Chronicles

Gender Norms

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Version 9

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versionnumberov:versionnumber9
titledcterms:titleGender Norms
descriptiondcterms:descriptionContains information regarding the gender norms featured in the PS version of Chrono Trigger
contentsioc:content
With the introduction of animated cutscenes in the PlayStation (PS) iteration of Chrono Trigger came various changes in regard of gender norms. Certain videos emphasized character’s actions and events, portraying more evidence of gender expectations and, especially, shifts in these gender roles. Others also introduced new traditions and customs (across different eras) previously unheard of in the video game — in particular, those of marriage. These instances broaden our view of the Chrono Trigger universe, as well as perspectives on Japanese culture and their thoughts on various other cultural behaviors. As such, these cutscenes play an important role in giving players new contextual information, fleshing out already existing gender norms (see SNES Gender Norms). Ultimately, this phenomenon articulated Japanese cultural views of gender, not to mention cultural behaviors of the Western world, to North American gaming communities.

 
As mentioned in (PS Cutscenes), the videos added into the PS re-release rearticulated and reemphasized the sprite animations occurring originally within the Super Nintendo Entertainment System (SNES) version. Since the SNES was incapable of displaying full motion video, the “Dream Team” had to focus their energy on conveying Chrono Trigger’s characters and events through smaller pixelated versions of these cutscenes. Although these sprite animations would suffice for quite some time, the introduction of video ultimately enhanced the experience and reaffirmed storyline scenarios.

Most scenes involving Marle, Lucca, and Ayla asserted their unorthodox behaviors. The opening cutscene depicts all three exerting their independence or fighting against the enemy. Unlike before, Lucca is actually portrayed as she works on her Teleporter for the Millennial Fair, which further highlights her tenacity and intelligence. Later on, Ayla is depicted as courageous, as she fends off all eight Reptites instead of four.

As for Crono, Frog, Robo, and Magus, they are depicted as strong, courageous, and “macho” men, much like they are expected to act in the Chrono Trigger universe. In the opening cutscene, Crono is shown practicing his sword-fighting day and night, while Magus is portrayed as ominous and menacing as he stands on top of a cliff with his sickle. Meanwhile, Robo punches enemies that are about to hurt Lucca and Frog picks up his sword, ready to avenge his friend’s death. “Crono Falls” is notably one of the more “macho” scenes, as it portrays a kamikaze-like suicidal courage, similar to that featured in Japanese soldiers during World War II (see SNES Gender Norms).

In fact, these male characters are illustrated as more serious, since they rarely smile or show other emotions besides relief (Robo is the exception). However, Crono is the most varied in emotions, showing flavors of happiness, surprise, and desperation. It is also important to note that Crono, Frog, and Magus are never illustrated with tears of joy or sorrow. In contrast, the women of Chrono Trigger are typically joyful, even during the heat of battle — Ayla is particularly confident whenever she fights, and never actually sports a grimace during the cutscenes. Marle is also shown with tears in her eyes during the opening scenes (although this may be deduced as a reaction to pain as she is transported through time travel).

 
All of these moments featured during the videos help reinforce character personalities, but also reassert certain gender expectations and shifts that are prevalent during the narrative. These gender norms are typical throughout Japan’s history, where traditionally “men are expected to be ideal workers [and soldiers], putting the goals of the company [or army] first,”1 and women are expected to submit to male authority in three ways.
1. When young, she submits to her father.
2. When married, she submits to her husband.
3. When old, she submits to her sons.”1

However, the shifts in gender expectations featured in Chrono Trigger are also trends found in Japanese society. Today, as public perceptions of traditional gender roles shift, “married women in Japan increasingly hold part-time and full-time jobs,”1 while more Japanese men are taking to the idea of homemaking. In 2009, for the first time, “average disposable income of single women aged 29 or younger exceeded that of their male counterparts,” and with it, opinion polls track that most men in their 20s and 30s have no negative notions towards men serving as househusbands.2

Besides these correlations, the new introduction of marriage customs featured during the very last cutscene of Chrono Trigger are revealing of both the Chrono Trigger universe, as well as the notion of the traditional “white wedding,” popular in both the Western world and contemporary Japan.

 
Influenced by exposure to Western Christian ideals and traditions, Japanese society began imitating the Western style wedding.3 Starting in the 1980s, this trend grew in popularity over the traditional Shinto wedding ceremonies. In fact, they are cheaper than a traditional Shinto ceremony, not to mention that “the Western style is considered modern, exotic and more stylish. A Christian style ceremony allows the bride and groom to tap into Western culture, copying movie and soap opera weddings.”4 In truth, "Japanese Christians make up only 1% of the country, but now about 90% of weddings are in the Christian style."4 As such, the depiction of a very similar “white wedding” between Marle and Crono, is reflective of this trend and the acceptance of it. This archetypal “white wedding,” although depicting live music, a large crowd, expensive formal attire, and flowers, is actually quite unorthodox, especially considering that Chrono Trigger is mainly reminiscent of Medieval Western culture.

At the start of the scene, we see Marle and Crono walking up the aisle together, towards the altar. This was unheard of during Medieval times, and is still considered unusual. Traditionally, Crono would be waiting at the altar, and soon afterwards, Marle would be guided down the aisle with her father — alluding to a “transaction” of property — the bride from one owner to another. As opposed to this, Marle’s father is not even portrayed at any point during the wedding. Marle is also not wearing a bridal veil, which either means she is either not a virgin, or that such practices are not customary in the Kingdom of Guardia. Marle also tosses her bouquet while facing the crowd, an event which is typically performed while the bride is facing backwards (so as to indiscriminately toss the bouquet) and only in the presence of unmarried women. There is also not enough information to deduce who performed the ceremony, but presumably, this is a religious affair taking place in a church — this is noticeable at 1:46, where religious symbolism in the form of two crosses is depicted.

Although Marle and Crono’s wedding is different when compared to the Western equivalent, this depiction still emphasizes the importance of such occasions in the Kingdom of Guardia, as well as in modern day Japan, where couples employ Christian symbolism and caucasian “ministers” (many of them being unordained)5 in order to recreate the status symbol that is a “white wedding.”

 
In contrast to this ideal view of marriage, Ayla and Kino are illustrated, during the same cutscene, inside one of the tents in Ioka Village. It is here where Ayla forcibly puts a ring on Kino’s finger, at the same time holding out her ring to Kino. Kino accepts by adding this symbol of unity to Ayla’s hand, while onlookers cheer and rejoice. This event not only reveals Ayla’s and Kino’s distinct personalities, but it also portrays a scene that is not common, even in today’s society. In practice, only about 5 percent of married couples in America say the woman proposed, with the figure being no higher among couples wed within the past 10 years.6 This is also representative of Japan, where traditional practices dictate that men are expected to propose, but only after asking permission from the woman’s parents. This is then followed by an engagement ceremony “where the two families meet over dinner and the man and his family presents the girl [and her family] with a set of symbolic gifts,” as well as 「金包包/きんぽうづつみ」 kinpoudzutsumi or 「小袖料/こそでりょう」 kosoderyou, “bridal money” (it is very similar to a dowry, but instead it is paid to the woman’s family).7 As such, this marriage proposal is very unique and displays a view of marriage before its institutionalization and “genderification” — serving as a commentary on the shift in gender roles occurring today, as well as the presumption that our widely held traditions of marriage and gender expectations are true and ideal.

