Let's Play Every Final Fantasy Game In Order Of Release [Now Finished: Final Fantasy Tactics]

My favorite part of the whole Remake might be where Aerith and Cloud walk along the rooftops after the church. Their back-and-forth is beautiful and iconic meet-cute. After that, Cloud might be trying to ditch her, but I'm on Team Aerith for life.
I forgot how Aerith behaved in the years since I played FF7. She's quite the sneaky girl, manipulating Cloud into being her bodyguard multiple times, heh.
I think the FF7-related side games and media mostly also forget Aerith is like this. In games like Kingdom Hearts or in Advent Children, she's a lot more, I dunno, Friend Of All The World? Mischievous, sometimes, but the energy is different. Here she's more of a cute street-rat with Cloud swiftly wrapped around her dainty digits so well that it almost seems like she's the protagonist instead.
 
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Aerith's change in energy to me makes a sort of…Emotional sense?
Like Aerith can't show up and be a gremlin or rope someone into a what is Obviously A Bad Idea, but she can inspire them to continue to fight on Dulcinea-style. Tie-in her Limit break being a healing power, her association with flowers and thus life, whatever that 'Ancient' thingy turns out to be…And you have the recipe for someone remembered as a friend to all/Saintess where the original was decidedly a bit more selfish than that, at least in practice.
 
Aerith's name in Japanese doesn't use either -s or -th, obviously; it uses a phoneme that could be transliterated as either. Old translations made the reasonable decision to make it Aeris, but later official material in Japanese make it 'Aerith,' so that became standard across all material referencing that character. As I am familiar mostly with such later translations, 'Aeris' has a kind of uncanny valley feel to it, so I'm going to use the opportunity given by the game to change it to Aerith.
It's fascinating that in a game full of the original translator making some real leaps of fancy in transcribing/translating names, Square Enix and the original creative team have mostly stuck with pretty much every single one. Even the Remake, which has a pretty iconoclastic translation for enemy names and so on, is pretty faithful in terms of name transcription to that poor guy on a two week crunch to translate a massive game alone via spreadsheets without being able to properly review the context.

Except for Aeris. That's the one where they really put their foot down, as I alluded to earlier. I guess they consider her name being a proximal homophone to "Earth" to be pretty essential to her character/the game's themes.

The Shinra security guys address the newcomer as "Reno"
And speaking of transcription debates... the retranslation's guides are very keen to assert (it's a footnote everywhere) that he should be "Leno" based on that being Latin for "pimp" and/or "seducer." Again, it's nitpicking, and "Reno" seems pretty reasonable to me just for the mob associations the name conjures up more naturally.

That's the only original vs. retranslation note I have for this update, since there's no enemies that have been changed at all in this area.

The Turks. Why did they call them that, of all things? It's literally a nationality! Like, why would you call your quirky miniboss squad in a fantasy setting "the French"??? If they were robots I might think it's an allusion to the Mechanical Turk. Or maybe it's a weirdly oblique to the Janissaries? Or to the Young Turks (the historical ones, not the podcast people)? I have no idea.
There's no officially confirmed reasoning, and I think there might be fairly obvious reasons for Square Enix to be tight-lipped about it and just try to let it slide through as part of the canon without comment. The best guess I've seen is that "Turk" was often used in very archaic literary examples as a byword for a thug or particularly ruthless and violent person. It's the explanation that seems to fit the most with how the word is used and the characterization of the group/their reputation among the citizenry, but it obviously raises the question of where the fuck the writers read it and decided it was perfect for a very modern fantasy game.

As a more gameplay-related change, in the Remake Aerith's basic combat style involves casting magic darts from her staff at people; she is seemingly able to perform magic unaided without a materia, whereas the original has her, consistent with what's been established about this world, just hitting people in the face with said staff.
Her dummied out class in the original game's files was "Geomancer", by the way, which to me conjures the really interesting image of her fighting primarily by... well, manipulating the environment. That... doesn't quite work with the standard Materia/magic system and abandoning that to make her an ARPG-standard ranged spellcaster is okay, but I can't help but wonder "what could have been" there.
 
