
After decades of strife and controversy regarding the legitimacy of their theology as well as abuses that occurred in their churches, leaders of The Lord’s Recovery (a.k.a. “The Local Churches”) gained the public support of The Christian Research Institute.
Decades prior, former president of CRI Walter Martin publicly denounced the teachings and practices of Witness Lee and The Local Churches (you can hear one of his speakings on the matter here). Despite objections from the leaders of The Lord’s Recovery, Walter Martin continued to warn fellow believers to take extreme caution with Witness Lee and The Local Churches. Walter Martin never recanted. Three others who worked on this original critique were E. Calvin Beisner, his sister Gretchen Passantino, and her husband Robert Passantino.
Decades after Walter Martin’s passing, the CRI, under the leadership of Martin’s successor Hank Hanegraaff, published an article titled ”We Were Wrong” in which they claimed to have conducted years of research and repented of their former analyses of The Local Churches, recanting earlier statements published against Witness Lee and his denomination. It is important to note that the article makes a brief reference to sins, abuses, and turmoils from the 1980s that former Local Church elder John Ingalls addresses in his book, ”Speaking the Truth in Love.” Coincidentally, the article did not address these matters when concluding whether or not this was a sound church to join.
In response to this article, Norman Geisler and Ron Rhodes, two well-known and well-studied theologians, published a response (2009) to the “We Were Wrong” article, addressing several theological and practical points of concern. In it they question the validity of some of Lee’s teachings, citing what they believe to be plain errors as well as notable inconsistencies in Local Church theology.
Further still, former member Jane Carole Anderson, who had been in The Lord’s Recovery for at least 20 years, published an open letter (2010) addressing the CRI article as well as public statements by leaders of The Lord’s Recovery. In it she cites the lack of thorough exposition done by the Christian Research Institute and their failure to address the serious systemic issues and abuses that were prevalent in both teaching and practice within The Lord’s Recovery. One notable item she makes reference to is the ”one publication mandate” of The Local Churches in which all affiliated churches are required to abide by the teachings of one man named Witness Lee which are published by a company he founded known as Living Stream Ministry.
Jane Carol Anderson also received the support of James K. Walker, president of Watchman Fellowship, an apologetics and counter-cult ministry. He sent a letter to the other 73 signatories of an “open letter” in which several theologians, biblical scholars, and pastors openly critiqued Witness Lee’s teachings and called on his successors to review and correct their doctrinal errors.
In his letter to the other signatories, James K. Walker notes that two of the original researchers who critiqued the Local Churches were in sharp disagreement regarding this sudden turnabout and praise of Witness Lee’s denomination. While Gretchen Passantino now supported the Local Churches, her brother Calvin Beisner strongly disagreed with her reassessment.
It is also important to note that around the same time that CRI’s “We Were Wrong” article was published to support The Lord’s Recovery, they received a generous donation of $625K from an organization called The Morningside Foundation. This organization is run by brothers Ronnie and Gerald Chan. Ronnie Chan and his relative, Minoru Chen, are both prominent leaders in The Lord’s Recovery.
I will include here the same disclaimer as I did in my personal testimony:
I tell you these things not to target the college students themselves, for most, if not all, of them are genuine in their faith, full of the hope and love that often abides in the hearts of young men and women who seek Christ and Christian fellowship. Yet if anyone wishes to associate with this campus ministry, it would be good for them to be aware of who this group is affiliated with since they often do not feel the need to disclose such things to new members and even some veteran members. Those who are looking to join any Christian group on a college campus have a right to make an informed decision regarding who they give their time and efforts to.

SOURCE
I'm going to do something a bit different and take a close look at two major works from the DC Universe: Darwyn Cooke's The New Frontier, and James Robinson and Paul Smith's The Golden Age. If you're playing along at home, the texts I'm using are The Absolute New Frontier from 2006 and The Golden Age trade paperback from 1995.
