journey end credits

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NOTE: this is a work-in-progress version of the article covering Journey in-game credits. It was created to capture interesting things in Credits that don't fit elsewhere.

• 3 Main song ("I was born for this")
• 4.1 Walking in the credits
• 7 References

Overview [ ]

The end game credits in Journey show a Shooting Star travelling from the mountaintop all the way back to where the Journey began. Scenes from all (excluding Paradise) levels are shown in reverse order (Snow, Tower, Underground, Sunken City, Pink Desert, Broken Bridge, Chapter Select), accompanied by the last song in the OST, I Was Born For This.

The entire credits sequence is actually built as complete "levels", with terrain, geometry, scripts, cameras etc., combining mini-versions of all levels on three separate maps. Some areas have distinctly different lighting compared to game levels, for example the "mini Sunset Gallery" is brightly lit, as are parts of the "mini Underground" section.

After the credits levels, a special screen is shown listing symbols and names of the Wayfarers you were connected to during the Journey ( Companions Met Along the Way ).

The screen then gradually transitions to the New Journey screen.

Sections [ ]

The ending sequence takes place on three maps that combine elements from different levels and have special areas with triggers changing the light parameters. The reason for such division is most likely due to level map size and environment/lighting mechanics (each "mini-map" uses a quarter of level terrain, either "north-west" or "south-east", the other two quadrants remain unused because they'd have the same sky and fog colors as the adjacent mini-levels). (Speculation) It was previously suggested that the sequence was split into three levels due to memory constraints; whilst this could be a contributing factor, the main reason appears to be that game engine restrictions wouldn't allow two differently lit sections side-by-side thus limiting each "level" to two usable quarters as described above.

• The first of the three credits maps (named Level_Credits in the files) starts from the Snow area, transitions to Tower and ends in the Underground . It is the longest section of the credits sequence, that lasts about 140 seconds. During the transition to the second part, the game makes a save file that yields progression if a portal hasn't been used.
• The second section (named Level_Matt in the files) combines Sunken City at midday and Pink Desert at dusk.
• The last section (named Level_Chris in the files) comprises of night versions of Broken Bridge and Chapter Select . With the end of the song I Was Born For This , the game loads Chapter Select map (Level_Graveyard) and shows the CMATW screen.

Main song ("I was born for this") [ ]

Composed by Austin Wintory.

Gallery [ ]

If you wait until the very end (after CMATW), the sun will rise and the scene will turn into the "Start Journey" screen thus completing the circle. However, in this version of the title screen the mountain is now visible (when you start the journey, there is no mountain and it's only revealed once you trigger the title card).

New Journey (first screen)

New Journey (after credits)

Walking in the credits [ ]

Although the Credits sequence is built in the same way as normal Journey levels, it's not a playable level.

Thank you rebi for sharing the video (judging by date it probably is was made on the PC version)! See also video description.

• A game update added distant shooting stars can be seen in the night sky (those are just brief lines unlike the magical Shooting Stars which are made of symbols).
• Starting from chapter select portals prevents robe tier upgrade from happening when hitting the end of journey save in the level transition from Credits to Matt.
• Matt extended the sequence beginning to the underground entrance in sunken city showing the star path in more detail and connecting it to where it ended.
• Chris has a unused End timeline that is intended for CMATW which was moved to Graveyard instead.
• Credit levels are authored at half-scale, the wayfarer is scaled down as well.
• A Wayfarer can be seen standing on the left side of the bridge in the Snow level, watching the star flying by. This is in fact the player’s wayfarer instance, but the player no longer has control. [2] .
• Two wayfarers, are seen jumping into the rest area in the Sunken City section. The first one is non-controllable player’s wayfarer that the game sets as 4th tier red robe [2] .
• The wayfarer meditating in the night section of Broken Bridge is another instance of using player’s wayfarer as a "decoration". This one too appears as 4th tier red robe [2] .
• Although the player's wayfarer instance is used by the game on these levels, it's merely a decoration (story-wise, the wayfarer that has just completed the journey has become a shooting star).
• New kelp can be seen growing from the broken pipe as the star flies through the Kelp Room in Underground section.
• Credits scroller and music are global entities, this makes the game unstable outside of the intended environment; Menu is not expected to be accessed. Highly recommended to reboot if interrupting credits.
• Although the ending is deliberately ambiguous, the Credits sequence starts where the Snow level ended, with a new tombstone in the middle being the only one glowing (albeit briefly), which suggests rather strongly that canonically the Wayfarer is, in fact, dead.
• The credits sequence correlates with "the return" part of the Joseph Campbell’s Monomyth model (see below).
• A monomyth describes a common story or pattern observed in otherwise unconnected mythologies, originally in the context of ancient myths of various tribes or cultures where geographical and/or temporal constraints rule out the possibility of either myth being derived from or influenced by another despite strong similarities in their narratives.
• The "Hero's Journey" monomyth was popularised by Joseph Campbell's work in 1950 and subsequent research; Campbell identified 17 stages of the journey, which are often organised in three acts: Departure, Initiation and Return.
• a simplified version of the journey (a "nobody" leaves the comfort of the "known" to answer the call of "unknown" and returns transformed into a hero) is now broadly recognised as a narrative tool and is used in contexts ranging from art to business presentations. Luke Skywalker's story in the original Star Wars movie is often cited as an example of the Hero's Journey.