 
Without a doubt, the societal gender roles and shifts originally portrayed in Chrono Trigger are reaffirmed, not to mention rewritten (with the introduction of marriage and proposal themes) in the new anime style cutscenes; these elements, as well, are closely connected to the relationship between the Western world and Japan, as they influence each other through the inevitable effects of globalization. By expanding upon these elements, the PS iteration of Chrono Trigger depicted Japanese gender norms and views of marriage (informed by Western beliefs) and articulated these notions to Western gaming audiences with the subsequent North American localization.

Works Cited:

[1] Kincaid, Chris. "Gender Roles of Women in Modern Japan." Japan Powered. Japan Powered, 22 June 2014. Web. 31 July 2015.

[2] Obara, Sawako. "More Men Turning to Homemaking: Job Burnout, Better Pay for Women Help Push Trend." The Japan Times. The Japan Times, 17 Feb. 2011. Web. 31 July 2015.

[3] "Western Style Weddings in Japan." World Public Library. World Public Library, n.d. Web. 31 July 2015.

[4] "Faking It as a Priest in Japan." BBC News. BBC, 02 Nov. 2006. Web. 31 July 2015.

[5] Mullins, Lisa, and Sam Harnet. "Popularity of Western-Style Weddings in Japan Creates Demand for White Officiants." Public Radio International. Public Radio International, 26 Dec. 2012. Web. 31 July 2015.

[6] "Why Don't Women Propose to Men?" CBSNews. CBS Interactive, 05 May 2014. Web. 31 July 2015.

[7] Nathan. "The Art Of Proposing To A Japanese Girl." Tofugu. Tofugu, 19 Dec. 2013. Web. 31 July 2015.
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Version 8

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titledcterms:titleGender Norms
descriptiondcterms:descriptionContains information regarding the gender norms featured in the PS version of Chrono Trigger
contentsioc:content
With the introduction of animated cutscenes in the PlayStation (PS) iteration of Chrono Trigger came various changes in regard of gender norms. Certain videos emphasized character’s actions and events, portraying more evidence of gender expectations and, especially, shifts in these gender roles. Others also introduced new traditions and customs (across different eras) previously unheard of in the video game — in particular, those of marriage. These instances broaden our view of the Chrono Trigger universe, as well as perspectives on Japanese culture and their thoughts on various other cultural behaviors. As such, these cutscenes play an important role in giving players new contextual information, fleshing out already existing gender norms (see SNES Gender Norms). Ultimately, this phenomenon articulated Japanese cultural views of gender, not to mention cultural behaviors of the Western world, to North American gaming communities.

 
As mentioned in (PS Cutscenes), the videos added into the PS re-release rearticulated and reemphasized the sprite animations occurring originally within the Super Nintendo Entertainment System (SNES) version. Since the SNES was incapable of displaying full motion video, the “Dream Team” had to focus their energy on conveying Chrono Trigger’s characters and events through smaller pixelated versions of these cutscenes. Although these sprite animations would suffice for quite some time, the introduction of video ultimately enhanced the experience and reaffirmed storyline scenarios.

Most scenes involving Marle, Lucca, and Ayla asserted their unorthodox behaviors. The opening cutscene depicts all three exerting their independence or fighting against the enemy. Unlike before, Lucca is actually portrayed as she works on her Teleporter for the Millennial Fair, which further highlights her tenacity and intelligence. Later on, Ayla is depicted as courageous, as she fends off all eight Reptites instead of four.

As for Crono, Frog, Robo, and Magus, they are depicted as strong, courageous, and “macho” men, much like they are expected to act in the Chrono Trigger universe. In the opening cutscene, Crono is shown practicing his sword-fighting day and night, while Magus is portrayed as ominous and menacing as he stands on top of a cliff with his sickle. Meanwhile, Robo punches enemies that are about to hurt Lucca and Frog picks up his sword, ready to avenge his friend’s death. “Crono Falls” is notably one of the more “macho” scenes, as it portrays a kamikaze-like suicidal courage, similar to that featured in Japanese soldiers during World War II (see SNES Gender Norms).

In fact, these male characters are illustrated as more serious, since they rarely smile or show other emotions besides relief (Robo is the exception). However, Crono is the most varied in emotions, showing flavors of happiness, surprise, and desperation. It is also important to note that Crono, Frog, and Magus are never illustrated with tears of joy or sorrow. In contrast, the women of Chrono Trigger are typically joyful, even during the heat of battle — Ayla is particularly confident whenever she fights, and never actually sports a grimace during the cutscenes. Marle is also shown with tears in her eyes during the opening scenes (although this may be deduced as a reaction to pain as she is transported through time travel).

 
All of these moments featured during the videos help reinforce character personalities, but also reassert certain gender expectations and shifts that are prevalent during the narrative. These gender norms are typical throughout Japan’s history, where traditionally “men are expected to be ideal workers [and soldiers], putting the goals of the company [or army] first,”1 and women are expected to submit to male authority in three ways.
1. When young, she submits to her father.
2. When married, she submits to her husband.
3. When old, she submits to her sons.”1

However, the shifts in gender expectations featured in Chrono Trigger are also trends found in Japanese society. Today, as public perceptions of traditional gender roles shift, “married women in Japan increasingly hold part-time and full-time jobs,”1 while more Japanese men are taking to the idea of homemaking. In 2009, for the first time, “average disposable income of single women aged 29 or younger exceeded that of their male counterparts,” and with it, opinion polls track that most men in their 20s and 30s have no negative notions towards men serving as househusbands.2

Besides these correlations, the new introduction of marriage customs featured during the very last cutscene of Chrono Trigger are revealing of both the Chrono Trigger universe, as well as the notion of the traditional “white wedding,” popular in both the Western world and contemporary Japan.

 
Influenced by exposure to Western Christian ideals and traditions, Japanese society began imitating the Western style wedding.3 Starting in the 1980s, this trend grew in popularity over the traditional Shinto wedding ceremonies. In fact, they are cheaper than a traditional Shinto ceremony, not to mention that “the Western style is considered modern, exotic and more stylish. A Christian style ceremony allows the bride and groom to tap into Western culture, copying movie and soap opera weddings.”4 In truth, "Japanese Christians make up only 1% of the country, but now about 90% of weddings are in the Christian style."4 As such, the depiction of a very similar “white wedding” between Marle and Crono, is reflective of this trend and the acceptance of it. This archetypal “white wedding,” although depicting live music, a large crowd, expensive formal attire, and flowers, is actually quite unorthodox, especially considering that Chrono Trigger is mainly reminiscent of Medieval Western culture.