First a bit of personal context: I didn't enjoy The New Frontier when it first came out, serialized in six quite expensive installments. I loved Cooke's art, I loved the use of some of the more obscure DC war characters, and I loved the characterization of the Martian Manhunter, but the narrative didn't work for me when read in small monthly doses back in 2004. I had read all of the full-length work Cooke had done up until 2004, and none of it had disappointed me at all. But The New Frontier seemed to read more like a tour through the 1950s and 1960s than an actual story. It wasn't until the final issue that I really understood what Cooke was leading up to, but then it was over, and I didn't have the time or the inclination to dig out the back issues and read the whole thing in one sitting. Even when I got the two-volume trade paperback collection a couple of years ago (in an eBay lot of trade paperbacks I bought off of none other than comic book scholar George Khoury), I still didn't bother to read it. To paraphrase Hemingway's Frederic Henry, we don't do the things we want to do.
So I never actually read the entire text of The New Frontier until this past winter, when I was able to sit down with the luxurious Absolute edition and dive into Cooke's illustrated world. I enjoyed it immensely, enough that I wanted to reread it again this summer, which is what I have just done, and now I want to talk about it. But I don't want to talk about it in isolation, and I'm interested in the connection between texts, so I'll also talk about its logical precursor: The Golden Age.
Like The New Frontier, Robinson and Smith's The Golden Age deals with the era between the 1940s and the 1960s. The era in which the comic book Golden Age grew into the comic book Silver Age. The era in which America was undergoing its own transformation, moving from threats abroad to suspicion at home. And just as I had difficulty enjoying The New Frontier as a serialized comic, I couldn't appreciate The Golden Age in that manner either. I only bought the first two issues, actually, back in the early 1990s, and then I lost interest, vaguely thinking that I might buy it as a collected edition some day (even though collections were not guaranteed the way they are today). I did buy it when the trade paperback was released, and because I had never finished it originally, I read the collection immediately. And I liked it. But I thought it was deeply flawed.
I reread The Golden Age yesterday, after thinking about it in regards to The New Frontier. It's not a surprising connection, after all. Cooke himself claims The Golden Age as an inspiration for his own work. But my memory of The Golden Age was a bit hazy, and I recalled it being a much more cynical view of the territory than what Cooke achieved in The New Frontier. My recall was pretty accurate--Robinson and Smith present a quite cynical view of the late Golden Age America.
Now that I've read both works back-to-back, I'm interested in exploring what each says about super-heroes, what each says about America, and how each achieves its (very different) effects. These are the kinds of things I'll be looking at over the next few days.
James Robinson's use of History in The Golden Age
One of the things that strikes me about both The New Frontier and The Golden Age is the way the creators weave American history into their stories. On the surface, such a technique might not be surprising, especially considering that both tales take place in the past. And while it may be true that a so-called "historical novel" or "period film" would be amiss to neglect the details of history which fit its setting, the same isn't always true for comics.
In comics, stories set in the past tend to take place in some vague memory of the past, without any apparent intent in locking the stories into a particular date or era. Take the typical origin stories, or "Year One" stories which DC Comics' creators have retold again and again. In such a story, whether it be Miller and Mazzuchelli's take on Batman, or Waid, Augustyn, and Kitson's take on the Justice League, the setting lacks a distinct time stamp. The characters are younger, true, but the setting lacks specific period detail. The reason for this isn't at all surprising, because locking the characters' past into a specific date would require some major explanations about their ages in the present. Had Miller time-stamped the date on Batman: Year One, and included captions saying "May 3rd, 1980," or whatever, then that might have worked for a few years, but even if we assume that Batman was only 23 when he took inspiration from that window-smashing flying rodent, according to that temporal continuity, he'd be 50 years old in the current stories. And he's clearly not.
So we expect stories set in the past to avoid any kind of specific references to contemporary history, at least in comics. A recent jarring exception to that can be found in Diggle and Jock's newly released Green Arrow: Year One, in which a young Oliver Queen references the "Kevin Costner" Robin Hood. That means Queen must have become Green Arrow sometime in the mid-1990s, which might explain his age today (if he was 22 in 1992, he'd be 37 today, which might be right), but it also implies that his son Connor must only be a teenager today, and he's clearly older than that. Perhaps the reference will work better 10 years from now when the Kevin Costner reference will become part of the vague historical past, but right now it seems too current to make sense.