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There's no officially confirmed reasoning, and I think there might be fairly obvious reasons for Square Enix to be tight-lipped about it and just try to let it slide through as part of the canon without comment. The best guess I've seen is that "Turk" was often used in very archaic literary examples as a byword for a thug or particularly ruthless and violent person. It's the explanation that seems to fit the most with how the word is used and the characterization of the group/their reputation among the citizenry, but it obviously raises the question of where the fuck the writers read it and decided it was perfect for a very modern fantasy game.
Maybe the same sketchy English-Japanese dictionary Miyamoto pulled "Donkey Kong" from.
 
"Sis" is a weird choice of word there, which makes me wonder if this guy already knows Aerith personally, which doesn't seem to be the case from what happens later. I do appreciate the "IS THIS GUY BOTHERING YOU QUEEN" energy though.

I'm guessing since I don't know the original Japanese script, but this is probably "Nee-san", which does translate directly into a casual "big sister". But in context, it's used to politely yet casually address any young woman, or at least any woman who you want to imply is young enough. Kind of like "Miss".

I think the male equivalent ("Nii-san") would be be more familiar in English, as we're used to "bro" to call anyone from friends to strangers. Reno speaks in a very stereotypical gangster way, like a low-ranking movie Yakuza, so it makes sense that he'd use this kind of slang.

The other possibility is "aneki", which is a much more casual/rougher way of saying "big sister", but that's usually used for people you respect greatly. For a FFXIV example, Runar calls Y'shtola this, and in context would be translated as "boss lady". So probably not what Reno was going for.


One issue I have with Midgar in gameplay is that due to the lower city slums all looking like slums, they also all pretty much look the same aesthetically. Which means I can't keep track of which areas are in which sectors.

So this screenshot kind of illustrates my confusion: there's a big "7" on the doors, which implies it's the exit/entrance to Sector 7, but I can't actually recall if we're in Sector 7 and need to make a big detour to reach Seventh Heaven also in Sector 7. I don't think we are, and my impression is we're in Sector 5, but then the door has a big "7"...

There's also a Cover Materia in the flower beds, which is our first 'skill' Materia filling the role of the Relics and Job Commands of old, allowing Cloud to take hits for someone else.

Between the random Cover materia and the random item (Potion?), I'm wondering if this is a sign that even in the bright spots of Midgar's lower city, where life blooms despite everything, there will still be people littering in the flowerbeds.

Cloud: "Well, I don't know… Getting help from a girl…"
Aerith: "A girl!! What do you mean by that!?"
Aerith: "You expect me to just sit by quietly after hearing you say something like that!?"
Aerith: "Mom! I'm taking Cloud to Sector 7. I'll be back in a while."
Elmyra: "But dear… I give up. You never listen once you've made up your mind."
Elmyra: "But if you must go, why don't you go tomorrow? It's getting late now."
Aerith: "Yeah, you're right, mom."
Elmyra: "Aerith, please go make the bed."

Something that doesn't involve the content of this exchange as such, but more the presentation:

One major change in the move to 3D with FFVII I've noticed is how dialogue boxes can now be placed all around the screen rather than just at the top or bottom.

Which leads to a lot of shorter dialogue text, compared to the long sentences or paragraphs of previous Final Fantasy games. Since the dialogue boxes aren't taking up a whole third of the screen, I get the impression the devs needed to split up even moderately long text into multiple boxes, and try to shorten text anyway, just to keep it readable on screen resolutions of the day while not covering up too much of the screen.

The net effect is shorter, snappier dialogue, and more back-and-forth between characters, rather than one character expounding at length, and another character responding at length. I think it sounds more "natural" to how people usually chat, but it's a bit of a change from the longer sentences of previous games.

Also there's the ability to have multiple text boxes on screen at the same time, which allows for people interrupting each other or talking over each other, like the generic Shinra troopers yelling at Reno for stepping on the flowers.
 
What the fuck.

Well we're not having any of that in this Christian thread.
There, I fixed it.

