Hi everyone! So, i have been expanding my annotations on dates of events of ASOIAF in my AU and i just wanted to share my current list of dates.
Things to keep in mind:
1: WIP. I will only start this fic when i end my current one.
2; Is a AU that changes a lot of things, like: title names, shorter timespan, Valyria was a Empire, different marriages, it is a Rhaegar Wins AU, dragons never died out (but also never were super numerous, so there is dragons from canon that were hatched only later on and some are still alive by 298 AC). So, it is quite different, but still similar for future readers.
3: I have a Family Tree for this AU! Link in the comments.
So... the Timeline. Any questions? Let me know!
First Men Invasion - 2562 BC
The Grey King kills Nagga and becomes the High King of the Ironborn - 2380 BC
Children of the Light come to Valyria - 2262 BC
Rise of House Shell as Kings of the Broken Arm - 2233 BC
The Long Night - 2203 BC - 2198 BC
Arthur Fisher proclaims himself as King of the Riverlands after receiving the sword Avalon from a lake - 2185 BC
King Garth I Gardener's War for Mandervale and the Cockleswhent surrender - 2180 BC - 2175 BC
The Grey King dies - 2180 BC
King Garth II Gardener's War for Misty Islands - 2167 BC - 2160 BC
King Garth II Gardener's War for Blueburn - 2155 BC - 2151 BC
King Garth II Gardener's War for Coldmoat - 2147 BC - 2143 BC
King Garland I Gardener's War for Bitterbridge - 2140 BC - 2135 BC
King Garth III Gardener annexes Red Lake - 2117 BC
King Garth III Gardener annexes Old Oak - 2114 BC
King Garth III Gardener annexes Goldengrove - 2107 BC
Andahar (High Septon I) receives a vision from the Seven and founds the religion - 2107 BC
Hugor Sunderchane converts to the Seven - 2103 BC
Andahar (High Septon I) is executed and Hugor Sunderchane starts a Holy War against the Clans in revenge - 2100 BC
Kings Garth IV and Meryn II Gardener's War for Torrentpeak - 2099 BC - 2092 BC
The High Empire of the Andals is founded by High Emperor Hugor I Sunderchane - 2093 BC
House Mudd inherites the titles of House Fisher - 2087 BC
King Meryn II Gardener's War for Tumbleton - 2086 BC - 2081 BC
King Varald II Mudd conquers Blackwood Vale - 2055 BC
Urras Greyiron becomes High King of the Iron Islands - 1980 BC
Durrandon Conquest of Tarth and Doom of Morne - 1904 BC - 1902 BC
King Garland II Gardener annexes the South Reach - 1864 BC
King Monfryd I Durrandon conquers Duskendale - 1734 BC
King Monfryd I Durrandon conquers Maidenpool - 1733 BC
Maidenpool gets Independence - 1714 BC
Duskendale gets Independence - 1713 BC
Riverlands vs the Alliance of Five - 1565 BC - 1553 BC
King Domlech I Mudd conquers Duskendale - 1562 BC
King Domlech I Mudd conquers Stokeworth - 1559 BC
King Domlech I Mudd conquers Rosby - 1556 BC
King Domlech I Mudd conquers Hayford - 1554 BC
King Domlech I Mudd conquers Blackwater Rush - 1553 BC
1st Draconic Conquest - 1532 BC - 1520 BC
Fall of Aliegor and rise of Valyria - 1520 BC
King Tywin I Lannister tries to take Goldengrove by force after feeling insulted by House Gardener and loses - 1481 - 1480
First Ghiscari War - 1398 BC - 1386 BC
Second Ghiscari War - 1339 BC - 1331 BC
Third Ghiscari War - 1298 BC - 1293 BC
Forth Ghiscari War - 1264 BC - 1260 BC
Fifth Ghiscari War - 1245 BC - 1242 BC
Urron Greyiron ends the Kingsmoot - 1232 BC
Andal Invasion of the Vale - 1200 BC - 1188 BC
First Sarnori War - 1176 BC - 1173 BC
Andal Invasion of the Riverlands - 1172 BC - 1066 BC
Andal Invasion of the Stormlands - 1168 BC - 1065 BC
Second Sarnori War - 1166 BC - 1161 BC
Andal Invasion of the Dorne - 1065 BC - 1050 BC
Andal Invasion of the Westerlands - 1161 BC - 1134 BC
Third Sarnori War - 1148 BC - 1142 BC
Andal Invasion of the North - 1146 BC - 1133 BC
Andal Invasion of the Reach - 1129 BC - 1111 BC
Forth Sarnori War - 1117 BC - 1115 BC
Andal Invasion of the Iron Islands - 1105 BC - 1087 BC
Fall of House Greyiron - 1087 BC
Fall of House Mudd - 1066 BC
King Edmure I Tully creates Riverrun (region previously disputed between Blackwoods and Brackens) - 1066 BC
King Alyn I Blackwood wins Trial by the Seven and House Blackwood remains faithful to the Old Gods - 1066 BC
Conversion of House Toland, Fall of House Tor and Rise of House Jordayne - 1063 BC
Fall of House Shell and Rise of House Martell - 1062 BC
Fall of House Grace and Rise of House Allyrion - 1061 BC
Fall of House Brim and Rise of House Uller - 1059 BC
Conversion of House Dayne - 1056 BC
Conversion of House Blackmont - 1055 BC
Conversion of House Fowler - 1053 BC
Conversion of House Yronwood - 1050 BC
First Rhoynish War (First Turtle War) - 1041 BC - 1035 BC
Second Rhoynish War (War of Three Kings) - 1017 BC - 1014 BC
Benedict Rivers takes Avalon from the ground and founds House Justman - 1007 BC
Third Rhoynish War (Second Turtle War) - 999 BC - 993 BC
Forth Rhoynish War (Fisherman's War) - 975 BC - 966 BC
Fifth Rhoynish War (First Salt War) - 949 BC - 945 BC
Riverlands vs the Alliance of Five - 949 BC - 939 BC
King Benedict II Justman conquers Hayford - 946 BC
King Benedict II Justman conquers Blackwater Rush - 945 BC
King Benedict II Justman conquers Rosby - 942 BC
King Benedict II Justman conquers Stokeworth - 940 BC
King Benedict II Justman conquers Duskendale - 939 BC
Sixth Rhoynish War (Third Turtle War) - 923 BC - 913 BC
Seventh Rhoynish War (War on Dagger Lake) - 889 BC - 883 BC
Eighth Rhoynish War (First Spice War) - 858 BC - 849 BC
Ninth Rhoynish War (Second Salt War) - 828 BC - 825 BC
Tenth Rhoynish War (Forth Turtle War) - 802 BC - 795 BC
Eleventh Rhoynish War (Second Spice War) - 776 BC - 766 BC
Battle of Volon Therys - 768 BC
Rhoynish Invasion of Dorne - 766 BC - 748 BC
Norvos bends the knee to Valyria - 766 BC
Pact of Womanhood - 757 BC
Qhoredian Age - 731 BC - 566 BC
First Andal War - 726 BC - 720 BC
Second Andal War - 718 BC - 713 BC
Qhoredian invasion of the Riverlands - 716 BC - 712 BC
Fall of House Justman - 712 BC
Third Andal War - 711 BC - 707 BC
King Perceon III Gardener exiles House Manderly - 707 BC
Forth Andal War - 705 BC - 702 BC
Fifth Andal War - 700 BC - 697 BC
Sixth Andal War - 695 BC - 693 BC
Seventh Andal War - 691 BC - 688 BC
Rise of House Teague when Torrence Teague finds Avalon and is proclaimed King of the Riverlands - 581 BC
King Torrence I Teague conquers Willow's Wood - 579 BC
King Torrence I Teague conquers Blackwood Vale - 575 BC
King Torrence I Teague conquers Riverrun - 574 BC
King Torrence I Teague conquers Southstone - 573 BC
King Torrence I Teague conquers Acorn's Rest - 570 BC
King Torrence I Teague conquers Wayfarer's Rest - 567 BC
King Torrence I Teague conquers Seagard - 565 BC
King Torrence I Teague conquers the Crossing - 561 BC
King Torrence I Teague conquers the God's Eye - 558 BC
King Torrence I Teague conquers Esgaroth - 555 BC
King Benedict IV Teague conquers Maidenpool - 538 BC
The Millennial Valyrian Celebration - 520 BC
The cursed line of Rowans - 414 BC - 383 BC
King Arlan I Durrandon conquers Tumbleton - 383 BC
King Arlan I Durrandon conquers Blackwater Rush - 372 BC
King Arlan II Durrandon conquers Hayford - 356 BC
King Arlan II Durrandon conquers Rosby - 352 BC
Valyrian Colony of Dragonstone is founded - 351 BC
King Maldon V Durrandon conquers Stokeworth - 326 BC
King Maldon V Durrandon conquers Duskendale - 324 BC
Battle of the Six Kings / Fall of House Teague and Dondarrion Conquest of the Riverlands - 290 BC
Main line of House Targaryen leaves Valyria and settles in Dragonstone - 114 BC
Doom of Valyria - 102 BC
Hoare Conquest of the Riverlands - 90 BC - 87 BC
Construction of Harrenhal Starts - 42 BC
Prince Horonno Qhaedar is deposed and executed by the Elephants - 4 BC
Aegon's Conquest starts / creaton of New Valyria (AU King's Landing) - 2 BC
Burning of Harrenhal and fall of House Hoare - 2 BC
Field of Fire - 1 BC
Aegon the Conqueror splits the Reach in North Reach (ruled by House Tyrell) and South Reach (ruled by House Hightower) - 1 BC
Aegon the Conqueror is officialy crowned as Emperor Aegon of House Targaryen, first of his name, Emperor of the Andals, the Rhoynar, and the First Men, Lord of the Ten Kingdoms and Protector of the Empire - 1 BC
First Dornish War - 7 AC to early 10 AC
1st Great Tourney - 10 AC
Second Dornish War - late 10 AC to 14 AC
Death of Emperor Aegon I Targaryen - 37 AC
Faith Militant Uprising - 41 AC to 48 AC
Death of Emperor Aenys I Targaryen - 42 AC
Maegor Targaryen usurps the throne - 42 AC
Death of Emperor Maegor I Targaryen - 48 AC
Emperor Jaehaerys I Targaryen marries Alysanne Targaryen, the only child of Maegor the Cruel and Ceryse Hightower - 48 AC
Princess Aerea Targaryen marries King Rodrik III Arryn of the Vale - 60 AC
Princess Viserra Targaryen marries the young heir in the line of White Harbor - 87 AC
Baelon the Braven is chosen as heir of the Empire under the Principle of Proximity - 92 AC
The Great Council - 101 AC
Death of Emperor Jaehaerys I Targaryen - 103 AC
Conquest of the Stepstones - 106 AC - 115 AC
Death of Emperor Viserys I Targaryen - 129 AC
Dance of Dragons (DRAGONS DON'T GO EXTINCT) - 129 AC - 131 AC
Suicide of Emperor Aegon II Targaryen - 131 AC
Emperor Aegon III Targaryen marries Jaehaera Targaryen for political concerns - 131 AC
Princess Baela Targaryen marries Duke Aethan II Addam Velaryon of Driftmark - 132 AC
Princess Rhaena Targaryen marries King Lyonel I Hightower of the South Reach - 132 AC
Prince Viserys Targaryen returns to Westeros with the Rogares - 134 AC
Prince Viserys Targaryen claims his dragon and ends the political drama between Westeros and Lys - 135 AC
Death of Emperor Aegon III Targaryen - 157 AC
Conquest of Dorne - 157 AC - 161 AC
The Dornish Treachery / Death of Emperor Daeron I Targaryen - 161 AC
Death of Emperor Baelor I Targaryen - 171 AC
Princess Elaena Targaryen marries Count Aelyn I Alyn "Oakenfist" Longwaters of Nimmark - 171 AC
Death of Emperor Viserys II Targaryen - 176 AC
Summerhall emerges as the title of the second in line to the throne - 179 AC
18th Great Tourney filled with political tensions - 180 AC
Emperor Aegon IV Targaryen ends the good relations with House Rogare - 181 AC
Emperor Aegon IV Targaryen knights Daemon Blackfyre - 182 AC
Daemon Blackfyre, authorized by the Emperor, claims Morghon the Cannibal - 183 AC
Death of Emperor Aegon IV Targaryen and legitimized Great Bastards - 184 AC
First Blackfyre Rebellion - 196 AC
Ashford Tourney - 209 AC
Death of Emperor Daeron II Targaryen - 209 AC
Second Blackfyre Rebellion - 212 AC
Third Blackfyre Rebellion - 219 AC
Ser Duncan the Tall wins the hand of Princess Daella Targaryen in the 22th Great Tourney - 220 AC
Death of Emperor Aerys I Targaryen - 221 AC
Princess Rhaenys "Rhae" Targaryen marries Duke Vaemond II Velaryon of Driftmark - 221 AC
Death of Emperor Maekar I Targaryen - 233 AC
Forth Blackfyre Rebellion - 236 AC
Imperial Prince Viserys IV Duncan Targaryen of Dragonstone is disinherited - 239 AC
Princess Rhaelle Targaryen marries Prince Ormund Baratheon - 245 AC
Prince Steffon Baratheon hatches a dragon - 246 AC
Fifth Blackfyre Rebellion / War of the Nine Penny Kings - late 260 AC
Death of Emperor Aegon V Targaryen - late 260 AC
Reyne-Tarbeck Rebellion - 261 AC
Prince Stannis Baratheon hatches a dragon - 264 AC
Death of Emperor Jaehaerys II Targaryen - 266 AC
Defiance of Duskendale - 277 AC
Year of the False Spring - 281 AC
The Baratheon Rebellion - 282 AC - 283 AC
Imperial Prince Rhaegar I Targaryen of Dragonstone defeats King Robert I Baratheon of the Stormlands in a dragon duel - 283 AC
Imperial Prince Rhaegar I Targaryen of Dragonstone defeats King Stannis I Baratheon of the Stormlands in a dragon duel - 283 AC
Death of Emperor Aerys II Targaryen / Trial of Jaime Lannister - 283 AC
Emperor Rhaegar I Targaryen settles the war and takes Lyanna as his second wife in a shady way with the help of the High Septon, but the Empire is tense because of it - 283 AC
Prince Brynden Tully is appointed to the Imperial Guard - 284 AC
Benjen Stark decides to be by the side of his sister in the capital and becomes a ward of the Blackfish - 284 AC
Dowager Empress Rhaella I Targaryen marries Maegor Monford Velaryon - 284 AC
Jaime and Cersei are caught and Cersei is forced to marry Ser Addam Marbrand - 285 AC
Prince Jaime Lannister marries Ashara Dayne - 285 AC
Benjen Stark is knighted by the Blackfish - 286 AC
Benjen Stark is appointed to the Imperial Guard - 289 AC
Greyjoy Rebellion - 289 AC
29th Great Tourney - 290 AC
Princess Rhaenys Targaryen is promised to Prince Robb Stark - 290 AC
Prince Jaehaerys III Targaryen of Summerhall leaves as a ward to King Eddard II Stark of the North and Benjen goes with him - 290 AC
Princess Asha Greyjoy marries Prince Edmure Tully as part of the agreement in the Greyjoy Rebellion - 292 AC
Prince Viserys Targaryen marries Princess Arianne Martell in a Dornish Matrilineal Marriage and moves to Sunspear - 293 AC
Imperial Prince Aegon IX Targaryen of Dragonstone is bethroted to Princess Margaery Tyrell - 294 AC
Princess Vanora Martell hatches a dragon - 295 AC
King Jon I Arryn of the Vale dies - late 297 AC
Prince Jaehaerys III Targaryen of Summerhall goes to New Valyria with House Stark - 298 AC

