being a regressor that is technically still a kid and lives at home with a parent/parents is a whole different kind of pain.. youre telling me that everything ive ever wanted, needed, is in a room over from me? still leaving me utterly alone? and the only comfort i have is found in cuddling my stuffies and sleepily babbling to myself? okay thanks. ill go wrap up in my weighted blanket andcry myself to sleep now ♡
ⓘ dni : nsfw / 18+, gore, proship, pro-ed/sh, non-child-safe things, ddlg (etc.).
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Okay so the FF7 fandom is having a meltdown and I gotta talk about it. See, the Rebirth Ultimania came out yesterday in Japan, and one specific piece of information has people freaking out.
[source]
This is, apparently, beyond the pale. People are insisting that it doesn't make sense, it's a retcon, it doesn't align with the games at all, et cetera, with a lot of people specifically citing Before Crisis as proof that this can't possibly be correct. After all, Elena is in her last year at Shinra's military academy in the game, and the academy is structured like a high school, meaning she'd be 17-18 during her Before Crisis appearance.
The issue here is that the majority of people don't actually know the timing of the aforementioned appearance. Because Before Crisis starts in 0001 and Elena is in it, people seem to assume that means she's in it from the beginning. This isn't the case at all.
In its entirety, Before Crisis is 24* chapters long—Elena appears in Chapter 22, specifically with her appearance starting on October 4th, 0007. (*In spite of technically being broken in 24 chapters by title, Before Crisis is actually 26 chapters by presentation, with two of them split into two parts.)
Meteorfall took place January 21st, 0008. We know this because the date is visible on the monument in Edge shown in Advent Children:
This means Elena's introduction in Before Crisis was less than four months before Meteorfall.
These portraits are months apart. She cut her hair and got out of the school uniform, but her face is completely unchanged; it's easy to say this was to lower artist workload, but the dates in-game are very specific.
The new Ultimania literally just reiterated information we've already had since around 2006. This has been canon for almost 20 years—it's not a retcon, it's not a "weird new decision," it's not another case of the Ultimania timelines contradicting the actual source material. This has been confirmed in-game as canon for longer than a lot of current players have even been alive.
I don't care what people do with this information, mind you. I don't care who you ship Elena with or anything like that, it's irrelevant to me. I don't care about age gaps or what the fuck ever, she's a pixel doll, do what you want with her.
But this isn't new. And everyone freaking out about it as if it isn't information we've had for so long that the game in which it was revealed is older than the character is kind of ridiculous.
I am begging you, do not cite sources with which you are not familiar in an attempt to make your assertions carry more weight. There are nasty people out there who will take your ignorance on the topic and use it to be even worse than they could have if you just stated that her canon age makes you uncomfortable so you portray her as being older and don't care that it's noncanon.
(Also, seeing the same people who declared that only the Ultimanias are correct even if they contradict the games or each other, now flipping to declaring this specific Ultimania to be wrong because "it's just meta" is indescribably frustrating. Sephiroth being 30 in-game was something the Ultimanias "fixed," but Elena being 18 in-game is something that the Ultimania has "screwed up." Pick one.)
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i was having a chuckle to myself last night about Gristol, and how his plans are basically:
Restore Ford Cruller's memory
Find Maligula
???
Profit
but then... of course they are, right? this is Gristol we're talking about. Fatherland Follies drives home again and again that he's still operating on a child's logic, a warped and reductive version of the world that he never bothered to grow out of. both of his memory vaults center on the images of his childhood, this idealized version of the past that he clings to no matter what. and that's still how he remembers Maligula, too - as this saviour figure, who rushes in to help him when he's in trouble.
[ID: Two slides from Gristol's memory vault, Glory to Grulovia! Left: Gristol clings to Maligula's back as she summons waves to sweep away his assailants. Right: Gristol and Maligula waving from a balcony as the people cheer. Gzar Theodore brandishes a dagger in the background.]
like so much else, Maligula represents a return to this idyllic childhood - to the peace and simplicity of his youth, when he was free from worries and responsibilities. in his mind, he doesn't need to make any further plans - once Maligula's back, everything will go back to normal. Maligula will make everything better.
