Parallels 

I could cry😭🎉🎊

Grazie grazie grazieeeeeeee 💖💖💖☄️☄️☄️

Study i got carried away with

Only a blind person would deny the writers' intention here ❤️

In the August 20th, 2021 interview for Trace of Two pasts, Nojima comments on how Aerith handles her sadness.

Both of the stories shine light on the protagonists who steadfastly live on despite the unfortunate circumstances surrounding them. Can you tell us what kind of story device you used to get these ideas?

Nojima: I thought about those who were able to overcome various sadness in their lives. Aerith tries to get used to the environment by maintaining a very upbeat personality and believing that she isn’t sad.

(Source)

So Aerith pretends to be an upbeat, happy person to mask her sadness?

Sure enough:

“Gotta look forward, not back.”

Ahhh my poor heartbroken girl 💔

hi there but can you describe to what this is suppose to mean (In the RPG text, there was a method to make it easier to understand who's line by using "I", "I", "I" etc. for each character, but "There was a notational fluctuation, so I replaced it completely. There was something like "ta ~", long ago) - Kazushige Nojima. apparently people are taking Nojima's words here as saying the Eng localization and maybe the others as well for 7 remake as bad? is that really the case tho?

Yeah, I remember that. It's one of those moments I start to think that some people shouldn't comment on languages they don't know, and/or don't know how to navigate via translation/dictionaries—especially when this is combined with selfishly following their own agendas by skirting context. We know people do this. Happens all the time with source materials, or even epitexts like guidebooks or interviews. But, it's more annoying when it directly involves a writer's social media account within the drama. It's just really bad.

But let's contextualize.

Every now and then on his Twitter, when he isn't posting about his cute pets (lol), Nojima will post something related to video games/writing, and it'll also often be when you see a small part of the twitter FF7 ENG fanbase parading around his tweets with comments or likes. For instance, a tweet where he talked about leaving room for imagination and interpretation, or when talking about scenario writing. It's not necessarily a bad thing to have this interaction, though sometimes people will say weird things. You'll also find that his tweets like this usually get a good amount of attention as opposed to when he talks about his pets.

That's when we get to the tweet you're referring to, I'd reckon this being the most attention he's ever gotten for a personal tweet. Here's a decent translation, w/ some things added in w/ brackets for clarity:

RPGのテキストで、キャラごとに「ぼく」「僕」「ボク」などを使い分けることで誰の台詞か判りやすくする、なんて手法があったけど「表記ゆれがあったので僕に全置換しときました～」なんてのはわりとありました、昔。

In RPG texts, there was a technique of using different words for each character to make it easier to identify who is speaking, such as "I" [ぼく], "I" [僕], "I" [ボク], etc. However, a long time ago someone would say something like "there was inconsistency in the notation [orthographical variants], so I completely replaced them with I [僕]".

A couple of things.

At its core, this is just a comment about game development/writing. There is no "shade" (I really hate this immature perspective), there is no talk about localization. That was made up by people who don't know how to translate or navigate JPN text. What he's essentially talking about is: how there were different ways to write characters referring to themselves, but how in the past, this was averted and made consistently one way.

That's it.

As you can see, this absolutely has nothing to do with the Remake, and I would wager it also has nothing to do with the OG. This all hinges on the proposed reason for the technique—to make it easy to identify/understand whose dialogue is whose. For the Remake, this issue is nonexistent in today's age considering voice acting, and for the OG, the dialogue boxes identified who the speaker was anyway. Really, this also doesn't automatically apply to all localizations, especially ENG, because of the way the corresponding languages work. Especially in ENG, there's not a lot of natural variances for someone just saying "I" in writing. The closest thing is something more akin to an attribute to characterization (as opposed to clarification of who is speaking), like a character referring to themselves in third person instead of "I", a godly character saying "this one" when referring to themselves, or a character egregiously saying something like "me thinks". For characterization purposes, something close in the OG would be how the 5 bosses of Pagoda had different methods of speaking, which the ENG didn't follow suit apparently.

While an issue of "JPN did this but ENG didn't" does apply to, say, that situation with the 5 bosses: one, you still need to think of the context of how certain things don't directly work for every language, and two, even the example Nojima brings up doesn't exactly apply the same way the examples I mentioned or the 5 bosses do.

