Cultural Context
Thanks to advances in technology, more English characters of dialogue could be stored in the Nintendo Dual Screen (NDS) device, and thus added context where it had once been lost. Language appeared more formal and less abrupt, while certain scenes, once confusing or unclear because of mistranslation, were embellished with further instruction, being properly expressed to players after so many years. By its very nature, this revision gave players new insight and accuracy into characters’ personalities, as well as imbued more emotion and closure throughout the narrative. Below are some major examples of these changes found in the retranslation.
First and foremost, language in this revised script had an air of formality never before witnessed in Chrono Trigger. When comparing the two English scripts, it is noticeable that various lines were originally much more brief and to the point, limited to the amount of characters that could be employed for the video game to run properly. In other instances, vocabulary usage was altered to largely more formal or colorful versions of previous terms, much like in this scene, where Melchoir discusses the nature of Dreamstone:
ボッシュ「今じゃどこにもなかろう。 昔は金よりも、ねうちがあった赤く輝く石なのじゃが。 もう、はるか昔じゃよ。 気の遠くなるほどのな……
The words “gold” and “valued,” from the NDS script, replace the less descriptive and formal words, “money” and “used.” This makes this line of dialogue nearly identical to the literal Japanese meaning of the passage, while also imbuing itself with a unique and distinct quality, much like the following moment where Lucca describes her dislike of frogs:
ルッカ「ガ……、ガマンしていっしょに行きましょう！ あなた、お名前は？
Here, the NDS script detaches itself from the original Japanese script by adding extra descriptors to Lucca’s speech. This is a trend that occurs in the following scenario as well:
魔王「いつかのカエルか……。 どうだ、その後の人生は？
Again, by substituting ordinary words like “form,” “enjoy,” and “lately” with more colorful equivalents, this event is inherently different across the various iterations. This area, in particular, was once mistranslated (see SNES Mistranslations). Now, the NDS script has cleared these errors in translation, repainting Magus in a more sinister form — a portrayal that was first depicted in the Japanese rendition. By returning to the original Japanese text through the added lines, “this form has been a blessing in disguise” and “let us hope no others interfere this time,” emotional context and meaning ingrained before the North American Super Nintendo Entertainment System (SNES) localization is reintroduced, influencing players and their perceptions of the scene between the two characters. Contextual information is also restored in this next scene, as a young adult talks to Crono about the Kingdom of Guardia and its history:
エヘヘ、ボク知ってるよ。 何びゃく年か昔、魔王軍と すごい戦いがあったんだって。 もしその戦いに負けてたら今こんなお祭りはなかったって うちのママが言ってたよ。
Chiefly, the word “Fiendlord” is innately more malevolent and imposing, as opposed to the SNES’s “Wizard.” This revised term, along with “fiend” (which once was “mystic”), make these enemies appear even more dangerous. By not mentioning the word “army,” the SNES script underplays Magus’ power; he commands a huge force, but this is never understood until much later on — fortunately, the revised script mends this issue. Furthermore, by reintroducing the line, “my mom said if we’d lost, we wouldn’t be having a fair like this today,” a deeper contextual understanding of the Chrono Trigger universe is initiated, as gamers digest the fact that this force was threatening the existence of future generations. This is very representative of the flashback between Cyrus and Glenn:
サイラス「グレン、男はな、立ち向かって行かなきゃいけない時もあるんだぞ。
The SNES localization refrained from indicating the fact that Glenn is both upset about getting hurt and worried about hurting others. Due to this mistranslation, Glenn is not seen as a caring individual, in fact, he may be perceived as a weaker character. Slattery’s retranslation ameliorates this by explicitly stating, “I cannot hurt another. No… Not even them.” This decision reframes Glenn, influencing players’ thoughts and feelings concerning him. This phenomenon is quite akin to the exchange that transpires between Tata and his father:
タータの父「ったく、こんなこったろうと思ったぜ……。 父ちゃん、情けなくってなみだ出てくらあ！
When comparing the Japanese and first North American localization, it is clear that the latter depicts the father and son’s conversation in a harsher light. Their dialogue is imbued with extra tension, thanks to the use of added exclamation marks and capital-casing, not to mention words like “scoundrel” and “sham.” When the NDS script reverts back to the original wording of the scene, Tata’s father appears more loving, since he is portrayed as passive, yet still dismayed. Interestingly though, this new retranslation also added in the following remark, “I should have been looking out for m’boy.” This added context gives this relationship more complexity, as well as shows that Tata’s father cares deeply about his son. Though this enhances a player’s knowledge, this new line (not found in the Japanese text) also makes this iteration a less authentic form of the original, whether it be ideal or not. On more occasions however, the opposite of this would occur — here, Robo is imbued with another line, but this time, it was originally lost during the first localization effort:
ロボ「気を落とさないでクダサイ。
Once more, without this line of dialogue, gamers would not fully comprehend how much Robo cares for Lucca. This ultimately strengthens emotional context, impacting the rest of the narrative in the eyes of the player. Even so, the NDS script was distinct from the Japanese script, sometimes missing important contextual information:マール「それでもいい！ 私のためにクロノがつかまっちゃうこの時代よりは！
Here, Marle’s true reason for leaving is lost and may affect the way players view her as a character, detaching her from her original portrayal. The preserved, “who cares” also adds to this new interpretation. This is very reminiscent of Azala’s new dialogue as Ayla speaks to “her”:
エイラ「アザーラわすれない……
It is clear that in the original Japanese script, Azala cannot utter the rest of “his” thoughts. This leaves the last line open to interpretation. Ted Woolsey (who worked as translator for the SNES script) reworked this ambiguity into, “we… have no future,” as opposed to Slattery, who decided to recreate Azala in a less pessimistic light, “take care… of this world.” By reforming this line, Slattery impacted gamers in their ultimate judgement of Azala. Instead of leaving Azala as an ambiguous character, this decision revealed that Azala actually cared about the world “she” lived in and that she trusted Ayla in saving the planet.
First and foremost, language in this revised script had an air of formality never before witnessed in Chrono Trigger. When comparing the two English scripts, it is noticeable that various lines were originally much more brief and to the point, limited to the amount of characters that could be employed for the video game to run properly. In other instances, vocabulary usage was altered to largely more formal or colorful versions of previous terms, much like in this scene, where Melchoir discusses the nature of Dreamstone:
Melchior: It's nowhere to be found anymore. It was a glittering red stone, once valued even more than gold.
Unfortunately, that was long, long ago. Longer even than you could imagine…
ボッシュ「今じゃどこにもなかろう。 昔は金よりも、ねうちがあった赤く輝く石なのじゃが。 もう、はるか昔じゃよ。 気の遠くなるほどのな……
Bosch: I doubt it's around any more. It's a red shining stone that long ago had more value than even gold. That's far in the past now. So far the mind boggles...
MELCHIOR: You can't find it anymore. It was a red stone that was once used as money. Unfortunately, it hasn't been available for a very long time.
The words “gold” and “valued,” from the NDS script, replace the less descriptive and formal words, “money” and “used.” This makes this line of dialogue nearly identical to the literal Japanese meaning of the passage, while also imbuing itself with a unique and distinct quality, much like the following moment where Lucca describes her dislike of frogs:
Lucca: Right. I guess I'll just have to get over my…my aversions to slimy—err, moist-skinned-creatures.
So, what's your name?
ルッカ「ガ……、ガマンしていっしょに行きましょう！ あなた、お名前は？
Lucca: L... let's put up with it, and go together! What's your name?
Lucca: I'll just have to handle it! I mean...deal with...him! What's your name?