At the start of the scene, we see Marle and Crono walking up the aisle together, towards the altar. This was unheard of during Medieval times, and is still considered unusual. Traditionally, Crono would be waiting at the altar, and soon afterwards, Marle would be guided down the aisle with her father — alluding to a “transaction” of property — the bride from one owner to another. As opposed to this, Marle’s father is not even portrayed at any point during the wedding. Marle is also not wearing a bridal veil, which either means she is either not a virgin, or that such practices are not customary in the Kingdom of Guardia. Marle also tosses her bouquet while facing the crowd, an event which is typically performed while the bride is facing backwards (so as to indiscriminately toss the bouquet) and only in the presence of unmarried women. There is also not enough information to deduce who performed the ceremony, but presumably, this is a religious affair taking place in a church — this is noticeable at 1:46, where religious symbolism in the form of two crosses is depicted.

Although Marle and Crono’s wedding is different when compared to the Western equivalent, this depiction still emphasizes the importance of such occasions in the Kingdom of Guardia, as well as in modern day Japan, where couples employ Christian symbolism and caucasian “ministers” (many of them being unordained)5 in order to recreate the status symbol that is a “white wedding.”

 
In contrast to this ideal view of marriage, Ayla and Kino are illustrated, during the same cutscene, inside one of the tents in Ioka Village. It is here where Ayla forcibly puts a ring on Kino’s finger, at the same time holding out her ring to Kino. Kino accepts by adding this symbol of unity to Ayla’s hand, while onlookers cheer and rejoice. This event not only reveals Ayla’s and Kino’s distinct personalities, but it also portrays a scene that is not common, even in today’s society. In practice, only about 5 percent of married couples in America say the woman proposed, with the figure being no higher among couples wed within the past 10 years.6 This is also representative of Japan, where traditional practices dictate that men are expected to propose, but only after asking permission from the woman’s parents. This is then followed by an engagement ceremony “where the two families meet over dinner and the man and his family presents the girl [and her family] with a set of symbolic gifts,” as well as 「金包包/きんぽうづつみ」 kinpoudzutsumi or 「小袖料/こそでりょう」 kosoderyou, “bridal money” (it is very similar to a dowry, but instead it is paid to the woman’s family).7 As such, this marriage proposal is very unique and displays a view of marriage before its institutionalization and “genderification” — serving as a commentary on the shift in gender roles occurring today, as well as the presumption that our widely held traditions of marriage and gender expectations are true and ideal.

 
Without a doubt, the societal gender roles and shifts originally portrayed in Chrono Trigger are reaffirmed, not to mention rewritten (with the introduction of marriage and proposal themes) in the new anime style cutscenes; these elements, as well, are closely connected to the relationship between the Western world and Japan, as they influence each other through the inevitable effects of globalization. By expanding upon these elements, the PS iteration of Chrono Trigger depicted Japanese gender norms and views of marriage (informed by Western beliefs) and articulated these notions to Western gaming audiences with the subsequent North American localization.

Works Cited:

[1] Kincaid, Chris. "Gender Roles of Women in Modern Japan." Japan Powered. Japan Powered, 22 June 2014. Web. 31 July 2015.

[2] Obara, Sawako. "More Men Turning to Homemaking: Job Burnout, Better Pay for Women Help Push Trend." The Japan Times. The Japan Times, 17 Feb. 2011. Web. 31 July 2015.

[3] "Western Style Weddings in Japan." World Public Library. World Public Library, n.d. Web. 31 July 2015.

[4] "Faking It as a Priest in Japan." BBC News. BBC, 02 Nov. 2006. Web. 31 July 2015.

[5] Mullins, Lisa, and Sam Harnet. "Popularity of Western-Style Weddings in Japan Creates Demand for White Officiants." Public Radio International. Public Radio International, 26 Dec. 2012. Web. 31 July 2015.

[6] "Why Don't Women Propose to Men?" CBSNews. CBS Interactive, 05 May 2014. Web. 31 July 2015.

[7] Nathan. "The Art Of Proposing To A Japanese Girl." Tofugu. Tofugu, 19 Dec. 2013. Web. 31 July 2015.
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Version 7

resourcerdf:resourcehttps://scalar.usc.edu/works/chronicles/gender-norms-ps.7
versionnumberov:versionnumber7
titledcterms:titleGender Norms
descriptiondcterms:descriptionContains information regarding the gender norms featured in the PS version of Chrono Trigger
contentsioc:content
With the introduction of animated cutscenes in the PlayStation (PS) iteration of Chrono Trigger came various changes in regard of gender norms. Certain videos emphasized character’s actions and events, portraying more evidence of gender expectations and, especially, shifts in these gender roles. Others also introduced new traditions and customs (across different eras) previously unheard of in the video game — in particular, those of marriage. These instances broaden our view of the Chrono Trigger universe, as well as perspectives on Japanese culture and their thoughts on various other cultural behaviors. As such, these cutscenes play an important role in giving players new contextual information, fleshing out already existing gender norms (see SNES Gender Norms). Ultimately, this phenomenon articulated Japanese cultural views of gender, not to mention cultural behaviors of the Western world, to North American gaming communities.

 
As mentioned in (PS Cutscenes), the videos added into the PS re-release rearticulated and reemphasized the sprite animations occurring originally within the Super Nintendo Entertainment System (SNES) version. Since the SNES was incapable of displaying full motion video, the “Dream Team” had to focus their energy on conveying Chrono Trigger’s characters and events through smaller pixelated versions of these cutscenes. Although these sprite animations would suffice for quite some time, the introduction of video ultimately enhanced the experience and reaffirmed storyline scenarios.

Most scenes involving Marle, Lucca, and Ayla asserted their unorthodox behaviors. The opening cutscene depicts all three exerting their independence or fighting against the enemy. Unlike before, Lucca is actually portrayed as she works on her Teleporter for the Millennial Fair, which further highlights her tenacity and intelligence. Later on, Ayla is depicted as courageous, as she fends off all eight Reptites instead of four.

As for Crono, Frog, Robo, and Magus, they are depicted as strong, courageous, and “macho” men, much like they are expected to act in the Chrono Trigger universe. In the opening cutscene, Crono is shown practicing his sword fighting day and night, while Magus is portrayed as ominous and menacing as he stands on top of a cliff with his sickle. Meanwhile, Robo punches enemies that are about to hurt Lucca and Frog picks up his sword, ready to avenge his friend’s death. “Crono Falls” is notably one of the more “macho” scenes, as it portrays a kamikaze-like suicidal courage, similar to that featured in Japanese soldiers during World War II (see SNES Gender Norms).

In fact, these male characters are illustrated as more serious, since they rarely smile or show other emotions besides relief (Robo is the exception). However, Crono is the most varied in emotions, showing flavors of happiness, surprise, and desperation. It is also important to note that Crono, Frog, and Magus are never illustrated with tears of joy or sorrow. In contrast, the women of Chrono Trigger are typically joyful, even during the heat of battle — Ayla is particularly confident whenever she fights, and never actually sports a grimace during the cutscenes. Marle is also shown with tears in her eyes during the opening scenes (although this may be deduced as a reaction to pain as she is transported through time travel).