Anyway, the other MAJOR exception to the rule of not using historical references in comics is the case of stories set during World War II. Even comic books written at the time of WWII regularly included time-stamp references in a way that later comics tended to avoid. Yes, since then, Superman has met Kennedy, and you might see analogues of Bill Clinton or George W. in a story or two, but in the 1940s heroes came face to face with major historical figures (contemporaries to them) on an almost daily basis. Here's FDR! Here's Superman grabbing Hitler on a cover! Here's Tojo! Here's Hawkman enlisting in the army to fight overseas! Etc. Such close ties between "comic book reality" and real-life events never matched the heights of the WWII comics.
And that's why later writers, Roy Thomas MOST prominently among them (he practically invented the whole idea of historical nostalgia super-hero comics), felt compelled to weave actual historical events into the retelling of stories from the WWII era. Thomas's Invaders for Marvel and his All-Star Squadron for DC playfully fit the timeline of actual US history into the fictional timeline of the past super-heroes. In his letter columns, Thomas would often explain (or justify, for the more contentious fans) how the chronology worked.
But, other than WWII era-stories, most comic book stories that take place in the past (unless they are time travel stories, which have their own rules) DO NOT USE SPECIFIC HISTORICAL REFERENCES. It's weird to imagine novels or films avoiding such references—they would surely be criticized for it—but in comics, it's commonplace.
So, in the case of both The New Frontier and The Golden Age, you have two rather significant violations of that standard "rule." And both of which seem deeply indebted to the type of approach Roy Thomas favored so much.
Let's take The Golden Age first, since it was published a decade before Cooke's work. The Golden Age seems like a logical off-shoot of Thomas's All-Star Squadron. It features many of the same characters, and Johnny Quick, a relatively obscure DC character from the past, would certainly not have been a suitable narrator for the story without the characterization Thomas provided in years of All-Star Squadron stories. James Robinson is clearly building on the foundation Thomas created. So, it's not surprising that he would, like Thomas, blend US history into his story. Yet Robinson's approach differs in two distinct ways: (1) He doesn't seem interested in the exact historical details and how they fit into his timeline—he seems more interested in the general sense of historical forces of the time, and (2) Unlike Thomas, who was writing out of a Golden and Silver Age optimism and a belief in the American Dream, Robinson was writing from a post-Watchmen perspective, as a foreign-born writer, who could play with the cynical expectations of the time.
Thus, Robinson gives us coke-sniffing "super-heroes," corruption, brutality, and sex in a tale which features the "pure" heroes of the DC Golden Age of comics. Robinson's approach is not to use specific elements of McCarthyism or the Red Scare (even though those ideas are referenced at least once), but to use the general sense of paranoia and panic, the cynical manipulation of the public for personal gain, and the looming threat of the bomb.
Ultimately, however, Robinson uses all of this as a backdrop for a traditional super-hero romp. The coke-sniffing "super-hero" turns out to be Hitler in disguise!!! (Well, actually the brain of Hitler in the body of a former kid sidekick—talk about a symbol of corruption!) And the hero-turned-power-hungry-politician in the form of the patriotic Mr. America turns out to be old JSA villain the Ultra-Humanite, who knows a thing or two about brain transplants. So, in the end, it's just a classic Golden Age story about punching Hitler and defeating an evil genius.
But it's Robinson's historical subtext which makes the story resonate. It's his use of those undercurrents of paranoia and despair which make these formerly perfect heroes of the past seem flawed and human. His story starts dark and becomes darker but, by the end, Robinson's veil of cynicism falls away, and he reveals himself to be a humanist, if not an optimist. His reverence for these Golden Age characters would not let them be truly corrupted—it had to be evil masterminds and Hitler all along.
And that, perhaps, is one of the failures of The Golden Age. The shock of the initial chapters is just a ruse, and as low as these characters seem to sink, everything can be explained by pseudo-science and comic book logic.
