The original Final Fantasy VII is widely known for the many secrets left behind in its code. However, by using a field editor anyone can view the game’s used and unused script. This series of articles will present to the reader, in addition to entertaining commentary, all the unused text in the game in an order vaguely representing a normal playthrough; starting with the bombing of the Mako Reactor, continuing up to the final confrontation with Sephiroth, and ending with coverage of the debug rooms.
I want to thank the following individuals for making this compilation possible:
– GlitterBerri: All the translations in these articles were made by her. The importance of this contribution can not be understated. You can find all of her translation work, including these articles, on her website.
– BrutalAl: This guy not only made complete rips of the script of both Japanese versions of FFVII, but automized an immense part of the script research in addition to supplying tons of useful cheat codes. Visit his YouTube account to see his FFVII videos.
– DLPB and Herman of the Retranslation Project: Herman created a spreadsheet with the English and Japanese script placed side by side. Although meant for the Retranslation Project, they were kind enough to share the spreadsheet with me and in the end it was this document that kick-started the entire project.
– Myst6re: Creator of the FFVII script editor
Makou Reactor. Without this piece of software the commentary would not be nearly as extensive.
– Lasyan3: Creator of the program
Mass Field Update. With the combined use of this software and Makou Reactor one can easily mod the PSX versions of FFVII. This has been essential for unlocking text that otherwise would have gone unseen in-game.
– Everyone else: Thank you to all of you for supporting me during this project!
Term Register
The commentary was written by this article’s author, Shademp (and edited by GlitterBerri!). To flesh out these sections and to provide the reader with a deeper understanding of FFVII pertinent game mechanics and script formatting are explained below. The former are important for describing the relative in-game accessibility of the unused text.
Plot Progression Value
Plot Progression Value (PPV) points represent where in the game’s plot you find yourself. The game begins at PPV = 0 and ends at PPV = 1999. Events occur only at fixed PPV intervals. Occasionally I will use the symbols “>” and “<" to write that PPV must be "greater than ___" or "lesser than ___" in order for an event to occur.
Flags
Flags register variables such as whether a chest is opened or closed, whether you’ve spoken to an NPC, and whether a scene has occurred. Whether and how a scene occurs is determined by which flags have been set. While this is merely a technical way to describe, for example, that you must have spoken to Tifa outside the bar in order for the scene inside the bar to occur, the term flag may pop up now and then.
Non-Choreographed Text
It will be noted when a piece of text is related to a Plot Progression Value and/or flag. However, the unused text is oftentimes unconnected to either of these game mechanics and can be defined as being outside of the scene’s choreography, unable to be triggered by the player. Text will fall under this category when it is not referred to by a PPV, flag, or other prompt.
Duplicate Groups
The game’s maps, or “fields”, are what contains both the used and unused script. For certain groups of maps, there is more than one field that contains the same script. For example, each map of the Mythril Mines has its own text plus the text of all the other fields in the cave. Though their dialogue is present in every field, this does not mean that you can, for example, encounter the Turks anywhere in the Mythril Mines. These are merely duplicates; likely created by the author to review large sections of the game without having to toggle between multiple maps.
This is important for two reasons:
- We can not always discern with 100% certainty which one of the maps the text was intended for.
- Sometimes instances of the duplicate text are different from their cloned counterparts. Cases like these are included here. Any exactly duplicated lines or text entries which are empty and can’t be figured out are not. Aside from those, these articles cover the unused field script in its entirety.
Love Points
Aeris, Tifa, Barret and Yuffie can accumulate Love Points based on how the player decides to treat them during the journey. In general, a negative dialogue option will diminish the Love Points for the relevant character and a positive option will increase it. The character with the most Love Points is the one with whom Cloud ends up going on a date at the Gold Saucer. Naturally, with unused dialogue options comes unused situations that once affected Love Points.
How the Script is Presented
Generally, the location or scene is described, followed by the field’s file name. Whenever it is clear where the unused script was intended to be used a thumbnail, or an in-game snapshot, of the field is shown.
Example:
| {Used English Text} | {Japanese Text} | {Retranslation} |
-Used dialogue is included to add context to that which is unused. The used text is written in bold letters. A few notes:
-The English text is from the PC version of FFVII which is slightly different from the PSX script.
-There are two Japanese versions of FFVII: The first release, abbreviated here as JORG, and the second release, called “FFVII International”, abbreviated as JINT. Any script differences between JORG and JINT will be detailed in the commentary.
-Translations are provided where the original English text is misleading or where it simply was never translated to begin with.
-When a text entry is empty in the English game it is represented by an empty column. GlitterBerri has chosen to represent these by writing “N/A” in the empty columns.
| {Flagged Unused Text} |
Any text that requires script editors and/or cheat codes to read qualifies as unused text. If a text entry is flagged, it is connected to additional information such as character animations, text window size, etc.
| {Unflagged Unused Text} |
Unflagged text contains no information other than the text itself. All the unflagged text entries are marked with thick borders.
| {Flagged Unused Location Name} |
Location names, the area names seen by accessing the menu, are marked with italics. Naturally, these can be unflagged as well. If a field lacks a location name it will assume the name of the previous field the player visited.
Without further ado… LET’S MOSEY!
The Bombing Mission & The Train Ride
Reactor Train Station (MD1STIN)
| 神羅兵 | Shinra Soldier | |
| “Who goes there!?” | 「なんだ、おまえたちは！」 | Who goes there?! |
| “C’mon newcomer. | 「行くぞ、新入り |
| Follow me.” | オレに続け！」 |
Before even the first line used in the game there is this unused shout by one of the guards at the station. This is one of many cases where the Japanese script writes out a name for a character while the English does not.
End of Demo Play (MD1_1)
| デモプレイはここまでです。 | Demo play ends here. |
| １２月の発売をお楽しみに！ | Look forward to the December release! |
In 1996 a demo of FFVII was released with a fighting game called Tobal No.1. The demo only goes from the start of the game to the reactor explosion. At no time, however, is this message shown to the player on the field. The closest thing is the text that the reactor explosion FMV in the demo ends with (shown below), although it is in English in all localizations.
We’ll get back to the FFVII Tobal demo later.
Only in a duplicate group in the first Japanese release can this developer’s note be found. The reason I connect it to MD1_1 is because this text entry was edited into Barret’s quick tutorial on how to run by pressing X and the directional buttons. In JORG Barret did not have this fourth-wall-breaking dialogue.
As an extra note, a slightly altered duplicate version of Barret’s tutorial exists in the JINT script. The only difference is a lack of brackets around the “press the directional buttons” instruction.
| {Barret} | BARRET |
| “Now let’s go into the reactor! | 「さあ、魔晄炉（まこうろ）の中へ！ |
| From here on out, you stick with me.” | ここからはオレのそばに |
| いてもらうぜ」 |
| “Leave this to me!” | 「ここはまかせとき！」 |
| “Don’t mess up SOLDIER-boy!” | 「たのんだぜソルジャーさんよ！」 |
| “Bring {Barret} back alive!” | 「BARRETをよろしくな！」 |
Intended to be spoken before entering the reactor’s interior, Barret’s “From here on out, you stick with me,” sounds like it excludes the presence of the similar line that he speaks on the first map of the reactor’s interior after his talk with Cloud. In addition, all three lines from the other AVALANCHE members lack names. In the final game their names are always given.
Elevator – (ELEVTR1)
| {Cloud} | CLOUD |
| “The only thing I care about is finishin’ this job | 「俺が考えてるのは、さっさと仕事を |
| before security and the Roboguards come.” | 終わらせたいってことだけだ。 |
| 警備兵やガードロボットが来ないうちにな」 |
| {Barret} | BARRET |
| “…” | 「…………」 |
Although duplicates and meaningless empty text entries are omitted for these articles, all other dialogue bits, such as this one where Barret’s anger towards Cloud is expressed with silence, are included.
Shared Location Names, FMV, and Materia of Reactors 1 & 5
Much evidence exists that at one point in development the maps from the No. 1 Reactor that were used in the first mission in the game were intended for reuse in the No. 5 Reactor where the second bombing mission takes place.
Except for the first interior area, all maps of the first reactor’s interior will change their location name from “No.1 Reactor” to “No.5 Reactor” if you roam them after the explosion occurs at PPV = 27. In addition, no random encounters can occur during this time. This leads me to believe that a different set of encounters was planned for when the No. 1 Reactor turned into No. 5. The apparent lack of Reactor 1 stuff in the Reactor 5 is also indicative of this.
Does the same hold true for the No. 5 Reactor? Unfortunately, only one of its maps, SMKIN_4 (the field with the save point), will change its name from “No.5 Reactor” to “No.1 Reactor” when PPV < 27 (before the explosion). However, there is no change in the random encounters.
SMKIN_4 also contains data for displaying the countdown timer to the reactor explosion. The explosion FMV will be triggered in both SMKIN_4 and SMKIN_5 (the area where you set the bomb) when the timer reaches 00:00, but only SMKIN_4 can display the timer. Setting PPV to 27 when in either of these maps will trigger the FMV too, of course.
Identical to the No. 1 Reactor (NMKIN_5), the Restore Materia found on the bridge in the No. 5 Reactor (SMKIN_5) if PPV < 15.
Perhaps most intriguingly, NMKIN_5 (the first reactor) contains a scene that normally occurs in SMKIN_5! Enter the field when the PPV ≧ 111 but below 120. Tifa and Barret will split from Cloud and the screen will take on a red hue while a high-pitched ringing noise is heard, just like the scene in SMKIN_5. The game will freeze here, however, as it doesn’t contain data for jumping to any map. Perhaps at the time when this Midgar reactor scenario was created the Nibelheim reactor scenes had not yet been completed to warp to.
(Naturally, for Tifa to appear on the field she has to be cheated into your party. This
is true for the follow-up scene as well.)
By entering the field when PPV = 120 the scene will continue.
| {Barret} | BARRET | Barret: |
| “Damn man‚get a hold of yourself!” | 「おい、しっかりしてくれよ！」 | Oi, please hang in there! |
| {Tifa} | TIFA |
| “You all right?” | 「だいじょうぶ？」 |
| {Cloud} | CLOUD |
| “…{Tifa}.” | 「……TIFA」 |
| {Tifa} | TIFA |
| “Mmm?” | 「ん？」 |
| {Cloud} | CLOUD | Cloud: |
| “No…forget… | 「い……いや…… | N… no… |
| Come on‚let’s hurry!” | 気にするな。 | Don’t worry about it. |
| さあ、急ごう！」 |
Come on, let’s hurry! |
The player gets control over Cloud and can talk to Barret or Tifa.
| {Cloud} | CLOUD | Cloud: |
| “I know. | 「わかってるさ。 | I get it. |
| You’re my chaperon‚right?” | あんたは俺の見張りだろ？」 | You’re my lookout, right? |
| {Barret} | BARRET |
| “Damn straight.” | 「そういうことだ」 |
| {Barret} | BARRET | Barret: |
| “{Tifa}’s old friend… | 「TIFA の幼なじみ…… | Tifa’s old friend… |
| That ain’t good enough.” | それだけじゃ不安なんでな」 | That’s not enough to stop me from worryin’. |
Tifa has to be approached before she walks too far off.
| {Tifa} | TIFA |
| “Let’s hurry‚{Cloud}.” | 「急ぎましょう、CLOUD」 |
Cloud will set the bomb in NMKIN_5 just as he does in SMKIN_5 if the player follows Tifa.
| {Barret} | BARRET |
| “Alright, let’s go.” | 「よし、行くぞ」 |
The dialogue from when Cloud sets the bomb in the first reactor and escapes is also flagged in the SMKIN_5 map, but the scene has no trigger.
Finally, the lower 12 o’clock debug room relates back to this early design plan, as the option to teleport yourself to the first reactor is also marked in parantheses as “5reactor”.
It is very possible that when the designers were moving from one set of reactor maps to two sets they got confused as to which map belonged to which reactor. This may explain the appearance of the file name SMKIN_3 spelled in Greek letters in the NMKIN_3 map, An oddity that VanishedOne analyzed on his blog, The Face of the Moon.
Escaping From the Reactor
Numerous maps involved here except for the immediate dialogue below that belongs in NMKIN_5 and SMKIN_5.
| {Cloud} | CLOUD |
| “This is… | 「これは…… |
| Materia…” | マテリア……」 |
Cloud never reacts to spotting the Materia in either NMKIN_5 or SMKIN_5.
| {Barret} | BARRET |
| “Heads up, here they come!” | 「本格的にやってくるぜ」 |
| {Cloud} | CLOUD | Cloud: |
| “The alarm!” | 「警報か？」 | The alarm? |
| {Cloud} | CLOUD |
| “Come on, let’s get outta here!” | 「さあ、脱出だ」 |
Cloud’s line about the alarm was probably intended for after the battle with Guard Scorpion.
The Timer
Readers of the script via script editors will find an empty (but flagged) text entry. This text window actually surrounds the timer. It is invisible with no borders and does not disappear through clicking the OK button.
Moving on to an earlier version of the timer…
| Ten minutes to detonation! | 爆発 １０ 分前 |
| Two minutes remaining | 残り ２ 分 |
| One minute remaining | 残り １ 分 |
| Thirty seconds remaining | 残り ３０ 秒 |
| Ten seconds remaining | 残り １０ 秒 |
| Five seconds remaining | 残り ５ 秒 |
| Four seconds remaining | 残り ４ 秒 |
| Three seconds remaining | 残り ３ 秒 |
| Two seconds remaining | 残り ２ 秒 |
| One second remaining | 残り １ 秒 |
Before there was a timer in the upper left corner of the screen the only indication of the remaining time until the explosion were these text windows. Players of the 1996 Tobal demo would see these dialogue boxes rather than an actual timer. Notably, the demo version sees the countdown stop during battle, unlike in the final game where it is always counting.
The demo gives you three minutes to escape the reactor rather than ten minutes. The “Three minutes to detonation,” text entry was probably edited into the used “Ten minutes to detonation,” text window.
| Biggs | ビッグス |
| “I only let my guard down for a minute… | 「敵に後ろをとられて…… |
| And someone got behind me…” | 油断しちまった」 |
In the demo Biggs had to be saved in addition to Jessie if you were to escape the reactor. Biggs’ dialogue remains in the field script but his field model has been completely removed from this map. Just like with Jessie Cloud will ask Biggs if he is alright, but that text entry is not flagged here in the final game.
In the demo, approaching any of the locked doors without having rescued the required character yielded either of these text boxes. This detail is removed in the final game, though the script remains.
| Can’t decipher code | ビッグスがいないと |
| without Biggs | コード解除できない |
| Can’t decipher code | ジェシーがいないと |
| without Jessie | コード解除できない |
Collapsed Room After Escape (MD8_4)
| Sector 8 | ８番街 |
Access to the menu is disabled here. Opening the menu would show the location name as “No. 1 Reactor”.
Alley Where You Meet the Flower Girl (MD8_2)
| Sector 8 | ８番街 |
This unused location name will not be noticed by the player as the field before it is called “Sector 8”, meaning with no flagged location text the map assumes this name anyway.
| “What an explosion!” | 「しっかし、スゲェ爆発だったな」 |
| “Think it’s another Mako reactor accident?” | 「ああ、また魔晄炉の事故じゃねぇのか？」 |
An early hint from the NPC of other reactor incidents.
Sector 8 Square (MD8_3)
| Sector 8 | ８番街 |
| A paper hung on the wall | 「何か壁に書いてあるな？ | Something’s written on the wall? |
| なに、なに…」 |
What could it be… | |
| 『神羅にだまされるな！ | Don’t be fooled by Shinra! | |
| 魔晄エネルギーは永遠ではない！ | Mako energy doesn’t last forever! | |
| 魔晄は星の命！ | Mako is the Planet’s life source! | |
| いつか終わりがやってくる！ |
The end is in sight! | |
| 星の救世主：アバランチ』 | Protectors of the Planet: AVALANCHE |
This text box is, in fact, just a partially translated duplicate of a line triggered by talking to one of the NPCs.
| “Wonder what that is on the wall over there. |
| Let’s see…” |
| Don’t be fooled by Shinra! |
| Mako energy doesn’t last forever! |
| Mako is the Planet’s life source! |
| The end is in sight! |
| Protectors of the Planet: AVALANCHE |
Facing the SS (MD8BRDG)
| {Cloud} | CLOUD |
| “What a pain…” | 「めんどうだな…」 |
Obviously meant as a reaction to the Shinra soldiers finding Cloud. This line is supposed to occur if the correct set of flags are triggered, but it’s not actually part of the scene’s choreography.
Train Cargo Room (CARGOIN)
This room contains some unused interaction between Cloud and Jessie as well as a strange debug event.
| Jessie | ジェシー |
| “Say, thanks for helping me | 「ね、魔晄炉で助けてくれて |
| back there at the reactor!” | ありがとう！」 |
| {Cloud} | CLOUD |
| “Yeah…” | 「ああ……」 |
| A: That’s OK | A: 気にするな |
| B: Quit thanking me | B: 礼なんかやめてくれ |
| A: | {Cloud} | CLOUD | Cloud: |
|---|---|---|---|
| “Don’t mention it. | 「気にするな。 | Don’t mention it. | |
| 当然のことをしたまでさ」 | I just did the natural thing. |
| B: | {Cloud} | CLOUD |
|---|---|---|
| “It bugs me when you thank me. | 「感謝などされても困る。 | |
| It’s just a part of my job.” | これも仕事のうちだからな」 |
| A: | Jessie | ジェシー |
|---|---|---|
| “But, I… | 「でも、私…… | |
| I was just glad…” | ほんとにうれしかったから…」 |
| B: | Jessie | ジェシー |
|---|---|---|
| “{Cloud}……” | 「CLOUD……」 |
|
| “You’re right. | 「そうだね、私たち | |
| We’re just partners.” | ただの仕事仲間ね…」 |
In the normal scene Jessie leaves the field after her used dialogue. To see these, anyone modding the game would have to prevent her from leaving and flag her responses to Cloud.
The 3 O’Clock Debug Room Scene
This scene can be accessed via the third debug room. Talk to the Shinra soldier and select “Cargo”. You must enter this field sometime after both Tifa and Barret have joined your party in Seventh Heaven (PPV ≧ 108) for this scene to occur. Technically, this scene should be reviewed in a later article, but given as we’re already in the room…
| {Cloud} | CLOUD |
| It’s not ready yet… | 「まだできてないんだ… |
| Whoa!! | ウオオ…！！」 |
The eerie soundtrack “Who Are You?” is playing. Cloud runs from the far end of the cargo area towards the player, stops, holds his head, and shakes while the screen takes on a red tone.
While on his knees Cloud continues to writhe, then he sits back and the screen goes black. The player has no control over Cloud.
Cloud’s line sounds more like a developer’s note, with the developers jokingly using Cloud’s mental instability in this part of the game to set the stage for this vague reference to something in the debugging process.
But whatever is this thing that is not ready yet? In all honesty, it could be anything. The unflagged debug text below is a good candidate; that which is not ready yet might simply be the debugging events.
| N/A | 「とりあえず、チェックしとく？」 | Will you go and check? |
| ☞ 列車到着へ！！ | ☞ To the train arrival!! | |
| ☞ 南魔晄炉破壊作戦へ | ☞ To the South Mako Reactor destruction operation | |
| ☞ ぬけちゃう！ | ☞ Exit! |
The exact sections of the game these options were meant to take you to can’t be discerned via the text alone, but unfortunately the text is all we have.
| Shut-off the switch in this position. | 「このまま、スイッチをお切りください」 | Shut-off the switch like this, please. |
What switch is the game talking about? Here is one possible answer. If you roam this map freely when PPV ≧ 108 you will notice that you can’t jump to the next field. The switch might be the room’s exit that has been disabled.
| We can escape from the train event… | 「列車イベントをぬけるのだが……」 |
| ☞Did it!! | ☞ 大成功！！ |
| ☞4th failure | ☞ 失敗４回目 |
| ☞3rd failure | ☞ 失敗３回目 |
| ☞2nd failure | ☞ 失敗２回目 |
| ☞1st failure | ☞ 失敗１回目 |
| ☞Escaped | ☞ ぬけちゃう！ |
The train event referred to can only be the one when the ID sensor alarm activates on your way to the No. 5 Reactor and you must run from carriage to carriage to outrun the door lock timers. If the timer reaches zero, then the doors will be locked and the player is forced to jump off the train prematurely. The shorter your progress the further from your destination you will end up when jumping off the train. The four scenarios that count as failures correspond to any of the four instances where you might be sealed off from the next train section because you fail the time trial. “Did it!!” must represent reaching the final section of the train and having outrun all the door lock timers. “Escaped” is more ambiguous in its meaning. Once you’ve escaped and end up in the winding tunnels there are three possible scenes depending on how many carriages you ran through. A single “Escaped” option does not fit with these multiple scenarios.
Train Carriage (TIN_1)
We start with some unflagged NPC dialogue by the train passengers. By the look of it the carriage was meant to be crowded with more NPCs.
| “Hey!! | 「おい！！ |
| What’s going on here?” | こら……！！」 |
| “Oops, uh, | 「あ、いえ |
| n, nothing…” | なんでもないです…」 |
| “Please don’t make any trouble.” | 「騒ぎはおこさないで |
| くださいよぅ」 |
Sounds like a train employee. Possibly a Shinra guard.
| “…mumble…grumble… | 「ブツブツ…… |
| (…Reactor’s blown to bits… | （はあ、悪いことは続くもんだ。 |
| …Bad things one after another… | 今夜は魔晄炉事故のダイヤの乱れで |
| …What a day!)” | 大変な一日だったのに）」 |
The mumbling mirrors dialogue later spoken by the Shinra Manager
so we can assume that this dialogue belongs to him.
| 「こ、こわいかい？ | A, are you scared? | |
| 大丈夫だよ、ぼ、僕が君を守ってやる。 | It’s alright, I, I’ll protect you. | |
| （まいったなあ…こしぬけちゃったよ）」 | (I give up.. I’m a coward.) |
| 「（たのむ。あっちいって） | (Please go away!) | |
| きっと、いい人たちだよ。 | I’m sure you’re good people. | |
| し、心配ないよ…たぶん」 | I, I’m not worried… honest. |
| 「キャッ！！ | Eek!! | |
| どうしましょう…。 | What do I do… | |
| どうしましょう……」 |
What do I do… | |
| （ちょっとしたスリルだわ。 | (It’s a little thrilling, | |
| このビリビリな緊張感…。 | this electrifying nervousness… | |
| さっきの爆発事故より恐怖ね）」 | It’s even scarier than that explosion!) |
| 「キャッ！！ | Eek!! | |
| どうしましょう…。 | What do I do… | |
| どうしましょう……」 |
What do I do… | |
| 「（あ、いんねんをつけられてるのかしら。 | (I wonder if he’s picking a fight. | |
| からまれているのかしら……？）」 | Am I involved…?) |
When entering the passenger carriage we see two red-haired passengers leaving the train. The same NPCs are later seen outside the train station and their dialogue reveals that they are a couple. Given the valiant masculinity of the first two lines and the feminine “Eek!!”, these lines were probably intended for the red haired couple.
| 「ごめんよ……ちょっと気分が…」 |
Sorry… I feel a little… | |
| 「変なもん食ったからなあ。 | I must have eaten something weird. | |
| あのミッドガル名物のプレートピザ…」 | That famous Midgar plate pizza… |
Impossible to determine which NPC this was intended for.
| “To the Route Map Screen” | 『ルートマップ画面へ』 |
A developer’s note to indicate the jump to the train map Jessie shows Cloud.