Here, the NDS script detaches itself from the original Japanese script by adding extra descriptors to Lucca’s speech. This is a trend that occurs in the following scenario as well:
Magus: Ah, that frog of so many days ago. How have you fared since we last met?
Frog: Well enough. I owe you my gratitude. This form has been a blessing in disguise. Without it…
Frog: There are things I'd never have obtained!
Magus: Ah, the Masamune… Then you've come for me. Let us hope no others interfere this time.
魔王「いつかのカエルか……。 どうだ、その後の人生は？
Magus: The frog from that one time...? How's your life been since then?
Magus: I...it's that stupid frog! Kissed any princesses lately?!
カエル「かんしゃしているぜ。 こんな姿だからこそ……
Frog: I'm grateful. It's BECAUSE of such a form...
Frog: I rather enjoy this form. And I oweth it all to you!
カエル「手に入れた物もある！
Frog: That I have what I've got!
Frog: I have something for you!
魔王「ほう……。 きさまがグランドリオンを……。 だが今度は他の者達が、足手まといにならねばいいがな。
Magus: Oh...? You have the Grandleon... But this time, it would be for the best if those not involved don't get in the way.
Magus: Ah...! The Masamune!!! I bet you're just dying to use it!
Again, by substituting ordinary words like “form,” “enjoy,” and “lately” with more colorful equivalents, this event is inherently different across the various iterations. This area, in particular, was once mistranslated (see SNES Mistranslations). Now, the NDS script has cleared these errors in translation, repainting Magus in a more sinister form — a portrayal that was first depicted in the Japanese rendition. By returning to the original Japanese text through the added lines, “this form has been a blessing in disguise” and “let us hope no others interfere this time,” emotional context and meaning ingrained before the North American Super Nintendo Entertainment System (SNES) localization is reintroduced, influencing players and their perceptions of the scene between the two characters. Contextual information is also restored in this next scene, as a young adult talks to Crono about the Kingdom of Guardia and its history:
There was a big war hundreds of years ago against the Fiendlord’s armies.
My mom said if we’d lost, we wouldn’t be having a fair like this today!
エヘヘ、ボク知ってるよ。 何びゃく年か昔、魔王軍と すごい戦いがあったんだって。 もしその戦いに負けてたら今こんなお祭りはなかったって うちのママが言ってたよ。
Eh heh heh, I know about it. I heard there was an awesome battle with the Magus's army hundreds of years ago.
My mom says if we'd lost that battle, there wouldn't be a festival like this now. What's the big deal? So what if we won a war against a Wizard hundreds of years ago!
Chiefly, the word “Fiendlord” is innately more malevolent and imposing, as opposed to the SNES’s “Wizard.” This revised term, along with “fiend” (which once was “mystic”), make these enemies appear even more dangerous. By not mentioning the word “army,” the SNES script underplays Magus’ power; he commands a huge force, but this is never understood until much later on — fortunately, the revised script mends this issue. Furthermore, by reintroducing the line, “my mom said if we’d lost, we wouldn’t be having a fair like this today,” a deeper contextual understanding of the Chrono Trigger universe is initiated, as gamers digest the fact that this force was threatening the existence of future generations. This is very representative of the flashback between Cyrus and Glenn:
Cyrus: Glenn, there are times when a man must stand and face the things that trouble him.
Glenn: But…it hurts to be hit. I cannot hurt another. No…not even them.
Cyrus: You're too soft, Glenn.
サイラス「グレン、男はな、立ち向かって行かなきゃいけない時もあるんだぞ。
Cyrus: Look, Glenn, a man's got times when he has to fight back, too.
CYRUS: Glenn, there're times when people simply have to grit their teeth!
グレン「でも……、ぶたれたらイタイよ。 アイツらだって……
Glenn: But... getting hit hurts. Even for them...
GLENN: But...it hurts when I get hit. They...
サイラス「優しすぎるよ、グレンは……。
Cyrus: You're too gentle, Glenn...