It's just another Justice Society of America story, ultimately, but it's a good one. And Robinson's use of the undercurrents from that era of history make it work, even if it never transcends its roots.
The New Frontier and Camelot
While The Golden Age used the historical subtext to evoke currents of paranoia and doom in a super-hero story, The New Frontier approaches history with a different agenda. As Ultimate Matt pointed out in response to yesterday's post, The Golden Age is labeled an "Elseworlds" title, which not only grants it an exemption from DC continuity, but it allows more freedom for the creators to take the characters and setting in a fresh direction.
The New Frontier, however, is not labeled as an "Elseworlds." And yet, it strays far more from the currently accepted version of continuity than The Golden Age does. The key word there is "accepted." Darwyn Cooke, in his annotations, states that he approached The New Frontier with a set of rules:

1. The timeline is real and covers 1945 to 1960. Silver Age characters appear at the time DC started publishing them.
   
2. Retcons haven't happened yet.
   
3. No New Frontier retcons could contradict original continuity—they had to complement existing continuity or show a fresh point of view.
   
4. When the story ended, everything had to be as it was when the JLA debuted in Brave and the Bold #28.
   
5. Snapper Carr does not exist.
   

In other words, you should be able to pull out your original comics from that era (or the Archive editions) and read them concurrently with The New Frontier and nothing Cooke does should contradict what happens in those old comics.
The problem with the continuity is that the comics from that era didn't have any continuity. It was never explained how a character could be on the moon in one issue of his own comic, and under the ocean in the same month in his Justice League adventure. All Golden and Silver Age DC continuity is a retcon. So what Cooke did was create his own continuity—he made his own sense out of the various adventures as they were originally published, although the bulk of the book deals with the time between major events. Just like The Golden Age, The New Frontier is about filling in the gaps.
While James Robinson filled the pre-Silver Age gap with an almost allegorical tale of Cold War paranoia and corruption, Darwyn Cooke fills the gap with a sense of wonder and idealism, and he uses his attitude toward history to solidify that tone.
Cooke's approach takes three strands: (1) The Right Stuff-inspired history of that era, embodied by the test pilots and early astronauts, (2) The early promise of the Kennedy administration, and (3) The strange DC comics history as seen in the stories published during that time. Cooke uses the first two strands to illuminate the latter. He puts the Silver Age ascension into perspective as part of a generation of hope and achievement. He shows that the formation of the Justice League was not a random incident, but part of a larger historical movement which led (in our reality) to things like the Peace Corps and Apollo 11.
Cooke ties together such disparate elements as The War that Time Forgot, The Challengers of the Unknown, Dr. Seuss, and all of the characters who would join the initial incarnation of the JLA into a single narrative. And although it takes quite a while before the villain emerges and the heroes band together, the narrative is structured around the real historical forces that would have shaped the creation of these characters. John Broome doesn't wax poetically about the symbolism of Hal Jordan's career as a test pilot in the original Green Lantern run from the Silver Age, but Cooke takes the fact that he was a test pilot and places him in the actual context of such a man. He even includes a scene where the young Jordan meets Chuck Yeager.
That's quite a different approach to history than we saw in The Golden Age, which covers a very similar time frame.
Although Cooke didn't intend (according to his "rules") to change any of the original stories, his interpretation of "fresh point of view" allows him to add things which would have been more historically true even if they weren't addressed in the comics of the time. For example, he not only changes Wonder Woman into an almost plump, hawkish, zestful character (to signify her Greek origins and Amazon heritage), but he creates an entirely new character to illuminate the civil rights struggle of the time. Since he had no black DC characters to draw upon, he created a Silver Age analogue to Steel, the black Superman ally. The Silver Age Steel, unlike his modern equivalent, isn't a technological marvel. Instead, this earlier incarnation of John Henry suffers at the hands of the KKK before taking vengeance, and ultimately dying when he's betrayed by an uncaring white America (symbolized by a blonde little girl, who points out his location to his pursuers). John Henry never meets the Justice League or teams up with any heroes. His death doesn't affect them at all, really, since they didn't know him. But Cooke includes a scene where Edward R. Murrow mourns the fallen hero and laments the state of the country, bringing an actual historical personage into the DC story.