...is what i thought, but then i remembered this line:
[Screenshot source. ID: Gristol, in Truman's body, bows on his hands and knees in front of the newly-awaked Maligula. The caption reads: "Yes, High Priestess! I am here to correct the mistakes made by my father!"]
and that's kind of interesting, right?
to be clear: this happens directly after Maligula sees Helmut-in-Gristol's-body, and recognises him. her line before this is:
"Little Gzesaravich! Have you come to pay for your father's sins?"
my first thought was that Gristol hadn't expected to still be in Truman's body by the time he managed to find Maligula, and this was him trying to placate her and buy some time until he could explain the situation. but watching the cutscene back, that's clearly not what's happening here. Gristol is answering as himself, and his response of throwing himself to his knees before her is, as far as i can tell, genuine.
so what is going on here?
in Fatherland Follies, there's this line in the ride narration that stuck out to me:
"Why didn't the Gzar help Maligula in her time of need? No one knows, but historians agree - it is Gzar Theodore's biggest failure."
other lines mention Gzar Theodore's "mistake", and it's wording Gristol himself echoes in the screencap above. evidently, he believes that his father abandoned Maligula, leaving her to her fate at the hands of the Psychonauts, and it was that mistake that lead to them being driven out of the country - that mistake which he seeks to correct. maybe he even feels like he has a debt to repay to her for his family turning their backs on her all those years ago.
the 'High Priestess' thing, though - that's kinda weird, and threw me for a loop the first time i played the game. it took me until my second playthrough to connect the dots, and remember how the room in the Lady Luctopus - Gristol's room - was full of Delugionist scribblings and symbols.
[Screenshot source. ID: left, the walls of the hidden backroom in Gristol's hotel suite, covered in scrawlings of eyeballs and Maligula's name. Right, the pinboard from the hidden backroom. On its surface are photographs and newspaper clippings connected by pieces of string.]
i mean, look at this stuff! he had a whole conspiracy board and everything!
we learn very little about the Delugionists and their beliefs as a whole during the game, but i think drawing the connection here suggests two important things. one: that Gristol was in deep with this stuff. i don't know how he linked up with them - maybe via old family connections, or just good old-fashioned digging (we know he's skilled at worming his way into peoples' good graces, after all) - but it seems likely that he's begun to internalise their ideas, maybe even warping his own memories of events. and two: the Delugionists themselves are, if you'll pardon the pun, pretty far off the deep end.
like... i understand why PN2 didn't go heavy on the "mass-murderer cult worship" aspect of things, in the end, but man this is such a tantalising glimpse into the wider mythos around Maligula. Gristol is proud and haughty and thinks himself above everyone else; the fact that his first reaction seeing Maligula is to throw himself to the ground at her feet says so much about the way he's come to see her. he's not just trying to bring back Maligula, his childhood bodyguard. he's trying to bring back Maligula, the High Priestess of the deluge, the semi-mythical figure whose supporters believe even death couldn't stop. he doesn't even flinch at the way she confronts him, and maybe it's because he's bought in so completely to this deified figurehead, this idea of Maligula; more a living force of nature than a person. and it all comes back to the same place: an abdication of responsibility, not just to the person who protected him when he was little but to this avatar of floods and destruction. Maligula will make everything better.
i'd write more about my thoughts on the Delugionists but that'd be taking a hard turn into speculation, and this is already kind of long and rambling so i'd better end it here. but what an unexpected and evocative line, right? it's some of the only stuff we have to go off of regarding the Delugionists as a whole, but i think it does such a good job of hinting at the wider story - at teasing another layer to the mythos surrounding Maligula, one whose ripples we see throughout the game but which never quite breaches the surface.
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