I really like Brienne, she is probably one of our most honorable POV’s and in so many the true embodiment of what Knight should be despite being a woman which bars her from it. That being said something which annoys me is how she supports Renly when we first see her. I understand her personal affection for him due to him being nice to her, but going to outright serve him in his usurpation attempt is what always boggles me. We do get some of her insight on this went talking to Catelyn:
"I was taught that good men must fight evil in this world, and Renly's death was evil beyond all doubt. Yet I was also taught that the gods make kings, not the swords of men. If Stannis is our rightful king—" "He's not. Robert was never the rightful king either, even Renly said as much. Jaime Lannister murdered the rightful king, after Robert killed his lawful heir on the Trident. Where were the gods then? The gods don't care about men, no more than kings care about peasants." (ACOK Catelyn V)
She agrees with Renly’s view that because Robert claimed the throne, he is just as valid in doing it as well even if not next in line. But this logic while having truth to it is also incredibly flawed in that it ignores the context of when and why Robert took the throne. The crown prince literally had kidnapped his betrothed, and then after the king kills his best friend’s father and brother, demands his and Ned’s heads. Of course he was going to rebel, for most of the war it wasn’t even about making him King, it was only until the latter half with some decisive victories that they decided it. Obviously the context is very different to Renly where he has clearly been scheming for some time even before Robert dies and later just declares himself king. The best example of this nuance from Robert’s Rebellion comes from Stannis in one of my favorite Davos chapters:
“It is every man’s duty to remain loyal to his rightful king, even if the lord he serves proves false,” Stannis declared in a tone that brooked no argument.
A desperate folly took hold of Davos, a recklessness akin to madness. “As you remained loyal to King Aerys when your brother raised his banners?” he blurted.
Shocked silence followed, until Ser Axell cried, “Treason!” and snatched his dagger from its sheath. “Your Grace, he speaks his infamy to your face!”
Davos could hear Stannis grinding his teeth. A vein bulged, blue and swollen, in the king’s brow. Their eyes met. “Put up your knife, Ser Axell. And leave us.”
“…As you command.” Ser Axell slid the knife away, bowed, and hurried toward the door. His boots rang against the floor, angry.
“You have always presumed on my forbearance,” Stannis warned Davos when they were alone. “I can shorten your tongue as easy as I did your fingers, smuggler.”
“I am your man, Your Grace. So it is your tongue, to do with as you please.”
“It is,” he said, calmer. “And I would have it speak the truth. Though the truth is a bitter draught at times. Aerys? If you only knew…that was a hard choosing. My blood or my liege. My brother or my king.” (ASOS Davos IV)
Sorry for the long quote, it’s just one of my favorites, but I feel it’s just one that gives us perfect insight into the difficult situation that was thrust upon the rebels rather than actively sought like Renly did. Brienne or her family were never put in this situation and entirely of her own volition. Not only is Renly already usurping Stannis but since he also refuses to acknowledge Joffrey and Tommen as bastards, he is basically officially usurping them as well. Mind you Robb, a person’s who father was killed by Joffrey and again thrust into this situation where he could arguably have a bit more of a moral pass on who he chooses still seriously takes the account of succession seriously:
That makes him evil," Robb replied. "I do not know that it makes Renly king. Joffrey is still Robert's eldest trueborn son, so the throne is rightfully his by all the laws of the realm. Were he to die, and I mean to see that he does, he has a younger brother. Tommen is next in line after Joffrey." "Tommen is no less a Lannister," Ser Marq Piper snapped. "As you say," said Robb, troubled. "Yet if neither one is king, still, how could it be Lord Renly? He's Robert's younger brother. Bran can't be Lord of Winterfell before me, and Renly can't be king before Lord Stannis." (AGOT Catelyn XI)
In the end Robb is declared King in the North, which is considered treason by Stannis, and that is a conversation that can go back and forth, but the point is even when wronged by the Lannisters Robb mentally struggled with this but then Brienne a person about loyalty and following oaths just joins Renly.
It’s frustrating because Renly dies in the second book and we don’t get her POV until Feast in which she is mainly focused on finding the Stark girls. Obviously these characters are supposed to be flawed, but unlike say Barristan who questions his past loyalties to Aerys, we just see very little introspection on this part from Brienne when she is supposed to be this opposition corner thematically to Jaime a knight who also committed treason. I’m sorry if this isn’t making sense, I’m trying to improve my English, I just felt I needed to vent on this aspect of a character I really like, and wanted to see what everyone thought.