The civil rights subplot, although powerful, is overwhelmed by the exceeding optimism of the other plot threads. Cooke's America, as full of conflict as it might have been, is one of scientific progress and movement toward a brighter future. His villain, ultimately revealed to be Dinosaur Island itself (a sentient being who has unleashed monster after monster), is even more absurd than the Hitler-brain-transplant nemesis in The Golden Age, but because Cooke accentuates the fun and spectacle of the super-heroes (and, to be clear, his emphasis is on the men and women in the costumes, and the risks they take for their heroism), the absurdity of the villain doesn't detract from the story.
Both The Golden Age and The New Frontier end with similar images (the first appearance of the Justice League banded together) and similar sentiments (hope for the future), but where James Robinson built that hope out of the wreckage of the 1940s, Darwyn Cooke builds it out of the dreams of the men and women who sacrificed for the promise of tomorrow.
Both books end with optimism for comic books and optimism for our country, but they took starkly different approaches to get there.
The Unstoppable Force of Progress: Characterization in The New Frontier
Since both The New Frontier and The Golden Age re imagine comic book chronology through one part actual US history, one part comic book history, and one part imagination, it's not surprising to find both Cooke and Robinson taking liberties with the characterization of these pre-Silver Age heroes. Both creators ask the question asked by any creator attempting to retell stories from the past: Okay, this is how they were portrayed, but what were the characters who did these things REALLY like?
I'll start by looking at The New Frontier. Cooke doesn't focus his story on one dominant point of view the way Robinson does (with Johnny Quick), but he tells his story through a few central characters:
Rick Flagg: Leader of the WWII-era Suicide Squad (and presumably the father, or grandfather, of the Ostrander-penned incarnation). Cooke presents him as a tough guy cliché. He's a Hemingway hero—he does what needs to be done and doesn't whine about it or waver in his determination. In Act III of the narrative, his position in the story is replaced by the similarly-characterized King Faraday, who also does what needs to be done, although he seems to have more internal conflict than Flagg. Faraday is a spy, after all, not a soldier. But both characters represent a government which has the best interests of the country in mind. If they hurt a few individuals along the way, that's a necessary sacrifice for the good of the many.
Hal Jordan: The man who would be Green Lantern is NOT portrayed as a cocky rocket jock, as he usually is in contemporary interpretations. Cooke turns his lack of fear into a self-destructive streak stemming from his face-to-face act of self-defense in Korea. In Cooke's universe, Jordan doesn't immediately become a hero just because an alien handed him a ring. It takes time for Jordan to learn that he deserves to be a hero, and that's a large part of what The New Frontier is about. He doesn't reveal himself in Green Lantern costume until AFTER he risks his life to save the world working as a pilot. The two-page "hero shot" of the characters walking towards camera (a la The Right Stuff) shows some costumed heroes, but Jordan is wearing a flight suit. Cooke seems to be showing that he needed to prove himself TO himself before he could accept his new identity, but his reluctance to use the power of the ring leads to Nathaniel Adam's death. (Adam is later reborn as Captain Atom in the comics, but that doesn't happen in this story, and as far as Jordan should be concerned, Adam is dead.) Cooke doesn't provide Jordan with any time for remorse, though, since he needs to use his ring to kick alien butt. The ring, by the way, is also shown as a symbol of destructive energy. When Jordan first uses it, he cannot control it, and it causes great damage. Cooke, then, seems to indicate that the ring might symbolize nuclear energy, and the subtext would be that Jordan's hesitance to use it led to another hero's death. Ultimately, Jordan is Cooke's symbol of the Kennedy era: conflicted, yet determined to bring forth a positive future—harnessing great powers for the good of the nation (and the world).