 
All of these moments featured during the videos help reinforce character personalities, but also reassert certain gender expectations and shifts that are prevalent during the narrative. These gender norms are typical throughout Japan’s history, where traditionally “men are expected to be ideal workers [and soldiers], putting the goals of the company [or army] first,”1 and women are expected to submit to male authority in three ways.
1. When young, she submits to her father.
2. When married, she submits to her husband.
3. When old, she submits to her sons.”1

However, the shifts in gender expectations featured in Chrono Trigger are also trends found in Japanese society. Today, as public perceptions of traditional gender roles shift, “married women in Japan increasingly hold part-time and full-time jobs,”1 while more Japanese men are taking to the idea of homemaking. In 2009, for the first time, “average disposable income of single women aged 29 or younger exceeded that of their male counterparts,” and with it, opinion polls track that most men in their 20s and 30s have no negative notions towards men serving as househusbands.2

Besides these correlations, the new introduction of marriage customs featured during the very last cutscene of Chrono Trigger are revealing of both the Chrono Trigger universe, as well as the notion of the traditional “white wedding,” popular in both the Western world and contemporary Japan.

 
Influenced by exposure to Western Christian ideals and traditions, Japanese society began imitating the Western style wedding.3 Starting in the 1980s, this trend grew in popularity over the traditional Shinto wedding ceremonies. In fact, they are cheaper than a traditional Shinto ceremony, not to mention that “the Western style is considered modern, exotic and more stylish. A Christian style ceremony allows the bride and groom to tap into Western culture, copying movie and soap opera weddings.”4 In truth, "Japanese Christians make up only 1% of the country, but now about 90% of weddings are in the Christian style."4 As such, the depiction of a very similar “white wedding” between Marle and Crono, is reflective of this trend and the acceptance of it. This archetypal “white wedding,” although depicting live music, a large crowd, expensive formal attire, and flowers, is actually quite unorthodox, especially considering that Chrono Trigger is mainly reminiscent of Medieval Western culture.

At the start of the scene, we see Marle and Crono walking up the aisle together, towards the altar. This was unheard of during Medieval times, and is still considered unusual. Traditionally, Crono would be waiting at the altar, and soon afterwards, Marle would be guided down the aisle with her father — alluding to a “transaction” of property — the bride from one owner to another. As opposed to this, Marle’s father is not even portrayed at any point during the wedding. Marle is also not wearing a bridal veil, which either means she is either not a virgin, or that such practices are not customary in the Kingdom of Guardia. Marle also tosses her bouquet while facing the crowd, an event which is typically performed while the bride is facing backwards (so as to indiscriminately toss the bouquet) and only in the presence of unmarried women. There is also not enough information to deduce who performed the ceremony, but presumably, this is a religious affair taking place in a church — this is noticeable at 1:46, where religious symbolism in the form of two crosses is depicted.

Although Marle and Crono’s wedding is different when compared to the Western equivalent, this depiction still emphasizes the importance of such occasions in the Kingdom of Guardia, as well as in modern day Japan, where couples employ Christian symbolism and caucasian “ministers” (many of them being unordained)5 in order to recreate the status symbol that is a “white wedding.”

 
In contrast to this ideal view of marriage, Ayla and Kino are illustrated, during the same cutscene, inside one of the tents in Ioka Village. It is here where Ayla forcibly puts a ring on Kino’s finger, at the same time holding out her ring to Kino. Kino accepts by adding this symbol of unity to Ayla’s hand, while onlookers cheer and rejoice. This event not only reveals Ayla’s and Kino’s distinct personalities, but it also portrays a scene that is not common, even in today’s society. In practice, only about 5 percent of married couples in America say the woman proposed, with the figure being no higher among couples wed within the past 10 years.6 This is also representative of Japan, where traditional practices dictate that men are expected to propose, but only after asking permission from the woman’s parents. This is then followed by an engagement ceremony “where the two families meet over dinner and the man and his family presents the girl [and her family] with a set of symbolic gifts,” as well as 「金包包/きんぽうづつみ」 kinpoudzutsumi or 「小袖料/こそでりょう」 kosoderyou, “bridal money” (it is very similar to a dowry, but instead it is paid to the woman’s family).7 As such, this marriage proposal is very unique and displays a view of marriage before its institutionalization and “genderification” — serving as a commentary on the shift in gender roles occurring today, as well as the presumption that our widely held traditions of marriage and gender expectations are true and ideal.

 
Without a doubt, the societal gender roles and shifts originally portrayed in Chrono Trigger are reaffirmed, not to mention rewritten (with the introduction of marriage and proposal themes) in the new anime style cutscenes; these elements, as well, are closely connected to the relationship between the Western world and Japan, as they influence each other through the inevitable effects of globalization. By expanding upon these elements, the PS iteration of Chrono Trigger depicted Japanese gender norms and views of marriage (informed by Western beliefs) and articulated these notions to Western gaming audiences with the subsequent North American localization.

Works Cited:

[1] Kincaid, Chris. "Gender Roles of Women in Modern Japan." Japan Powered. Japan Powered, 22 June 2014. Web. 31 July 2015.

[2] Obara, Sawako. "More Men Turning to Homemaking: Job Burnout, Better Pay for Women Help Push Trend." The Japan Times. The Japan Times, 17 Feb. 2011. Web. 31 July 2015.

[3] "Western Style Weddings in Japan." World Public Library. World Public Library, n.d. Web. 31 July 2015.

[4] "Faking It as a Priest in Japan." BBC News. BBC, 02 Nov. 2006. Web. 31 July 2015.

[5] Mullins, Lisa, and Sam Harnet. "Popularity of Western-Style Weddings in Japan Creates Demand for White Officiants." Public Radio International. Public Radio International, 26 Dec. 2012. Web. 31 July 2015.

[6] "Why Don't Women Propose to Men?" CBSNews. CBS Interactive, 05 May 2014. Web. 31 July 2015.

[7] Nathan. "The Art Of Proposing To A Japanese Girl." Tofugu. Tofugu, 19 Dec. 2013. Web. 31 July 2015.
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Version 6

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versionnumberov:versionnumber6
titledcterms:titleGender Norms
descriptiondcterms:descriptionContains information regarding the gender norms featured in the PS version of Chrono Trigger
contentsioc:content
With the introduction of animated cutscenes in the PlayStation (PS) iteration of Chrono Trigger came various changes in regard of gender norms. Certain videos emphasized character’s actions and events, portraying more evidence of gender expectations and, especially, shifts in these gender roles. Others also introduced new traditions and customs (across different eras) previously unheard of in the video game — in particular, those of marriage. These instances broaden our view of the Chrono Trigger universe, as well as perspectives on Japanese culture and their thoughts on various other cultural behaviors. As such, these cutscenes play an important role in giving players new contextual information, fleshing out already existing gender norms (see SNES Gender Norms). Ultimately, this phenomenon articulated Japanese cultural views of gender, not to mention cultural behaviors of the Western world, to North American gaming communities.