The flight of the shooting star in the credits especially resembles "the magic flight" stage that Campbell describes as such: “ If the hero in his triumph wins the blessing of the goddess or the god and is then explicitly commissioned to return to the world with some elixir for the restoration of society, the final stage of his adventure is supported by all the powers of his supernatural patron. „

References [ ]

• ↑ Alazar88 found this out through modding and shared on Journey Discord (don't remember but early 2022)
• ↑ 2.0 2.1 2.2 2.3 https://www.youtube.com/watch?v=C5QkJvpvzrY - Video made with the help of hacking tools that proves player's wayfarer and Nick appearance in the credits sequence.
• ↑ Even if you go CS oob (to quickly trigger the next level) and enter BB afterwards. Most likely due to the fact that this music is linked to the SFX channel. Ignis on discord in #glitching 2021-07-30

See also [ ]

• Companions Met Along the Way (CMATW)

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• 1 Cutscene descriptions
• 2.1 Creator
• 2.2 Executive Producer
• 2.3 Designer
• 2.4 Programming
• 2.5 Graphics
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• 2.12 Public Relations
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• 2.14 Playtesting
• 2.15 Special Thanks to
• 5 References

The credits are a sequence of cutscenes and credits to people who developed or contributed to Terraria . The credits sequence plays after the first defeat of the Moon Lord or when the Music Box (Journey's End) is equipped in an accessory slot. It is also available from the main menu.

Multiple cutscenes are depicted, a few of them seeming to be connected to certain events of gameplay.

The credits end with the line " Thank you for playing! " .

Tip: The credits can be sped up by sleeping in your bed.

Cutscene descriptions [ ]

The cutscenes display the following:

• The Guide running from a Zombie as he lets it into his house .
• The Merchant and Traveling Merchant coming to agreement on a trade of an Angel Statue and a Dirt Block .
• The Demolitionist and Arms Dealer arguing between guns and Bombs , before the Nurse takes them both for a drink.
• The Goblin Tinkerer and Mechanic flirting.
• The Tavernkeep saying goodbye to the Dryad before re-entering the Old One's Army portal.
• The Wizard , Painter , Dye Trader , Party Girl , and two Bunnies going to eat cake during a Party .
• The Truffle expressing surprise and dismay, and the Clothier chuckling while following him.
• The Angler and Pirate talking at a Campfire , showing each other their possessions. Eventually, the Angler shows the Pirate a Truffle Worm and sets off, and the Pirate soon follows after trying to unsuccessfully warn him of the dangers presented when using it as bait.
• The Golfer , a cured [1] Zoologist , and the town pets following a Golf Ball .
• The Skeleton Merchant finding a Slap Hand in a pile of bones.
• The Dryad becoming a tree in a Forest , with a Bunny resting at her feet.
• The Steampunker modifying or repairing the Cyborg before being shocked.
• Santa giving a present to the Tax Collector .
• The Witch Doctor and Princess befriending two Lihzahrds .
• Finally, all the NPCs and the player's character celebrating in a pavilion.

List of developers and contributors [ ]

Creator [ ].

• Andrew “Redigit” Spinks

Executive Producer [ ]

• Whitney “Cenx” Spinks

Designer [ ]

Programming [ ].

• Yorai “Yoraiz0r” Omer

Graphics [ ]

• Victor “Crowno” Moura
• Scott Lloyd Shelly
• Morten Lund Søegaard
• James “Lazure” Hayes

Quality Assurance [ ]

• Jason “Leinfors” Parker

Business Development [ ]

• Ted “Loki” Murphy

Marketing [ ]

Public relations [ ].

• Amanda “safeman” Powell

Webmaster [ ]

• Justin “Grumpy Squid” Coplen

Playtesting [ ]

• Atri “m4sterbr0s” Maharaj

Special Thanks to [ ]

• The Torch God
• The Clothier chasing after the Truffle may be related to the fact that, based on some of his dialogue, he wishes to eat the Truffle.
• The credits play after the first defeat of the Moon Lord on a world, so a character which has defeated the boss on a different world would trigger the credits on a new world, but a new character defeating it on a world in which the credits have already played would not cause them to play again.
• The credits always play with the text facing the bottom of the world. This means that in reversed gravity , they appear upside-down.
• The Zoologist is an ordinary human lacking a fox tail and ears, showing she was cured of her curse. [1] She has plain brown hair, as referenced in one of the Zoologist's quotes.
• The Stylist is the only NPC to not appear during the credits except for the ending screen.
• If a player speeds up time using an Enchanted Sundial , the credits will speed up with it and will play through the end and begin again until the day is skipped.
• If the player exits the world while the credits are playing, they still appear on screen until the world is done saving, similarly to some event backgrounds.
• " The Torch God ", introduced in the 1.4.0.5 update.
• "Lord Gaben" refers to Gabe Newell , the founder of Steam.
• "Markus 'Notch' Persson" refers to Markus Persson , the creator of Minecraft
• The credits are blocked off in the underground layers, but are visible in the Underworld .

History [ ]

• Moved "Peter 'Pedguin' Mann" from "Testers" to "Special Thanks".
• Added "Sarah 'Waffles' Data" under "Graphics".
• Desktop 1.4.1 : Introduced.

References [ ]

• ↑ 1.0 1.1 Leinfors's message in #terraria-chat on the official Terraria Discord server ( link to message ) Oct 21, 2021
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Den of Geek

Final Fantasy 7 Rebirth Ending Explained: What Happens to Aerith, Cloud, and Zack?

Final Fantasy 7 Rebirth features one of the strangest stories in Final Fantasy history. Here's what we think it all means in the end.

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This article contains spoilers for Final Fantasy 7 Rebirth .

If you thought Final Fantasy 7 Remake was a mind-blowing re-imagining of Final Fantasy 7 , just wait until you try to wrap your head around Final Fantasy 7 Rebirth . The Final Fantasy team has their gloves off at this point, and they’re crafting a story that is proving to be every bit as convoluted and confusing as the “best” of the Kingdom Hearts series.

So, while we’re going to dive into Rebirth ‘s final moments to help make sense of everything, I should emphasize that so much of this game is clearly meant to be left up to interpretation (at least for the moment). I will offer some theories about what all of this may mean, but there are certain answers we’re just not yet meant to know quite yet.

For that matter, be sure to read our breakdown of Final Fantasy 7 Remake ‘s ending if you need to get caught up on some of the broad strokes of what’s happening. There is…a lot to talk about, and much of it will be incomprehensible if you’re not up to speed on the previous game.