John Jones, the Manhunter from Mars: Jones says, "...this is a world where good and evil struggle in all levels of existence. I want to be a force for good." That's a simplistic view of humanity, but it's one seemingly shared by Cooke throughout this work. Good and evil may not be easily discernible on the surface, and Cooke gives us the threatening-looking John Henry (with a hangman's hood) as a hero and a little blonde girl as a villain, but the line between good and evil is absolute (and, in fact, John Jones assumes the role of a film-noirish detective so he can find the evil beneath the surface appearance of the world). Jones defines this ethical stance for the reader, and it represents the code of Golden and Silver Age comic books, which lacked anything but absolutes. Even though Cooke might try to provide some not-so-subtle shades of gray (Jordan as a murderer, Wonder Woman as feminist avenger, an undercurrent of xenophobia), his view of history seems to echo the simplicity of the comic book stories of the era. Individuals may not have always done the right things at all times, but it was an era of progress, and good triumphed over evil. The subtext could also indicate that governmental order triumphed over chaotic nature, with the unified heroes, under the leadership of the US government, destroying a threat that wasn't so much malicious as it was animalistic.
Even though Cooke's characterization of some of these characters, Hal Jordan in particular, might not match traditional representations of these individuals, I think it works in the context of the story. The characters serve the story and add a few layers to the text, but it's primarily a historical action spectacle, a celebration of progress over stagnation, and Cooke's characterization unifies the text. I don't think his characters have many hidden depths, but I think their lack of depth matches a story which is primarily about the grand force of history.
As one final observation: Cooke is actually better at small character moments with the minor characters than he is at developing convincing lead characters. The death of Johnny Cloud, Jimmy Olsen's eagerness, the sassiness of Carol Ferris, and several other character bits show Cooke's facility on the small scale, even if his epic narrative doesn't provide the opportunity for subtle nuances with the major characters.
Characterization in The Golden Age: Dragging Heroes to Earth
While Cooke ignores anyone else's retroactive continuity to graft archetypal personalities onto the early Silver Age heroes in The New Frontier, Robinson takes characters straight out of Roy Thomas's All-Star Squadron (like Johnny Quick on the left here) and Young All-Stars and sends them on a dark journey into the 1950s. Robinson does not re imagine these characters drastically, although he seems to do so with Mr. America (but that's part of his narrative ruse). Instead, he takes their established characterization and expands upon it by adding seeds of self-doubt, paranoia, and despair as the characters face a world in which the villains are not as easily identified as they once were. Robinson misdirects the reader at first by pretending to adopt a simplified Watchmen approach, pretending that he's showing what these characters would have been like without costumed villains to fight or gangsters to punch, when, in truth, he's simply changed the nature of the evil to something more covert and less easy to spot. (Which might seem Watchmen-esque as well, except Alan Moore showed us that the heroes were the villains in that story, and here, Robinson ultimately reveals that secret villains with brain-transplant powers were behind the whole thing from the beginning.)
Here's a quick rundown of the central characters in The Golden Age:
Johnny Chambers, a.k.a Johnny Quick: Johnny not only provides the book-ends to the story but, as a documentary filmmaker, he provides the exposition which sets up the story context. One of the things Robinson does NOT do well here, by the way, is clearly distinguish between narrative voice (provided through white, rectangular caption boxes), and newsreel voice over (also provided by white, rectangular caption boxes), although perhaps the colorist was supposed to use different color cues for each and didn't. The CHARACTERS who narrate, like Johnny Chambers, each have their own style of caption—Johnny's are rounded and blue, as you can see in the image. Actually, it's not that it's so difficult to identify the narrative voice, it's just that there is an omniscient narrator who pops up every once in a while for no good reason, and tells us things about the story sometimes, while other times he sounds like he's trying to give us character thoughts but not really: the highly subjective "fingers...fumbling...focusing...trying to..." immediately follows the objective "a photographer lurks among the rubble." The photographer is the one who's fingers are supposedly fumbling as he tries to snap the photo, so why does the caption sound like a bad Batman internal monologue? This really has nothing to do with Johnny Chambers, but I just wanted to point out this major flaw in the narration throughout. With so many characters (Johnny being one) actually providing narration through captions, why does Robinson add an omniscient narrator also? It's jarring and ineffective. It's like he took the strategies of Watchmen with the multiple points of view, and then spliced the conventional narrator on top of it. It just doesn't work.