Aerith's name in Japanese doesn't use either -s or -th, obviously; it uses a phoneme that could be transliterated as either. Old translations made the reasonable decision to make it Aeris, but later official material in Japanese make it 'Aerith,' so that became standard across all material referencing that character. As I am familiar mostly with such later translations, 'Aeris' has a kind of uncanny valley feel to it, so I'm going to use the opportunity given by the game to change it to Aerith.

 
This LP is very weird for me since I never played this game but have heard a lot about it. My main experience with the game is actually through the FF7 Machinabridged that Team Four Star did. It's interesting to see the full plot and see what was changed or skipped over for comedic purposes.
 
Seriously, what's up with the Roman columns?

Someone must have rescued it from the old Sector 4 Cheesecake Factory.

... There's a giant robot hand on the ground in the tunnel, and it doesn't look to match the rest of the construction equipment around it. However, it does sort of resemble the Hell House's limbs.

Is the Hell House some sort of old Shinra warbot using a house as a hermit-crab shell? Why? What kind of robot needs to disguise as a house?

If Yoko Taro were writing this, that machine would have a whole backstory about how it was originally a prototype construction robot that accidentally killed a child when put into operation, stole their ID and ran away, and tracked down their home to find their family also dead, crawled inside the house and started gutting the wiring and piping to try and rebuild a family out of its own parts, until the day the house was threatened with demolition and it had to run away, lugging the house around as a shell and continuing it's increasingly glitchy, maddened quest to rebuild a dead family, until one day Caim Cloud showed up and killed it.

You get the story from a blade made of the machine's talon that unlocks after killing 30 more machines.
 
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Would it be possible to get the Remake comparisons in a spoiler? I hope that's not too much extra work, but I am intending on playing the FF7 Remake at some point... eventually (eyes Steam library).
 
So, awkward confession time. See this map?


25+ years ago, this map took me for-fucking ever. I had to quit playing the game at that point and go back the next time. Why? Because I couldn't figure out how to get up that cliff beside the yellow crane thing. Walking into it doesn't work, you can't walk along the crane arm like it seems to imply by angle of going "through" it. No. Instead, after hours of fighting random enemies and examining the guide and just screaming, I realized that something I can't even make out on this image, a kind of faint reddish-pinkish area against the cliff wall, was a walkway.

Ugh, I still remember how fucking infuriating that was.
 
So, awkward confession time. See this map?



25+ years ago, this map took me for-fucking ever. I had to quit playing the game at that point and go back the next time. Why? Because I couldn't figure out how to get up that cliff beside the yellow crane thing. Walking into it doesn't work, you can't walk along the crane arm like it seems to imply by angle of going "through" it. No. Instead, after hours of fighting random enemies and examining the guide and just screaming, I realized that something I can't even make out on this image, a kind of faint reddish-pinkish area against the cliff wall, was a walkway.

Ugh, I still remember how fucking infuriating that was.
They faithfully preserve this experience in the remake, by adding an hour's worth of giant mechanical hand puzzles to what used to be a tiny corridor.
 
But what's probably the more significant change is that a character whom I assume will be introduced later in the original comes in during that part of the Remake - another Turk member named Rude. I won't go into details about him since he hasn't shown up in the original yet, but I find his characterization and some details that surround him really intriguing.
Mr. Worldwide!

NOT THAT YOU WOULD KNOW IF THEY DIDN'T TELL YOU, SINCE THESE ARE STILL THOSE LOW-POLY MODELS YOU CAN'T TELL SHIT ABOUT

It's Tifa. It's Tifa in a fancy dress, standing at the back of the carriage and failing to spot Cloud and Aerith on the top of the slide. Aerith comments 'That was Tifa? She looked kind of odd…" and gets down from the slide, and then heads straight after the carriage. Cloud fruitlessly calls out to her to wait and go back home and he'll go on alone, but she doesn't listen and we have to follow right after her to the next screen, where…
Endless hilarity in the Remake version of the scene where Cloud goes full "damn that's crazy, anyway" and makes every effort to ditch Tifa despite her apparent peril because he assumes on sight that Tifa's on her own business and is capable of breaking as many femurs as she has to to get out of the situation when it's done.