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What Is Sephiroth’s Plan In Final Fantasy 7 Rebirth?

In the original Final Fantasy 7 , Sephiroth desired to use powerful Black Materia to summon a Meteor capable of destroying the world. By doing so, he hoped to unleash an ocean of a powerful force in the world known as the Lifestream. Sephiroth believed that harnessing that wealth of Lifestream essence would allow him to become a god. 

In Remake/Rebirth , Sephiroth is seemingly attempting to complete a much more ambitious version of that plan. Rather than simply destroy the planet, Sephiroth wants to destroy every timeline across the multiverse that Final Fantasy 7 Remake introduced (or at least emphasized). Why? Well, on some level he seems to recognize that he can’t follow the timeline of the original game or he will fail. So, he must look towards the multiverse. 

Broadly speaking, though, he seems to want to unite all multiverse threads into one continuity and then destroy that continuity. In doing so, he seems to believe that he can utilize a multiversal variant of the Lifestream that will allow him to rule over all universes. While Sephiroth doesn’t exactly lay out this plan in a grand monologue, he does reference an event he is trying to trigger known as “Homecoming,” which is seemingly the event that will unite the multiverses and bring them to a catastrophic fate. 

Unable to stop Sephiroth from summoning the meteor, Aerith believes that she can use the power of White Materia to summon a Holy barrier that will protect the planet. Well, at least that’s the plan in the original game. 

In Rebirth , it seems that Aerith still seeks to protect her planet/timeline, though there is more than a little ambiguity regarding the potential effectiveness of that plan on a multiversal scale. For the moment, though, it matters more to know that Aerith believes that this is the right thing to do. She is so convinced it’s the right thing to do that she decides to head to the Forgotten Capital to complete the Holy summoning ritual (much as she did in the first game) without waiting for her friends. Before we join her there, though, let’s discuss some of the most important players in this multiversal drama

Who Are the Light and Dark Whispers?

Final Fantasy 7 Remak e introduced us to The Whispers: ghostly figures who seemingly try to influence the events of the multiverse. In Rebirth, we learn that Dark Whispers are trying to disrupt the pre-existing timeline, either because they are working for Sephiroth, are manifestations of his abilities/new form, or simply serve a similar interest. Light Whispers are attempting to maintain the order of the timelines through whatever means necessary. Said means include everything from resurrection to death. 

At the risk of oversimplifying this aspect of the game, the Light Whispers are seemingly trying to ensure the major events of the original Final Fantasy 7 play out much as they did before. The Dark Whispers, meanwhile, are more interested in causing the kind of chaos Sephiroth depends on to enact his new plan and defy fate. So, while you could boil them down to “good” and “evil,” they could also be seen as two sides of the same powerful force. Indeed, the power of their presence often causes some truly wild things to occur.

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That brings us back to the Forgotten Capital…

Does Aerith Still Die in Final Fantasy 7 Rebirth?

Aerith’s death in the original Final Fantasy 7 is one of the most shocking and impactful moments in all of gaming. It’s so impactful, in fact, that some fans wondered/worried if Aerith would still die in Final Fantasy 7 Rebirth . After all, this Remake series has developed a reputation for defying most expectations, and nothing would defy expectations more than altering perhaps the most iconic moment in Final Fantasy history. 

To get to the heart of it, Aerith does die in Final Fantasy 7 Rebirth . To be more specific, she is still stabbed by Sephiroth at the Forgotten Capital in a moment vaguely similar to what happens in the original game. However, the circumstances surrounding that event are heavily altered in a way that raises serious questions about whether or not death is Aerith’s final fate. 

When Aerith reaches the Forgotten Captial, she begins to pray in order to complete the Holy summoning ritual, much as she did in the original game. Soon, she is joined by Cloud who attempts to approach her. However, his approach is hindered by Light and Dark Whispers who are swirling around him. At least the Light Whispers are intent on blocking his progress.

Remarkably, though, Cloud does manage to get to Aerith just in time to block Sephiroth’s strike. Just when you think that he finally managed to save Aerith, though, the game “flickers” almost as if the channel has been changed. On this other channel, we see a pool of blood emerge from where Aerith was just kneeling, which obviously seems to imply she has died. 

Things get really weird from here as we seem to continue cutting between at least two realities. In both, Cloud is holding Aerith in his arms. In one, though, there is no pool of blood around her and we see Cloud whispering words we do not hear to her. In the other, she is surrounded by blood and Cloud can only weep at her death.

In the “non-blood” reality in which we presume that Aerith may still be alive, Aerith even reaches out to Cloud, smiles at him, and speaks to him. In the reality in which she has clearly been murdered, we watch the White Materia roll away from her body and into the nearby water much like in the original game. 

These realities seem to “merge” (at least from our perspective), as we see a version of Aerith surrounded by blood and encircled by what seems to be remnants of the Lifestream reach out to Cloud and smile at him. As Sephiroth speaks of a “confluence of worlds and emotions,” the Light Whispers begin to swirl around Cloud and Aerith. Around this time, the other members of Cloud’s party have joined the scene. As Cloud lays Aerith to rest, they converge on Sephiroth who says that Cloud “cannot see the future with clouded eyes” as he is “just a puppet.”

So what is happening here? We’re clearly not meant to know all the answers at this time, though I can certainly offer a few reasonable guesses. 

First off, it seems clear enough that the Light Whispers are trying to ensure that Aerith dies at that moment to preserve that timeline. Given that we previously saw them save Aerith from death in Final Fantasy 7 Remake to do the same, we can presume they are essentially intervening in a similar way here. Of course, the first game also taught us that such interventions can have multiverse-spanning consequences. More on that in a bit. 

The idea that we are witnessing two different Aeriths in two realities certainly seems like a viable interpretation. After all, we’ve gotten glimpses into other realities before, and the White Materia that Aerith uses in Rebirth was actually given to her by Cloud who received it from what appeared to be a different Aerith from a different timeline. Theoretically, there are countless versions of Aerith, and at least some of them (if not all of them) have the ability to interact with other timelines.

In theory, then, we may be able to simplify this scene by saying that we see a glimpse of a reality in which Cloud saves Aerith and a glimpse of one in which he does not. Ultimately, we end up back at the one where he does not. The other seemingly viable alternative read of this situation is that we are actually witnessing two different threads that were eventually hastily woven into one continuity. While that continuity results in Aerith’s death, it still bears traces of the timeline in which Aerith has not died. 

There is some additional evidence to support that idea, but before we get into that, let’s pivot to another multiverse player we haven’t discussed yet.

Is Zack Fair Really Alive in Final Fantasy 7 Rebirth?

Final Fantasy 7 Remake ended with the shocking implication that the events of the game’s finale somehow led to Cloud’s former friend Zack Fair essentially being resurrected. Fans waited to see if this apparently alive Zack Fair would somehow join Cloud and his crew in Rebirth . 

In true Final Fantasy fashion, though, the answer isn’t quite so simple as all that. Throughout the game, Rebirth reveals that Zack is alive but exists on a different timeline from the rest of our crew. For the sake of something nearing simplicity, let’s call the timeline the bulk of the game exists in (which is based on the original Final Fantasy 7 ) “Timeline A” and the Zack Fair timeline “Timeline B.”

Those Zack scenes reveal quite a few important details. Most notably, they reveal how easily separate timelines can be created by seemingly minor decisions. Through the Zack timeline, we see glimpses of multiple different realities/outcomes, which are strangely all identified by variations of Stamp: the dog mascot which we caught a glimpse of at the end of Final Fantasy 7 Remake . When you see a different version of Stamp, you know you’re in a different timeline. It’s a handy bit of surprisingly simple (relative to what we’re talking about) storytelling.

More importantly, Zack soon becomes burdened by the knowledge of his situation and struggles to understand what he can actually do about it. He experiments with manipulating these timelines to save Cloud and Aerith (who are both ill in his timeline) as well as his friend Biggs, but it doesn’t seem to be quite as simple as that. At best, Zack’s actions just seem to create more timelines. Even then, he too sees evidence of the Whispers conspiring to “correct” his decisions and ensure that things play out as they are intended.

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In short, Zack seems to be turning into a multiversal wanderer who is tragically aware of both his horrifying situation and how difficult it will be to save the ones he loves while staying alive and stopping Sephiroth in the process. That brings us back to that final confrontation…

Final Fantasy 7 Rebirth’s Final Boss Fight Explained

The final boss (bosses?) of Final Fantasy 7 Rebirth are Jenova and Sephiroth. Players battle Jenova (referred to here as Jenova Lifeclinger) and Sephiroth across a massive multi-phase fight that sees every party member get in on the action at some point. Sometimes, those party members are battling Jenova or Sephiroth, and sometimes, they are battling what almost seems to be a combination of both. 

It’s a truly epic fight filled with many notable moments, but the whole thing becomes downright bizarre when we see Zack Fair run through a void of white light until he encounters the “Timeline A” version of Cloud. Zack is able to enter that Cloud’s timeline and briefly join the fight against Sephiroth alongside him. Though the two are clearly a fearsome duo, Sephiroth is able to “split” them back into their separate timelines during the fight. Before Zack disappears, though, he tells Cloud to “save her” (presumable a reference to Aerith). 

Speaking of Aerith, she too manages to join Cloud in the fight against Sephiroth during the fight’s final moments. While she crosses a void of light in order to join Cloud much as Zack did, it’s not entirely clear if this is actually a version of Aerith from a different timeline. More on that in a bit. 

Eventually, Aerith and Cloud are able to fend Sephiroth off (if not defeat him). As the two hold hands, they are engulfed by that mysterious white light that has come to symbolize a passage between timelines. This is what triggers what could be considered some of Final Fantasy 7 Rebirth ’s epilogue moments. 

Final Fantasy 7 Rebirth Epilogue Explained

A lot happens during Rebirth ’s epilogue, so I’ll provide a chronological breakdown of the major moments that happen towards the end of the game before offering a few theories about what they may mean.

• After Aerith and Cloud are engulfed by the light, we cut to Zack who utters “we got him” before noticing that a giant meteor is descending upon him from the sky. Before it strikes, though, he falls through the roof of a church and into another tunnel of light. 
• Cloud and his party rejoin at the Forgotten Capital where they all gather around Aerith’s body. This time, though, when Cloud bends down and lifts her head up, she again opens her eyes and smiles at him. 
• We then see Cloud’s party seemingly mourning Aerith’s death near a body of water. Yet, Cloud is soon visited by a version of Aerith whose arrival is accompanied by one of those “channel change” effects we saw earlier. Interestingly, none of Cloud’s friends are able to see Aerith.
• We cut to Rufus Shinra speaking to a hooded figure revealed to be Glenn Lodbrok: a genetically modified soldier who previously appeared in some Final Fantasy 7 spin-offs. Through their conversation, we learn that Glenn is fuelling the fire of Wutai’s revolution against Shinra. More importantly, we learn that Glenn’s attempts to do so are really just an effort to distract Shinra from Sephiroth’s plan to find a powerful place known as the Promised Land. Rufus actually shoots Glenn shortly after coming to that realization. 
• We then see Zack Fair sitting in a franchise-familiar bombed-out church and questioning whether everything he just saw was real. He decides that everything he saw was real and ponders if those worlds could be united again. 
• We see two mysterious creatures seemingly swimming in a sea of Whispers followed by a large group of hooded figures walking like zombies toward an unknown destination.
• Cloud sits in a field rolling the (now seemingly empty) White Materia in his hands near the Tiny Bronco as the rest of the team works to repair the ship. Though we see Aerith standing with the team, only Red XIII seems to acknowledge her presence when Aerith reaches out to pet him. Even then, his acknowledgment seems to be a hopeful question about a moment in which he felt her presence rather than an implication that he can actually see her. 
• Cloud continues to roll the White/Empty Materia around in his hands. When he puts it in his pocket, he pulls it back out and sees that it is now clearly Black Materia. He utters “The Reunion,” puts the Black Materia into his sword, and walks back to the ship. 
• Aerith tells Cloud not to look up, but he does so and sees a tear in the sky. Cloud warns the rest of his party to not look at the sky, but they do so and see nothing. Cloud then tells the party that they have to head North to find Sephiroth. None of them are understand how Cloud knows where to go. Even Cloud seems unsure.
• Aerith tells Cloud to take care, and Cloud asks if she will be ok getting back. Aerith says not to worry as the place she is going is “like a second home.” Aerith says she’ll put everything she has into her prayers to stop the meteor. Cloud promises to do everything he can to stop Sephiroth. 