But a few more things about Johnny: He smokes, and he wears glasses. He still has his powers, but even though they would help him in his day job, he doesn't use them. And he's incredibly suspicious, which is the characteristic that makes him the character the reader most identifies with. He's also lost the woman he loves because he works too hard, although he gets her back in the end. In short, he's a slightly older (although he actually seems to get younger as the story progresses, perhaps symbolizing his return to heroic stature), slightly more sullen, slightly more flawed version of the character we saw in the comics produced in the 1980s (even though those stories were set in the 1940s). He refers to his costumed self as "That Jerk!" at the beginning of the story, but ends on a hopeful note as he describes a "new age...fresh and clear and bright...as sterling silver!" He's never really a cynic, but his pessimism and self-loathing turns to optimism in the end (even quickly dismissing the threat of McCarthyism to look ahead to the glowing future of super-heroics).
Paul Kirk, a.k.a Manhunter: If we play out the James-Robinson-is-trying-to-do-Watchmen-but-not-as-well game a bit more, we could say that if Johnny Chambers is the Dan Dreiberg analogue (the low-self-esteem voice of reason and calm) then Paul Kirk is clearly the Rorschach character. He's the crazy one who will surely upset the apple cart, yet isn't that what has to happen in order to get to the truth? That's his role, anyway. Unlike Rorschach (in his insane way), Kirk doesn't have a methodical approach to uncovering the truth. In fact, he's tormented by the truth, which lies buried beneath mind implants, exploding into awareness only through a series of horrible dreams. He seems deeply disturbed because of the War, but he's actually deeply disturbed because of the secrets he knows. He's another character, like Johnny, who seems to become more youthful and vibrant in the final Act, when he is able to unleash his demons through old-fashioned fisticuffs. Unlike Johnny, though, he visibly suffers for a long time before he reaches the point of action. Here's a sample of his internal monologue from one of his many tortured dreams: "Save the eagle. Save it. Save—n...no...nooooohhhh!!" Then he wakes up and thinks, "Still afraid." That's about the extent of his characterization. He's tormented, fearful, and knows he should be better than that. And, "save the eagle?" Geez, I wonder what in the world that could possibly mean in a book about corruption within the American government. Clearly, even though this book is directed at an older audience than the original Golden Age tales, Robinson keeps his symbolism quite simplistic.
Tex Thompson, a.k.a. Mr. America, and Daniel Dunbar, a.k.a. Dan the Dyna-Mite: These are the two characters most radically changed from their Golden Age counterparts. Mr. America was a whip-wielding patriotic hero and Dan was a kid sidekick who later, under Roy Thomas's writerly guidance, became one of the lead characters in Young All-Stars. In Robinson's story, Mr. America becomes a corrupt politician who seeks power by any means necessary, and Dan the Dyna-Mite becomes America's beloved Dynaman, the only active costumed crime fighter of the time. And he snorts coke. And he's evil.
Neither of these two characters have internal monologues via captions for the reader, because that would give away the twist. Tex Thompson is not really who he seems, for he has the brain of the evil Ultra-Humanite (who has in previous stories adopted the forms of a gigantic white gorilla and a hot ex-starlet, among others). And Daniel Dunbar, who has fallen so far from grace in our eyes (a former teen sidekick with a drug problem whoring around) actually has the BRAIN OF ADOLF HITLER!
So there's not much to say about the characterization here, since these are two evil characters in the most simplistic way. What is interesting, though, is that (a) Robinson chooses one character, Thompson, who seems vaguely sleazy to modern readers anyway, what with that whip and the mustache, and when he's shown to be corrupt, we can buy into it, falling into Robinson's trap of thinking that it's just a regular dude becoming corrupted by power; and (b) Robinson's use of the pure and innocent Dunbar is also a good choice, because it is not only shocking to see him corrupted so extremely (before the truth of the brain-swap is revealed), but it's a nod to cultural expectations about former child stars, who, by the 1990s, were expected to grow up and become criminals or drug addicts or worse, at least by our tabloid-fascinated society.
