Findings Concerning the Chrono Trigger Mobile Re-Release

After the Nintendo Dual Screen (NDS) iteration, a period of three years passed before the mobile re-release of Chrono Trigger entered Japanese, North American, and European markets on i-mode, Apple App Store, and Google Play distribution services. In its wake, three other North American localizations — the Super Nintendo Entertainment System (SNES), PlayStation (PS), and NDS iterations — articulated Japanese cultural material overseas, exposing generation after generation of gamers to the video game experience that is Chrono Trigger. This latest version was no different, enhancing accessibility of quasi-original Japanese content to smartphone and tablet users. This newest rendition promised the inclusion of extra NDS game content, bundling “The Dimensional Vortex” and “The Lost Sanctum,” along with the full game, into a touch-screen control environment. The partial retranslation featured in the NDS re-release was also utilized, as opposed to the SNES script — which is arguably less authentic in its nature (see SNES Findings and NDS Findings). In addition, it was not convenient to carry over the PS anime style cutscenes that were further embedded into the NDS re-release, as such, the mobile version lost a part of the anime aesthetic that once embellished Chrono Trigger (see PS Anime Aesthetic and PS Cutscenes).

Less encouraging, however, are the problems that arise from mobile technologies — in this instance, operating system updates (which may cause potential bugs), the prevalence of unsupported device models, and digital rights management efforts (particularly witnessed on Android devices). These impediments are equally bothersome between the Japanese and North American localizations, hurting accessibility to Chrono Trigger in the long run.

After the Nintendo Dual Screen (NDS) iteration, a period of three years passed before the mobile re-release of Chrono Trigger entered Japanese, North American, and European markets on i-mode, Apple App Store, and Google Play distribution services. In its wake, three other North American localizations — the Super Nintendo Entertainment System (SNES), PlayStation (PS), and NDS iterations — articulated Japanese cultural material overseas, exposing generation after generation of gamers to the video game experience that is Chrono Trigger. This latest version was no different, enhancing accessibility of quasi-original Japanese content to smartphone and tablet users. This newest rendition promised the inclusion of extra NDS game content, bundling “The Dimensional Vortex” and “The Lost Sanctum,” along with the full game, into a touch-screen control environment. The partial retranslation featured in the NDS re-release was also utilized, as opposed to the SNES script — which is arguably less authentic in its nature (see SNES Findings and NDS Findings). In addition, it was not convenient to carry over the PS anime style cutscenes that were further embedded into the NDS re-release, as such, the mobile version lost a part of the anime aesthetic that once embellished Chrono Trigger (see PS Anime Aesthetic and PS Cutscenes).

Less encouraging, however, are the problems that arise from mobile technologies — in this instance, operating system updates (which may cause potential bugs), the prevalence of unsupported device models, and digital rights management efforts (particularly witnessed on Android devices). These impediments are equally bothersome between the Japanese and North American localizations, hurting accessibility to Chrono Trigger in the long run.

After the Nintendo Dual Screen (NDS) iteration, a period of three years passed before the mobile re-release of Chrono Trigger entered Japanese, North American, and European markets on i-mode, Apple App Store, and Google Play distribution services. In its wake, three other North American localizations — the Super Nintendo Entertainment System (SNES), PlayStation (PS), and NDS iterations — articulated Japanese cultural material overseas, exposing generation after generation of gamers to the video game experience that is Chrono Trigger. This latest version was no different, enhancing accessibility of quasi-original Japanese content to smartphone and tablet users. This newest rendition promised the inclusion of extra NDS game content, bundling “The Dimensional Vortex” and “The Lost Sanctum,” along with the full game, into a touch-screen control environment. The partial retranslation featured in the NDS re-release was also utilized, as opposed to the SNES script — which is arguably less authentic in its nature (see SNES Findings and NDS Findings). In addition, it was not convenient to carry over the PS anime style cutscenes that were further embedded into the NDS re-release, as such, the mobile version lost a part of the anime aesthetic that once embellished Chrono Trigger (see PS Anime Aesthetic and PS Cutscenes).

Less encouraging, however, are the problems that arise from mobile technologies — in this instance, operating system updates (which may cause potential bugs), the prevalence of unsupported device models, and digital rights management efforts (particularly witnessed on Android devices). These impediments are equally bothersome between the Japanese and North American localizations, hurting accessibility to Chrono Trigger in the long run.

After the Nintendo Dual Screen (NDS) iteration, a period of three years passed before the mobile re-release of Chrono Trigger entered Japanese, North American, and European markets on i-mode, Apple App Store, and Google Play distribution services. In its wake, three other North American localizations — the Super Nintendo Entertainment System (SNES), PlayStation (PS), and NDS iterations — articulated Japanese cultural material overseas, exposing generation after generation of gamers to the video game experience that is Chrono Trigger. This latest version was no different, enhancing accessibility of quasi-original Japanese content to smartphone and tablet users. This newest rendition promised the inclusion of extra NDS game content, bundling “The Dimensional Vortex” and “The Lost Sanctum,” along with the full game, into a touch-screen control environment. The partial retranslation featured in the NDS re-release was also utilized, as opposed to the SNES script — which is arguably less authentic in its nature (see SNES Findings and NDS Findings). In addition, it was not convenient to carry over the PS anime style cutscenes that were further embedded into the NDS re-release, as such, the mobile version lost a part of the anime aesthetic that once embellished Chrono Trigger (see PS Anime Aesthetic and PS Cutscenes).

Less encouraging, however, are the problems that arise from mobile technologies — in this instance, operating system updates (which may cause potential bugs), the prevalence of unsupported device models, and digital rights management efforts (particularly witnessed on Android devices). These impediments are equally bothersome between the Japanese and North American localizations, hurting accessibility to Chrono Trigger in the long run.
 

After the Nintendo Dual Screen iteration, a period of three years passed before the mobile re-release of Chrono Trigger entered Japanese, North American, and European markets on i-mode, Apple App Store, and Google Play distribution services. In its wake, three other North American localizations -- the Super Nintendo Entertainment System (SNES), PlayStation (PS), and Nintendo Dual Screen (NDS) iterations -- articulated Japanese cultural material overseas, exposing generation after generation of gamers to the video game experience that is Chrono Trigger. This latest version was no different, enhancing accessibility of quasi-original Japanese content to smartphone and tablet users. This newest rendition promised the inclusion of extra NDS game content, bundling “The Dimensional Vortex” and “The Lost Sanctum,” along with the full game, into a touch-screen control environment. The partial retranslation featured in the NDS re-release was also utilized, as opposed to the SNES script -- which is arguably less authentic in its nature (see SNES Findings and NDS Findings). In addition, it was not convenient to carry over the PS anime style cutscenes that were further embedded into the NDS re-release, as such, the mobile version lost a part of the anime aesthetic that once embellished Chrono Trigger (see PS Anime Aesthetic and PS Cutscenes).

Less encouraging, however, are the problems that arise from mobile technologies -- in this instance, operating system updates (which may cause potential bugs), the prevalence of unsupported device models, and digital rights management efforts (particularly witnessed on Android devices). These impediments are equally bothersome between the Japanese and North American localizations, hurting accessibility to Chrono Trigger in the long run.
 

In staying true to the original Chrono Trigger cultural artifact, this re-release (which came bundled with Final Fantasy IV in North America) preserved nearly all of the characteristics already present from the original work, regardless of localization. Because of this, gamer communities in North America experienced Japanese culture in virtually the same way that players did six years prior, as they were influenced by Ted Woolsey’s translation, the strict censorship imposed by Nintendo of America, as well as the Japanese cultural themes that managed to be preserved (be they metaphorical or substantial).

However, with the passing of time came the extra space afforded by compact disks, ultimately allowing the introduction of new supportive content in the form of anime style cutscenes and an “Extras” feature. These contemporary additions enhanced the narrative structure of Chrono Trigger, reinforcing scenes and characters appreciated by gamers, as well as granting these players the ability to view their progress by amassing unlockable content. In the end, these qualities were faithfully adapted from the Japanese PlayStation (PS) re-release to the North American iteration, articulating new cultural material in an authentic light.

In this section of Pathfinders, we offer two critical essays about Bill Bly's We Descend.  The first is Grigar's essay, "We All Descend," about the use of metaphor in the story.  The second is Bly's own statement, reprinted from Authoring Software, about the novel that includes information about the story, the history of it development, and technical information.