The Japanese text is scripted to alternate between white and grey; an action which is not used elsewhere in the entire field script.
Route Map Screen (ROOTMAP)
| Last Train from Midgar | 路線図 |
Same location name as previous field.
| Jessie | ジェシー |
| “{Cloud}! | 「さ、CLOUD！ |
| Look over here.” | こっちむいて」 |
| Jessie | ジェシー |
| “Okay, it’s about to start.” | 「さ、はじめるわよ」 |
The following unused text is placed after Jessie’s comments on the structure of Midgar and before her description of the train route and the ID sensor system. Only Cloud has a few flagged lines, but these are outside the scene’s choreography.
| ジェシー | Jessie: | |
| 「ね、 |
Hey, Cloud! | |
| 「聞いてる？」 | Are you listening? | |
| A: ああ…… | A: Yeah… | |
| B: 聞いてない | B: No. |
| A: | CLOUD | Cloud: | |
|---|---|---|---|
| 「なるほど……」 |
I see… | ||
| 「ずいぶん | It’s pretty | ||
| くわしいんだな」 | complicated, huh. |
| B: | CLOUD | Cloud: | |
|---|---|---|---|
| 「聞いてなかった…」 |
I wasn’t listening… | ||
| 「もういちど | Let me hear it | ||
| 聞かせてくれ」 | one more time. |
| B: | ジェシー | Jessie: | |
|---|---|---|---|
| 「え！……うん」 |
What! …OK. | ||
| 「あのね、アバランチの規律があって | According to AVALANCHE’s rules we have | ||
| いろいろ暗記させられるわけ。 | to memorize a lot of things by heart. | ||
| いちおう、大義名分ってやつなのよ」 |
Anyway, it’s for a good cause. | ||
| 「 |
Barret often talks about difficult subjects. | ||
| 魔晄の本質とかなんとか…」 |
The true nature of Mako, for example… | ||
| 「ああいうのもね、暗記したのがついね | The things we memorize | ||
| でちゃうのよ」 | just pop out sometimes. |
| A: | ジェシー | Jessie: | |
|---|---|---|---|
| 「はいはい。 | You got it. | ||
| まっかせといて」 | Leave it to me! |
| 「いい？ |
Ready? | |
| 「魔晄都市ミッドガルは | The Mako city Midgar is a man-made | |
| 地上から約５０Ｍの高さに | city constructed 50 meters | |
| 建設された人工都市なの」 | above the planet’s surface. |
| 「最高水準の技術の結晶。 |
A crystallization of the highest technology. | |
| 人間の知と力のしょうちょうね。 | A symbol of humanity’s power and wisdom. | |
| このミッドガルは…」 | That’s what Midgar is… |
| 「考えてみると、あらためてすごいよね。 | Shinra’s technology is amazing | |
| 神羅の技術って」 | when you think about it. |
| CLOUD | Cloud: | |
| 「神羅か……」 | Shinra, huh… | |
| ☞神羅について聞かせてくれ | ☞Let me hear about Shinra. | |
| ☞興味ないな | ☞Not interested. |
| ジェシー | Jessie: | |
| 「え？ CLOUD | Huh? Cloud, | |
| 私よりくわしいんじゃない？」 | don’t you know more than me? |
| CLOUD | Cloud: | |
| 「昔のことなんか覚えちゃいない。 | It was a long time ago. | |
| 俺は本社勤務じゃなかったしな」 | I didn’t work at headquarters or anything. |
| ジェシー | Jessie: | |
| 「はいはい」 |
OK then. | |
| 「神羅カンパニー…… | Shinra Company… | |
| 私たち、アバランチの目下の敵」 |
They’re the current enemy of AVALANCHE. | |
| 「この列車も、この街も | A giant corporation with this train, | |
| もちろん魔晄炉も…」 |
this city, the Mako reactors, of course… | |
| 「さいふからせいふまで | everything from our wallets to | |
| すべてをしょうあくする巨大企業」 | the government in its grasp. |
| 「神羅カンパニーのトップは | At the top of the Shinra company is | |
| プレジデント神羅という人物よ」 |
a man called President Shinra. | |
| 「魔晄炉建設を積極的におしすすめて | He actively pushed forward the construction of the Mako Reactors | |
| いまの神羅の地位をきずいたの」 | and was instrumental in helping Shinra get where it is today. |
| 「私たち、無謀な戦いを挑んでるの。 | We’re fighting a reckless battle. | |
| 勝てるのかしら……」 | I wonder if we can win… |
| ジェシー | Jessie: | |
| 「はいはい」 | Well, there you have it. |
This text would have been the earliest mention of President Shinra in the game script. After this comes Jessie’s used comments on the train’s ID sensor system, where the scene normally ends, but here is the unused script that follows after.