Chapter 3
Location: Somewhere outside of Tiste lands the northernmost Jaghut keep
POV: Korya Delath
Korya Delath is hostage to Haut, a Jaghut. Korya is of the lesser house Delack in the tiste settlement Abara. From the aerie in the keep she can see the contested lands, which have nothing to contest about them. Haut keeps her isolated and forbids her from leaving the keep. He does not quite understand the idea of hostages and took it upon himself to educate Korya. He is harsh. Korya spent a lot of time in the Aerie pretending to be a goddess to her dolls. Now those dolls are kept in boxes.
She is alarmed by a group of Jheleck approaching the keep defying the prohibitions for crossing into Jaghut territory, even though they no longer claim any territory. The Jheleck are said to be kin to the Jheck of the far south, but much larger. They were the size of warhorses and possessed a sorcery she knew only as Soletaken. Although she doesn't know what that means. She sees Haut open the gate in his full armor. She had no idea he had any martial proclivities. The Jheleck blur and in their place stand several warriors. Haut yells up at her that they have guests.
Haut has no one in his household but him and Korya. He is capable of conjuring food and drink through sorcery, but prefers not to. Korya learned how to make food, chop wood, and mend clothes in the absence of servants. She thinks that he dislikes the company of people and that is why they are alone. Although she does not understand why he agreed to take her as hostage if that is the case. Jaghut used to live in cities until they came upon the realization that civilization is "economic suicide". Resources are not infinite, but a civilization can try to be. "There was nothing so deadly as success."- Haut. The Lord of Hate is the one who exposed this truth to the Jaghut and because of it they live solitary lives and no longer try to build up their civilization.
The Jheleck brought freshly killed meat with them and in Haut's main hall ate it raw. Haut joins in. Korya is put off balance by this, but studies the scene to attempt to make sense of the gathering. The Jheleck speak the Jaghut language, as does Korya. They call Haut Captain and Haut warns them not to anger Korya. He has never seen her angry, but continues to try to bring it out of her by being harsh. After several jokes about her, Korya asks to be excused and is surprised to hear that it's not possible as the Jheleck are here for her. Korya is very confused.
The Jheleck call Haut Captain, but hostages aren't given to soldiers only noble families. The Jheleck bring up that Haut has no army or houseblades. This is somewhat of a threat. Haut responds by saying that he needs no armies. The Jaghut just destroy their enemies. When Jheleck would raid Jaghut lands, the Jaghut would kill some of them and drive them off, however if they came in greater numbers then the Jaghut would then stop playing nice. They want to return Korya to her home. In their defeat the Jheleck signed a treaty that demands hostages from the Jheleck to the Tiste. They are trying to return Korya to fulfill that treaty. Haut says it does not work that way. Sagral gets angry and demands that Korya leave with them. She doesn't want to and says, "Does this one need a leash?" The joke diffuses the situation.
The tiste have asked for 50 Jheleck hostages. The Jheleck are worried due to the rumors of civil war. Haut tells them that hostages are sacrosanct in war. The Jheleck sense that Korya is empty and is not a child of Mother Dark. Haut confirms this and says he has fashioned a mahybe. "A vessel. Protected, sealed and, as you say, empty. What remains to be done? Why, its filling, of course" Haut dismisses the Jheleck and says if they don't leave he may just kill them all. They, shaken by this and depart.
Location: House of Delack
POV: Lady Nerys Drukorlat
Lady Nerys Drukorlat looks upon her grandson Orfantal as he plays in the dirt. She wishes to end his childhood as soon as possible so he can learn to be the heir of the failing house of Delack and return it to glory. Orfantal is a bastard. Lady Nerys knows that isn't his fault. She recalls a quote from Gallan's latest work, "The wounded will wound / and every hurt is remembered." She looks at his work as revealing unpleasant truths about the Tiste. Others do not. When Orfantal plays at being in war, his play always ends with an unseen betrayer killing him from behind. She blames soldiers returning from war. "Veterans returned home with all illusions scoured from their eyes, their minds. They looked out from a different place, but there was nothing healthy in that, nothing worthy." Lady Nerys's husband was one such soldier. Who upon a heroic return confessed the above to his wife before killing himself and leaving his house in shame.
Another soldier who lost his arm from a horse bite had found Sandalath Drukorlat, Lady Nerys's daughter, and seduced her resulting in the birth of Orfantal. Once Lady Nerys had discovered this, she paid him to never see his son or Sandalath ever again. He accepted. Sandalath though older and having already been a hostage, is now to be a hostage again to her dismay. Her mother will not allow her to say goodbye to her son. Her first stint as a hostage was with House Purake, this time it will be with House Dracons. Orfantal is to go to Kharkanas and be in the retinue of the House of Purake. Not a hostage. Ivis has arrived at House Delack to retrieve Sandalath. She enters the carriage and they depart.
POV: Orfantal
Orfantal watched his mother's carriage leave. He doesn't like to see people cry and tries to prevent it from happening. He understands that, "There were wars and that’s all there was, and every day he died, taken by that knife that followed him across the whole world, just as it had done to his grandfather."
POV: Sandalath
Sandalath thought she saw Orfantal by the stables as her carriage moved away, but she is not confident in what her mind sees so is uncertain. It's very hot in the carriage, but because her mother has instilled in her the virtue of not causing a scene she does not ask the driver to open a window. She fondly recalls her time as hostage in the citadel with the Purake brothers. Always feeling safe with them and loving them each in turn. Well maybe not Silchas. The war took the brothers and their father away and when the father returned broken she began to fear that the brothers would die. House Drukorlas had been devastated by the war and was now in poverty.
Galdan was the one-armed soldier who spoke of a romantic and adventurous war and Sandalath had relayed these stories to her son. Lady Nerys had told her daughter that she had exiled Galdan to Jaghut lands and he had died. Sandalath told her son that Galdan died from a betrayal while he defended his wounded lord. As the carriage trundled through the village, Sandalath thought she saw Galdan, but attributed it to the heat in the carriage. She passed out from the heat and the carriage stopped.
POV: Ivis
Ivis enters the carriage and pulls an unconscious Sandalath out. If Sandalath dies in House Dracons care, other families would use it as an excuse to gain advantage over Draconus. Ivis pays the carriage driver to take off and threatens him with death if this story gets out. Ivis's men get Sandalath's strongbox open. Not sure why maybe to see if she has lighter clothes, but discover that it is filled with jars of river stones from the Dorssan Ryl. It was a way to avow love for another person. Give them a stone from the Dorssan Ryl.
Sandalath wakes up and notices that many layers of her clothing have been removed and that Ivis has the key to her strongbox that is usually around her neck. Ivis lies and says it was constricting her neck and that no one looked in the strongbox although it is very heavy. He says he has a daughter and that he knows young women have a lot of toiletries.
POV: Galdan
"Proper men had two arms for good reason. One to reach for things, the other to keep things away. Galdan had lost the arm that kept things away" This applied to the drink and to Sandalath. After she had been taken away from him he began leaving stones for her in their secret places. He assumed she threw them away.
Location: Outskirts of Hust Forge
POV: Galar Baras
Galar Baras contemplating the Forulkan reveals that their priests were called Assail. "Peace did not serve order; order served peace" The Forulkan worshipped order and confused it for peace and justice. Order became a prison and those who sought freedom became the enemy. The south borderswords were the first to fight the Forulkan and they became the Hust legion. Hust swords had a fearful heartline that was reinforced by the forgemasters. This heartline gives the blades their voice. Galar Baras is obsessed with Hust swords and believes they are an expression of a unique sorcery. After the borderswords had defended the Hust forge from a Forulkan assault, Hust Henarald had rewarded them with Hust blades.
Galar Baras is riding with the commander of the Purake houseblades, Kellaras. When Nimander returned from war and Mother Dark had blessed him and his house for its service, House Purake turned over it's lands to Mother dark and became her vassals. They now took the name Andii, Children of Night. Anomander and house Purake were the first to relieve the borderswords in the battle of the forge and Anomander bestowed great honor upon them by going to their commander Toras Redone and clasping her forearm. From that day the borderswords consider themselves Andiian, sons and daughters of night. This sent a fracture between Urusander's legion and the Hust legion.
In a drunken comment Toras Redone had told Galar Baras that "Peace had become a disaster". Galar is unable to drink alcohol. That night they became lovers. The next day they were not brave enough to continue. Soon after she had sent Galar to Kharkanas to be the Hust legion's representative in the city. Toras is married to Calat Hustain, the man who had given Galar his hust sword. Calat had accepted the command of the wardens and was now far away from his wife. After a miserably lengthy time within the citadel, Galar was now returning to Hust forge both anticipating and dreading seeing the woman he loved.
POV: Kellaras
Kellaras and Galar Baras do not talk much and Kellaras has been told by the members of Urusander's legion in the citadel that Hust swords poison their owners. He's starting to believe it. Galar Baras was not liked in the Citadel. He did not mix with others and remained a mystery to most of them. Kellaras had been given a message to take to Hust Henarald by Anomander. Galar Baras insisted on escorting him to the Hust Legion. Kellaras took this as an insult. He required no escort. Out of the blue Galar Baras asks him a question about the urgency of the message. Kellaras takes it as an opportunity to ask why he insisted on the escort. Galar Baras confides in him that he just wanted to get out of the citadel and felt crushed by it. Kellaras takes this to heart and orders him to continue to escort him so he will not have to return to the citadel. Kellaras now confides in Galar Baras that Anomander intends to commission a sword from Henarald Hust.

(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)

Along with the dance of the dragons and the war of the 5 kings,Robert's rebellion is one of the biggest wars in westerosi history,but unlike the previous,on the rebellion one side achieved a decisive victory over the other and all of his leaders survived,but what if it didnt happen? Robert and Rhaegar both kill each other on the trident,Ned Stark takes the command and orders a march to King's Landing,Tywin is faster,and his plan went like canon,except the goldcloaks are able to put way more resistance,and Tywin is killed in an ambush while trying to get pass through the goldcloaks,Aerys still freaks out and Jaime kills him,when Ned arrives he see the chaos in King's Landing and let Jon Arryn and Hoster Tully in charge of the city,he proceeds to the tower of joy where he and Arthur Dayne duel and both end up dead,a plague spread through King's Landing and being a older man Jon Arryn dies,Hoster falls ill too and dies not much longer,with all the main lords dead and the Targaryens either dead or in Essos how would the situation changes?

(continuation of part 1)

III. Searching for Aerith Beyond FFVII

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

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

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

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

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

“I must go… must go to that place…”

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

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

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

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

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

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

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

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

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

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

&

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

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

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

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

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

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

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

Cosmos hears him and responds immediately:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ok. I have been thinking about something. I just discovered something that I saw someone write about the variations of Emil's themes and I wanna explain more. Emil sacrifice and Karma are all sung by the original Emil. Emil sacrifices the village to save his friends. He sacrificed himself to save his friends. It was first played in the Aerie. Where NieR told him he saved him and Kainé. That it had to be done. The Aerie were created to be destroyed by this weapon. It was the plan of The Shadowlord. It played again when Emil sacrificed himself to Popola so his friends don't die. He wanted them all to he happy. As of Karma, I am not sure but I can only guess. He's broken. He lost his friends because he went with them to save Yonah and destroy the shadowlord. Not knowing it will destroy humanity. That guilt will be eating at him for the rest of his eternal life and he blames himself for it. That would be his future. His karma. To live with this guilt. Correct my if I'm wrong. Its just my guess. In Automata, we hear two other variations of his song. First main one being Emil Dispair, which I believe is sung by all the cloned Emil's. The voice sounds so echoy which leads me to believe the clones are singing it. They all sound the same. Emil has the complete loss of absence and hope. He lost his friends, so why should he feel hope. This is his Karma. His dispair. Emil's shop as we know is his song and its so upsetting go know that Emil has forgotten something. He can barely remember his song or anything because he's lost hope. Over time, cause he's immortal, he'll forget. That is his sacrifice, his Karma, and his dispair. He sacrificed himself to save his friends. He lost his friends which and the guilt is eating him which is Karma to him and then he felt despair of everything and now he has no memory anymore. Until he starts remembering things when we find the lunar tears he wanted us to find. Finding all them, he goes back to feeling the dispair and everything that has happened. Even though he isn't the real Emil, their minds are still linked so they feel what he feels. It's really so sad to me. The vareations of his music is what his life will become. He'll sacrifice, he'll feel the Karma, he'll feel the dispair and he'll forget. Because of the amount of years that went by since humans disappeared. He literally watched everyone including NieR and Kainé wither and die. The sacrifice was for nothing. He still lost everyone. He's being punished for it by living with this guilt. He starts to feel the dispair and then he forgets. What are your thoughts about this? Only cause I wanna stop now before I start crying. I am proud of what I wrote. It was only meant to be a short one but I end up explaining. I think I got to for Emil. Let me know your thoughts. Feel free to add anything if I have missed out something. I feel like I nailed most of it.

What if summerhall had ended in the rebirth of the dragons?
Let’s say there are two versions, one where his family survives and he can hand out dragons like candy, and one where most still die like canon or he loses a large chunk of the family but he himself lives.
With the dragons he’d be able to do his reforms for the small folk and he’d no longer have to bow to the whims of the nobility. But once he dies there’s no guarantee his successor is as noble. Duncan the small probably would be, Aegon could make him heir again and tell people to get over it because he has a fire lizard, but if not then it still leads to Aerys, who might not be as mad because good luck duskendale capturing and torturing a man with dragons, but he was hardly a great guy before that.
Thoughts?