CYRUS: You're a marshmallow, Glenn...
The SNES localization refrained from indicating the fact that Glenn is both upset about getting hurt and worried about hurting others. Due to this mistranslation, Glenn is not seen as a caring individual, in fact, he may be perceived as a weaker character. Slattery’s retranslation ameliorates this by explicitly stating, “I cannot hurt another. No… Not even them.” This decision reframes Glenn, influencing players’ thoughts and feelings concerning him. This phenomenon is quite akin to the exchange that transpires between Tata and his father:
Tata's Father: Oh, what was I thinking? I knew it'd turn out to be something like this! I ought've seen it sooner.
Oh, letting myself get all swept up when I should have been looking out for m’boy!
Well, from now on, I’ll make sure both of our feet stay on the ground. For his dear departed mum’s sake.
Tata: Hmph, listen to him! And who does he think was going around bragging to everyone he’d raised the Hero?
タータの父「ったく、こんなこったろうと思ったぜ……。 父ちゃん、情けなくってなみだ出てくらあ！
Tarta's Father: Jeez, I thought it might be something like this... Your father's ashamed to the point of tears!
TATA'S FATHER: Scoundrel! I knew this was all a sham!
いやあ、せがれが勇者だってんで まい上がっちまって、おはずかしい。 死んだかかあのためにも、俺もせがれも 地道に生きますよ。
Oh, I'm so embarrassed to have been caught up thinking my son was the hero. For the sake of my dead wife, both I and my son will live with our feet on the ground.
How could I have fallen for that? For my dear departed wife's sake, I vow to keep my feet on the ground!
タータ「父ちゃんだって、俺も勇者を育てた親父かって、ハナたかだかだったクセにさ……！
Tarta: This even though YOU'RE the one who was all boasting about, "I'm the dad who raised the hero"...!
TATA: Listen to YOU! Who was going around telling everyone that you raised a Hero, huh?!
When comparing the Japanese and first North American localization, it is clear that the latter depicts the father and son’s conversation in a harsher light. Their dialogue is imbued with extra tension, thanks to the use of added exclamation marks and capital-casing, not to mention words like “scoundrel” and “sham.” When the NDS script reverts back to the original wording of the scene, Tata’s father appears more loving, since he is portrayed as passive, yet still dismayed. Interestingly though, this new retranslation also added in the following remark, “I should have been looking out for m’boy.” This added context gives this relationship more complexity, as well as shows that Tata’s father cares deeply about his son. Though this enhances a player’s knowledge, this new line (not found in the Japanese text) also makes this iteration a less authentic form of the original, whether it be ideal or not. On more occasions however, the opposite of this would occur — here, Robo is imbued with another line, but this time, it was originally lost during the first localization effort:
Robo: Please do not be sad, Lucca.
ロボ「気を落とさないでクダサイ。
Robo: PLEASE do not be depressed.
Robo: *no line*
Once more, without this line of dialogue, gamers would not fully comprehend how much Robo cares for Lucca. This ultimately strengthens emotional context, impacting the rest of the narrative in the eyes of the player. Even so, the NDS script was distinct from the Japanese script, sometimes missing important contextual information:
Marle: Who cares? Anywhere’s better than here!
マール「それでもいい！ 私のためにクロノがつかまっちゃうこの時代よりは！
Marle: That's still fine! Better than this era where Crono was arrested because of me!
Marle: Who cares?! This place stinks anyway!
Here, Marle’s true reason for leaving is lost and may affect the way players view her as a character, detaching her from her original portrayal. The preserved, “who cares” also adds to this new interpretation. This is very reminiscent of Azala’s new dialogue as Ayla speaks to “her”:
Ayla: Azala… Ayla not forget.
Azala: Take…
Ayla: Take? What take?
Azala: Take care…of this world.
エイラ「アザーラわすれない……
Ayla: Azarla I not forget...
Ayla: Azala... ...me not forget...