This is what we call 'entrapment.'

Anyway, with Aerith having successfully thwarted yet another attempt at ditching her and put Cloud in a situation where he has no choice but to continue acting as her bodyguard, we are left to explore Wall Market for Tifa.

I love Aerith. She's witty, she's funny, she's charming and she's very clever. She obviously has baggage of her own, like every character in this story, but she's good at spinning people around and getting her way. She's cute, but the cuteness hides a very sharp person. She's a great addition to this cast.
wild how every appearance of Aerith after 7 portrayed her as a kind and solemn generic white mage type and then in Remake when she's back to acting this way people were like "wow they made Aerith quirky..."
 
It's really, really bizarre how Tifa and Aerith basically swapped personalities for a good decade or two.
Probably has to do a lot with their respective designs as "sexy bartender fistfighter " and "pink white mage" obscuring their actual characters, especially for Aerith. Tifa's kindness is maybe easier to remember because it's stereotypically feminine, but not Aerith's tomboyish sides (side note, but her practical boots are a nice and subtle way of showing that in her design).

Though while I can see why it'd happen for the general public thanks to cultural osmosis of such an iconic game, I'm still confused as to how Square Enix forgot what their characters were actually like.
 
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I have a suspicion that part of the reason people forget Aerith's mischievous, flirty streak due to something called the 'recency effect' but I'll go into that when we're further into the game. I will say I prefer her real personality, though.

The Roman columns make me think Midgar was an old, old city (or cluster of cities) with a rich multi-layered history that could be seen in its many ruins and relics, and then Shinra just bulldozed it all to build the sky death pizza.
Yeah, that's what I was going to say. It looks like the area around the church is just a dumping ground for discarded pieces of architecture that were uprooted in building the new 'megapolis ' style of the city.
 
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Aerith's name in Japanese doesn't use either -s or -th, obviously; it uses a phoneme that could be transliterated as either. Old translations made the reasonable decision to make it Aeris, but later official material in Japanese make it 'Aerith,' so that became standard across all material referencing that character. As I am familiar mostly with such later translations, 'Aeris' has a kind of uncanny valley feel to it, so I'm going to use the opportunity given by the game to change it to Aerith.
I'm the exact opposite; I played the game a lot back in the day and "Aeris" got burned into my brain enough that "Aerith" just feels wrong.

The Turks. Why did they call them that, of all things? It's literally a nationality! Like, why would you call your quirky miniboss squad in a fantasy setting "the French"??? If they were robots I might think it's an allusion to the Mechanical Turk. Or maybe it's a weirdly oblique to the Janissaries? Or to the Young Turks (the historical ones, not the podcast people)? I have no idea.
I used to fairly often hear "Young Turks" used to mean, essentially, "younger, up and coming guys" and always interpreted it that way. That they were a bunch of aspiring future members of the elite.
That's just Zalem and the Scrapyard from Battle Angel Alita, is what this whole thing is!

I'm onto you, Japanese gamedevs.
The "wealthy utopia above, the poor/working class below" idea keeps popping up in various forms. Original series Star Trek had the "Stratos city dwellers" living in a floating city exploiting the "Troglytes" living and mining below on the planet all the way back in 1969, for example. And the basic idea of "pretty paradise above, (cannibalistic) workers below" is in The Time Machine with the Eloi and Morlocks; just with the surface/underground instead.

I'm not going to speculate on VII's romantic arcs at this stage, that's not what I'm leading to here. What I'm leading to is: Cloud is attractive. Cloud is meant to be seen, in-universe and to an extent out of it, as hot. Basically every female character so far have made some kind of flirtatious comment towards him - but importantly it's not in a 'all the ladies are swooning over him' way, it's more that they're aware he's attractive and teasing him about it because he is socially awkward and reacts amusingly. And I mean, he's a twenty-something dude with boyish features but who is also fit as hell and has literally glowing eyes from Mako. It makes perfect sense people find him good-looking. But it's notable to me, because male attractiveness is not necessarily… Well handled? In media? In general?
I think some of it is an unwillingness to show non-evil women as having sex drives. The whole "Madonna/Whore" thing. None of the women flirting with him here are the villains, which makes it a bit odd especially for the time. A villainess flirting with him would be more expected, the fact that she's expressing her own sexuality exemplifying her sinfulness.