Like a director who makes his film better through excellent casting, Robinson uses the right two ex-heroes in the apparent role of the villains. His bait-and-switch works, although I was personally disappointed that the threat turned out to be external (evil villains) and not the corruption of these characters from within.
Robinson uses other characters to show the corruption of innocence and loss of the heroic dream. Robotman, so noble in Roy Thomas's All-Star Squadron, has lost any humanity by the time of this story—he's pure machine, while Alan Scott, Green Lantern is conflicted about his duty as a business leader and law-abiding citizen and his passion for ring-slinging and butt-kicking. Hourman is shown to be addicted to his Miraclo pills, while the man once known as the Tarantula is an egoist with writer's block. Ted Knight, Starman, who Robinson would go on to write with great depth and sensitivity in the ongoing series about Jack Knight, is a mad genius who is trying to put the pieces of this shattered world together through science.
I should add here that Robinson, unlike Cooke, isn't drawing from the original sources as the basis for his story. He's adapting his characterizations from the work done during contemporary comics, as Roy Thomas provided retroactive characterization (and explanations) for the WWII-era heroes. Robinson is building on the layers which Roy Thomas built upon the layers which Gardner Fox (among others) built.
Overall, Robinson does provide a sense of disillusionment in his characterizations in this story, even if his narrative technique is sometimes sloppy or inconsistent. Cooke tried to add a bit of humanity to iconic characters in his work, but he was mostly interested in the icons of the era. Robinson drags his characters down into the muck and then builds them back up again, hoping to show how their inner humanity wins out (with all of its flaws) in the face of systematic adversity. Cooke's characters inhabit the skies, the stars. Robinson's characters live on the ground.
So, the final verdict, after looking at The Golden Age and The New Frontier for a week: Not much different than my initial assessment after reading them both last weekend. The Golden Age is flawed because of its inconsistent narrative point of view and it's cheap, brain-swapping revelations. Robinson and Smith capture the disillusionment and paranoia of the time quite well, but it all amounts to nothing except a superhero slug fest in the end. It's 80% of a great work, and 20% of stuff that doesn't quite fit (including the optimistic ending, which seems unearned). As part of a larger, genre-wide trend to make super-heroes more "realistic," violent, and depressing, I'm not a huge fan of its influence.
The New Frontier is flawed, but it's a flawed masterpiece, and I can imagine revisiting the story many times in the future (and I can't say the same about The Golden Age). Cooke tries to include too much in the narrative, and the main threat of Monster Island isn't presented as well as it needs to be, but the book contains dozens of amazing sequences, and it features sharp, engaging characters who flash in and out of the story. The speed of the narrative demands that the book be read quickly, and it works best when read this way, not because it allows the reader to gloss over the weak parts of the story, but because The New Frontier is an overture, and can be best appreciated when all of its notes are heard in rapid sequence. I didn't love it when it first came out, in the completely inappropriate floppy installments, but I loved it after reading the Absolute version a week ago, and I love it just as much after studying it closely all week.
As one final thought: Both The Golden Age and The New Frontier tap so deeply into comic book lore, and I am so deeply embedded in it myself, that I wonder if either of these works has any merit for a "civilian" reader. And I wonder if, perhaps, the darker, more "realistic" tone would be appealing to a non-comics fan, more so, perhaps, than the wide-eyed optimism (tinged with bits of darkness) seen in Cooke's work. Or would the non-comics fan find both stories completely useless and without merit? Are both works examples of the snake swallowing its own tail? I've already been swallowed by the snake of comic book geekery, so I can't answer that one.

To prove a point I can add a body of text in a gallery type of post, which LIS protagonist is your favorite and why?
For me, it is Chloe Price, though more in LIS1 rather than BTS. She is written with such nuances in the first game where you can see why she behaves she does through her backsylry. Sadly, BTS throws in exposition dumps to explain such actions for those who didn't see it in LIS1.