Reblogging Because Fundamentally I Agree On Everything But One Point. Adding The "read More" Line Because

Since forever and I hope I'll never change

Do you ever feel so detached from the world because you’re constantly living in the fictional/fantasy worlds in your head given that reality is just too boring, too limiting, and too uneventful????

Is Sonon really dead?

Yuffie’s mission in Midgar ended unsuccessfully. Shinra destroyed the base of her allies in Sector 7, she couldn’t get hold of the Ultimate Materia and, most importantly, Sonon died in order to save her.

His death gives a sense of closure to this newly introduced character. Although being quite short, the DLC is full of clever parallels between Yuffie and Melphie, Sonon's younger sister who got killed in front of his eyes during the Wutai war. He failed to save Melphie back then, but he can save Yuffie now.

But the big question is: is Sonon really dead?

The OST playing during the death scene is Seeing Melphie again. After getting stabbed, he has a vision of his little sister (a very touching moment tied to FFVII theme of reunion in the afterlife) accompanied by a bitterweet piano melody, that gets always softer until his last breath. But just when Nero seems to finish Sonon off, instead of mercilessly swallowing him into the darkness, he gently picks him up while the music digresses in an ominious and mysterious tone, hinting that his role may be not over yet.

But what could Nero want from Sonon?

I think the answer may be deduced diggin a bit into Dirge of Cerberus lore.

There's a not very well known entry related to the main DoC game (especially by the western audience since it had been released only in Japan and for a very short period of time): Dirge of Cerberus Multiplayer on-line. While some of the missions were later included in the international release of DoC, the plot of this game got lost despite its importance for the full understanding of the Deepground dynamics.

Here is a link for an excellent article from thelifestream.net that tries to keep a record of this expired entry, and here's a playlist of cutscenes from the game with English subtitles that helps understanding the main plot (btw, a great YT channel where you can also find localized playthroughs of rarities like DoC Lost Episode and Before Crisis).

A quick summary about Deepground and the Multiplayer game.

Deepground is a top secret facility created by President Shinra and located beneath the slums (remember that underground lab where Cloud, Barret and Tifa went to save Wedge? That's Deepground) where troopers and SOLDIERs - but also unaware civilians - endure severe experimentations that push their bodies and minds to the limit, aiming to create ruthless SOLDIERs with no moral boundaries. The elite DG SOLDIERs are known as Tsviets, like Weiss, Nero, Argento, Shelke, Rosso and Azul. To avoid any rebellion each candidate and Tsviet has a restriction chip implanted in their brain controlled by four Restrictors loyal to President Shinra. This mechanism is particoularly useful to control those Tsviets who don't make a distinction between allies and enemies.

Because of this the Tsviets started to secretly plot against Shinra until they finally understood how to cheat the system. Shelke and Argento found a way to implant a non-working chip in a candidate, so that they could kill the Restrictors. The protagonist of DoC Multiplayer is indeed this candidate (gender and name chosen by the player). Thanks to her special abilities Shelke tricked the candidate into seeing a supporting partner, Usher, who helped them into ranking as a Tsviet, and most importantly she instilled the hatred towards the Restrictors giving to the candidate false memories of a little sister brutally killed by one of them. In the end the candidate managed to kill one of the Restrictors but got stabbed as well. This is the final dialogue of the game:

Weiss: Can this one still be of any use?

Shelke: Negative. The prolonged SND [Synaptic Net Dive] has rendered most of the brain inaccessible. It's only a matter of time before it breaks down completely.

Rosso: Really? After all that hard work. What a shame.

Weiss: Then hurry up and find a suitable replacement. After all no one knows what the Restrictors really look like.

Azul: So we have to find another one? This is becoming frustrating.

Weiss: It can't be helped. Only one out of hundreds can make it this far.

Rosso: Ordinary humans simply aren't as strong as we are.

Weiss: Precisely.

Shelke: Well, it's actually quite simple. With the help of the HJ Virus I am able to hack into Patricia [computer system] and bypass security. Then all that's needed is to pick a suitable subject before it's implanted with the chip.

Weiss: Shelke, find a new one quickly.

The devs had never provided any time reference for the Multiplayer story but now, with Intergrade, we know for sure that the Tsviets are still under Shinra's control when Yuffie and Sonon met Nero on December 12, and, while the President will be killed the next night, it seems clear that Scarlet is the one who will take full control of Deepground until her defeat the next month.