Which in this case, Nojima brings up the example of different ways to write what would be pronounced as "Boku" (I, me)—the hiragana ぼく, the kanji 僕, and the katakana ボク versions of the exact same word. They would be the "orthographical variants" [表記ゆれ]—and I was very tempted to translate it as the following meaning—which is simply referring to "words with the same pronunciation and meaning, but different written forms". I wrote "inconsistency in the notation" to signify how this was a situation where someone saw these orthographical variants (or fluctuations, as some translated) and wanted to change them to one, consistent thing. This....is really just a notation thing. Kana is for pronunciation + writing sake, all three of these aren't completely different words. This is different than the 5 bosses example, as the Lifestream user mentions 私 (watashi), ワシ (washi), オラ (ora), and わらわ (warawa)—those are actually all legitimately different words + pronunciations AND mean "I, me". Much more appropriate and often done in JPN fiction.

Nojima's example of 僕/ぼく/ボク ( all "Boku") is not the same, and honestly, it absolutely makes a lot of sense why someone would look at that and think....why? When the 5 bosses example would be the better approach instead imo.

Anyway, the problem with people who misunderstand this is that they're wanting to take this scenario and create a narrative that Nojima is mentioning this specific instance, that isn't even relevant for the Remake, as a means to talk bad about his fellow development team members and reference other "issues" in the Remake's localization. Hell, even look at the comments, which are all from JPN speakers, one of which is someone else who works at SE. None of which are talking about the Remake or all localizations (which literally....why would JPN speakers be doing this???)—just writing for games in general. I’m assuming this tweet gained such massive traction because of how most things ever do, but it isn’t some conspiracy in the making where he talks bad about his fellow employees.

And the funny thing is that, it absolutely can and does apply to the development for even just the JPN version, as this would happen even at the stages of which editing, proofreading, and programming these texts into the game—now, this CAN also apply at the stages of localization, but in addition to what otherwise is also for the JPN. Nojima could vary well be referring to something that happened when making the JPN version of a game long ago, NOT any of its localizations. That isn't made clear.

What is clear, however, is that Nojima isn't talking about Remake or even directly localization. This is just people reaching for their own twisted purposes, and as always, it's annoying. 

It’s just about pronunciation.

It’s just fandom being fandom. Insubordinate. And churlish.

A couple of interesting references

Toward the end of Chapter 8 of the Remake - like in the OG - Cloud sneaks away from Aerith's house headed to Sector 7, but Aerith is already waiting for him at the border to Sector 6.

This scene is very important since it's the one where Aerith willingly decides to follow Cloud, the moment that sets into motion her adventure and that will lead her to her destiny.

Fans immediately noticed that the way Aerith appears from behind the debris and the way she walks away recall what happened in the dream that Cloud had in the OG, where Aerith told him she was going to stop Sephiroth alone.

When she starts walking Cloud has one of his headaches, the camera focuses on his right hand (the one he stretched trying to stop her in the dream) and he sheds a tear.

This seems to be another omen of her death - probably it is -, like he previously had at the church, but this short sequence hides also another compilation reference that probably most of western players didn't notice, since it went lost in the English localization:

When Aerith approaches Cloud saying "Because I'm not sick of you yet!", in Japanese she uses a sentence that she already used in Crisis Core with Zack: "I'd like to spend more time with you"(the comparison between the two Japanese lines will sound clearer here). Also her pose, with her hands behind her back, is the same of Crisis Core, and I can't say to what extent it is relevant in this scene, since the Zack-Cloud relation is often matter of debate, but Zack took the note with his right hand too.

I don't think this is casual. At first I thought it was just another Zack-Aerith references like many others during Chapters 8 and 9, but I think this one has a deeper meaning:

Aerith gave Zack the note before he left for Nibelheim, and she apperared in Cloud's dream when she left to go to the Forgotten City:

in both cases it was the last time the characters "spent" time together

in both scenes they promised to go back after they accomplished their missions (very Loveless)

and in both cases...they never came back again.

Aerith's decision to go alone to summon Holy led her to her death, and Zack's decision to go back to Midgar after reading the note - the most dangerous place for him - led him to his death too.

I can't say if this correlation will be relevant in the future parts of the Remake but I thought it was noteworthy, especially because it links up so well with the leitmotiv of Reunion.

Family gathering

AERITH PLAY ARTS KAI RED DRESS

Aerith, from FINAL FANTASY VII REMAKE, makes her appearance in the PLAY ARTS KAI action figure line, clad in her extravagant red dress from the Wall Market section of the game!

artists rendition of one of my favorite bits in the update

Parallel #1