 
As mentioned in (PS Cutscenes), the videos added into the PS re-release rearticulated and reemphasized the sprite animations occurring originally within the Super Nintendo Entertainment System (SNES) version. Since the SNES was incapable of displaying full motion video, the “Dream Team” had to focus their energy on conveying Chrono Trigger’s characters and events through smaller pixelated versions of these cutscenes. Although these sprite animations would suffice for quite some time, the introduction of video ultimately enhanced the experience and reaffirmed storyline scenarios.

Most scenes involving Marle, Lucca, and Ayla asserted their unorthodox behaviors. The opening cutscene depicts all three exerting their independence or fighting against the enemy. Unlike before, Lucca is actually portrayed as she works on her Teleporter for the Millennial Fair, which further highlights her tenacity and intelligence. Later on, Ayla is depicted as courageous, as she fends off all eight Reptites instead of four.

As for Crono, Frog, Robo, and Magus, they are depicted as strong, courageous, and “macho” men, much like they are expected to act in the Chrono Trigger universe. In the opening cutscene, Crono is shown practicing his sword fighting day and night, while Magus is portrayed as ominous and menacing as he stands on top of a cliff with his sickle. Meanwhile, Robo punches enemies that are about to hurt Lucca and Frog picks up his sword, ready to avenge his friend’s death. “Crono Falls” is notably one of the more “macho” scenes, as it portrays a kamikaze-like suicidal courage, similar to that featured in Japanese soldiers during World War II (see SNES Gender Norms).

In fact, these male characters are illustrated as more serious, since they rarely smile or show other emotions besides relief (Robo is the exception). However, Crono is the most varied in emotions, showing flavors of happiness, surprise, and desperation. It is also important to note that Crono, Frog, and Magus are never illustrated with tears of joy or sorrow. In contrast, the women of Chrono Trigger are typically joyful, even during the heat of battle — Ayla is particularly confident whenever she fights, and never actually sports a grimace during the cutscenes. Marle is also shown with tears in her eyes during the opening scenes (although this may be deduced as a reaction to pain as she is transported through time travel).

 
All of these moments featured during the videos help reinforce character personalities, but also reassert certain gender expectations and shifts that are prevalent during the narrative. These gender norms are typical throughout Japan’s history, where traditionally “men are expected to be ideal workers [and soldiers], putting the goals of the company [or army] first,”1 and women are expected to submit to male authority in three ways.
1. When young, she submits to her father.
2. When married, she submits to her husband.
3. When old, she submits to her sons.”1

However, the shifts in gender expectations featured in Chrono Trigger are also trends found in Japanese society. Today, as public perceptions of traditional gender roles shift, “married women in Japan increasingly hold part-time and full-time jobs,”1 while more Japanese men are taking to the idea of homemaking. In 2009, for the first time, “average disposable income of single women aged 29 or younger exceeded that of their male counterparts,” and with it, opinion polls track that most men in their 20s and 30s have no negative notions towards men serving as househusbands.2

Besides these correlations, the new introduction of marriage customs featured during the very last cutscene of Chrono Trigger are revealing of both the Chrono Trigger universe, as well as the notion of the traditional “white wedding,” popular in both the Western world and contemporary Japan.

 
Influenced by exposure to Western Christian ideals and traditions, Japanese society began imitating the Western style wedding.3 Starting in the 1980s, this trend grew in popularity over the traditional Shinto wedding ceremonies. In fact, they are cheaper than a traditional Shinto ceremony, not to mention that “the Western style is considered modern, exotic and more stylish. A Christian style ceremony allows the bride and groom to tap into Western culture, copying movie and soap opera weddings.”4 In truth, "Japanese Christians make up only 1% of the country, but now about 90% of weddings are in the Christian style."4 As such, the depiction of a very similar “white wedding” between Marle and Crono, is reflective of this trend and the acceptance of it. This archetypal “white wedding,” although depicting live music, a large crowd, expensive formal attire, and flowers, is actually quite unorthodox, especially considering that Chrono Trigger is mainly reminiscent of Medieval Western culture.

At the start of the scene, we see Marle and Crono walking up the aisle together, towards the altar. This was unheard of during Medieval times, and is still considered unusual. Traditionally, Crono would be waiting at the altar, and soon afterwards, Marle would be guided down the aisle with her father — alluding to a “transaction” of property — the bride from one owner to another. As opposed to this, Marle’s father is not even portrayed at any point during the wedding. Marle is also not wearing a bridal veil, which either means she is either not a virgin, or that such practices are not customary in the Kingdom of Guardia. Marle also tosses her bouquet while facing the crowd, an event which is typically performed while the bride is facing backwards (so as to indiscriminately toss the bouquet) and only in the presence of unmarried women. There is also not enough information to deduce who performed the ceremony, but presumably, this is a religious affair taking place in a church — this is noticeable at 1:46, where religious symbolism in the form of two crosses is depicted.

Although Marle and Crono’s wedding is different when compared to the Western equivalent, this depiction still emphasizes the importance of such occasions in the Kingdom of Guardia, as well as in modern day Japan, where couples employ Christian symbolism and caucasian “ministers” (many of them being unordained)5 in order to recreate the status symbol that is a “white wedding.”

 
In contrast to this ideal view of marriage, Ayla and Kino are illustrated, during the same cutscene, inside one of the tents in Ioka Village. It is here where Ayla forcibly puts a ring on Kino’s finger, at the same time holding out her ring to Kino. Kino accepts by adding this symbol of unity to Ayla’s hand, while onlookers cheer and rejoice. This event not only reveals Ayla’s and Kino’s distinct personalities, but it also portrays a scene that is not common, even in today’s society. In practice, only about 5 percent of married couples in America say the woman proposed, with the figure being no higher among couples wed within the past 10 years.6 This is also representative of Japan, where traditional practices dictate that men are expected to propose, but only after asking permission from the woman’s parents. This is then followed by an engagement ceremony “where the two families meet over dinner and the man and his family presents the girl [and her family] with a set of symbolic gifts,” as well as 「金包包/きんぽうづつみ」 kinpoudzutsumi or 「小袖料/こそでりょう」 kosoderyou, “bridal money” (it is very similar to a dowry, but instead it is paid to the woman’s family).7 As such, this marriage proposal is very unique and displays a view of marriage before its institutionalization and “genderification” — serving as a commentary on the shift in gender roles occurring today, as well as the presumption that our widely held traditions of marriage and gender expectations are true and ideal.

 
Without a doubt, the societal gender roles and shifts originally portrayed in Chrono Trigger are reaffirmed, not to mention rewritten (with the introduction of marriage and proposal themes) in the new anime style cutscenes; these elements, as well, are closely connected to the relationship between the Western world and Japan, as they influence each other through the inevitable effects of globalization. By expanding upon these elements, the PS iteration of Chrono Trigger depicted Japanese gender norms and views of marriage (informed by Western beliefs) and articulated these notions to Western gaming audiences with the subsequent North American localization.