Conclusion

My theory is that Sonon could be the perfect person to replace the Tsviet-candidate and the dead Restrictor, so that Weiss and the gang can pursure their plan of rebellion gainst Shinra:

Unlike many soldiers Sonon has proved to be an extremely strong and capable fighter standing up to Nero.

He has the right motivation as he seeks revenge against Shinra - especially Scarlet - for the death of his younger sister, which Shelke could further manipulate.

Unlike any other Deepground candidate, he has no working restriction chip implanted.

Sure, one could argue that Nero severely wounded him, but the game clearly reminded us before the battle that Nero can easily disintegrate the bodies of his victims, while he reserves a different treatment to this particoular character. And, by the way, this wouldn't even be the first time a Tsviet pretends to kill someone as Shelke did the same with the Tsviet-candidate. As far as I know the main DoC game never explained how the Tsviets overpowered the remaining Restrictors, who replaced the Tsviet-candidate or what happened to Argento - who isn't part of the DoC cast. Sonon might be the missing piece of this sub-plot that may lead to new secondary arcs that could tie a bit more Deepground to the main FFVII story.

Talk about a coincidence!

(Previous post here)

Aerith's key art

Since the release of the original FF7 each main character's had a dedicated key art.

They mostly remained unaltered in the Remake because their symbolism applies to both entries, while Aerith and Yuffie's changed in order to fit the themes of this new installment.

In the first picture Aerith was looking at the Highwind, but in the new one the airship's disappeared...why?

In the OG she wished she could fly on the Highwind one day. Probably this key art was meant to give to the player the illusion she could fulfill her dream and continue the adventure with her companions, in order to make more painful and unexpected her destiny.

I think her Remake key art has a totally different meaning. The central point of this picture is not the absence of the airship but the fact that she's staring at the blue sky:

The last line of the Remake makes more sense in Japanese

The sky, I hate it.

It links up better with the scene of Crisis Core where she perceived Zack's death while it started raining.

But maybe this time there's a chance...

This new picture has also a parallel with Tifa's key art: both staring at the sky, both relating it to a special person❤️

What a nice coincidence!

A question about Kingdom Hearts, but can be for other stuff too. Do you think some important context or subtext is lost in the translation process from Japanese to a second language, even if it's translated to the best of a translator's ability, and if so, do you prefer a more literal translation over an official dub?

Hello! Thanks for the ask.

To answer the first question, there's different points to be made given the case by case nature of the topic. Important or simply interesting (these are not the same thing) information absolutely can be lost in the process of translation, but there's a lot of things fans need to understand:

Per discussion, is it actually lost, whether in the specific line or that of the overall context elsewhere?

Is the meaning actually *important* or imperative for understanding context [subtext]?

If lost, is it something that could've been localized creatively within the limitations of its presentation (voice acting/lip-sync, text space, etc.)?

Was it something that couldn't even be translated literally within the corresponding localized language? And/or did it not naturally flow into the writing of the actual scene itself for the given language?

Keep in mind that some interesting nuances built within a language system is really tailored for THAT language, and doesn't have to (or can't be) be transferred to another language smoothly in the production process of localization—if it's actually important, they might have to find a way, and chances are a literal translation may not even be enough to accomplish this. So to the second question—it isn't really “literal” vs localization for me, because whether one or both of these things can get the job done is circumstantial. Ultimately, what I care about most is whether what is written makes sense and can still be seen to retain what matters contextually (and sometimes, this means you can even get MORE or something more direct from a localization as opposed to “literal”). I’m using “ “ because really, you don’t want literal, for the majority of the text, it just doesn’t work that way as smoothly as people think. But I understand sometimes literal is actually “close to definition as possible” for people. (sometimes, indeed)

Anyway, if there is an issue with what's written, I know a "literal" translation doesn't always solve the inherent factors dependent upon the specific nature of the JPN language. The "literal" definition doesn't always fully capture how the Kanji is contextually used in the writing for another language. If I ever felt something was completely missed within a localization, my instinct is to first check the nature of the JPN and how it's written contextually to see how it fairs.

Of course, if it's information that isn't really based on the nature of the Kanji and how it's used, that it's something just being misunderstood in translation, then that isn't even a matter of whether it was literal or not—it was just wrong, and could've been right in any form if the text was understood (meaning, I'd take it literal or localized as long as the information is correct). In comparison to the amount of important storytelling text actually localized in video game projects, this doesn't nearly happen that often, though.

To look at Kingdom Hearts:

There have been many, many examples, especially between #1 and #2 discussed within fandom over the last 20 years. lol The majority is very miniscule and inconsequential (if even non-existent of a difference with proper understanding)—in KH3 I tend to think of some scenes between Sora and Kairi that has been discussed. @phoenix-downer has some excellent JPN/ENG comparisons of Sora and Kairi's Paopu Fruit and Light in the Darkness scenes (plus more) that serve some examples—Phoenix might be more readily able to remember some things over the years than I. There’s also this line from Xemnas about finding the Ancient Keybladers in KH3—this one can reasonably create a misunderstanding, but at the same time we don’t exactly have all the information at this point in time anyway.

One thing I do tend to think of is the scene between Aqua/Terra/Ven and the Disney Passes—where the term hogosha 保護者 (guardian, protector, patron, parent) is used in JPN, while in ENG it was written as "grown ups". There's a subtext here that has been missed by some ENG speakers. Similar to #4 (about literal translations), this is one of those cases where contextually speaking, the ENG went with what made sense for the scene and all factors corresponding to it, while still retaining something similar to the concept context-wise. As you can see based on the definition, the term hogosha is very flexible in use due to its span of multiple different words, but in its usage, it always has the connotation of something "parental". But, translating it as straight up "parent(s)" doesn't always work because of the nuances of the word. e.g. From FFXIII, Lightning is a hogosha to Serah, but this isn't to say that Lightning is literally her parent/mom—the contextual nature of hogosha tells more than this but with the same connotation. Sometimes it can be directly "parents/legal guardians", like how it's used to refer to what is essentially PTA school meetings (hogoshakai 保護者会). There's a reason why hogosha is distinct from just more direct words for parent (like oya 親 or ryoushin 両親).

This flexible nuance isn't readily and neatly packaged in a single word in ENG, however, and while, say, “guardian” [parental] can fit in some situations on its own, the connotation of parental isn’t so readily available like it is for hogosha alone. (A good example is this post I made) So, contextually there are other ways to capture it, and that may have to be with a non-literal translation. But, its meaning was missed by some ENG speaking fans, so when they hear "Aqua and Terra are like parents to Ven", they have no idea where that's coming from. Of course, some people were able to understand how this is carried contextually by the word "grown ups" and the situation of the Disney Passes—otherwise, some people completely missed that parental nuance, which would be significant of representing the relationship between Aqua/Terra to Ven.

Sometimes it isn't a localization issue, but a perception one.

With that being said, if in the case of other fandoms/series? It's all over the place. I've seen it all, between something being lost (important or just interesting [unimportant]), something being a mistranslation, or something being retained and people are honestly just trippin' because of misunderstanding things. Straight up. #4 (literal translation/context issues) happens a lot, in that case.

For example, recently I made this post and a follow up post about functionalities of JPN pronouns for (I, me) and the differences that lay there—there's also an extra layer I think I didn't include, which is that between using a specific pronoun in the form of hiragana/kanji/katakana, sometimes it's a stylistic choice as well. (Don't worry about this if you're confused lol). Point is, in this situation I also talked about how this was something that only applies for the JPN language and not necessarily others (especially ENG).

But again, a lot of this is case by case and we'd have to consider the #1-4 above, and for me, I know that to get the job done, it doesn't even have to be literal in order for this to happen.

As an extra note, fans REALLY need to understand localization, if even for SE specifically, to really talk about it efficiently. A lot don’t, and don’t care to. There is a sea of information to gather to form a perspective, and if they had this information, it’d change what they think about the “changes” a localization will make. One of the most blunt translators I can think of (Tom Slattery) gave this thought towards this very topic, and it’s just the tip of the iceberg. So I’ll leave it with this:

Vocal fans on the internet often complain about translators "changing" things in the English versions of games. This always amuses me, as we're very often working alongside the team to help name those things in the first place. For example, on Final Fantasy XIII, we were asked to help with the naming of the roles--Medic, Synergist, Ravager, and so on. We were intending to use different names in Japan and the US/EU from the start, and we (the English translators) brainstormed and proposed both sets. For the Japanese version, they needed English words that (A) sounded cool when rendered into Japanese, and (B) would be understood by non-English-speaking Japanese players, so we worked with the writers to come up with a set of consistent-sounding terms that met those criteria. For the localized version, our focus was on creating names that would have a more sci-fi feel to a native speaker's ear, and also abbreviate to three letters in a way that looked natural and made the short forms quickly and easily distinguishable from one another. We didn't "change" anything; we just generated two different sets of names for two different audiences.

Retroactive integration of the English translation into the Japanese version happens on projects quite often as well. For example, we were asked to come up with a translation for the names of the transporters in the Nautilus theme park. The Japanese name at the time was not something that really worked for us, so we went with "Nautilift." A few weeks later, that started popping up in the Japanese script. That kind of thing is always a huge compliment. It's a collaborative process. No one is going out stomping all over each other's work just for the heck of it.

Truth

˗ˏˋ 2月7日 HAPPY BIRTHDAY AERITH! ˎˊ˗

Zack’s Last Stand 

Find the differences!

CRISIS CORE vs FF7R comparison

Baby boy, baby

Talk about a coincidence!

(Previous post here)

Midgar Blues

It has been said and repeated to death: there's a song dedicated to the "promise" in the Remake, and this should be enough to claim the "coincidence" post and end it here with a good link to enjoy the song.

But this song received some criticisms, so I'd like to talk a bit more about it.

1. "There is no evidence that this song is about Cloud and Tifa" and "It's just a random song in Wall Market without specifical meaning".

I saw some people trying to debate about this matter so, here we are.

The text perfectly describes the scene of the promise and Cloud leaving Nibelheim to join SOLDIER. It talks about a man/boy who left his hometown for Midgar, leaving behind a girl. There's a reference to the Lifestream and to the starry night with falling stars. The lyrics - both English and Japanese - are posted below.

This song has old-time/banjo&harmonica sounds that fit the "old west" atmosphere of Nibelheim.

The "author" of the song says he had started his career 7 years ago, when Cloud and Tifa shared the promise, and he's wondering if "Midgar Blues" will be his greatest success. Get the metaphor.

From a storytelling perspective this is NOT a coincidence: no reasonable company invests money and resources to create this sort of content without a reason (and no reasonable company invests money and resources in a song submissively sang in a hidden location of the game, probably this piece will have more focus and importance in the next parts of Remake when the promise will be brought up again - who knows, maybe at Gold Saucer?).

2. The original Japanese lyrics are different from the English translation (hence: it's not about love)

(Source)

The English version is undoubtly romantic and includes the words "True love", while the Japanese version doesn't. I'd like to point out a couple of considerations:

Whether you take the English version or the Japanese one, they're both romantic. It really doesn't seem to me that the original version sounds like a man singing for his sister or his mother. The romantic subtext is in both songs, and it's no wonder: the fact that Cloud was in love with Tifa at the time of the promise is history, more likely the addition of the "True love" part could be made in order to convince the most relunctant part of the western fandom about this subject.

This is a "Enka" song, a popular Japanese music genre that bears some resemblance with blues (for this reason, "Midgar Blues"). This genre is a form of sentimental ballad: enka songs usually express strong emotions, especially love.

This is more a personal opinion about localization from the perspective of someone who's not a native english speaker. I've read many harsh comments about the English localization of the Remake. Especially when it comes to LTD I've seen people from both sides of the fence complaining the translators to be biased CA or CT fans. Fact is that if the complain comes from both sides probably they're not the first nor the second, they're just...translators. I'm not a translator but I speak many languages and it happenes to me to watch and rewatch movies both in English and in my native language. You'll never find a literal word-by-word translation, ESPECIALLY when it comes to songs. Because it wouldn't work. A good localization has to follow the pace of the lip-sync, has to create rhythm, rhymes and lyricism when it comes to poems and songs, it has to convey the right feeling before the right word, it has to take into account the cultural differences from the country of origin of the movie/song and the receiving audience (in this case Japanese people tend to be more descreet and less explicit than western people when talking about love), and much more. With this I'm not saying everyting in the localization is perfect, I don't speak a word of Japanese so I can't make a comparison myself, but just remember that the devs DO speak English. They speak it well enough to notice the difference between the two texts of the song and if they authorized it (I doubt nobody bothered to double check the international scripts of one of the most important products of this company)...it just means that they agree.

In conclusion, yes, it's a love song about the promise and no, it's NOT a coincidence.