The game’s ending text then informs us that “No Promises Await at Journey’s End.” 

Does Final Fantasy 7 Rebirth Have a Post-Credits Scene?

Final Fantasy 7 Rebrith does not appear to have a post-credits scene. If there are any additional ending scenes in the game that can be unlocked by completing certain objectives, they have not yet been discovered.

What Does Final Fantasy 7 Rebirth’s Ending Mean?

If you’re wondering what all of that actually means, then join the club. It’s pretty clear that we’re not meant to have all of the answers just yet.

However, there are some important things we can take away from that ending and quite a few theories those takeaways allow us to reasonably form. 

First off, we know that the protagonist versions of Zack and Cloud exist on at least two separate timelines and that they are each now aware of those timelines to varying degrees. Zack clearly wishes to unite the timelines, join Cloud in the other, and seemingly try to save as many people as he can in the process. If such a thing is possible, he doesn’t know how to do it. At least not yet. 

Cloud, meanwhile, obviously wants to stop Sephiroth. At the same time, his knowledge of Sephiroth’s whereabouts and decision to infuse the Black Materia into his sword strongly suggests that his deteriorating mental state is starting to get the best of him. While he may not be directly controlled by Sephiroth, his actions are almost certainly being influenced by Sephiroth’s timeline manipulations and events of Cloud’s past.

That brings us to “The Reunion.” In the original Final Fantasy 7 , the Renuion Theory suggested that Jenova’s cells (which Cloud and Sephiroth both seem to still have in this universe) will seek to reunite with each other if separated. It seems that Cloud and Sephiroth are now locked into a collision course forged by the Reunion Theory. That would also explain the actions of the mysterious hooded figures, who are all also believed to be former subjects in the Jenova experiments and are wandering towards an unseen destination while occasionally uttering the word “Reunion.” Given the naming conventions of these remakes so far, I’d be shocked if the final part of this trilogy is called anything but “Reunion.” 

Speaking of Final Fantasy 7 , that scene between Rufus and Glen suggests that the war between the Wutai rebels and Shinra is about to become heated. That makes sense given that we already know the next Final Fantasy 7 installment will focus heavily on the Wutai region. More importantly, that scene reveals that Sephiroth is still seeking the fabled Promised Land. 

That’s where things start to get much more strange. In the original game, Sephiroth needed the power of the Promised Land to use Black Materia and summon the meteor. Presumably, that is still the case, but the fact that Cloud is seemingly carrying that Black Materia (or a manifestation of it) to him certainly raises questions about how Sephiroth may modify his original plans to fit his ambitious new strategy. Could Cloud’s involvement in this instance allow Sephiroth to defy the fates and alter the timeline? For that matter, how will the Shinra and Wutai conflict impact what may happen at the Promised Land?

That brings us back to Aerith. It’s very clear that what Cloud sees is a vision of Aerith who does not physically exist in his world. The question is, what is she? Is she a manifestation of his weakening mental state? Is she a remnant of the Aerith that was who exists as a spirit that only Cloud can see (a kind of Final Fantasy “Force Ghost”)? Or is she a version of Aerith visiting from another timeline who is trapped between worlds or otherwise willingly appearing to Cloud in order to guide him?

As noted above, I suspect she is a remnant of Cloud’s intervention that doesn’t entirely belong to either timeline. What’s clear is that Zack and Cloud believe (in their own ways) that resetting things to their natural order may also mean properly restoring Aerith to Cloud’s physical world. Whether that can be accomplished while stopping Sephiroth and saving Zack may be the biggest unanswerable question at the moment. 

Another thing that seems clear at this point is that Aerith and Sephiroth seem to be the most notable “Legacy” characters who are able to manipulate the multiverse timelines in significant ways. While Zack and Cloud are aware of those timelines to some degree, Aerith and Sephiroth have both exhibited abilities to manipulate the multiverse to some degree. Could Sephiroth be hunting Aerith through the multiverse in order to destroy all versions of her? Is Aerith trying to form a kind of multiverse Avengers party of the strongest heroes in order to stop Sephiroth? Does she have any desire/ability to “save” herself, and is Sephiroth even entirely aware of the consequences of his actions? It’s just another series of seemingly unanswerable questions that make this whole set-up so intriguing and often frustrating.

But that’s about where we leave Final Fantasy 7 Rebirth . Everyone seems to be heading toward the Promised Land, Sephiroth is still trying to alter fate itself, Zack wants to unite the timelines for his own reasons, and Cloud continues to interact with a specter, vision, or version of Aerith as he navigates the mental burdens of seeing and knowing what he sees and knows. What do you think will happen next?

Matthew Byrd | @SilverTuna014

Matthew Byrd is Games Editor at Den of Geek and an entertainment enthusiast living in Brooklyn. When he's not exploring the culture of video games, he's…

Toronto Film Review: ‘Journey’s End’

Saul Dibb directs an impressive new version of the much-filmed 1928 stage classic, about British troops near the end of WWI.