Works Cited:

[1] Kincaid, Chris. "Gender Roles of Women in Modern Japan." Japan Powered. Japan Powered, 22 June 2014. Web. 31 July 2015.

[2] Obara, Sawako. "More Men Turning to Homemaking: Job Burnout, Better Pay for Women Help Push Trend." The Japan Times. The Japan Times, 17 Feb. 2011. Web. 31 July 2015.

[3] "Western Style Weddings in Japan." World Public Library. World Public Library, n.d. Web. 31 July 2015.

[4] "Faking It as a Priest in Japan." BBC News. BBC, 02 Nov. 2006. Web. 31 July 2015.

[5] Mullins, Lisa, and Sam Harnet. "Popularity of Western-Style Weddings in Japan Creates Demand for White Officiants." Public Radio International. Public Radio International, 26 Dec. 2012. Web. 31 July 2015.

[6] "Why Don't Women Propose to Men?" CBSNews. CBS Interactive, 05 May 2014. Web. 31 July 2015.

[7] Nathan. "The Art Of Proposing To A Japanese Girl." Tofugu. Tofugu, 19 Dec. 2013. Web. 31 July 2015.
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With the introduction of animated cutscenes in the PlayStation (PS) iteration of Chrono Trigger came various changes in regard of gender norms. Certain videos emphasized character’s actions and events, portraying more evidence of gender expectations and, especially, shifts in these gender roles. Others also introduced new traditions and customs (across different eras) previously unheard of in the video game — in particular, those of marriage. These instances broaden our view of the Chrono Trigger universe, as well as perspectives on Japanese culture and their thoughts on various other cultural behaviors. As such, these cutscenes play an important role in giving players new contextual information, fleshing out already existing gender norms (see SNES Gender Norms). Ultimately, this phenomenon articulated Japanese cultural views of gender, not to mention cultural behaviors of the Western world, to North American gaming communities.

 
As mentioned in (PS Cutscenes), the videos added into the PS re-release rearticulated and reemphasized the sprite animations occurring originally within the Super Nintendo Entertainment System (SNES) version. Since the SNES was incapable of displaying full motion video, the “Dream Team” had to focus their energy on conveying Chrono Trigger’s characters and events through smaller pixelated versions of these cutscenes. Although these sprite animations would suffice for quite some time, the introduction of video ultimately enhanced the experience and reaffirmed storyline scenarios.

Most scenes involving Marle, Lucca, and Ayla asserted their unorthodox behaviors. The opening cutscene depicts all three exerting their independence or fighting against the enemy. Unlike before, Lucca is actually portrayed as she works on her Teleporter for the Millennial Fair, which further highlights her tenacity and intelligence. Later on, Ayla is depicted as courageous, as she fends off all eight Reptites instead of four.

As for Crono, Frog, Robo, and Magus, they are depicted as strong, courageous, and “macho” men, much like they are expected to act in the Chrono Trigger universe. In the opening cutscene, Crono is shown practicing his sword fighting day and night, while Magus is portrayed as ominous and menacing as he stands on top of a cliff with his sickle. Meanwhile, Robo punches enemies that are about to hurt Lucca and Frog picks up his sword, ready to avenge his friend’s death. “Crono Falls” is notably one of the more “macho” scenes, as it portrays a kamikaze-like suicidal courage, similar to that featured in Japanese soldiers during World War II (see SNES Gender Norms).

In fact, these male characters are illustrated as more serious, since they rarely smile or show other emotions besides relief (Robo is the exception). However, Crono is the most varied in emotions, showing flavors of happiness, surprise, and desperation. It is also important to note that Crono, Frog, and Magus are never illustrated with tears of joy or sorrow. In contrast, the women of Chrono Trigger are typically joyful, even during the heat of battle — Ayla is particularly confident whenever she fights, and never actually sports a grimace during the cutscenes. Marle is also shown with tears in her eyes during the opening scenes (although this may be deduced as a reaction to pain as she is transported through time travel).

 
All of these moments featured during the videos help reinforce character personalities, but also reassert certain gender expectations and shifts that are prevalent during the narrative. These gender norms are typical throughout Japan’s history, where traditionally “men are expected to be ideal workers [and soldiers], putting the goals of the company [or army] first,”1 and women are expected to submit to male authority in three ways.
1. When young, she submits to her father.
2. When married, she submits to her husband.
3. When old, she submits to her sons.”1

However, the shifts in gender expectations featured in Chrono Trigger are also trends found in Japanese society. Today, as public perceptions of traditional gender roles shift, “married women in Japan increasingly hold part-time and full-time jobs,”1 while more Japanese men are taking to the idea of homemaking. In 2009, for the first time, “average disposable income of single women aged 29 or younger exceeded that of their male counterparts,” and with it, opinion polls track that most men in their 20s and 30s have no negative notions towards men serving as househusbands.2

Besides these correlations, the new introduction of marriage customs featured during the very last cutscene of Chrono Trigger are revealing of both the Chrono Trigger universe, as well as the notion of the traditional “white wedding,” popular in both the Western world and contemporary Japan.

 
Influenced by exposure to Western Christian ideals and traditions, Japanese society began imitating the Western style wedding.3 Starting in the 1980s, this trend grew in popularity over the traditional Shinto wedding ceremonies. In fact, they are cheaper than a traditional Shinto ceremony, not to mention that “the Western style is considered modern, exotic and more stylish. A Christian style ceremony allows the bride and groom to tap into Western culture, copying movie and soap opera weddings.”4 In truth, "Japanese Christians make up only 1% of the country, but now about 90% of weddings are in the Christian style."4 As such, the depiction of a very similar “white wedding” between Marle and Crono, is reflective of this trend and the acceptance of it. This archetypal “white wedding,” although depicting live music, a large crowd, expensive formal attire, and flowers, is actually quite unorthodox, especially considering that Chrono Trigger is mainly reminiscent of Medieval Western culture.

At the start of the scene, we see Marle and Crono walking up the aisle together, towards the altar. This was unheard of during Medieval times, and is still considered unusual. Traditionally, Crono would be waiting at the altar, and soon afterwards, Marle would be guided down the aisle with her father — alluding to a “transaction” of property — the bride from one owner to another. As opposed to this, Marle’s father is not even portrayed at any point during the wedding. Marle is also not wearing a bridal veil, which either means she is either not a virgin, or that such practices are not customary in the Kingdom of Guardia. Marle also tosses her bouquet while facing the crowd, an event which is typically performed while the bride is facing backwards (so as to indiscriminately toss the bouquet) and only in the presence of unmarried women. There is also not enough information to deduce who performed the ceremony, but presumably, this is a religious affair taking place in a church — this is noticeable at 1:46, where religious symbolism in the form of two crosses is depicted.

Although Marle and Crono’s wedding is different when compared to the Western equivalent, this depiction still emphasizes the importance of such occasions in the Kingdom of Guardia, as well as in modern day Japan, where couples employ Christian symbolism and caucasian “ministers” (many of them being unordained)5 in order to recreate the status symbol that is a “white wedding.”

 
In contrast to this ideal view of marriage, Ayla and Kino are illustrated, during the same cutscene, inside one of the tents in Ioka Village. It is here where Ayla forcibly puts a ring on Kino’s finger, at the same time holding out her ring to Kino. Kino accepts by adding this symbol of unity to Ayla’s hand, while onlookers cheer and rejoice. This event not only reveals Ayla’s and Kino’s distinct personalities, but it also portrays a scene that is not common, even in today’s society. In practice, only about 5 percent of married couples in America say the woman proposed, with the figure being no higher among couples wed within the past 10 years.6 This is also representative of Japan, where traditional practices dictate that men are expected to propose, but only after asking permission from the woman’s parents. This is then followed by an engagement ceremony “where the two families meet over dinner and the man and his family presents the girl [and her family] with a set of symbolic gifts,” as well as 「金包包/きんぽうづつみ」 kinpoudzutsumi or 「小袖料/こそでりょう」 kosoderyou, “bridal money” (it is very similar to a dowry, but instead it is paid to the woman’s family).7 As such, this marriage proposal is very unique and displays a view of marriage before its institutionalization and “genderification” — serving as a commentary on the shift in gender roles occurring today, as well as the presumption that our widely held traditions of marriage and gender expectations are true and ideal.

 
Without a doubt, the societal gender roles and shifts originally portrayed in Chrono Trigger are reaffirmed, not to mention rewritten (with the introduction of marriage and proposal themes) in the new anime style cutscenes; these elements, as well, are closely connected to the relationship between the Western world and Japan, as they influence each other through the inevitable effects of globalization. By expanding upon these elements, the PS iteration of Chrono Trigger depicted Japanese gender norms and views of marriage (informed by Western beliefs) and articulated these notions to Western gaming audiences with the subsequent North American localization.

Works Cited:

[1] Kincaid, Chris. "Gender Roles of Women in Modern Japan." Japan Powered. Japan Powered, 22 June 2014. Web. 31 July 2015.

[2] Obara, Sawako. "More Men Turning to Homemaking: Job Burnout, Better Pay for Women Help Push Trend." The Japan Times. The Japan Times, 17 Feb. 2011. Web. 31 July 2015.

[3] "Western Style Weddings in Japan." World Public Library. World Public Library, n.d. Web. 31 July 2015.

[4] "Faking It as a Priest in Japan." BBC News. BBC, 02 Nov. 2006. Web. 31 July 2015.

[5] Mullins, Lisa, and Sam Harnet. "Popularity of Western-Style Weddings in Japan Creates Demand for White Officiants." Public Radio International. Public Radio International, 26 Dec. 2012. Web. 31 July 2015.

[6] "Why Don't Women Propose to Men?" CBSNews. CBS Interactive, 05 May 2014. Web. 31 July 2015.

[7] Nathan. "The Art Of Proposing To A Japanese Girl." Tofugu. Tofugu, 19 Dec. 2013. Web. 31 July 2015.
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Designed by the original character illustrator, Akira Toriyama, and subsequently animated by Toei Animation, the anime-style cutscenes -- or animated videos that depict “scene[s] that develop the storyline” -- deeply impacted the notion of Chrono Trigger. While Japanese and North American players of the original experience never witnessed such fluid and beautifully hand-drawn video cutscenes, the following generation of gamers were influenced and absorbed by them -- as such, it is a common misconception that these cutscenes were carried over from the original Super Nintendo Entertainment System (SNES) release; not to mention, that this is especially illogical because of the fact that this console was incapable of exhibiting full-motion video -- the technology was just not available. A big reason for these videos was so that fans of the original work, as well as those new to the experience, would get a feel for the upcoming sequel, Chrono Cross. Scenarist Masato Kato met with Akira Toriyama and his assistants frequently in order to achieve this concrete tie-in, especially taking great care when creating the ending cutscenes.
 
These cutscenes not only reinforced events and character personalities, but they also cleared up questions of canonicity, especially when concerning the fact that there were 13 endings at that moment, with the primary ending featuring five different ending scenarios. When beating the game canonically, an overarching ending cutscene brings consistency to the narrative, as well as a build up for the next adventure: Chrono Cross. In order to discuss these themes, below is an archive of these cutscenes and their original equivalents. Scene 1 (Opening Sequence) “Our Planet’s Dream” 2:37
 
This opening scene sets up the narrative of Chrono Trigger, drawing the player in with one of the more memorable and quaint melodies of the soundtrack -- “Crono & Marle - A Distant Promise.” By choosing this music to play alongside the image of friends smiling together, it evokes a nostalgic feeling. The individual who picks up the frame may very well be Crono (although this is never articulated). Whoever it is though, their nostalgia is articulated to the viewer, finally taking on the form of memories, as the individual thinks back on all of the characters and time periods they witnessed and experienced. Many of these scenes are replications of certain events that take place in Chrono Trigger; they introduce friends and enemies, locations and battles.
 
In faithfully adapting the shift of female gender norms unfolding in Chrono Trigger, Marle, Lucca, and Ayla are depicted as strong and capable protagonists. Marle shoots a bolt at an enemy before it can exact revenge on Crono; Lucca is shown as intelligent and determined, staying up all night as she works on her Telepod; and Ayla runs through the trees before jumping on a Dactyl and riding it through the air.
 
Another interesting note is the violence portrayed in this opening sequence. By bringing players so close to the action -- in contrast to the pixelated overview the gamer always sees -- visualizations of battles are inherently more detailed and, as a result, appear more brutal. This is evidenced especially at 2:21, where a Heckran is sliced in two by Crono after being stunned by Marle and Lucca’s Antipode Bomb Tech (technical) move. This newly introduced violence presumably had an effect on the Entertainment Software Rating Board (ESRB) rating category that Final Fantasy Chronicles received, in which the “K-A” (Kids to Adults) rating was upped to a “T” (Teen) label. Scene 2 “The Forgotten Robo” 0:22
 
Entering the Proto Dome, Lucca, Marle, and Crono discover a damaged Robot covered in rats. Their presence alerts the rats, who flee. Lucca retrieves a screwdriver from her handbag and holds it up enthusiastically, implying that she can repair the robot.
 
This scene helps contextualize the moment you first meet Robo in the Proto Dome. His damage is much more detailed and noticeable when compared to the pixelated rendition of the scene, making his situation feel more hopeless, but ultimately proving and reinforcing how brilliant and resourceful Lucca really is -- even thirteen hundred years in the future. Scene 3 “Meet Ayla” 0:36
 
When first traveling to Prehistoric times, Crono and his friends (although not pictured due to different party combinations) are swarmed by Reptites. This is when we meet Ayla, who jumps in to save them. This scene is far more comprehensive of Ayla’s abilities than previously portrayed. Contrastingly, Ayla is shown sporting a club, whereas in-game, her Fists are her sole weapon in battle. She is depicted as very confident and characteristically moves around like a cat, pouncing on enemies. At the end of the encounter, Crono is astounded at the events that just transpired. Scene 4 “Frog Opens the Way” 1:04
 
The “Masamune” or “Grandleon,” now repaired, is brought to the Magic Cave. Crono watches as Frog gathers power from -- what seems like -- the heavens. Imbued with such power, Frog is able to split open the rock face. Crono smiles after the passage is opened and follows Frog into the cavern. Scene 5 “Frog Confronts Magus” 0:46
 
Chanting can be heard as Frog steps into a dark room. Several blue orbs light up at his feet as he walks further in. Frog braces himself as the orbs form a circle, illuminating the figure of Magus. He is floating inside of a pentagram of sorts (this looks more like a stained glass surface in the pixel art). This is interesting, since pentagrams were prohibited in Nintendo of America’s censorship guidelines, since they are religious symbols. Scene 6 “Dino Flight” 0:35
 
Flying to Tyranno Lair in order to face off against Azala is far more iconic and dynamic in the following cutscene. We see Crono and Ayla mount Dactyls, with a third one following behind (this one is carrying your invisible party member). Ayla is also shown to be very experienced with handling these creatures, as she calms one by petting it. Lavos’ penetration of the planet’s surface is also foreshadowed in both depictions of the scene. Scene 7 “The Wings of Time” 0:23
 
Crono discovers the Epoch in the Keeper’s Dome. Once again, he is the only one present due to the varying party members you could choose to bring. In the original scene, it takes much longer to figure out how to fly the Epoch. Belthasar’s memory, stored inside the creature that greets you, explains the controls and then shows you to the cockpit. Instead, in this cutscene, Crono appears to have flown the Epoch before. He jumps straight into the vehicle and fires it up, flying directly out of the Dome. Scene 8 “Crono Falls” 0:52
 
As the title suggests, this is where Crono sacrifices himself inside the temporal dimension opened by Queen Zeal at the Ocean Palace. In the cutscene, Queen Zeal is not present, and neither are the two other characters you chose to accompany you. Crono braces his katana against Lavos as it opens its mouth. A torrent of wind begins to suck Crono, Schala, and Magus closer, and Magus (already having knowledge of this phenomenon) is depicted as knowing his ultimate fate. A great ball of energy comes at Crono, and he then recalls what was said to him earlier on from Janus (the younger rendition of Magus). We see Janus as he mouths the phrase, "One among you will shortly perish." In literal Japanese, this line reads, 「 あなた達のうち、誰か一人…… 死ぬよ、もうすぐ……。」 or “One among you… will die, and soon…” Dropping his katana, Crono is enveloped in electricity. His lifeforce is shortly drained from him, disintegrating his body into nothingness.
 
Since your friends, or Queen Zeal for that matter, are nowhere to be seen, this scene feels empty and does not portray the same atmosphere that is seen in the original. However, it does reinforce Crono’s fate as absolute. There is no denying his death, in large part, due to its detailed illustration. His suicidal courage is also fortified, reflecting back to the previous discussion concerning World War II and its hypothetical influences on Chrono Trigger (see SNES Gender Norms). Scene 9 “Radical Dreamers” 2:39
 
After obtaining the canonical ending, the final scene in Chrono Trigger plays. It depicts the royal wedding of Crono and Marle. They are wearing regal headdresses, which are indicative of Crono now becoming a prince and potential heir to the Kingdom of Guardia because of Marle’s heritage. There is then a cut to a scene in the Prehistoric Era. During a feast in Ioka village, Chief Ayla “proposes” to Kino by forcing a ring-shaped object onto his finger. She then urges him to place the Dreamstone ring she also acquired on her own hand. Kino accepts, and the villagers celebrate the newlyweds. We then return to Guardia Castle in 600 A.D., where Frog, now Glenn, is knighted by the King. Back at Crono and Marle’s wedding, Melchior toasts to the couple and the two wave back at him, leaving the church as husband and wife. Lastly, Marle throws her bouquet into the air. Here, there is a transition to Lucca, who is found walking in the forest with a mini-Robo (most likely one of her creations). She spots a child with a glowing pendant around its neck. Picking the baby up, she walks back towards her house.
 
Unfortunately, Robo and Magus are not depicted in the ending cutscene. Although both are portrayed in the original -- Robo is shown with Atropos looking at a sunset and Magus is depicted flying away in the Epoch, respectively. Meanwhile, Ayla’s personality is further imbued with her proposal to Kino, once more displaying her forthright nature; and Lucca’s genius is revealed again with her newest creation, a robot based off of Robo. This may also allude to her nostalgia to meet Robo again. Lastly, the ending also reinforces the fact that Frog still keeps the “Masamune” or “Grandleon,” as well as the fact that Frog did indeed transform back into a human (a fact that could look more or less ambiguous depending on which ending you received in the original SNES ending), ultimately making this event canon.
 
Below is a transcription of the credit roll featured during this video:
PlayStation version staff

Executive Producers -- Tomoyuki Takechi, Hironobu Sakaguchi

Producer -- Yusuke Hirata

Director -- Katsuyoshi Kawahara

Production Manager -- Kiyomi Tanikawa

Publicity -- Akio Ohfuji

Supervisors -- Hiromichi Tanaka, Masato Kato

Animation Sounds -- Square Sounds Co., Ltd., Tsuyoshi Sekito

Animation Production TOEI ANIMATION CO., LTD, Producers -- KouZo Morishita, Tatsuya Toshida

Art Director -- Shinzo Gyo

Character Design, Animation Design -- NaoYoshi Yamamuro

Director -- Nao Ito
Scene 10 “The Fall of Guardia” 0:31
 
After beating Chrono Trigger a second time with the “New Game+” feature, this cutscene plays. It displays the iconic Chrono Trigger pendulum before cutting to a Guardia royal crest. Depicted as shadows, two individuals duel. Text appears over the scene, reading, “1005 A.D. the Fall of the Kingdom of Guardia...” The cloaked figure is believed to be Dalton (this was assumed after the release of the Nintendo Dual Screen iteration of Chrono Trigger). Once more, we return to the shot of the pendulum -- which is quickly replaced by an image of a fallen Truce. Dead bodies covered in blood lay on the ground, while the Grandleon or Masamune is pulled from the ground. A last subtitle reads, “...and the disappearance of the legendary sword, the Masamune.”
 
The presence of blood and gore in this cutscene parallels the effects of the opening title sequence, showing the players a very real and vivid scene of Guardia being razed to the ground. It is both shocking and violent, and it is most likely due to this video, as well as the violence exhibited in previous cutscenes, that the Final Fantasy Chronicles bundle received a “T” (Teen) ESRB rating.

Works Cited:

[1]cutscene. Oxford Dictionaries. Oxford University Press, n.d. Web. 28 July 2015. .
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createddcterms:created2015-07-28T03:45:35-07:00
typerdf:typehttp://scalar.usc.edu/2012/01/scalar-ns#Version
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