アザーラ「未来……
Azarla: Future...
AZALA: The future...
エイラ「未来？ 未来がどうした？
Ayla: Future? What about future?
Ayla: Future? What about future?
アザーラ「未来を……
Azarla: The future...
AZALA: We...have no future...
It is clear that in the original Japanese script, Azala cannot utter the rest of “his” thoughts. This leaves the last line open to interpretation. Ted Woolsey (who worked as translator for the SNES script) reworked this ambiguity into, “we… have no future,” as opposed to Slattery, who decided to recreate Azala in a less pessimistic light, “take care… of this world.” By reforming this line, Slattery impacted gamers in their ultimate judgement of Azala. Instead of leaving Azala as an ambiguous character, this decision revealed that Azala actually cared about the world “she” lived in and that she trusted Ayla in saving the planet.
Along with altering context — either harkening back to the original or taking a step into less authentic territory — Slattery was also influential in reintroducing contextual clues and hints that were previously lost. These restorations advised players on their quest, and ultimately assisted them, more so, than exhibited in the previous localization. One of these instances, is during the Sunstone sidequest:
ハイパーほしにく？ ああ、遠い祖先が作ったらしいけど あたいはレシピがわかんないねえ。 今じゃパレポリの名物になってるよ。
By remarking that the spiced jerky is “quite popular in Porre,” the player is automatically placed on the right path towards their objective. It also reflects the Japanese script, which offered up a clue as well, unlike the SNES localization. These details save players from confusion and frustration. Another example that came with a lot of confusion and speculation, is the scene in which you speak with the “Old Man” about advancing your quest:
老人「自分の時代の事ならお前さん達の中にも知っている者がおるじゃろう。聞いてみるがいい……。
This line once confused players, to the point that, that Nintendo ultimately fabricated an incorrect answer, pointing to Lara, Lucca’s mother, as the individual in need of help. This was mended by the NDS script, where it is now clear that the “Old Man” advises you to speak to your friends for further instruction.
Spiced jerky? Yes, it’s an old family recipe, but one I’m afraid I don’t have.
I hear it’s quite popular in Porre these days.
ハイパーほしにく？ ああ、遠い祖先が作ったらしいけど あたいはレシピがわかんないねえ。 今じゃパレポリの名物になってるよ。
Hyper Jerky? Oh right, I hear a distant ancestor made it, but I don't know the recipe. It's Palepoli's specialty now.
Jerky? Seems one of his ancestors first made it, but I don't know the recipe.
By remarking that the spiced jerky is “quite popular in Porre,” the player is automatically placed on the right path towards their objective. It also reflects the Japanese script, which offered up a clue as well, unlike the SNES localization. These details save players from confusion and frustration. Another example that came with a lot of confusion and speculation, is the scene in which you speak with the “Old Man” about advancing your quest:
Old Man: Speak to your companions. Some among you may well know the figures behind the events which I have seen.
老人「自分の時代の事ならお前さん達の中にも知っている者がおるじゃろう。聞いてみるがいい……。
Old Man: I expect that there are those among you, as well, who know things concerning their own eras. You should try asking...
OLD MAN: One of you is close to someone who needs help... Find this person...fast.
This line once confused players, to the point that, that Nintendo ultimately fabricated an incorrect answer, pointing to Lara, Lucca’s mother, as the individual in need of help. This was mended by the NDS script, where it is now clear that the “Old Man” advises you to speak to your friends for further instruction.
In regards to the instances above, Slattery’s retranslation, although partial and at some points distinct in its nature, indeed recontextualized the experience of playing Chrono Trigger. Due to extra storage capacity, more language was included with this localization — which further described, instructed, and fleshed out the narrative. Because of this, players witnessed a more conclusive and context-rich environment, not to mention, a user-friendly one as well. And it was due to this that Japanese cultural context was enhanced, yet uniquely catered to North American gaming communities in the form of the NDS script.