By Dennis Harvey

Dennis Harvey

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Few stage staples from 90 years ago would easily translate to the screen today, yet R.C. Sherriff’s once near-ubiquitous “Journey’s End” proves potent as ever in this sturdy new adaptation from director Saul Dibb and writer-producer Simon Reade. While there’s little staginess about the endeavor, the preserved tight focus on a handful of British soldiers “waiting to be killed” in a trench near WWI’s finish provides all the character and emotional involvement that was lacking in the more action-oriented recent “Dunkirk.” The latter’s success — plus next year’s centennial of the Great War’s close — could further boost a strong drama likely to benefit from solid reviews.

A captain wounded at Passchendaele himself, Sherriff drew on three years’ service experience to write his greatest triumph (which he subsequently turned into a novel, also a source here). Premiering in 1928 with 21-year-old Laurence Olivier in a breakthrough role — one he foolishly declined to repeat in the West End transfer — it was a smash on both sides of the Atlantic. Its director, James Whale, also helmed the first, most famous film version, released in 1930, a year before he made “Frankenstein.” Several lesser film and TV versions followed, along with numerous stage revivals.

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Dibbs’ movie is more realistic in gritty presentation than earlier incarnations, but otherwise no attempt has been made to “modernize” the material with harsher language, gore, etc. Indeed, it’s one small consolation in this sad story that the characters are so polite , though there’s nothing artificially old-fashioned about their manner as performed and directed.

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The British Army C Company stationed in Northern France in early 1918 has already fought four years in a war they were originally promised would be “over by Christmas.” Thus it feels incongruous for them to receive a spanking new recruit fresh out of basic training, let alone one so naïve as Raleigh ( Asa Butterfield ), who’s so baby-faced he recalls famously infantile silent comedian Harry Langdon. Actually, Raleigh has been placed here by request: There’s nothing he’d like more than to be reunited with his former school head-boy and prospective brother-in-law Captain Stanhope ( Sam Claflin ), widely regarded as “the best commander of the lot.”

But Stanhope is not happy to see this wide-eyed reminder of his past, before enduring years of horror and loss. Indeed, he’s ashamed of what he’s become under cumulative stress — an alcoholic, belligerent shadow of his former self — and worries that young Raleigh will carry news of this decline back to his betrothed. Still, he continues to hold it together for the sake of his men, and he’s in turn held together largely by the patient ministrations of Lt. Osborne ( Paul Bettany ), a schoolteacher who’s Mr. Chips-like in his calming, compassionate influence over the company. (Sherriff would be Oscar-nominated for his screenplay contribution to the beloved original screen “Goodbye, Mr. Chips” in 1939.)

Other prominent figures in the officers’ dugout include long-suffering cook Mason (Toby Jones), unflappable Trotter (Stephen Graham) and Hibbert (Tom Sturridge), whose nerves are completely shot. But they’re all on edge, particularly once news arrives that a long-expected frontal assault by German troops is finally due to arrive in a couple days. Only the officers know Company C is to be sacrificed to “slow down” the enemy — with no reinforcements allocated to protect them. Even before that slaughter arrives, the powers-that-be order a raid in broad daylight, risking heavy casualties to hopefully bring back one talkative “Jerry” prisoner.

It takes about 75 minutes before this first burst of chaotic action occurs. But “Journey’s End” never feels over-talkative, dull or even particularly claustrophobic. Much of the credit goes to the astute writing and punchy yet understated staging. But primarily, the film keeps audiences engrossed in the personalities involved, their fatigue, disillusionment and residual humanity, as well as the tenderness they extend towards one another where needed. (There’s plenty of team-spirit resilience, but no machismo whatsoever on display here.)

The entire cast is fine, with Claflin (“The Hunger Games,” “My Cousin Rachel”) excellent in the role Olivier originated. Particularly good is Bettany, who makes Osborne the kind of natural caregiver who ensures his tending is barely perceptible — one of the best scenes here shows him deftly preparing terrified neophyte Raleigh for the raid, simply by distracting him with small talk.

Written at a time when many hoped and believed there would — indeed must — never be another global conflagration like the one portrayed, “Journey’s End” retains its poignancy in illustrating how no war casualty is a mere statistic. The convincing physical production is shot in muddy earthtones by Laurie Rose and is well accentuated by an original score of urgent, mournful strings.

Reviewed at Toronto Film Festival (Special Presentation), Sept. 15, 2017. Running time: 107 MIN.

• Production: (U.K.) A BFI, Wales Screen presentation, in association with Metro International Entertainment, British Film Co., Umedia, of a Fluidity Films production, in association with Third Wednesday Films. (International sales: Metro International, London.) Producers: Guy De Beaujeu, Simon Reade. Executive producers: Anthony Seldon, Will Machin, Natalie Brenner, Sam Parker, Mary Burke, Charles Auty, Steve Milne, Christian Eisenbeiss, Ivan Dunleavy, Robert Norris, David Grindley, Sue De Beauvoir, Bastien Sirodot, Adrian Politowski, Gilles Waterkeyn.
• Crew: Directed by Saul Dibb. Screenplay: Simon Reade, based on the play by R.C. Sherriff and the novel by Sherriff, Vernon Bartlett. Camera (color, widescreen, HD): Laurie Rose. Editor: Tania Reddin. Music: Hildur Gudnadottir, Natalie Holt.
• With: Sam Claflin, Paul Bettany, Asa Butterfield, Toby Jones, Tom Sturridge, Stephen Graham, Robert Glenister, Miles Jupp, Rupert Wickham.

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Tv/streaming, collections, great movies, chaz's journal, contributors, journey's end.