Reddit Account: u/Chicken_Supreme01
Discord Tag: justchackensauce
Name and House: Aerys Belaerys
Age: 20
Cultural Group: Valyrian
Appearance: The blondish-white that marks him as Valyrian, Aerys is a youth in his early 20's and the bright eyes of a man with his whole life ahead of him.
Trait: Just
Skill(s): Vanguard (e), Cunning (e), Tactician
Talent(s): Board Games
Negative Trait(s): N/A
Starting Title(s): Knight of Aegon's Rest
Starting Location: With his family
Alternate Characters: N/A
---

Bio

Aerys Belaerys was born on Dragonstone to Aemon and Alyssa Belaerys. His father was occupied trying to scrape together any amount of money for their family while his cousins marched to war with the Targaryens. He would be the eldest of their two children with his sister Maegelle being born a few years after and from a young age, Aerys had very little expectations placed upon him unlike others that bore the name Belaerys.
In the beginning he was set to follow one of two paths, that of a warrior or that of a copper counter akin to his father, either way he would be a man sworn to serve the Targaryens and the main branch of Belaerys on their family farm. His mother wished more for him to be told, but being the side branch to an already lowly Valyrian family did not open up many opportunities.
Much would change quickly however, Aerys would only live on Dragonstone for a short period of two years before his families luck would take a surprising turn. A short stint inside Aegonsfort before tragedy befell House Targaryen as the King was slain by a Tully assassin. Aerys was far too young to even remember these times however, with his first memories only ever being of the family's new home in what was once called the castle of Riverrun.
Life would be easy going for Aerys, all eyes were on his elder cousins and the main branch of House Belaerys. Such relaxed expectations would lead Aerys to try and find his own niche in the family, a position no other would be able to match him in. He dreamed ambitiously and so threw himself at everything he could hoping something would stick, and stick something did.
While his cousin Aelor grew to love the fine arts, Aerys would find himself enthralled with matters altogether more martial. Learning the history of the Westerosi was made ever more interesting thanks to the countless spats and wars that occurred throughout the continent. From the Andal invasions all the way back to the mystical wars between the First Men and Children of the Forest, Aerys soaked in knowledge of battles and strategies and begin dreaming of the day he would ride out at the head of his own army.
As the years passed and the boy grew into his teenage years, he had moved on from daydreaming his battles to creating mock scenarios out of game pieces, challenging all who he deemed might pose a worthy challenge. This would start out with a soldier here, or one of the maesters there, but soon enough none in the castle wished to play such a game, and so once more his thirst for advancement in his craft would evolve.
Aerys would begin setting up mock battles using Belaerys men-at-arms as the new pieces. This form of the game would give him further visual queues to look for during the battles, and would lead him to further honing his abilities on the field. The mixture of reading every piece of work and actively leading troops in the mock battles around Aegon's Rest, Aerys' abilities would eventually begin to plateau, there was only so much practice could do in place of actual real world experience.
Such experience was likely enough to come his way however, as before long an old and bitter rivalry that Aerys had only read about finally flared back up. Blackwoods and Brackens once more raised their banners and pointed their weapons at one another.
While much of the surrounding Houses began to fear that the spat would spill out into something all the more devastating, Aerys was overjoyed at the potential for real warfare experience. No other voice was louder then little Aerys Belaerys during the council meeting that Lord Baelor Belaerys called over the matter. While some voiced caution, and others voiced leaving the House out of it entirely, Aerys Belaerys urged his uncle to support a side and earn prestige and renown for their House.
Baelor would be swayed by his nephews pleas, and a raven would be sent to House Blackwood declaring that House Belaerys stood with them. The banners would be called, and while Aerys would not be given any sort of command due to his youth, it would not stop the excitement from rising in his chest. The only thing that did kill the excitement was the dragon that appeared on the horizon the day Belaerys was set to march to join the conflict. At first believing it to be one of the Queens, Aerys was beyond surprised to see none other then his cousin Aelor.
His cousin and the dragon would fly off almost as soon as they had landed. Aerys was not privy to the discussion that took place between father and son, but he knew deep down that if a dragon had joined the mix, it was highly unlikely that he would see any form of real battle this day.
This feeling would turn true as reports came back the very same day that both Blackwoods and Brackens agreed to return to their own lands instead of face a dragon, his heart sank at this news and his feelings became conflicted for but a moment. It was great for his House and cousin that Belaerys now wielded a monstrous beast like Veraxes, but it was that fact that also stole Aerys' first chance at live combat.
He wouldn't remain in a sour mood for long however, because once Aelor returned he would give Aerys the chance of a lifetime, and the pair of cousins would fly atop the back of Veraxes together. Aerys could remember tying the chain, his heart beating hard as the great dragons wings stretched out and prepared for flight. It would be a memory he would hold dear, as though in their childhoods they had never been able to forge a close bond, this one act would be the start of a strong fellowship between the two.
Life would once more fall into a simple cycle of monotony, Aelor flew off to explore what Westeros had to offer, and Aerys would continue his learning efforts. Eventually the entirety of Aegon's Rest library was exhausted. His father Aemon would urge him to see knowledge and experience outside the family's lands, more specifically to the Citadel like he had. Although he was wary of leaving at first, he would concede that in order to grow and gain more knowledge it would be needed.
In 21 AC, Aerys would leave Aegon's Rest for the first time in 18 years. He would travel through the West and Reach, meeting new people and experiencing new things along the way. Finally he would reach Oldtown, the high spire reaching far into the sky above him. He would spend the next four years working his way through several links of a chain, emerging in 25 AC with a more complete education and solid foundation in regards to warfare.
He would make his return journey to Aegon's Rest, only to learn of his family's impending journey to the festivities being held near King's Landing.
---

Timeline

5 AC - Born to Aemon and Alyssa Belaerys.
7 AC - Moved to Aegon's Rest after King Aegon's death.
14 AC - Begins his journey to find his own niche inside his family.
18 AC - Pushes his uncle to join the fight between Blackwood and Bracken, conflict is averted by his cousin Aelor arriving atop Veraxes.
21 AC - Exhausts most avenues of furthering his abilities within Aegon's Rest, journeys to the Citadel in Oldtown to further education.
25 AC - Returns to his family.
25 AC - Present.
---
Family Tree
---
Name and House: Aemon Belaerys
Age: 42
Cultural Group: Valyrian
Appearance: An older man, he has seen his fair share of life, Aemon is usually disheveled looking
Trait: Steward
Skill(s): Architect, Avaricious, Scrutinous
Talent(s): Coin Stacking
Negative Trait(s): N/A
Starting Title(s): Steward of Aegon's Rest
Starting Location: With his family
Alternate Characters: N/A
---

Bio

Born ten and seven years prior to the Conquest to Maekar Belaerys and Aerea Scales, Aemon had one sibling, a younger sister named Alyssa. He would spend his entire youth on Dragonstone until he'd grown to become a man-at-arms under House Targaryen.
During the Conquest, he'd land with his cousin Baelor and Aegon Targaryen at what is now known as King's Landing. Despite his best attempts, Aemon was never exceptionally skilled with a sword, he would quickly find ways to not be sent to the frontlines, managing to fake an injury to his ribs on the eve of the Field of Fire.
This fake injury would cause him to miss the battle, and thus miss the death of his cousin Monterys as he fell to the enemies arrows. He would miss the field turning red as the Targaryens dragons turned everything to fire and ash.
The loss of his cousin, a man he might have been able to protect had he been more brave, shook the last reserves of strength from Aemon. He would hang up his sword for the last time, vowing to never pretend to do something again, and only do that which he knew would actually be able to help his family.
While his cousin and their offspring proved valorous warriors, Aemon had always been drawn to that which truly made the world function, gold. From a young age his ability to keep track of funds and find the best deals had kept his burgeoning family fed as they tried to subsist on a meager farm on Dragonstone. Although he had a knack for this line of work, his education had been truly lackluster given his background, a few years after the war he would seek his Baelors permission to learn from the group of Maesters down at the Citadel.
After arriving at Oldtown he would immediately become consumed by the sheer amount of potential knowledge the Citadel had to offer, and the nightlife that Oldtown had to offer wasn't too bad in its own right. Despite his marriage to his sister-wife, Alyssa, Aemon had never felt a true closeness to her as a husband should, and so truly he dove into all the city had to offer.
Several years pass, several chain links forged, several seeds planted. Aemon would journey home with so many new experiences gained and knowledge secured under his belt, it was time to return to his family and do everything he could to make up for lost time.
In the time spent in the South, House Belaerys under Baelor had not been idle. Now the Lords of their own fief, it seemed like their House was on the rise. Although the first meeting between the two was awkward at first given the amount of time spent away from each other, Aemon would find his place in the family soon enough.
Raised to the position of Steward, he would quickly show that his time in Oldtown was not wasted. Repairs on the castle would be completed faster than originally anticipated, prices for equipment and resources were negotiated for better prices, and the flow of taxes from the surrounding lands was tweaked to allow for more gains per moon.
Life would pass by, and soon enough Aemon would witness his son growing into a young man of his own. Unlike him though, Aerys would be captivated by war and the commanding of soldiers. Sometimes it led Aemon to wonder how such a boy came from him, but still it made him smile to see his own excel at something they held dear.
One day the peaceful life that Aemon had grown accustomed to appeared to be slipping, as word rose from the east that the ancient rivalry between Blackwoods and Brackens was on the cusp of once again reigniting. Despite his pleas for Baelor to remain neutral from the conflict, it was his own sons words that resonated best with the Lord of Aegon's Rest.
To Aemons own horror, Aerys was pushing for their house to join the fray on the side of the Blackwoods and march to war. Once more the sinking feeling of fear and cowardice crept up on him, and he felt like this time, instead of his cousin dying, it would be his own son.
His fears would begin to reach the surface as the day to march off to battle arrived, no amount of arguing or fighting had dissuaded either Baelor or Aerys from the current course of action, and it seemed anything short of draconic intervention wouldn't be able to stop Belaerys from joining the fight.
Such thoughts would prove true however, as in the sky appeared the mighty form of that which could be mistaken for nothing else. A dragon flew above Aegon's Rest for the first time in a decade, except this time it brought a rider that did not bear the name Targaryen.
Aemon was just as shocked as everyone else as none other then Aelor Belaerys dropped off the back of the dragon. His fears washed away as he witnessed Aelor return to his dragon after speaking with Lord Baelor, surely the son had returned to save his House from sacrificing any lives.
After the conflict was averted by the actions of Aelor, life at Aegon's Rest would return to a sense of normality. Such life was perfect for him, but alas he soon saw the effects it had on his son. The boy seemed to grow restless and irate at the peace that reigned over their region of Westeros. Aemon knew the boy needed new experiences, and thanks to his time there, he knew exactly where such knowledge and experience could be gained.
He would direct his son to travel to the Citadel, engulf himself in the studies and histories the Maesters had collected there, and absorb all he could. Such things would surely teach the boy a thing or two, and also allow him to travel across Westeros and see some of the world outside the castles walls.
All was once more calm, Aemon would begin spending the time he wasn't dedicating to being Steward to fishing, reading, and even teaching his daughter the finer points on being a steward, so that one day she might be able to help out with his duties.
Time would fly by until, in 25 AC, Aerys would return home a moon before House Belaerys was set to travel to the festivities being held near King's Landing. House Belaerys flourished now, a thriving castle and an heir that wielded a deadly dragon.
What could possibly go wrong?
---

Timeline

17 BC - Born to Maekar Belaerys and Aerea Scales.
1 AC - Lands with Aegon and his family, fakes multiple injuries to dodge being sent to the front lines of major battles.
5 AC - Aerys Belaerys is born.
6 AC - Travels to the Citadel to learn economy and stewardship
12 AC - Returns home, Maegelle Belaerys is born on the last day of the last moon.
13 AC - Is named Steward of Aegon's Rest.
20 AC - Sends his son to study at the Citadel, like he once did.
25 AC - Present.
---
Quentyn Strong - Castellan
Weese - Bandit
​