| 「私たち、スラムの住人が | For those of us who live in the slums | |
| ミッドガルに上るには、この列車に乗るしかないの」 | the train is the only way to get up to Midgar. |
| 「スラムの街からミッドガルへ…… | From the slum towns to Midgar… | |
| なにもかも管理されたこの列車で | A variety of items are transported | |
| いろんなものが運ばれていくの」 | by this train that controls everything. |
| 「それにね、この列車に乗ってるとわかるの」 |
Anyway, riding this train makes you realize something. | |
| 「上の街が吸い取っていくのは | Those things aren’t all the city | |
| それだけじゃない」 |
above sucks up. | |
| 「やさしい気持ち… |
Kind feelings… | |
| ふわっとあたたかい心。 |
Warm, light hearts… | |
| だんだんなくなっていくの…」 |
They’re gradually disappearing… |
| 「そういうのって、やだな。 | I won’t let that happen. | |
| だから、私、アバランチに入ったんだ」 | That’s why I joined AVALANCHE. |
| 「ごめんね、話、長くなっちゃったね。 | I’m sorry, I didn’t mean to talk for so long. | |
| でも、 |
I just wanted you to know | |
| 知ってほしくて」 |
the reason I’m fighting. | |
| 「私、ただの爆弾女と思われるのって | I didn’t want you to think I was | |
| いやなのよ」 | just a girl who’s bomb-crazy. |
In the final game we never hear Jessie’s motivations for joining AVALANCHE. Given her dialogue about how the train controls and defines the social hierarchy of Midgar her line about happiness fading away sounds like a reference to the people of the slums. One becomes curious as to what in Jessie’s background makes her passionate enough to join AVALANCHE, but unfortunately the game doesn’t tell.
| 自主規制 | Voluntary Restraint |
“Voluntary Restraint” is probably a play on the real life trade term “Voluntary Export Restraint”. The note fits thematically with Jessie’s dialogue about how the train controls the transport of goods and it might have been left here to remind the writers of the intended theme.
The field also contains unused data for initiating the FMV of the train following the spiral route and a subsequent transition to the train station in Sector 7, MDS7ST3. It seems that in this scenario players never jumped back to TIN_1 to see the ID sensor system activated. This order of events might not even have included Barret’s and Cloud’s conversation about why the slum people simply don’t move to the upper plate.
Train Carriage (TIN_1)
| {Barret} | BARRET |
| “The upper world…a city on a plate…” | 「上の世界……プレート都市……」 |
| “It’s ‘cuz of that &^#$# ‘pizza’ | 「あのくさったピザのせいで |
| that people underneath are sufferin’!” | 下の人間がどんなに |
| 苦しんでることか……」 |
| {Barret} | BARRET |
| “All the pollution from Mako energy above | 「上の世界で汚された魔晄エネルギーが |
| falls down on the world below.” | 下の世界に降りてくる」 |
| {Barret} | BARRET |
| “And the city below is full of polluted air.” | 「下の世界は今じゃあ |
| 汚された空気のたまり場だ」 |
Barret’s unused line tells us that pollution comes from the Mako energy though the type of waste is not specified.
This is the end of FFVII: The Unused Text – Part 1. Look forward to Part 2 – The Sector 7 Slums!