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An intelligent, meticulously crafted drama about British soldiers in the trenches of World War I, “Journey’s End” is the latest cinematic rendition of a play by a war veteran, R.C. Sheriff, which premiered in England in 1928 with Laurence Olivier in a lead role. While the play was a huge hit on both sides of the Atlantic, and has proved an admirably durable theatrical staple (I saw the hit Broadway revival of 2007), one might wonder why it would be made into a movie in the present day.

An obvious one-word answer: “ Dunkirk .” Although they concern different wars, the two movies plumb the innate drama, tedium and terror of soldiers on foreign soil bracing for an onslaught by overwhelming enemy forces. Intimate and verbal, though, Saul Dibb ’s film provides a satisfying antithesis to Christopher Nolan ’s macrocosmic, hyper-sensory view of war: it gives close and sustained attention to a handful of soldiers facing both an implacable foe and their own mortality.

Since its debut, Sheriff’s play has been praised for its precise, flavorful realism and avoidance of cliches and rhetoric. Unlike many literary and cinematic treatments that would come later, it’s neither staunchly “patriotic” nor polemically “anti-war.” Leaving aside the war’s political causes (aside from one character’s statement that it should never have happened), it focuses squarely on the certain individuals and their ways of dealing with a situation of impending catastrophe.

Simon Reade ’s script for the film preserves the play’s virtues while opening its action outward in appropriate and judicious ways: While most of the drama remains in the bunkers of the British forces, when the soldiers leap out of the trenches onto the battlefield, we see that, too.

The tale takes place in the spring of 1918 near St. Quentin, France. The war has already dragged out for nearly four years, with millions killed; it will grind on for more than a half-year longer, snuffing out countless lives as it does. There is, in other words, nothing either strategically or historically significant about the episode we witness; it’s just another horror in a seemingly endless succession of them.

The film escorts us into the battle zone following fresh-faced teenaged Second Lieutenant Raleigh ( Asa Butterfield ), who could have done his service in a safer place but instead has gone to some trouble to get assigned to the command of Captain Stanhope ( Sam Claflin ). Before the war, Stanhope was a senior boy at Raleigh’s school and enamored of his sister; the three spent holidays happily wandering England’s countryside, the younger man recalls.

The early scene where Raleigh encounters Stanhope for the first time in the unit’s underground HQ is one of the film’s most memorable. Instead of the warm welcome he expected from his admired older pal, Raleigh finds a changed man. Though respected by his soldiers, Stanhope is a stiff and troubled officer and hardcore alcoholic. Naturally he doesn’t like Raleigh seeing him like this, and fears the reports he might send his sister.

Stanhope (the role that launched Olivier) is the pivotal figure in this drama. The other main character, gentlemanly, bookish Lieutenant Osborne ( Paul Bettany ), has joined the unit just recently but seems to have already formed a solid bond with Stanhope, who obviously needs his steadying, sane friendship.

A side note: The first film version of “Journey’s End” was directed in 1930 by James Whale , who would direct “Frankenstein” the following year and whose troubled psychic life as a gay WWI veteran is the subject of Bill Condon ’s “ Gods and Monsters .” While rights issues have kept Whale’s “Journey’s End” long out of circulation, a friend who’s seen it told me it’s rife with homosexual subtext. Apart perhaps from a poignant scene where a drunken Stanhope implores Osborne to tuck him into bed, that’s not the case here.

Instead, the drama describes the tensions, anxieties and sustaining camaraderie that unite these men and their fellows—including stalwart cook Mason ( Toby Jones ) and battle-hardened Trotter ( Stephen Graham ) and Hibbert ( Tom Sturridge )—as they begin a week when they’ve learned a massive German offensive is expected to begin. All know that they will be neither be evacuated nor reinforced. They are simply sacrificial lambs of the most basic strategic sort, their deaths meant only to momentarily slow the advancing enemy.

A crucial turn at the film’s dramatic apex comes when the Brits’ commanders send down an order that the unit mount a party of two officers and ten men to dash across no-man’s-land in the face of enemy fire, grab any German soldier they can, and bring him back in hopes of extracting intelligence about the upcoming attack. Raleigh and Osborne are the officers chosen for the detail. The mission is almost assuredly suicidal, just as it is inevitably futile, since it can do little or nothing to affect the impending slaughter.

Dibbs does a fine job bringing a nuanced, realistic visual style to this venerable tale of war’s cruel and colossal wastes, and his actors are all first-rate, with Bettany a special stand-out. But though it proves the timelessness of Sheriff’s drama, the film doesn’t make a particularly strong case for why, “Dunkirk” apart, it should be considered more-than-usually relevant today.

Godfrey Cheshire

Godfrey Cheshire is a film critic, journalist and filmmaker based in New York City. He has written for The New York Times, Variety, Film Comment, The Village Voice, Interview, Cineaste and other publications.

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Film credits.

Journey's End (2018)

108 minutes

Sam Claflin as Captain Stanhope

Asa Butterfield as Raleigh

Paul Bettany as Osborne

Tom Sturridge as Hibbert

Toby Jones as Mason

Stephen Graham as Trotter

• R.C. Sherriff
• Simon Reade
• Natalie Holt

Director of Photography

• Laurie Rose
• Tania Reddin

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Journey to the Past (end credits)

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The 2nd ending credits song of Anastasia sung by the late Aaliyah .

Heart, don't fail me now! Courage, don't desert me! Don't turn back now that we're here People always say Life is full of choices No one ever mentions fear! Or how a road can seem so long How the world can seem so vast Courage see me through Heart I'm trusting you On this journey...to the past

Somewhere down this road I know someone's waiting Years of dreams just can't be wrong Arms will open wide I'll be safe and wanted Finally home where I belong Well, starting here, my life begins Starting now, I'm learning fast Courage see me through Heart I'm trusting you On this journey...to the past

Heart don't fail me now! Courage don't desert me!

Home, Love, Family There was once a time I must have had them too Home, Love, Family I will never be complete Until I find you...

One step at a time, One hope, then another Who knows where this road may go Back to who I was On to find my future, Things my heart still needs to know Yes, let this be a sign! Let this road be mine! Let it lead me to my past Courage see me through Heart I'm trusting you To bring me home... At last! At last! Courage see me through Heart I'm trusting you yeah...

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Taylor Swift - End Game ft. Ed Sheeran, Future (CARTOON PARODY)

Posted: June 12, 2024 | Last updated: June 12, 2024

Official PopToonsTV parody of Taylor Swift - End Game★SUBSCRIBE THEN HIT THE 🔔: <a href="http://bit.ly/29HNX6H★Watch">http://bit.ly/29HNX6H★Watch</a> more: <a href="http://bit.ly/CARTOONPARODIES★Patreon:">http://bit.ly/CARTOONPARODIES★Patreon:</a> <a href="https://www.patreon.com/Poptoonstv★Gaming">https://www.patreon.com/Poptoonstv★Gaming</a> Channel (Pop Girl): <a href="http://bit.ly/2bFvyY9Taylor">http://bit.ly/2bFvyY9Taylor</a> Swift travels to 3 countries with Ed Sheeran and Future (no clue why) as they embark on a journey to get drunk, drive motorcycles , and sail!★Credits:Taylor Swift Voice by: HALEY JAY <a href="http://bit.ly/29V0giXOther">http://bit.ly/29V0giXOther</a> Voices & Animation by: PopToonsTV★Follow PopToonsTV:Twitter: <a href="https://twitter.com/PopToonsTVFacebook:">https://twitter.com/PopToonsTVFacebook:</a> <a href="https://www.facebook.com/poptoonstvInstagram:">https://www.facebook.com/poptoonstvInstagram:</a> <a href="http://instagram.com/POPTOONSTVTumblr">http://instagram.com/POPTOONSTVTumblr</a> (Ask Questions): <a href="http://poptoonstv.tumblr.com/★Watch">http://poptoonstv.tumblr.com/★Watch</a> More PopToonsTV:Parodies: <a href="http://bit.ly/29GS4P5Mean">http://bit.ly/29GS4P5Mean</a> Queens: <a href="http://bit.ly/2eNmCT1PopJustice:">http://bit.ly/2eNmCT1PopJustice:</a> <a href="http://bit.ly/POPJUSTICEPlastic">http://bit.ly/POPJUSTICEPlastic</a> Puff Girls: <a href="http://bit.ly/2kLW3C1Celeb">http://bit.ly/2kLW3C1Celeb</a> Facts: <a href="http://bit.ly/2op2VCyPopToons">http://bit.ly/2op2VCyPopToons</a> Originals: <a href="http://bit.ly/29TDebIPrank">http://bit.ly/29TDebIPrank</a> Calls: <a href="http://bit.ly/29ywYoXMini">http://bit.ly/29ywYoXMini</a> Cartoons: <a href="http://bit.ly/2a1AZTfCollaborations:">http://bit.ly/2a1AZTfCollaborations:</a> <a href="http://bit.ly/29TcMMzLiterally">http://bit.ly/29TcMMzLiterally</a> Friday's <a href="http://bit.ly/2pvtjPP★PopToonsTV">http://bit.ly/2pvtjPP★PopToonsTV</a> Merch:T-Shirts: <a href="http://bit.ly/2DlEBxCSongs:">http://bit.ly/2DlEBxCSongs:</a> <a href="http://apple.co/2gNfO8KSong">http://apple.co/2gNfO8KSong</a> Produced by: LoBoiMusicOriginal video: Taylor Swift - End Game ft. Ed Sheeran, Future <a href="https://youtu.be/dfnCAmr569k"End">https://youtu.be/dfnCAmr569k"End</a> Game" Parody Writer - Deion Webley"End Game" Parody Animator - Deion WebleyWe're PopToonsTV! Twin brothers making cartoons about pop stars. We animate all your favorite singers and celebrities. We make the best cartoon parodies of your favorite songs! If you like Beyonce, Rihanna, Taylor Swift, Nicki Minaj, Justin Bieber, Lady Gaga, Katy Perry, Drake, The Weeknd, or any other star, you'll want to hit that sub button!

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Real Teenagers, Fake Nudes: The Rise of Deepfakes in American Schools

Students are using artificial intelligence to create sexually explicit images of their classmates..

Hosted by Sabrina Tavernise

Featuring Natasha Singer

Produced by Sydney Harper and Shannon M. Lin

Edited by Marc Georges

Original music by Marion Lozano ,  Elisheba Ittoop and Dan Powell

Engineered by Chris Wood

Listen and follow The Daily Apple Podcasts | Spotify | Amazon Music | YouTube

Warning: this episode contains strong language, descriptions of explicit content and sexual harassment

A disturbing new problem is sweeping American schools: Students are using artificial intelligence to create sexually explicit images of their classmates and then share them without the person depicted even knowing.

Natasha Singer, who covers technology, business and society for The Times, discusses the rise of deepfake nudes and one girl’s fight to stop them.

On today’s episode

Natasha Singer , a reporter covering technology, business and society for The New York Times.

Background reading

Using artificial intelligence, middle and high school students have fabricated explicit images of female classmates and shared the doctored pictures.

Spurred by teenage girls, states have moved to ban deepfake nudes .

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We aim to make transcripts available the next workday after an episode’s publication. You can find them at the top of the page.

The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Mike Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, John Ketchum, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Summer Thomad, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sam Dolnick, Paula Szuchman, Lisa Tobin, Larissa Anderson, Julia Simon, Sofia Milan, Mahima Chablani, Elizabeth Davis-Moorer, Jeffrey Miranda, Maddy Masiello, Isabella Anderson, Nina Lassam and Nick Pitman.

Natasha Singer writes about technology, business and society. She is currently reporting on the far-reaching ways that tech companies and their tools are reshaping public schools, higher education and job opportunities. More about Natasha Singer

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