Gender Norms (SNES)
Throughout the experience of playing Chrono Trigger, it is apparent that certain gender norms are subjected upon the inhabitants of Guardia (primarily those of 600 and 1000 A.D.). In most cases, women are confined to their homes, while men fight, explore, and work as blacksmiths, storekeepers, and top officials. In various other instances however, female characters like Marle, Lucca, and Ayla defy gender expectations and refuse to be defined by their sex; they represent a shift in societal attitudes. Chrono Trigger’s gender roles and gender shifts alike are easily distinguished as being influenced by both Japanese and American societies. Ultimately, what was articulated from Japanese culture to North American gaming communities provides more insight into these societies as a whole.
In particular, World War II marked a societal shift in what it meant to be “male” and “female” -- a change that was vastly distinct between Japanese and American cultures. While “six million [American] women took their places on factory floors and assembly lines,” Japanese women were instructed that their “patriotic duty was to have children,” and literally, “be married to the nation.” Japanese girls were also drafted by the government as “comfort women” for male soldiers. It was common belief that abstinence led to poor fighting, and as such, “men were expected to use these services.” Men were also brainwashed with unrealistic samurai ideals, ultimately forcing them to fight with a “suicidal” courage. Some of these men would be trained as 「神風」 kamikaze, suicide bombers tasked with crashing into enemy ships and planes.
Supposed remnants of these Japanese ideals may be reinforced in Chrono Trigger, and later perpetuated in the North American localization. A big example of this is found in 600 A.D. in Guardia Castle’s barracks. The soldiers in this room are geared up and planning their next assault on Magus. However next to the four beds is what the commander refers to as a “maid.” If you wish to take a rest from your adventure, the maid asks in the English script, “take a snooze?” Though this is a far stretch, it is important to note that primarily, women are the ones that nurse you back to health inside taverns, inns, and other locations. Even if this is nonsexual, it still implies that a woman’s job is to take care of and assist individuals, be they travelers, soldiers, or even family members.
Supposed remnants of these Japanese ideals may be reinforced in Chrono Trigger, and later perpetuated in the North American localization. A big example of this is found in 600 A.D. in Guardia Castle’s barracks. The soldiers in this room are geared up and planning their next assault on Magus. However next to the four beds is what the commander refers to as a “maid.” If you wish to take a rest from your adventure, the maid asks in the English script, “take a snooze?” Though this is a far stretch, it is important to note that primarily, women are the ones that nurse you back to health inside taverns, inns, and other locations. Even if this is nonsexual, it still implies that a woman’s job is to take care of and assist individuals, be they travelers, soldiers, or even family members.
Besides these examples of servitude, Crono is a great example of the kamikaze ideal imposed on men during World War II. His personality, although completely interpreted from events and situations (since he never speaks), can be viewed as selfless and courageous to the point of irrationality. Crono, without a thought, “rushes to save Marle in 600 A.D. and sacrifices himself without hesitation in the battle at the Ocean Palace.” His headband resembles a 「鉢巻」 hachimaki -- a piece of cloth donned by kamikaze to symbolize courage and perseverance. Crono also sports a 「刀」 katana, a traditional Japanese sword, often carried by Japanese officers during World War II.