Also there are monsters which
This is a house.

This is an evil house.

I am fighting a wandering evil house.

Does anyone have any explanation for this? Anyone? Bueller?
FFVII was my first Final Fantasy, so I basically grew up with the idea that weird monsters like this that don't seem to have an explanation are just how FF games work.
 
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Probably has to do a lot with their respective designs as "sexy bartender fistfighter " and "pink white mage" obscuring their actual characters, especially for Aerith. Tifa's kindness is maybe easier to remember because it's stereotypically feminine, but not Aerith's tomboyish sides (side note, but her practical boots are a nice and subtle way of showing that in her design).
What's less subtle is her red leather jacket like she's ready to hop on Cloud's (nonexistent in this continuity) hog and go tearing off down the highway, hooting and hollering like a young hooligan.

Jessie got that beat in Remake instead.
 
I have conflicting feelings on Aerith's personality.

On one hand, it's nice to have a "take-charge" type of female character who has a strong personality, her own agenda, and a clear willingness to do what she thinks is better regardless of other people's opinion, all while not growing obnoxious or being portrayed as silly for acting this way. And she showcases these tomboy traits with traditionally feminine ones like empathy and kindness, which is novel and welcome.

On the other hand... the way she pushes herself on Cloud has always felt obnoxious to me, and it kept a light level of annoyance toward her in my mind that is difficult to properly explain. It just feels like she knows Cloud's boundaries but doesn't care about them, which, while mostly in line with the rest of her personality, and certainly not done in a malicious manner, is still something I'm left with conflicted feelings about.

It's still better than Edge or Edgar as far as "flirty member of the team who is pushy about it" go, mind - Aerith doesn't give off the desperate vibes of Edge or the predatory undertones of Edgar, at all. But she does feel like the sort of person who doesn't take "no" for an answer, and while I like her overall, I never can feel 100% comfortable with that kind of character.

Is that just me, or does anybody else feels like that about her? I'd be curious to know what everybody's take on that facet of her character is.
 
I think a lot of Aerith's pushing Cloud's boundaries is because of (spoiler through late disc 2) no, I'm not saying what it is, if you've played the game you probably know it anyway.
 
That one might be hard to answer satisfactorily.

I think that someone more positively predisposed to Aerith, at least, would say that she pushes Cloud's boundaries in a way that butts up against obnoxious, but Cloud – as an aggressively antisocial super-hobo – might need his boundaries pushed.
 
I think that someone more positively predisposed to Aerith, at least, would say that she pushes Cloud's boundaries in a way that butts up against obnoxious, but Cloud – as an aggressively antisocial super-hobo – might need his boundaries pushed.
I don't know... another game in the series has a similar dynamic going on with two characters in it (if you know, you know), but I like it there. I'm not sure if it's the writing or what else that tickle me off about it here - but it feels different, somehow.
 
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Is that just me, or does anybody else feels like that about her? I'd be curious to know what everybody's take on that facet of her character is.
Cloud right now is an armoire with aloof pretensions, of course he's gonna get pushed around. :V

But seriously, I don't know you well enough to psychoanalyze where your aversion to the Standard Willful Ingenue bit comes from, but it's a novel reaction.

What's less subtle is her red leather jacket like she's ready to hop on Cloud's (nonexistent in this continuity) hog
Please understand, they couldn't spare polys to render Cloud's baloney pony hog. Aeri[REDACTED] would definitely ride it all night long, 21st Century moefication be damned. :V
 
Aerith (the one we are seeing now, not the Advent Children et al versions) is a rather rare character archetype to see, for me anyway.
 
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