By popular demand, I guess...
I was kinda just being a smart-ass, but some of you wanted more so here it is: epilogues for every NPC as if they didn't continue to travel with Gorion's Ward and instead just decided to live their own life. Obviously, there are some implied alignment changes here.
This turned out to be longer than I expected and I kinda just threw it all together while I was working. Please excuse any typos or sloppy writing.
I want to apologize for one thing, though. Viconia's epilogue really only works if GW is a male, so I had to make that assumption for the sake of her story. If it matters any, I easily play just as many female GWs as I do male GWs. In fact, I probably play more female GWs because I don't care for the romances, frequently play the canon party, and want to nip the lame Jah romance in the bud.
But, to have them all in one place, I included my original smart-ass epilogues with the additional ones I created. Now, every character from BG1 and BG2 has an epilogue. I don't have the EE characters, though, because I play the original games and don't really know them.
So, just for funsies, which one is your favorite and why?
"Anomen continued to wait at the Copper Coronet for a party of adventurers willing to travel with him. Maybe it was the grating sound of his voice, or perhaps the way he leered at women, but he continued to remain alone. Eventually, he needed to find work to make ends meet. With Gorion's Ward having disbanded the slave traders and pit fights, Hendak had to find a new form of entertainment for the patrons. As such, he invented an all male review ladies night, and Anomen found work as a 'dancer'. He left the Most Noble Order of the Radiant Heart to join the less noble order of the pole. He also renounced his faith to Helm and instead allied himself with Waukeen because if you wanna see some groin, you gotta have some coin."
"Despite Gorion's Ward clearing the trolls from her keep, Nalia was not able to reclaim her lands and instead lost her estate to Lord Roenall. The lord offered to let her retain residence in her family's ancestral home, but only in exchange for her hand in marriage. Nalia found the proposition to be repugnant. Instead, she salvaged whatever wealth she could from her family's keep and moved to Athkatla to start a new life. She no longer helped the less fortunate, as she was now among their numbers and had her own problems. Nalia's lack of any practical skills combined with her sense of entitlement sent her into a life of failure followed by drinking and debauchery. She now spends more time back at the Copper Coronet than anywhere else. It is hard to say where she squanders her wealth more, the alcohol, or on the dancers during Ladies Night."
"After the incident with the Planar Sphere, Valygar was finally free of his past, could retire to his cabin, and pursue his true passion: writing. Ironically, the only inspiration he found ended up stemming from his family's checkered past. Valygar's only works that even had middling success were 'Tuesdays with Lavok' and 'Dude, Where's My Planar Sphere', with the latter being made into a production at the Five Flagoons Theater."
"Haer'Dalis continued to work as a performer at the Five Flagoons Theater. Unfortunately, it struggled due to poor management. It might have turned out better if an outside agent with fresh ideas had stepped in, but Gorion's Ward had better things to do than be a bard. While the work was generally steady, the returns were not great and the material was a little low-brow for Haer'Dalis' liking. The tiefling realized he reached rock bottom when he was cast as the lead in a play about a buffoon who apparently lost a plane-shifting apparatus the size of a small castle and had to find it before his parents returned from Neverwinter. After the opening night, he took his own life in his dressing room. His body was found the next morning with a note saying, 'Art is dead and I am art, so I shall join art in death.' Biff the Understudy stepped in for Haer'Dalis despite never having an opportunity to read the script. Nevertheless, the production was a resounding success and launched Biff's career to new heights."
“A heartbroken Garrick found work as a character actor at the Five Flagoons Theater, but eventually gained more success as a writer and director. He found it to be a mostly agreeable situation, aside from a tiefling primadonna who would constantly belittle his work and call it ”trite" and “drivel”. Fortunately, that situation worked itself out in time and Garrick found Biff to be much easier to direct. With the tiefling gone, his ideas had room to grow. He invented a new kind of love story, one where the protagonist doesn't always get the girl at the end but the journey to that ending would be quite amusing. He labeled this genre “the Comedy of Romance” and the works were mostly based on his own life. His plays were quite popular among the commoners, with his top selling shows being 'Sleepless in Saradush', 'Silverymoon Linings Playbook', and 'Crazy Rich Aasimars'. He eventually fully transitioned off the stage into the director's chair. By the peak of his fame, he was married to none other than Queen Ellesime."
“Aerie continued to work at the circus and WOULD NOT SHUT UP ABOUT HER DAMN WINGS. Even Quayle eventually grew sick of hearing about it. This put strain on their relationship. Things took a turn for the better when Ribald Barterman acquired a new curiosity for his shop. It was a magical ring which he sold to Quayle at a reduced rate out of sympathy. This ”treasure" was actually a cursed Ring of Deafness, which Quayle found to be anything but a curse and wore it for the rest of his days."
“Xzar and Montaron were both slain at the hands of the Athkatla Harpers, but this is actually where their story begins. Xzar, as he had done so many times before, had a backup plan of an arcane nature should death befall either he or the halfling. Their mortal essences were pulled to a pocket plane he created. There they could be channeled into restored bodies cloned at his estate. With this particular round of ritual, Xzar had incidentally made a slight error in the incantation and the two found themselves in a time suspended state in Xzar's pocket plane. It was only five minutes for the rest of the world, but it was fifty years for them. This turned out to be a pivot point in their relationship. Having only each other's company in this shadowy void, they were finally able to work out their feelings for each other. When they had returned to the prime material plane, they discovered their mutual animosity was replaced with love. Rather than pick up their life where they left off with the Zhentarim, they decided to pack it all in, moved to Bryn Shander, and start a bed and breakfast. Montaron rediscovered his halfling roots and love for the culinary arts while Xzar would perform seances to connect guests with their late loved ones. Scones and Bones became an overnight success and was consistently listed as a “must see” in Volo's travel guides. In their golden years, the couple co-wrote a memoir of their journey, ‘Brokeback Montaron’, which is sold in bookstores everywhere."
“After briefly crossing paths with Gorion's Ward, Mazzy Fentan continued her crusade as a de facto halfling paladin. She eventually found herself petitioning for membership at the Most Noble Order of the Radiant Heart in Athkatla after she had singlehandedly saved a village from an ancient dracolich. Despite the extent of her virtue and accomplishment, her petition was denied on the basis that halflings could not possibly be real paladins. This inspired her next crusade, one to break down vocational barriers for all demihuman races. Why couldn't halflings be paladins or dwarves be wizards? And why did gnomes always have to be illusionists? It simply made no goddamn sense. She began to get traction with her quest when she attended lectures by the wizards of the (sword) coast in Candlekeep. With their help, she ushered Faerun into a new edition era where there would be no vocational barriers for adventurers based on their race. Soon, the world began to see roguish halflings that also venerated Helm, while tending to the wilds as a druid. Half-orc bards also studied as wizards while manifesting natural arcane abilities as sorcerers. Tiefling paladins took their crusades to the wilderness and served as rangers, while sidelining as clergy to Mystra. The world was now a liberated place, free to not make any goddamn sense in a myriad of new ways. At one point, Lady Mazzy Fentan of Trademeet (now formally a paladin) crossed paths with a dwarven shadowdancebard and in that moment she regretted everything. Seriously, just take a moment and picture that. It would look fucking ridiculous.”
“Yeslick's clanhome was flooded once again. Despondent and without options, he took work at a smithy in Baldur's Gate but never stopped dreaming of finding both a clan and a home. He found a way to bring this dream to life after a courageous halfling paladin broke down the barriers for, among other things, dwarves to be wizards. Yeslick had an idea. He studied magic diligently until he was able to cast two spells of great importance: Water Breathing and Permanence. He then searched the lands for other clanless dwarves who would be willing to try something new. With the new clan he formed, Yeslick permanently gave all his fellow clansman the ability to breath underwater. They then moved into the flooded Cloakwood Mines and built the first underwater dwarven stronghold. Using his arcane powers, Yeslick also developed the ability to speak with the marine life that shared this stronghold. And, with that, the clan Aquadwarf was born. At one point, Valygar visited and wrote a play based on Yeslick's story. However, he couldn't even get it to stage at the Five Flagoons Theater. The illustrious director Garrick was quoted as saying, “A hero that can breath underwater and talk to fish? Nobody would go for that!"
“Keldorn finally retired from the Most Noble Order of the Radiant Heart and looked forward to a much simpler life. He rekindled his marriage with Lady Maria and life seemed to improve. It was rather early on when the couple discovered that Maria had become pregnant again. It was also not long after that when Peony, the housekeeper, also became pregnant. Maria started to ask Keldorn about this, but Keldorn started to get defensive and asked, ”Hey, who's the Inquisitor here?" Then Keldorn started to do the math with her to track the conception of Maria's pregnancy. She certainly did not want him to get to the end of that equation, so she quickly changed the subject. She suggested getting a new maid, but Keldorn chastised her for abandoning someone in their time of need who had been like family for years. He forbade Peony's departure claiming that his god, Torm, would not stand for it. Maria then made a passive aggressive comment about Torm being the god of loyalty, but she was mostly just muttering under her breath to get the last word in. Eventually, both children were born and had probably the most awkward upbringing of anyone in Faerun."
“After Gorion's Ward helped Coran take down a wyvern, the rogue brought the beast's head back to the mayor of Beregost for the reward and accolades. He thought this put him in a position to be a hero of great renown and perhaps, just maybe, people would stop mocking him for his flashy attire and completely superfluous eye mask. They didn't. He only gained acceptance when he crossed paths with a ranger who seemed indifferent towards Coran's keen fashion sense. Coran traveled the Sword Coast with his ranger sidekick, righting the wrongs against the ‘little guy’ and taking the law into their own hands when needed. This partnership dissolved when he discovered that the ranger thought Coran was the sidekick. As if! Coran tried to correct the ranger, whose argument was, 'Really, man, if that outfit doesn't scream sidekick then I'm Elminster's twin brother.' The ranger was not related to Elminster and shared no resemblance.
“Kivan never was able to get his revenge on Tazok. Unbeknownst to him, that honor was taken by Gorion's Ward. His thirst for vengeance continued to eat away at him until he found himself in a bat infested cave in the wilderness. It was then he snapped. He turned the cave into his secret hideaway, put together a disguise and started wandering the sword coast looking for evil-doers to punish. He would leave his calling card wherever he saved the day, a token of a bat with longer ears like an elf. And bats already had rather long ears so these bat ears were almost comically obtrusive. Nevertheless, his deeds were generally appreciated and the people stared calling him Bat-elf. For a short spell, another elf tagged along with him and tried to help, but he was so flamboyantly dressed that one could pick his sidekick out of the shadows blindfolded. Kivan eventually had to send him on his way. Unfortunately, his vigilante crusade abruptly ended after receiving a cease and decist order from DC Comics. Kivan could fight both monster and marauder all day, but his 14 Constitution wouldn't hold up against a lawsuit for trademark infringement.”
“Skie was deeply affected by both the death of her brother and the assassination of her father. And yes, her father was actually murdered and didn't lol-jk back to life in some crappy DLC. In any event, through these traumas, she came to realize the puerility of what she thought was her brilliant criminal masterminding. Instead, she decided to settle down and live a more responsible life as an upstanding citizen of Baldur's Gate. She took the reins of her father's estate after his death and rose to prominence as one of the Grand Dukes of the city. She maintained her relationship with Eldoth for quite some time, inexplicably, as he refused to get a job because he didn't want to take attention from his band which he swore was going to make it. However, the bard spent most of the day either lounging at Skie’s estate or gambling away his allowance with games of three-dragon-ante at the Helm and Cloak. Eventually, inspired by the book “Men Are From Menzoberranzan, Women Are From Immilmar," she decided to call it quits with Eldoth and sent him packing. Shortly thereafter, she met a man who was nothing like Eldoth and they settled down together to start a family."
“Eldoth's dreams of being a world-famous musician fronting the greatest band in Faerun never reached fruition. This was partly because he didn't actually have a band and partly because he didn't have the talent to write music. Instead, he just had a lute he purchased at Lucky Aello's Discount Store that only had one A-string and was missing the E-string. Also, Eldoth could only play power chords and he couldn't really sing and play at the same time. Most of the time he would just strum a chord or two and then talk about what the song would do next, often describing a solo and half playing it on an ”air lute" (while he was still holding an actual lute, mind you) to give people the idea as to how the song would sound when it was finally written. Yeah, he was one of those guys. After Skie kicked him to the curb, he bounced between various barmaids who clearly had low self-esteem, but not low enough to keep him around for long. Eventually, he got one of them pregnant and was forced into a shotgun wedding by the barmaid's father. He now works in the kitchen at the same inn as his barmaid wife. She helps the customers up front and he cooks eggs in the back. Eldoth continues to tell himself that this experience will just provide inspiration for his music and that someday he was going to get the band back together."
“After being rescued by Gorion's Ward, Xan made his way to Baldur's Gate to regroup. He spent an inordinate amount of time beating himself up over his failures and trying to muster the gumption to continue his quest to unravel the political turmoil of the region. However, it took him months to get to this point, and by that time, Gorion's Ward already sorted out the problems in the region. Discovering this, he deemed himself a failure yet again and sunk into a deeper depression. He pulled himself out of it when he met a woman who lost most of her family to violent deaths during the iron crisis, yet she still kept herself together and became a local success in a few short years. Xan immediately fell in love with the recently single Skie Silvershield and began to court her. They eventually married and started a family. At Xan's insistence, and inspired by his wife's name, their two daughters were named Sunshine and Rainbow. Xan was a staunch supporter of his wife's career and stayed home to raise the kids. When they were older and needed less attending, he followed a new dream and became a motivational speaker.”
“Korgan had his revenge against his backstabbing crew and employer, but he felt...empty. It was done, but he felt no satisfaction. Disgruntled and disappointed, he decided to lose himself in his cups at the Copper Coronet. Even this did nothing to alleviate his malaise. One night, having passed out drunk in a peasant room at the Copper Coronet, he dreamt of that final fight but something was different. In the background of the battle, there was a glow coming from the door of a shack and he heard the whispering of a language that sounded like it was from Kara-Tur. When he woke the next morning, Korgan returned to the rooftop and found the shack from his dream. He knocked and was greeted by a priest of Illmater. Korgan told the priest of his dream and he was led into the backroom where he found a man from Kara-Tur infirm and huddled over a cup of tea. The priest explained that he had just reincarnated this man of the faith using a heart delivered by a passing adventurer. Korgan took this as a sign, converted to the faith, and the two paired up to help those in suffering as a result of the schemes of others. The tales of Korgan and Yoshimo were not only told in many of a tavern by the bards, but also collected in graphic serials that were popular among the children of Athkatla.”
“Ajantis' death sent him into an afterlife at Everwatch, the realm of Helm. For his honor and diligence, the devout knight was granted an audience with his patron. Ajantis then told Helm what utter bullshit the god was. I mean, c'mon, he's the god of protection, the Vigilant One, and he couldn't protect a group of knights from a dragon's cheap illusion spell that a mage even tried to dispel with True Sight? It was like Helm wasn't even trying. Helm was stunned by the confrontation but also had no valid defense. Ajantis called Helm to a trial that was mediated by Tyr. After careful deliberation, Tyr determined that Helm was sleeping on the job and the judgment was to demote him to a lesser deity. Now, Helm was the patron of guards, but not actual guards that ever see action, just the ceremonial ones whose weapons and armor are super shiny and probably not even real. Ajantis was then granted Helm's old portfolio and became a god that truly protected his followers.”
“Viconia left Athkatla's government district perplexed. She was rescued from burning at the stake by Gorion's Ward and then immediately dismissed. She found this to be unusual behavior for a male. She was accustomed to men either trying to bed her or kill her, but this casual indifference was completely new. Viconia came to be obsessed with Gorion's Ward from a distance. She spiraled into a fantasy where the two of them had a future together. It was pretty bad. There were some extremely embarrassing vision boards involved and that wasn't even the worst of it. When her mania reached critical mass, her obsession actually collapsed and she had an epiphany. She came to realize that she did not need this man, or any for that matter. She started on a journey of self discovery and took a moral inventory of her past relationships. She wrote about it in the book, “Men Are From Menzoberranzan, Women Are From Immilmar”. She then used the revenue from the book sales to open Athkatla's first feminist bookstore. In Her Words became a mecca for women, particularly those who felt trapped in bad relationships. The community that emerged here created the group, Friends of Galia, which strove to free women from abusive relationships. Eventually, the bookstore expanded to include an apartment block above that became a shelter for such women. Occasionally, the partners of these victims would come around to In Her Words in an attempt to drag their partners back home. You can probably guess how a confrontation between a drunken 0-level commoner and a Drow priestess of Shar ends."
“Faldorn was defeated by Jaheira in Trademeet and lost her title of Arch-Druid. In truth, she was relieved to be relieved of the position. Years of pushing forward the Shadow Druid agenda led Faldorn to realize that she had lost touch with the real Faldorn along the way. After some soul-searching, she reinvented herself as a lifestyle guru and developed an entire line of organic health and beauty products under the name, She-Wolf. Both her products and seminars were all the rage in Athkatla, specifically among noblewomen who clearly had too much free time. Faldorn eventually gave up her residence in natural environs for a lavish estate in Athkatla's government district. Her following soon pressured her to petition to join the Council of Six after the fall of the Cowled Wizards left the position open (aside from a short-term replacement). Her petition was a success and she soon found herself on the Council of Six. Under her leadership, she created created the FDAA, the Food and Drink Association of Athkatla. Now, instead of draconian rules governing magic in the city, equally restrictive rules and standards were applied to the food and drink that the people consumed.”
“Barely surviving being gravely wounded by Irenicus, Tiax left Spellhold for Athkatla where he intended to do what he did best: rule. Learning from his past campaign mistakes in Baldur's Gate, he changed his slogan from ”Tiax Rules!" to “Make Athkatla Great Again”. Of course, what he thought would make Athkatla great was putting himself in charge as a despotic leader. But, he toned down that aspect of his platform and instead focused on the history of scheming and backroom dealing of the Cowled Wizards (as if he was any less evil or scheming) and promised the people he would be different than all the other corrupt politicians. Miraculously, despite his obviously apparent character flaws, he succeeded in replacing the Cowled Wizards' representative on the Council of Six. He decided to take their stance on restrictive magic to the next level and banned magic entirely. Since he didn't study the arcane himself, it was no skin of his nose. This move undermined his support base leaving him with only the most backwards and ignorant followers. He was ultimately removed from his position when he insisted the city build a wall around the planar sphere and was expecting that the city's wizards would be the ones to pay for it. After his removal, his few remaining extreme supporters organized an invasion of the main government building under the guise of freedom of assembly. All nine of these “rebels” were rounded up, tried, and sent to prison. Tiax was convicted of treason and reincarnated in Spellhold, which was now just a common prison. After his eventual release, he was prohibited from seeking any position of power in Amn."
"Edwin Odesseiron continued to lay low with the Shadow Thieves for a while. The Cowled Wizards suffered a crippling blow as a side effect of the conflict between Gorion's Ward and Irenicus. Edwin decided to step in and finish the job. His thought was that he could wipe out the Cowled Wizard remnants and then take credit for their defeat, thereby gaining him more clout among the Red Wizards of Thay. After many conspicuous mage battles in the streets of Athkatla, he succeeded. However, the people who noticed his efforts the most were actually the people of Athkatla. They were tired of living under the Cowled Wizards' iron fist and Edwin was lauded as a liberator and hero. He even had a statue in his image raised in Waukeen's Promenade. Edwin was initially nonplussed over people finally giving him the credit he always felt he so rightfully deserved. But, he quickly came to accept their praise and bought in to being a champion for the people. Edwin continued his agenda of liberation when a clearly insane gnome who found his way on the Council of Six tried to ban magic entirely in the city. Edwin and his followers were primarily responsible for having the madman removed from his seat.
“Shar-Teel, Safana, Branwen, and Alora all happened to cross paths with each other at Elfsong one evening. Shar-Teel was looking to fight a man, Safana was looking to shag a man, Branwen was recently petrified by a man, and Alora was just excited to be somewhere new. The four got to talking with each other and, despite having wildly different personalities, seemed to hit it off. Shar-Teel was sarcastic and aggressive, Safana was self-absorbed and man-hungry, Alora was kind and sweet, and Branwen was the matriarch of the group. You wouldn't think this lot would get along, but they actually did, and their differences merely become the fuel for innocuous hi-jinks week after week.”
"With Gorion's Ward's help, Cernd was able to rescue his child that he then abandoned again at the druid grove near Trademeet. He promised that he would return to raise the child, he just needed to run to the general shop in Trademeet for some pipeweed. He never returned, but that was pretty obvious since he didn’t even smoke. Cernd continued to wander Faerun. It came to light in Cormyr that Cernd had actually married, and had children, with numerous women in Cormyr, Amn, the Sword Coast, Tethyr, Calimshan, Turmish, Halruaa, Icewind Dale, Chondath, Sembia, Impiltur, the Silver Marches, and even the Troll Hills (don't ask). Furthermore, it was discovered that Cernd was not actually a druid, just a werewolf that had a Ring of Goodberries. The druid con was so that he could have a reason to abandon his wives and children and move on to a new situation. You would be surprised at how many women could fall for a guy that can conjure an impromptu picnic in the park. Unfortunately for Cernd, Cormyr was not the kind of place to run afoul of the legal system. For the crime of bigamy, he was sentenced to life in prison. He never set foot near a druid grove again, but he was allowed to participate in a work-release program tending to the gardens of nobles.
“Kagain returned to his shop and grew even more bitter, but not over what the death of Entar Silvershield's son had done to his reputation and business. Instead, he resented that even the Enhanced Edition of the game didn't give him a remotely decent companion quest. By Moradin's hammer, Cernd even had a pretty involved companion quest and the story there both starts and ends with a deadbeat dad! Also, Kagain can regenerate! Korgan can't even do that. And another thing! He was sick of people confusing the two of them as if all dwarves look alike or something. Ok, granted, they're both old dwarves with greying beards, but Korgan's beard is tied while Kagain's beard is brushed out. Of course, none of this made sense to anyone, even to Kagain who never actually crossed paths with Cernd or Korgan. However, the dwarf had nothing to do with his time except stand in his shop, isolated and alone, until he was done in by insanity and plantar fasciitis.”
“The death of Khalid shook Jaheira to the core. She convinced herself that she could never love again, certainly not so soon after his death nor with anyone that would be a child in her eyes. That would be absurd and rather tacky. After her escape from Irenicus' prison and deposing Faldorn from the druid grove, she took over as Arch-Druid. Being a Harper just wouldn't be the same without Khalid. However, the grove would allow her to explore a new, but comfortingly familiar, phase of life. She had barely been installed as the Arch-Druid when Cernd dropped off his child and disappeared again. He did not even stay long enough to tell Jaheira the child's name. Knowing he would likely not return, she named the child Khalid after her lost love. Realizing there were other children our there without families to care for them, Jahaeira would send her subordinates to wander nearby lands and bring them to the grove for a better life. Perhaps not surprisingly, many of these children happened to be Cernd's. She eventually renamed the grove to Kinder Garden in honor of the grove's new purpose of giving these children a kinder upbringing. Jaheira's headstrong personality served her well with these lost children, who all loved her as they would any mother. The Kinder Garden became the most thriving druid grove in all of Faerun. Jaheira eventually died in 1547 DR, with hundreds of children haven been rescued in her lifetime, and a memorial was erected in her honor at the grove. The inscription read, 'Nature's Servant Awaits.'"
“After being freed from Irenicus' dungeon, Minsc put his boots on the ground at the Copper Coronet. Being the simple man that he was, he found himself unwittingly recruited into fighting in the gladiator pits (before Gorion's Ward was able to free the slaves). Yet again, Minsc took a blow to the head. But this time, its effects were something completely new. No longer was he the slow-witted evil-slaying ranger, armed to the teeth and packing a hamster. Instead, his intelligence and wisdom started to blossom and he explored, through dissertation, the impact of modern civilization on the overall ecosystem of Faerun. Indeed, before Minsc started his work, the people of Faerun didn't even have the concept of an ”ecosystem". He left Athkatla to pursue a residency at Jaheira's grove where he could study and work in peace. He published works like, “The Intersection of Geopolitics and Biodiversity: Living More but Dying Sooner”, “The Essential Symbiosis Between the Savage and Civilization”, and “Moral Urbanization: Seeking a More Comprehensive Prosperity”. Minsc continued his studies and writing and ultimately produced enough groundbreaking works to have his own annex in Candlekeep. It was shortly after the dedication of this annex that Minsc disappeared from Faerun, never to be seen again."
“Jan Jansen's fate was the most impressive of all as his endeavors shaped the very fabric of Faerun for centuries to come. His story truly serves as a moral lesson for everyone and we should heed its virtue quite seriously. Helping Lissa and Jaella planted a seed of regret in Lissa with regards to her marriage to Vaelag. Speaking of seeds, this reminds Jan of a time when he was helping his Uncle Scratchy with his turnip farm. However, Uncle Scratchy was hoodwinked and the seeds he received were actually purple carrot seeds. You can imagine Uncle Scratchy's surprise when they sprouted and he suddenly had a field of purple carrots. Well, as you probably know, you can't make turnip stew, or turnip casserole, or turnip pie with purple carrots. But it just so happened there was a mage tower nearby and the resident mage needed a vast number of carrots. Apparently, her plan was to animate them as a kind of vegetable army to combat a myconid infestation in cave system rather close to her tower. Of course, animated carrots are quite self-assured and were immune to myconoid's confusion spores. Anyway, Jan had a once-removed cousin, Bobil, that was lost in those caves when he was a young gnome. He had wandered so deep that he found himself in the den of a solitary xvart who was obsessed with a magic ring. Bobil happened to purloin that ring but it turned out to not be magic at all. However, it was still worth enough for Bobil to buy himself a nice cottage in Trademeet. He then started his own turnip farm and had better luck than Uncle Scratchy. Wait, what were we talking about, again?”
“Boo continued his mission to study the sentient life forms of Faerun and determine their potential impact on the metaverse. He preferred the continued company of Minsc due to the ranger's kindness and protectiveness. Boo found this to be quite valuable in his current miniaturized state. Even after Minsc's accident, where his intellect began to expand, Minsc never lost his good heart and inherent kindness and the two remained the best of friends. It was a number of years later that the term of Boo's mission was complete. A team of his fellow people arrived on a spelljammer to collect the giant miniaturized space hamster. Minsc (and Boo) were on a retreat in a remote part of the Neverwinter Wood when a vessel shaped like a giant acorn landed in a nearby clearing. A number of human-sized anthropomorphic hamster-like beings, who called themselves the Ysoki, emerged and met with Boo. One had a strange crystalline device which it used to restore Boo to his proper size. Minsc naturally remained composed while all this was happening. He and Boo talked often and he knew this day would be coming. Boo returned to the spelljammer with his brethren to debrief on the mission. The Ysoki wanted to bring a sample back to their homeworld for further learning and study. Boo offered Minsc for the task, as the exemplar human would fit in nicely with the Ysoki's advanced culture and society. Everyone was in agreement and made the offer to the ranger. Minsc felt like he had made every contribution he could to the people of Faerun, so he accepted and boarded the ship. Boo, excited to finally be on a spelljammer again, took the helm and plotted a course for his homeworld. At his side sat his friend and faithful companion, Minsc.”

The Pitch
It is an Age of Chaos.
Good King Omund is dead, and with him died the rule of law in the land. The Duke of Bedegar is dead, his family ambushed and murdered. The Wild seeks to take back everything that once belonged to it. The remaining dukes fight to preserve what civilization is left, but they are distant and isolated. The roads are in disrepair, danger lurks around every corner.
Ajax, called Invincible, now rules here. He pits the different peoples of Vasloria against each other. Elves and men and dwarves; no one quite trusts anyone. This is Ajax’s goal. Religious institutions are outlawed, their churches left in ruin. The old orders are disbanded or subjugated, few continue their attempts to keep the peace and protect the people. The Iron Saint binds the land.
You are a recently founded band of ratcatchers, problem solvers, necessary but apart from proper society. You overwintered in the inn of the Green Dragon, a quiet place in the town of Arlone, east of Bedegar Keep. Now, with the onset of spring, you can set out again towards fortune, glory, honor, hope, or any other grand imaginings. How did you come to be here? Why can’t you go home and live a normal life? What do you want to make of yourself?
The Caelian Road goes south, the way engulfed by two wodes, a savage wilderness where Elves hunt those who enter. Monsters walk the wood. Civilized people do not go there. To the east lies the Dutchy of Faroe, a narrow pass for fools and traders flanked by high mountains teeming with serpents and warring tribes. The Overmen watch keenly from their high aeries for dissidents and outlaws. The vast sea to the west is traveled rarely, only the Overlord’s ships and the less-sane of the Vanirmen dare the dark waters. Things dwell in the deep. North is the powerful Dutchy of Dalrath, with the impenetrable Great Wode beyond. There Civilization and the Wild fight in open war, stone and steel against fangs and demon-flames.
In Bedegar, many small towns sustain themselves against the ever encroaching wilderness, old traditions and ancient pacts seeing new light in the trying times. Some people band together for safety, others stand on the shoulders of the drowned. All will be tested soon enough.
The Campaign
I'm planning to start with a sandbox style of game seeded with lots of classic, modern, and homebrew adventures. Very much D&D-ish pulp fantasy, but with a bit more narrative bits and the pulpy Savage Worlds system.
Some self direction, some encroaching events, lots of interesting roleplay, delving into the wilderness, and the freedom to get yourself into trouble. It’s up to you which fires to put out or threads to pull, and there’s no way to solve every problem or get every treasure. Players will have the opportunity to become embroiled in duchy politics, build alliances, save enemies, join guilds, and fight lots of crazy shit. Later on the threads will turn more towards a linear adventure, as I want to run The Red Hand of Doom once the PC’s have gone around and have a reputation.
Player Buy-In: The pulpy style of play where the GM just drops you in a town with a bunch of hooks and a wild land, then you have to work out your own shit out has to sound cool. Being interested in having your own goals and ambitions and working to fulfill them is always helpful, but just wanting to pull on threads also works. Likewise, wanting to engage and invest in other player's characters and NPC's is the best. Your characters should give a shit, they don’t need to be selfless paragons, but they should be connected to the local area enough to care what happens to it.
Logistics
System: Savage Worlds Adventure Edition (SWADE), with some Fantasy Companion content and a bunch of my own homebrew. Those new to the system are welcome.
Format: Mostly over Discord voice with SavageBot to handle dice/cards. Owlbear Rodeo for battlemaps.
Date/Time: Looking to have a session zero on Friday the 17th, at 7:00 PM CST. Following sessions will be weekly on Friday's at the same time. Sessions will typically be around 4 hours long. This will be a long term campaign, so regular commitment will be required.
Players: Currently three have joined up, two from old campaigns and one new player, looking for probably one or two more. 18+ preferred, due to a small amount of adult content and themes.
Feel free to ask questions, if interested DM me with your preferred name/pronouns, your level of experience, a bit about yourself, what you like in a game, and your Discord.

The Pitch
It is an Age of Chaos.
Good King Omund is dead, and with him died the rule of law in the land. The Duke of Bedegar is dead, his family ambushed and murdered. The Wild seeks to take back everything that once belonged to it. The remaining dukes fight to preserve what civilization is left, but they are distant and isolated. The roads are in disrepair, danger lurks around every corner.
Ajax, called Invincible, now rules here. He pits the different peoples of Vasloria against each other. Elves and men and dwarves; no one quite trusts anyone. This is Ajax’s goal. Religious institutions are outlawed, their churches left in ruin. The old orders are disbanded or subjugated, few continue their attempts to keep the peace and protect the people. The Iron Saint binds the land.
You are a recently founded band of ratcatchers, problem solvers, necessary but apart from proper society. You overwintered in the inn of the Green Dragon, a quiet place in the town of Arlone, east of Bedegar Keep. Now, with the onset of spring, you can set out again towards fortune, glory, honor, hope, or any other grand imaginings. How did you come to be here? Why can’t you go home and live a normal life? What do you want to make of yourself?
The Caelian Road goes south, the way engulfed by two wodes, a savage wilderness where Elves hunt those who enter. Monsters walk the wood. Civilized people do not go there. To the east lies the Dutchy of Faroe, a narrow pass for fools and traders flanked by high mountains teeming with serpents and warring tribes. The Overmen watch keenly from their high aeries for dissidents and outlaws. The vast sea to the west is traveled rarely, only the Overlord’s ships and the less-sane of the Vanirmen dare the dark waters. Things dwell in the deep. North is the powerful Dutchy of Dalrath, with the impenetrable Great Wode beyond. There Civilization and the Wild fight in open war, stone and steel against fangs and demon-flames.
In Bedegar, many small towns sustain themselves against the ever encroaching wilderness, old traditions and ancient pacts seeing new light in the trying times. Some people band together for safety, others stand on the shoulders of the drowned. All will be tested soon enough.
The Campaign
I'm planning to start with a sandbox style of game seeded with lots of classic, modern, and homebrew adventures. Very much D&D-ish pulp fantasy, but with a bit more narrative bits and the pulpy Savage Worlds system.
Some self direction, some encroaching events, lots of interesting roleplay, delving into the wilderness, and the freedom to get yourself into trouble. It’s up to you which fires to put out or threads to pull, and there’s no way to solve every problem or get every treasure. Players will have the opportunity to become embroiled in duchy politics, build alliances, save enemies, join guilds, and fight lots of crazy shit. Later on the threads will turn more towards a linear adventure, as I want to run The Red Hand of Doom once the PC’s have gone around and have a reputation.
Player Buy-In: The pulpy style of play where the GM just drops you in a town with a bunch of hooks and a wild land, then you have to work out your own shit out has to sound cool. Being interested in having your own goals and ambitions and working to fulfill them is always helpful, but just wanting to pull on threads also works. Likewise, wanting to engage and invest in other player's characters and NPC's is the best. Your characters should give a shit, they don’t need to be selfless paragons, but they should be connected to the local area enough to care what happens to it.
Logistics
System: Savage Worlds Adventure Edition (SWADE), with some Fantasy Companion content and a bunch of my own homebrew. Those new to the system are welcome.
Format: Mostly over Discord voice with SavageBot to handle dice/cards. Owlbear Rodeo for battlemaps.
Date/Time: Looking to have a session zero on Friday the 17th, at 7:00 PM CST. Following sessions will be weekly on Friday's at the same time. Sessions will typically be around 4 hours long. This will be a long term campaign, so regular commitment will be required.
Players: Currently three have joined up, two from old campaigns and one new player, looking for probably one or two more. 18+ preferred, just due to a small amount of adult content and themes.
Feel free to ask questions, if interested DM me with your preferred name/pronouns, your level of experience, a bit about yourself, what you like in a game, and your Discord.

https://youtu.be/LU2N_5ncnUA?si=5DRyMf0FlCQI0WIq
Mattpat from the Film Theoriest is one of the biggest theory makers out there and made a Video about daenerys Potential downfall 3 years before it actually happened.
He predicts everything by using almost no evidence provided by the story at all.
1. The fallen coin and the curse of humanity.
His Main point is the DNA of Generations of inbreed between targaryens. He is right about that circumstance, it could actually even answer why her child (and rhaenyras) actually died.
The only other evidence he uses is mace tyrell saying in book 5 how dany is just as mad as her father. But even that is not from the show itself, let alone coming from danys sphere herself, but from someone, who has never met her or has even seen her at all. Prejudices coming from an old white man half a world away.
But the show told another story at the end.
The evidence used in the video is backed up by 2% of what the story said and told us.
And even debunked by the story itself at the end.
"Our Queens Nature is fire and blood..."
"Do you think our house words are stamped on our bodys when we are born and thats who we are? So, i would be fire and blood too? She is not her father, no more than you are tywin lannister."
Jon was right, she wasnt her father. She was much worse.
Dany became who she is and did what she did, because of her upbringing and past life. A life steered by trauma, fear, flight and Horror.
Aerys wasnt mad either. He also needed to be tortured to lose himself.
The Coin line is still correct by the end. Danys coin landed and she decided who she is going to be. Just like Jon. Or Theon. Or Tyrion. Or Cersei.
We might be handicapped and severly injured through life, both mentally and physically. But we can still decide how we deal and respond to this.
The coin line is intact, but not exclusively linked to targaryens. Every Person has to chose, not only demigods like jon and dany.
2. Everything ist there... but nothing is used.
"Her brutalitys in essos are already legendary....
The show provided several well hidden building stones and hints, that told us what danys story is actually about.
From her getting an erection from drogos "rape of westeros" speech to her crucifiyng and burning countless men alive.
But why didnt Matt use any of this in his video? Maybe he was ahead of us all also in regard of predicting unhinged and unhealthy Fan behaviour? If thats the case, its easy to understand why he didnt want to anger millions of dany worshippers by using unfiltered truth provided by the show as evidence.
I let you decide.
3. The invincible scene remains invincible.
Dany telling us she us capable to contemplate mass murder of innocents and burning citys for the greater good in 5x9 is also of course nowhere to be seen in the Video.
It wasnt seen and questioned or discussed about when the episode initially aired in 2015. It wasnt acknowledged 1 year later in this Video. No people who just recently started watching the show and reacting to it by Youtube or talking about it on spotify notices the scene.
I actually believe this is the best scene of the entire show. People still take it as a throw away line and forget it immediately after. Without knowing we just received Word of how the show will truly end.

Let's go on a journey together. It's 1997. Final Fantasy VII is about to release, and you don't know a thing about it except you saw this picture in some magazine and thought "Wow, what a cutie! I hope she's the love interest!".
On this journey, we are going to track how good you feel about that statement as you play through Final Fantasy VII. You're a person with pretty good media instincts, you've got your memory card clean and ready for a new save, and you slot in Disk 1 of 3 to begin your adventure as Pink Girl #1 Fan.
TL;DR: It's Tifa, but you didn't start out thinking that.

Part 1: Can't Stop Winning

...Things are looking great! It just so happens Pink Girl is the very first character you see in the game. Writers use the order of character introduction to convey the relative importance of the cast. Someone introduced among the first (or among the last) of a main cast often imply they are among the most important. What's more, this is often extended to a concept called First Girl Wins, where the first girl our hero meets is the love interest.
You play through the game, sticking with the default name choice of Cloud, learning a bit about our cold mercenary hero. He's a cool guy, and he's only in this for the money--although you can probably guess he'll be pulled into the emotional stakes before long. While there is one other girl who technically meet Cloud first, you can judge from her design that she's just a sidekick character with little prominence, especially when compared with her leader, Barret's far more unique and interesting look. So she can be rather disregarded as a non-love interest type.
And, just as you hoped, Pink Girl ends up being the first potential love interest Cloud meets! They even get a little Meet Cute, complete with the little awkwardness and surprise these meetings often have. You may be surprised to find there's a bit of a dialogue system when it comes to her, allowing you, as the player, to ignore her. But you're Pink Girl #1 Fan, so of course you choose to talk with her a bit before you go on your way.
But a bit of a curveball: once you make it to the Sector 7 Slums, you meet another girl, Tifa, this time with a unique design. What's worse, she's Cloud's childhood friend. That's worrying--childhood friend romances are pretty common, especially in Japanese media. You're a bit relieved that instead of getting her own unique introduction, she is introduced aside a little girl character as well, and among a group of characters you already know. It seems the game is downplaying her relative importance, highlighted by the fact you have the choice to give the flower you bought from Pink Girl to either her or the little girl... and you'll probably be naturally inclined to give it to the little girl, since giving Tifa the flower is a bit forward and you just inadvertently scared the little girl.
You are given a moment to talk to Tifa alone. This is definitely an important moment in understanding the point of her character--it's here you'd expect the game to establish whether she should be perceived as an actual love interest to Cloud or not. And, you, Pink Girl #1 Fan, are relieved. Cloud is standoffish towards her, eager to leave even without waiting for payment. Tifa tries to appeal to him on the basis of their past relationship, and that doesn't work. Finally Tifa has to remind him about some promise they made--a promise that Cloud notably forgot. All-in-all, the writing seems to be communicating to us "Cloud is very important to Tifa, but Tifa is less important to Cloud". Based on what you've learned about the game so far, the most likely role for Tifa to take is as a love rival, not a love interest herself.
You will go on a mission with her and Barret, but won't spend too much personal time with her there. There was some optional flirtatious lines, but, again, being so forward it feels a bit unnatural to pick them. You've yet to see further sign of Pink Girl, but are finally rewarded for your patience with yet another Meet Cute! That's right, Pink Girl--who you now know is named Aeris--is so important she gets three unique introductions, and two Meet Cutes! The third is, appropriately, the most substantial, set in what is so far the only beautiful place you've seen in the game. When Aeris comes under threat, you might note a pretty significant change in our hero's attitude. Instead of his usual "pay me now!" approach, he implicitly agrees to protect Aeris with no more promise than a single date. Cloud is also much more light-hearted, he jokes, and laughs, and seems to suddenly open up a bit more to Aeris than he did even to his childhood friend Tifa.
So far, it's looking great! Pretty much case closed, right? All signs point to Aeris as the main love interest, Tifa as the love rival. You'll get to spend a whole sequence basically going on a date with Aeris (to save Tifa, but still, that's just the pretext for Aeris time), with multiple NPCs commenting about how couple-y you look. Then, when Aeris is kidnapped, Cloud immediately jumps forward wanting to rescue her! No talking about money at all, he seems to finally be invested in emotional stakes the way you thought he would earlier, and it's all thanks to Aeris! If you had to guess what Tifa's character arc is going to be, it's probably going to be about letting go of Cloud as this idyllic memory of a childhood love, accepting her defeat gracefully and finding happiness elsewhere. Our hero and heroine will reveal the extent of their feelings together, defeat the bad guy, save the Planet and--!
And...?
Uh...

Part 2: Sorry, What?

...did the love interest just... die? That can't be right? It's weirdly final though. She gets stabbed. The villain gloats. The hero mourns. The heroine doesn't even get to say any parting words of love to the hero... and you still have two disks left! Surely there's a way to bring her back, this really can't be happening. Love interests do sometimes die, but usually early in the story, or towards the end, but right in the middle of the story? She's got to come back.
But the heroes seem to be moving on a bit fast. The love interest is dead! The entire mood of the story should shift now towards grim determination... so how come you're snowboarding??? Ok maybe she's going to come back really soon, so they're not bothering to have the characters grieve. You have your chance to confront the villain again, this is the perfect time for the hero to wax poetic about his lost love and remind everyone exactly what he's fighting for... so, hey, what's with this?

But, Tifa...... But you said, 'Long time no see, Cloud' right? Those words will always support me. I am the one you grew up with. I'm Cloud of Nibelheim. No matter how much I lose faith in myself, that is the truth. That's why you shouldn't be so scared. No matter what anyone else says to me, it's your attitude that counts...

...Sorry. Especially you, Tifa. I'm really sorry. You've been so good to me...... I don't know what to say... I never lived up to being 'Cloud'. Tifa...... Maybe one day you'll meet the real 'Cloud'.

Now it's time to be really thrown off base. Cloud and Tifa are placed together by the story to share revelation after revelation, and Cloud suddenly starts talking about the importance of Tifa and her feelings to him...? How is this appropriate for the romance as you understood it? Aeris still isn't back! She doesn't even get mentioned in this scene!
And then, after all those revelations, Cloud disappears and Disk 1 ends...

Part 3: Uh oh.

...and you start playing as Tifa? That mood shift you thought ought to have happened after Aeris' death instead happens now. This is really worrying. The game isn't treating Aeris' death as the emotional axis point for our hero, but rather, the hero's identity crisis. You're playing as Tifa now, and the party is spending more time assuring Tifa about Cloud, being concerned about Tifa's well being, than they spent mourning Aeris. You're spending more time with character work on Tifa here than you even spent on Cloud! When Tifa finds Cloud again, she sticks with him, and the NPCs are all remarking on how devoted and in love she is.
Being the kind of genre it is, this doesn't look great for you, Pink Girl #1 Fan. You already know Tifa has feelings for Cloud, and now the game is going out of its way to highlight how devoted she is, how deeply she cares for him on unprecedented levels in the narrative. Aeris never got anything like this. What exactly is the point here? Sure, Tifa is a love rival, but you don't need to literally play as her to get this point across. Aeris is dead, there's no reason for the player to be asked to start caring about Tifa this much. I mean, you already know that Cloud doesn't care about Tifa as much as she cares about him, he didn't even remember this important promise they made together, and it's not like he has memory iss-- uh oh.
Tifa and Cloud take a dip into the Lifestream together, and all of those narrative tools the writers had been using earlier seem to collapse under the weight of freshly revealed context:

• Aeris being the First Girl? Nope, you get a new flashback depicting Cloud meeting Tifa again right before the beginning of the game and jumpstarting the whole plot. Her voice was what brought him back!
• Cloud not remembering this promise? Nope, literally memory issues, this promise is actually so important to him it's why he left to become a SOLDIER... double jumpstarting the plot! Tifa is twice again the reason this story is happening!
• Cloud not putting as much importance on his relationship with Tifa? Nope, it's the most formative aspect about his life, every personality quirk of his is tied directly to his relationship and feelings with Tifa.
• Cloud leaving Tifa without waiting to be paid? He's under a mental compulsion from Jenova/Sephiroth without knowing it.
• Cloud "opening up" to Aeris but not Tifa? Symptomatic of his false identity--to Tifa he's acting like an aloof mercenary because he can't admit to himself he didn't make it into SOLDIER; and to Aeris, the damsel in distress, he's projecting the heroic persona of Zack Fair, the kind of person he always wanted to be.

Short of abject denial, you know what all of this means. The writers made one of the twists of the game not just that Aeris dies, but that she's not the real love interest; Tifa is. If you choose to go back and play Disk 1 from the beginning, you'll be bombarded by all the double layers present in basically all of Cloud, Tifa, and Aeris' interactions among each other. Continuing to play Disk 2/3 will have NPCs encourage you to treat Tifa well, have basically no mention of Aeris at all, and have a culminating emotional scene between Cloud and Tifa, potentially with sex.
Wait, Aeris' hand is reaching through the Lifestream, they might be reunit--! Oh wait it's Tifa again. Tifa, once again, saves Cloud, with even the fantasy of Aeris' presence being replaced by the reality of Tifa's.
If you're playing the English version, you might latch onto one of the final pieces of dialogue about Cloud saying he's going to meet "her" in the Promised Land--but if you're playing the Japanese version, this isn't as exciting, since there's no "she" pronoun in the sentence. Instead it's our hero and heroine holding eachother while the heroine's theme plays and the hero comforts her about their potentially impending death.
The End. Sorry, Pink Girl #1 Fan, but better luck next time! I hear there's a rema--oh.