While these characteristics from the late 1930’s to 1940’s were prevalent at the time, American influence after the war changed Japanese gender norms -- nearly matching those of their Western counterparts. Because of this, women were once again reinforced to take charge of the household and men were informed that working outside was a noble, responsible, and manly activity. In Chrono Trigger, these roles are very prevalent. Crono’s mother is always found in the kitchen, continuously cooking -- much like the maids in Guardia Castle or various other women found in inns, taverns, and houses. Children may also be present in these situations, suggesting that these women are expected to be full-time parents. Men are typically in charge of the various stores and establishments, or out protecting the King as a guard or soldier. Sometimes they are present in certain houses, but regularly, they are sitting down while their wife walks around the room -- this suggests, once more, that women are in charge of the housework and meals. In one house in particular, an upset wife complains about her 「亭主」 (master or head of the household) “husband's” frequent trips to the local tavern:うちの亭主ときたら 酒場で飲んだくれてばかり！ 今度、ガツーンとおこってやらなきゃ。
It is also significant to note that all of the traditional women depicted in the video game are confined to wearing skirts and dresses -- this serves the purpose of easily identifying females among the populace, but also informs the player of yet another gender expectation concerning females in the Chrono Trigger universe. That being said, Marle, Lucca, and Ayla are exceptions to the rule. Marle chooses to wear clothes without skirts or dresses, defying her father’s (the King’s) wishes, while Lucca wears a tunic with black shorts. Ayla does indeed wear a garment that functions as a skirt, but it is vastly different from 600 A.D. and 1000 A.D. dress code. Her outfit is far more provocative when compared to those standards, showing off ample amounts of skin -- but this outfit is of Ayla’s choosing. She has the freedom to wear whatever she wishes, and in this way, Ayla and her time period (the Prehistoric Era), reflect a moment in history when clothes were not considered gender-specific.
Like women, men as well are restricted to wearing certain types of garments, in this case, shirts and pants -- with the exception of a transgender character named Flea, who defies traditional masculine values by embracing his love for feminine clothing. Although his sex is explicitly defined as male, he sports long pink hair, a skirt, and an item known as “Mayonnay’s Bra” or “Flea’s Bustier,” depending on the translation. Despite dressing, speaking, and acting in a stereotypically feminine manner, Flea remarks that this does not make him weak in any way:
While these characteristics from the late 1930’s to 1940’s were prevalent at the time, American influence after the war changed Japanese gender norms -- nearly matching those of their Western counterparts. Because of this, women were once again reinforced to take charge of the household and men were informed that working outside was a noble, responsible, and manly activity. In Chrono Trigger, these roles are very prevalent. Crono’s mother is always found in the kitchen, continuously cooking -- much like the maids in Guardia Castle or various other women found in inns, taverns, and houses. Children may also be present in these situations, suggesting that these women are expected to be full-time parents. Men are typically in charge of the various stores and establishments, or out protecting the King as a guard or soldier. Sometimes they are present in certain houses, but regularly, they are sitting down while their wife walks around the room -- this suggests, once more, that women are in charge of the housework and meals. In one house in particular, an upset wife complains about her 「亭主」 (master or head of the household) “husband's” frequent trips to the local tavern:
うちの亭主ときたら 酒場で飲んだくれてばかり！ 今度、ガツーンとおこってやらなきゃ。
That husband of mine is always getting drunk off his ass at the bar! I've gotta beat some sense into him soon.
My husband's never around! I'm gonna show him who's BOSS. Next time, POW, right in the kisser!
It is also significant to note that all of the traditional women depicted in the video game are confined to wearing skirts and dresses -- this serves the purpose of easily identifying females among the populace, but also informs the player of yet another gender expectation concerning females in the Chrono Trigger universe. That being said, Marle, Lucca, and Ayla are exceptions to the rule. Marle chooses to wear clothes without skirts or dresses, defying her father’s (the King’s) wishes, while Lucca wears a tunic with black shorts. Ayla does indeed wear a garment that functions as a skirt, but it is vastly different from 600 A.D. and 1000 A.D. dress code. Her outfit is far more provocative when compared to those standards, showing off ample amounts of skin -- but this outfit is of Ayla’s choosing. She has the freedom to wear whatever she wishes, and in this way, Ayla and her time period (the Prehistoric Era), reflect a moment in history when clothes were not considered gender-specific.
Like women, men as well are restricted to wearing certain types of garments, in this case, shirts and pants -- with the exception of a transgender character named Flea, who defies traditional masculine values by embracing his love for feminine clothing. Although his sex is explicitly defined as male, he sports long pink hair, a skirt, and an item known as “Mayonnay’s Bra” or “Flea’s Bustier,” depending on the translation. Despite dressing, speaking, and acting in a stereotypically feminine manner, Flea remarks that this does not make him weak in any way: