Final Fantasy VII: The Unused Text – Part 4
The Final Fantasy VII Unused Text Series Index!
Waiting Room (ONNA_3)
Compared to the unused lobby, this field is a bit more polished. The door will open when Cloud touches it but beyond the door is a dead end. The player is never transported to any other field. Unlike the lobby, however, there are no instances of Cloud having free mobility whilst talking to an NPC. This, along with a lack of messed-up kanji, gives the impression that this map was the last of the three unused rooms to be abandoned.
It is disputable whether or not the following is an oversight, but the field has no music track, used or unused. It would not matter if you could access the waiting room via the lobby; the lobby is playing the Honey Bee Inn tune, and whenever you enter a field that lacks music it will continue playing the music from the previous area. For the most part, the developers were very strict about adding music to areas even if they could leech off tunes already playing.
This room also has a television! This one displays fields from the world of FFVII. It shows a total of six fields, in the following order from left to right:
The Cosmo Canyon field here is, fittingly, the field’s beta design! It can be found on a page from the manual of the first Japanese release. The numerous differences range from the presence of more rock formations in the foreground to lamps which were replaced with torches. Compare with the map of the final game.
The fourth field may be unknown to some players, but is actually the harbor for the red submarine that you can acquire if you lose the submarine minigame event and your grey underwater vehicle gets destroyed.
The NPCs in this field consist of:
– Kwedge: Wedge’s younger brother, who will constantly walk from one end of the room to the other.
– Mukki: As long as you have not triggered either of the ONNA_52 events, where Mukki makes an appearance, he will be sitting on the left couch.
– Mukki’s friend: After the ONNA_52 events, Mukki will be replaced by this character in skintight wrestling gear.
– Red Jacket Guy: He never stops chilling on that couch.
Location name
| 蜜蜂の館１階 | Honey Bee Inn – 1st Floor |
In the last carriage of the train on your way to Mako Reactor #5, Wedge will say the disguise he’s wearing makes him look like his younger brother. This is confirmed by Kwedge’s appearance in this room.
| クェッジ | Kwedge: |
| 「ドキドキドキドキ……。 | My heart’s beatin’ real fast… |
| 「気のせいっスかね。 | Mebbe it’s all in me head. |
| 熱い視線を感じるっス。 | I feel eyes burning into me. |
| 「まずいんっスよ、こんなところにいるの | Don’t like being here. |
| 人に見られたくないっッス。 | Don’t wanna be seen. |
| 「俺のアニキにでも知れたら…… | If my big brother knew… |
| あわす顔ないっス。 | Wouldn’t be able to face him. |
| 星の命に悪いっス」 | ‘S bad for the planet. |
| ムッキー | Mukki: |
| 「ゼィゼィ……。 | Pant, pant… |
| 「トレーニングの後はこの店にかぎるなあ」 | Nothing beats coming here after training. |
Perhaps the Wall Market gym is the one that Mukki regularly attends?
On to the couch potato “Red Jacket Guy”. Here is his available dialogue if you talk to him before either of the ONNA_52 events.
Red Jacket Guy [First Talk-To Line
| 「ああ、はやくTIFAちゃん | Ah, won’t Tifa |
| もどってこねぇかな～」 | hurry and come back? |
Red Jacket Guy
| 「おい、おまえ、知らねぇよな？」 | Oi, you, you don’t know, right? |
| A: なんだ？ | A: What? |
| B: ……だまっててくれ | B: …Shut up. |
Red Jacket Guy
| B or E | 「ヒュ～！！ | Phew!! |
|---|---|---|
| こぇ～な、あんた」 | Scary, ain’tcha. |
Red Jacket Guy
| A: | 「TIFAちゃんの噂だよ。 | The rumors about Tifa. |
|---|---|---|
| 「TIFAちゃんて、７番街スラムで | She’s made a name for herself | |
| 評判のかわいい子じゃんか。 | in the Sector 7 slums for bein’ so cute. | |
| 「それがさ、最近、あちこちで | There’s a rumor that she’s | |
| オトコ探しまわってたって噂なんだ。 | been out and about hunting for men. | |
| 「でもな～ | But y’know… | |
| こんなとこまでくるなんてな～。 | to think that she’d come to a place like this. | |
| 「女ってわかんないもんだよな」 | Women.. don’t understand ‘em. | |
| C: そうだな…… | C: Yeah… | |
| D: それは誤解だ！ | D: You’re wrong! |
Red Jacket Guy
| D: | 「こぇ～声だすなよ。 | No need to shout. |
|---|---|---|
| オレにいわれてもこまるぜ」 | No use sayin’ it to me. |
Red Jacket Guy
| C: | 「なぁ！ TIFAちゃんの蜜蜂ルック | Damn right! I’m looking forward to |
|---|---|---|
| 楽しみだよなぁ」 | Tifa’s new Honey Bee look. |
Now we re-enter the room after an ONNA_52 event and talk to Mukki’s friend.
Mukki’s Friend
| 「ゼィゼィ……。 | Puff puff… |
| 「ひどいなあ、ムッキー先輩。 | That Mukki’s awful. |
| 僕チンをおいていっちゃうんだもんなあ」 | Leaving me behind and all… |
Red Jacket Guy’s dialogue will differ depending on whether or not you gained an underwear key item in the ONNA_52 events. He has one line if you did gain a key item.
Red Jacket Guy
| 「う～ん…… | Ooo… |
| TIFAちゃん……♥♥ | Tifa… ♥♥ |
| ……むにゃむにゃ」 | …Mumble mumble. |
However, if you picked the upper ONNA_52 room and skipped getting an underwear item by simply not talking to the Honey Bee Girl, you will now be able to receive a famous unused key item…
Red Jacket Guy
| 「おっと、ダメだったって顔してるね」 | Oops, looks like I said the wrong thing. |
Red Jacket Guy
| 「気を落とすなよ。 | Don’t let it get to ya. |
| いいものあげっからよ」 | I’ll give ya somethin’ good. |
| E: いらないよ | E: No, thanks. |
| F: もらっとくよ | F: I’ll take it. |
Red Jacket Guy
| F: | 「ひそひそ…… | Psst… |
|---|---|---|
| （これさ、セブンスヘブンって | (Snitched these from the | |
| TIFAちゃんのお店の裏の | clothesline out back of Tifa’s shop, | |
| ものほしざおからしっけいしたものさ。 | Seventh Heaven. | |
| 正真しょうめいのほんものだぜ）」 | It’s the real thing.) |
| 『入手先不明パンツ』を手にいれた！ | Received “Mystery Panties”! |
A literal translation would be “Panties of Unknown Origin”. This is also one of the few cases where a receipt line for a key item does not specify the received item as an actual key item.
| CLOUD | Cloud: |
| 「子供っぽいがらのパンツだ……。 | The pattern on these looks like it’s for kids… |
| もっていれば、女装に役立つだろう」 | Might come in handy for cross-dressing. |
Red Jacket Guy [Talk-To Line After Receiving Mystery Panties]
| 「これであんたとオレも運命きょうどうたいだな」 | Now our destinies are intertwined. |
The existence of the Mystery Panties as an unused key item has been known for years. Finally, we know where and how they were to be received. If anything was removed from the Honey Bee Inn for being too risque, this event undoubtedly counts as one of them.
The item description from the Japanese menu reads “子供っぽいがらのパンツ”, or “Panties with a childish design.” In the PSX and PC version of the English game, the item is called “Mystery panties”, with a lowercase “p”. The description in the PSX version is “Panties with a childish design on them”, while the description in the PC version is “Panties with a childish design”.
Why would Tifa wear panties that have a childish pattern on them? Are we to assume that the guy accidentally stole Marlene’s underwear? If so, the author not only demonstrated his perverted mind, but also a disregard for what seems plausible. Despite the obvious difference in underwear size between that of a child and a fully grown woman, the panties’ namesake “panties of unknown origin”, still begs the question as to who these underwear really belong to…
Players will be disappointed to know that the Mystery Panties, in addition to the Lingerie and the Bikini Briefs, do not actually increase Attraction Value, information taken from Absolute Steve’s guide. The Lingerie is received in the upper ONNA_52 room and the Bikini Briefs in the lower ONNA_52 room. Comical shenanigans aside, the player can only gain something useful from the Honey Bee Inn by having Cloud get his makeup done in the dressing room.
We may have gone through a perverted underwear adventure in the Waiting Room, but Cloud’s epic quest for panties continues on the upper floor.
The Second Floor Hub (ONNA_4)
The ONNA_4 We Never Got To See
Though we’ve already discovered unused fields in the Honey Bee Inn, within this field, your only lobby in the final game, lurks an earlier map design.
Opening the door whilst in any of the two rooms to the left (ONNA_52) shows us a glimpse of ONNA_4. Nothing strange there. However, open the door in the room to the right (ONNA_5), a field you only glimpse in the final game and one you can’t roam freely, and the partial view you get of ONNA_4 looks nothing like the blue and yellow design we’re familiar with. The same is true if you open the door in ONNA_6, which is the room that the south entrance of ONNA_4 was once meant to lead you to. The old wall design of ONNA_4 glimpsed through the two door openings looks very much like the walls of ONNA_6.
I urge the reader to take another look at ONNA_4. It looks butchered, does it not? The flat blue shapes around the face silhouette and the triangular dark spots within it seem to have no consistency at all with the lighting of the area. Though the walls received a clean change from its early design, as seen in the previous pic, the change to the actual floor is immensely flawed. In addition, the dark edges of the map demonstrate an error. Blocky, triangular dark pieces encompass the walls of the field, as though something was retouched or a format conversion went horribly wrong.
Unfortunately, tweaking the contrast and tone of the map reveal nothing major. The outlines of a covered up square in the centre of the floor can be more clearly seen, however. The edge visible through the door in ONNA_5 is probably a glimpse of that same square. The face silhouette stretches outside the square, implying that the face was added later on.
You could look at the final map forever, observing the numerous oddities in its design. Hopefully the original map design still exists out there, somewhere.
Enough with the aesthetics. Let’s resume the literary journey!
The ONNA_4 text was the most troublesome to put together. When a field file stores the text out of order, it is not a problem when the text is unlockable and has context in-game. In ONNA_4, however, the text is largely out of order and mostly locked. Here is the result of my attempt to re-arrange the text entries into a proper order.
Honey Bee Girl
| 「お客さん。 | Sir. ♥ | |
| はじめてかしら？」 | Is this your first time? | |
| A: はじめて、か……？ | A: My first…? | |
| B: どうなんだ…… | B: I wonder… |
Cloud
| ? | 「ああ……」 | Yeah… |
|---|
Cloud
| ? | 「そうだな……」 | That’s right… |
|---|
| A | CLOUD | Cloud: | |
|---|---|---|---|
| 「はじめてだ」 | This is my first time. |
| B: | CLOUD | Cloud: | |
|---|---|---|---|
| 「はじめてかどうかなんて | I forget if it’s | ||
| わすれたな……」 | my first time. |
After that comes the first example of dialogue branches being unclear because the text is locked.
Honey Bee Girl
| 「そう……。 | Ah… | |
| ５つのお部屋から | Please pick which of | |
| 好きなコースを選んでね♥」 | the 5 rooms you’d like. ♥ | |
| 「空いてないお部屋は | You can’t choose an | |
| ダメよ♥」 | occupied room. ♥ | |
| ☞ え…… | ☞ Huh… | |
| ☞ わかった | ☞ Got it. |
Honey Bee Girl
| 「……選んでね♥」 | …Go on and pick. ♥ |
In unused text which occurs later on, she downgrades the number of available rooms to four, which also fits the implied number of customer rooms in the final game. The unused employee room (ONNA_6), which would be the fifth room here, does not function as a room for customers to pick.
Looking ahead, though, the locked text of the employee room reveals that it actually used to be a room for customers, even having a special name of its own. Assuming that this text doubles as a developers’ commentary on the design phases of the Honey Bee Inn, the moment that ONNA_6 changed its purpose marks when the number of available rooms was reduced from five to four.
Honey Bee Girl
| 「４つのお部屋から | Please pick which of | |
| 好きなコースを選んでね♥」 | the 4 rooms you’d like. ♥ | |
| 「空いてないお部屋は | You can’t choose an | |
| ダメよ♥」 | occupied room. ♥ | |
| ☞ え…… | ☞ Huh… | |
| ☞ わかった | ☞ Got it. |
When you enter ONNA_4 via the normal route in MRKT3, a flag is triggered which makes the game believe that an unused scene has already occured.
Although players in the final game will stand at the southern door, the scene is intended to be viewed from the northern entrance as this is where the stairs of the unused first floor lobby were to lead. We know this because Cloud’s subconsciousness emerges from that upper spot and because only here will Cloud be facing the Honey Bee girl when she approaches him, rather than showing his back to her.
The screen will turn red while Cloud’s standard “mental breakdown” high pitch sound effect is heard. Cloud’s subconsciousness (fittingly called “Zax”, as in “Zack”, by the game code) splits from him, ethereal Buster sword in hand, and then disappears, thus ending this deranged sequence. The Honey Bee Girl walks up to Cloud.
Honey Bee Girl
| “Sir…” | 「ポッ……♥ | Oh… ♥ |
| お客さん♥」 | Sir… ♥ | |
| “Choose the BEST ‘flavor’ from the | 「４つのお部屋から | Please pick which of |
| 4 rooms.” | 好きなコースを選んでね♥」 | the four rooms you’d like. ♥ |
| “But you can only choose | 「空いてないお部屋は | You can’t choose an |
| from an unoccupied room.” | ダメなのよ♥」 | occupied room. ♥ |
The player regains control and the girl goes back to the center.
Notably, in the final game, you are never even welcomed, let alone given clear instructions when entering the Honey Bee Inn. The unused scene above is somewhat introductory, while normally, during your first visit, she will simply tell Cloud to hurry. What a poor reception!
Peeking through either of the two rooms to the right transports the player to an obscured view of the room, showing you what is going on in there. By deleting the jump to the map, something different will happen.
| {Cloud} | CLOUD |
| “…Wooo…ow!!” | 「……すごい！！」 |
The screen goes black and a message is displayed.
| 「不適切な内容がふくまれているため | We apologize, but the following contains material | |
| 残念ながら、お見せできません」 | unsuitable for the general public. |
This fourth-wall breaking line will occur by peeking into either of the two eastern rooms, as long as the actual jump to the room is deleted or postponed. Naturally, it is from this text I deduce that the player was never meant to even see a glimpse of these rooms, hence why my reconstruction of the original second floor design does not include rooms here. Clicking past the message makes the field visible again.
Notice that Cloud going “…Wooo…ow!!” does not fit the context of the final game nearly as well as when it appears together with the game’s apology.
Honey Bee Girl
| 「もう！！ お客さん！！ | Now, sir!! | |
| 人の話、聞いてるの？」 | Are you eavesdropping? |
Moving on, after an event occurs in ONNA_52, the Honey Bee Girl will leave the customer room shortly after Mukki. If you do not leave the room before her, and make certain not to wait more than seven seconds to follow her after she has left, a certain flag will be active. This flag makes it so that, in ONNA_4, the girl walks from the western part of the room up to and through the northern door. Yes, the door never actually opens. She just walks through it. Either the door was not there in the original design, or the programmers forgot to include the door-opening action in the code. Normally, her model is deactivated at this point, but remedying this and fulfilling the conditions in ONNA_52 make her visible here.
Though most of her text is locked, this is what was meant to happen if you talked to her on this field without having gained a key item in ONNA_52.
Honey Bee Girl
| 「んっ……？ | Huh…? | |
| まだなんかあるの？ | Was there something else? | |
| 「あたし、しつこい人はきらいなのよね♥」 | I just hate stubborn people. ♥ | |
| C: あのその…… | C: Um, those… | |
| D: なんでもないんだ | D: Nevermind. |
Honey Bee Girl
| D: | 「なによっ！！」 | What!! |
|---|
Honey Bee Girl
| D: | 「しつこいわねっ！！」 | You sure are stubborn! |
|---|
Honey Bee Girl
| C: | 「わかったわかった……。 | Oh, I get it… | |
|---|---|---|---|
| う～ん、熱意に負けたわ♥ | Oo, I’m overcome by your enthusiasm. ♥ | ||
| あなただけ、特別ね♥」 | I’ll do it just for you. ♥ | ||
| 「はい♥ 大事にして♥ | Alright! ♥ Take care of it! ♥ | ||
| 支配人にはないしょよ♥ | Don’t tell the manager. ♥ | ||
| ふたりだけの秘密♥」 | It’s our little secret! ♥ |
| C: | Received “Sexy Lingerie”! | 『セクシーランジェリー』を手に入れた。 |
|---|
In the final game, the upper ONNA_52 room rewards you with the “Lingerie” key item, while the lower room rewards you with the “Bikini Briefs”. “Sexy Lingerie” could be an unused item, or simply the name of the “Lingerie” cross-dressing item before the “Sexy” was removed from it. One confusing matter is that just like with the Mystery Panties, this receipt line does not specify that the underwear is a key item. Because no “Sexy Lingerie” can be found in the game’s item data, we can’t be sure if this was a key item or a normal item. Another dubious item receipt line like this will appear in ONNA_52.
The girl has two referenced, unused talk-to lines. Activating a specific flag, which clearly was to be triggered after receiving the “Sexy Lingerie”, makes the line below available.
Honey Bee Girl [Talk-To Dialogue]
| 「安心して、お客さん…… | Relax, sir… | |
| 女装が趣味だってことは | It’s our little secret that | |
| ふたりだけの秘密ね」 | you like to cross-dress. | |
| 「じゃあね♥ | See you! ♥ | |
| バイバ～イ♥」 | Bye bye! ♥ |
Deactivating the previously mentioned flag and once again ensuring that you talk to her before she leaves the field activates a shorter talk-to line.
Honey Bee Girl [Talk-To Dialogue]
| “OK, b-y-e!” | 「じゃあね♥ | See you! ♥ |
| バイバ～イ♥」 | Bye bye! ♥ |
We can imagine that this line might have been available if you picked the dialogue option D earlier on, instead of C.
OK, folks, what happens when a group of grown Japanese men gather in a room to discuss game development? They start talking about how the game’s main characters might ask a girl for her panties, of course! Cloud’s quest for sexy underwear reaches its pinnacle in a long list of locked text entries.
| CLOUD | Cloud: | |
| 「あの……」 | Um… | |
| ☞ 危険な任務のためだ。君の下着を貸してくれ | ☞ Please lend me your panties for a dangerous mission. | |
| ☞ ほかの言い方はないのか…… | ☞ Isn’t there another way to say it…? | |
| ☞ やっぱりなんでもない | ☞ It’s really nothing. |
| CLOUD | Cloud: | |
| 「その……」 | Uh… | |
| ☞ 彼女へのプレゼントなんだ。君の下着を… | ☞ I need a present for my girlfriend. Give me your panties… | |
| ☞ うそっぽいか、ほかの言い方はないのか…… | ☞ Sounds fake. Isn’t there another way to say it…? | |
| ☞ もういやだ。忘れてくれ | ☞ I’ve had it with this. Forget I said anything. |
| CLOUD | Cloud: | |
| 「あの……」 | Um… | |
| ☞ なにか思い出になるものを。君の下着を… | ☞ I need something to remember you by. Give me your panties… | |
| ☞ だめだな、ほかの言い方だな | ☞ No good. I need to think of something else. | |
| ☞ もういいんだ | ☞ Forget it. |
| CLOUD | Cloud: | |
| 「その……」 | Uh… | |
| ☞ じつは女装が趣味なんだ。君の下着が…… | ☞ Actually, I’m into cross-dressing. I want your panties… | |
| ☞ う～ん、ほか | ☞ Ugh, something else. | |
| ☞ あきらめる | ☞ I give up. |
| CLOUD | Cloud: | |
| 「あの……」 | Um… | |
| ☞ 俺、変態なんだ。君のにおいをかぎたい… | ☞ I’m a pervert. I want to smell your panties… | |
| ☞ いやだ、ほか | ☞ No way, something else. | |
| ☞ バカ！ | ☞ This is stupid! |
Cloud
| 「その……」 | Uh… | |
| ☞ 俺に君の下着をくれないかぁぁ！！ | ☞ Give me your paaaantiiiiies!! | |
| ☞ 熱血風か…、ほかの言い方 | ☞ That might be a bit too strong… Something else. | |
| ☞ やめとく | ☞ I quit. |
| CLOUD | Cloud: | |
| 「あの……」 | Um… | |
| ☞ 俺、君のこと好きだ。下着くれないか？ | ☞ I like you. Won’t you give me your panties? | |
| ☞ ごめん、ほかないか | ☞ Sorry, isn’t there anything else? | |
| ☞ やめ | ☞ I’m done. |
| CLOUD | Cloud: | |
| 「その……」 | Uh… | |
| ☞ 下着くれ！！ | ☞ Your panties, please!! | |
| ☞ 開き直りか、ほかがいいな | ☞ Too serious. Something else. | |
| ☞ やめだ | ☞ I said I’m done. |
| CLOUD | Cloud: | |
| 「あの……」 | Um… | |
| ☞ 俺、病気で…ハァハァ。君の下着が…。 | ☞ I’m sick.. haha. I need your panties… | |
| ☞ どんな病気だ…、ほかの | ☞ Sick with what… something else. | |
| ☞ いかん | ☞ I can’t do this. |
| CLOUD | Cloud: | |
| 「う～ん…… | Err… | |
| （TIFAを助けるために女装するとして | (I need something I can use to | |
| 使えそうなものは…… | cross-dress in order to save Tifa… | |
| まさか、この蜜蜂ルックは目立ちすぎる…。 | This Honey Bee look is way too flashy… | |
| う～ん、下着ぐらいか……）」 | Ugh, maybe I can use the panties, at least…) | |
| 「ええ……！！ 下着ぃ？」 | Uh…!! Your panties? |
These comedic pieces bring attention to an odd aspect of FFVII’s Wall Market script. Multiple times, characters will give you women’s garments and products for no good reason at all. “Thank you, strong, bulky stranger. Here is some cologne and a tiara.”
The same is true for the Honey Bee Inn, where in the upper ONNA_52 room the girl will give you lingerie as “an apology”. In the unused script above, the writers must have been experimenting with making a seamless transition to better explain why Cloud is suddenly given lingerie. “Actually, I’m into cross-dressing. I want your panties…” This explanation is strangely lacking prior to the girl’s talk-to line about keeping it a secret that Cloud likes to cross-dress. All he does in that unused script is to, apparently, point at her lingerie without directly asking for it or even explaining what he wants it for.
So, perhaps more than anything, the writers were busy having fun with Cloud’s situation rather than trying to explain why he receives these various gifts.
The Lovers’/Queen’s Room (ONNA_5)
In the final game, you can’t view this field with such clear lighting and won’t be able to open the door to the left. The collision data is in far from perfect in this map. The door will not open when Cloud goes through, nor will it actually transport you anywhere. Cloud will also phase through objects like the bed and the bathtub. While you aren’t allowed to enter the menu while observing the field, the location name seen in the menu is nothing special.
If you peek through the lower, eastern room in ONNA_4, you will be treated to the showing of a play, complete with with lightning effects and ominous noise of blowing wind. During the scene, monologue foreshadowing later parts of the game will be spoken. This is where we find unused snippets of text.
Location Name
| Honey Bee Inn | 蜜蜂の館 |
| The time is ripe… | 時は満ちた…… | The time has come for |
| A legend has been passed on | a legend that has been passed down | |
| through generations… | 『…古代よりかの地に伝わる伝説…』 | across the land, perhaps since ancient times… |
| …Legend… | ……伝説…… | …Legend… |
| …they sought the Promised Land… | ……求めるは、約束の地…… | …They seek the Promised Land… |
| …one with blue eyes… | ……青きひとみもつもの…… | …A green-eyed man… |
| …and a great white sword on his back… | ……白刃の大剣を背に…… | …shouldering a great white blade… |
| …will not lead us to the Promised Land… | ……約束の地へ導かん…… | …shall lead them hence… |
| …annihilation… | ……破滅…… | …Ruin… |
| …destruction… | ……崩壊…… | …Collapse… |
| …a dark being… | ……黒き者…… | …The dark one… |
| …will guide you… | ……おまえを導く…… | …Will guide you… |
“Annihilation” and “destruction” may be foreshadowing the prophecized destruction that follows the fall of Meteor. “Dark being” and “will guide you” are obvious references to Sephiroth and how he consciously guides Cloud to follow him to the Northern Crater. The field contains no unused text referencing any scenes involving Cloud and the Honey Bee Girl.
The &$#%/Group Room (ONNA_52)
As I’ve mentioned numerous times already, this field is a host to two scenes in the final game. The upper room scene involves Cloud collapsing after a manifestation of his subconsciousness rejoins him, followed by a short conversation between his two selves and being awoken by Mukki lying atop him. In the lower room, Cloud will take a bath with Mukki and his pals. Poor Cloud. The unused text shows us a third scene that contains elements from both used scenes.
Cloud
| 「この部屋にするよ……。 | I’ll take this room… | |
| 今夜は大切な夜なんだ」 | Tonight’s an important night. |
Honey Bee Girl
| 「ソルジャーさん？ | A SOLDIER? | |
| 若いのに大変なのね」 | But you’re so young, it must be hard. |
Honey Bee Girl
| 「……まった？」 | …Did I keep you waiting? |
Honey Bee Girl
| 「ねえ、決まった？ | Did you decide? | |
| ここでいいのね♥」 | You wanted this one, right? ♥ |
Honey Bee Girl
| 「さ♥ はじめましょ♥」 | Well. ♥ Let’s begin. ♥ | |
| 「ハイ♥ まずはぁ……。 | Right. ♥ First of all… | |
| おふろにはいって♥」 | Get in the bath! ♥ | |
| ☞ まってくれ…… | ☞ Just a minute… | |
| ☞ え…… | ☞ OK… |
| CLOUD | Cloud: | |
| 「俺、ふろには入らない主義なんだ。 | I’m against baths. | |
| ☞ ふろに入るなら死んだ方がましさ | ☞ Give me dirt or give me death. | |
| ☞ 水がこわいんだ…… | ☞ I’m afraid of water… |
| CLOUD | Cloud: | |
| 「わすれたな… | I’ve forgotten | |
| ふろなんて何年ぶりか…」 | how many years it’s been since I took a bath… | |
| 「安心しろ。 | Relax. | |
| 下着は常に新品だ」 | My underwear are always brand-new. |
| CLOUD | Cloud: | |
| 「こまかいことは気にしない」 | I don’t worry about the little things. | |
| 「頭も自然に決まるしな」 | I keep my hair natural. |
Honey Bee Girl
| 「なに、ばかなこといってんの？」 | What are you talking about, silly? |
Honey Bee Girl
| 「おおげさな人ね♥」 | You tend to exaggerate, don’t you. ♥ |
Honey Bee Girl
| 「さ♥ お客さん♥」 | Well. ♥ Sir. ♥ | |
| 「つべこべいわないっ♥ | I won’t complain. ♥ | |
| ぬいで！ ぬいで！」 | Undress! Undress! |
Honey Bee Girl
| 「やだ～♥ | Eww! ♥ | |
| あせくさ～♥」 | You smell like sweat! ♥ |
Honey Bee Girl
| 「ほんとにおふろ入ってないんだぁ～♥」 | You really haven’t been bathing~ ♥ | |
| ☞ もう何年になるか…… | ☞ How many years has it been… | |
| ☞ なれればどうってことない | ☞ I haven’t really thought about it. |
Honey Bee Girl
| 「いいわ♥ | That’s OK. ♥ | |
| ゆっくりつかってね♥」 | Take your time. ♥ |
Honey Bee Girl
| 「でも…… | But… | |
| すごいよ、においが……」 | You smell rather… |
Honey Bee Girl
| 「ゆかげんはどうかしら？」 | How’s the temperature? | |
| ☞ のぼせそうだな | ☞ Could be warmer. | |
| ☞ 悪くないな | ☞ Not bad. |
Honey Bee Girl
| 「がまんがまん♥」 | Patience, patience. ♥ |
Honey Bee Girl
| 「あら♥ | Oh! ♥ | |
| うれっし♥」 | I’m happy! ♥ |
Honey Bee Girl
| 「あらま♥ | Wow! ♥ | |
| お客さん、すご～いぃ♥ | Sir, that’s incredible! ♥ |
Honey Bee Girl
| 「かっこいい～♥」 | So handsome! ♥ | |
| ☞ なにいってんだ？ | ☞ What are you saying? | |
| ☞ ん……？ | ☞ Huh…? |
| CLOUD | Cloud: | |
| 「あ、あれ……？ | Wh, wha…? | |
| 「ブクブクブクブク……」 | Glub glub glub glub… |
Honey Bee Girl
| “Oh no!” | 「やだ！♥ | Oh no! ♥ |
| お客さ～ん♥ | Siiir! ♥ | |
| “Help! Someone…! Hurry!” | 「たいへ～ん！ | How awful! |
| だれか～だれか、きて～♥」 | Someone, anyone, help! ♥ |
Voice in Cloud’s Head
| 「明日、旅立つ。 | Tomorrow, we move out. | |
| 危険な任務だ……」 | It’s gonna be a dangerous mission… |
Voice in Cloud’s Head
| 「いいのかしら？ | Are you sure it’s alright for you to be | |
| こんなところで遊んでいて。 | messing around in this sort of | |
| ソルジャーさん」 | place, Mr. SOLDIER? |
Voice in Cloud’s Head
| 「あの子、待たしてるんでしょ？」 | You’ve kept that girl waiting, right? |
Cloud or his inner voice
| 「いいさ」 | It’s fine. | |
| 「正直、つきまとわれて | Honestly, being followed | |
| 迷惑してるんだ……」 | is kind of annoying… |
The script with the sounds of Mukki waking Cloud up and Cloud’s HP & MP being restored are placed between these two lines.
| CLOUD | Cloud: | |
| 「そうだ！ | That’s right! | |
| 任務を実行しなきゃな」 | I have to carry out the mission. |
The main scene ends here. It shares the bathtub component with the lower ONNA_52 event, and the Cloud-passing-out component with the upper ONNA_52 event.
When the girl says “Wow! ♥ Sir, that’s incredible! ♥” this is right before he passes out. Are Cloud’s mako eyes shining intensely because he is about to faint?
After this, we get the locked scene with scripts identical to that of the hub room, except that here the received, unused item is “Lingerie” rather than “Sexy Lingerie”.
Honey Bee Girl
| 「んっ……？ | Huh…? | |
| まだなんかあるの？」 | Was there something else? | |
| 「あたし、しつこい人はきらいなのよね♥」 | I just hate stubborn people. ♥ | |
| A: あのその…… | A: Um, those… | |
| B: なんでもないんだ | B: Nevermind. |
Honey Bee Girl
| ? | 「なによっ！！」 | What!! |
|---|
Honey Bee Girl
| ? | 「しつこいわねっ！！」 | You sure are stubborn! |
|---|
Honey Bee Girl
| A: | 「わかったわかった……。 | Oh, I get it… | |
|---|---|---|---|
| う～ん、熱意に負けたわ♥ | Oo, I’m overcome by your enthusiasm. ♥ | ||
| あなただけ、特別ね♥」 | I’ll do it just for you. ♥ | ||
| 「はい♥ 大事にして♥ | Take care! ♥ | ||
| 支配人にはないしょよ♥ | Don’t tell the manager. ♥ | ||
| ふたりだけの秘密♥」 | It’s our little secret! ♥ |
| Received Key Item “Lingerie”! | 『ランジェリー』を手に入れた。 | Received “Lingerie”. |
Honey Bee Girl
| 「じゃあね♥ | See you! ♥ | |
| バイバ～イ♥」 | Bye bye! ♥ |
The original English translation indicates that these undergarments were meant to be a key item, while Japanese text says otherwise. There are only a handful cases in the final game where a key item receipt line fails to specify that it is, indeed, a key item. Because this scenario is locked, however, it is impossible to say with absolute certainty whether this lingerie is an unused cross-dressing item with a normal item ID, or just the same key item that Cloud will receive in the used scenario.
Now we move on to the used event of the lower room in the final game. At one point, Mukki and his friends all come rushing in, chanting “One, two!! One, two!!” over and over. Here are their unused chants, each scripted to appear on the screen four times, if you click past the dialogue boxes fast enough.
| “One, two!! | 「わっせ！！ |
| One, two!!” | わっせ！！」 |
| “Fyuuu–!!” | 「ふゅ～っ！！」 |
| “Urrrgh!!” | 「んがっ！！」 |
| “…heave…pant… | 「ハァハァ… |
| …wheeze…heave…” | ハァハァ…」 |
| “Yeah!!” | 「チィーッス！！」 |
The “Yeah!!” line is used after they finish shouting “One, two!! One, two!!”, but unseen in the final game is the script causing it to be used repeatedly as with the other chants.
After passing out in the upper room, Cloud has a conversation with himself. Once his other self tells him to wake up, the screen will remain black until you press the OK button. This is because an empty, borderless, transparent text entry is waiting to be exited. After this, the sound effects of Mukki waking up Cloud are written as“… rub, rub, rub… rub, rub, rub, rub… ”
But why is there an empty text box here? Was it a conscious decision by the developers to require you to press a button in order for Cloud to wake up, or did they forgot to write a piece of dialogue here? We do not know, of course, but I thought it worth mentioning.
The Employee Room (ONNA_6)
After a long journey, we have finally arrived at the last field of the Honey Bee Inn.
The collision data is solid and the door will even open when Cloud touches it, but, yet again, no data for transporting the player elsewhere has been implemented, so it’s another prison field! Unlike the waiting room, this map has its own music and will be playing the Honey Bee Inn theme whether or not a tune was playing in the previous field. Aside from the erroneous kanji, the field is fairly complete. There are no instances of Cloud being able to move around whilst talking to an NPC.
This TV, like the one in the waiting room, will be displaying familiar areas from the game (albeit in lower quality). A screen from the Da-Chao Statue in Wutai is added to the roster in this field. The pre-release version of Cosmo Canyon makes another appearance. Here are the fields displayed:
The cycle of images the TV runs through before starting over again is ridiculously long. See the cycle in this image.
Aside from Cloud, only two characters appear on this screen:
– The Guard: The same guy who stands in your way in the lobby if you try to enter the upper floor without being admitted. He is always looking out the window, except for when you talk to him.
– The Chubby Old Man: Is this the same fellow that, in the final game, is standing right outside the Inn? Nothing except for the identical field model supports this theory.
We have organized the text tables in the same manner as ONNA_1:
| Original Japanese | Corrected Japanese | GlitterBerri’s Translation of Corrected Japanese |
Location Name
| 宗正の具２高 | 蜜蜂の館2階 | Honey Bee Inn – 2nd Floor |
Chubby Old Man
| 「グガーグゥ……。 | 「グガーグゥ……。 | ZzzZzz… |
| 「むにゃむにゃ…… | 「むにゃむにゃ…… | Mumble mumble… |
| （毎表あけなんだ。 | （夜勤あけなんだ。 | (It’s still dawn… |
| 兵らせてくれよ…）」 | 眠らせてくれよ…）」 | Please let me sleep…) |
Chubby Old Man
| 「グーガガガガグゥ……。 | 「グーガガガガグゥ……。 | ZzzZzzZzzZzz… |
| 「むにゃむにゃ…… | 「むにゃむにゃ…… | Mumble mumble… |
| （この態半は舞じゃ | （この部屋は今じゃ | (These days this room |
| おれたち焼救興の態半…。 | おれたち従業員の部屋…。 | belongs to us employees… |
| 提はちがったんだけどね）」 | 昔はちがったんだけどね）」 | It didn’t used to, though.) |
Chubby Old Man
| 「グーガーグーガー……。 | 「グーガーグーガー……。 | ZzzzzzZzzzzz… |
| 「むにゃむにゃ…… | 「むにゃむにゃ…… | Mumble mumble… |
| （なんて末列の態半だったかな…？） | （なんて名前の部屋だったかな…？） | (What was it called again…?) |
| X: ラブラブのすばこ | X: ラブラブのすばこ | X: The Lovey-dovey Nest |
| Y: 雷虫のすばこ | Y: 大人のすばこ | Y: The Adults’ Nest |
Chubby Old Man
| Y (?) | 「むにゃむにゃ…… | 「むにゃむにゃ…… | Mumble mumble… |
|---|---|---|---|
| （そう、たしかそんな末列だったな…。 | （そう、たしかそんな名前だったな…。 | (That’s right, that was the name… | |
| お年さん、番たことあるね…）」 | お客さん、来たことあるね…）」 | You’ve been here before, haven’t you…) |
Chubby Old Man
| X (?) | 「グースカピースカピー……。 | 「グースカピースカピー……。 | ZzznnnZzznnn… |
|---|---|---|---|
| 「むにゃむにゃ…… | 「むにゃむにゃ…… | Mumble mumble… | |
| （態半ができてゆっくり兵れるかと | （部屋ができてゆっくり眠れるかと | (I thought I’d be able to sleep easy | |
| 磁えば、どっこい……。 | 思えば、どっこい……。 | once I got a room, but… | |
| あんたみたいに態半まちがえる年が | あんたみたいに部屋まちがえる客が | There are lots of people like you | |
| 外いんだな。これが……）」 | 多いんだな。これが……）」 | who mix the rooms up. Gah…) |
In the original text rip, the response to the lower dialogue option is usually listed first (this pattern is not exactly broken at the end of the other NPC’s dialogue branches, but not exactly followed either), so it is with some uncertainty that we conclude that the room’s name used to be “The Adults’ Nest”. “The Love Nest”, however, is not a reference to a known Honey Bee Inn room! This leads us to conclude that the other room names were also changed during development.
As I mentioned before in the ONNA_4 analysis, the old man’s dialogue doubles as a commentary on the design phases of the Honey Bee Inn. He reveals that this room used to be for customers. Assuming that the room was never redesigned, the developers must have realised early on that the place did not at all look like a pleasure room, hence why that plan was scrapped.
[First Talk-To Line]
| 「ああ、あんたか……」 | 「ああ、あんたか……」 | Oh, it’s you… |
| 「ここは年の番る所闇じゃ | 「ここは客の来る場所じゃ | This place isn’t for |
| ないんだがな……。 | ないんだがな……。 | customers. There are lots |
| 「舞毎は砂な年が外くてな…。 | 「今夜は変な客が多くてな…。 | of weirdos here tonight. I’m |
| 喰も、つかれてる。 | 俺も、つかれてる。 | tired myself. Sorry, but I’m not up |
| 口いが、悩救スマイルはなしだぜ」 | 悪いが、営業スマイルはなしだぜ」 | to giving you service with a smile. |
[Second talk-to line]
| 「路か奥でもあるのか？」 | 「何か用でもあるのか？」 | Did you need something? |
| A: おまえ、路してるんだ？ | A: おまえ、何してるんだ？ | A: What are you doing? |
| B: 鎖叫するよ | B: 失礼するよ | B: Sorry. |
| B: | 「そうか……。 | 「そうか……。 | I see. |
|---|---|---|---|
| まあ、区しんできなよ」 | まあ、楽しんできなよ」 | Well, have fun. |
| A: | 「ああ……喰か…？ | 「ああ……俺か…？ | Oh… me…? |
|---|---|---|---|
| ちょっと染え勝だ」 | ちょっと考え事だ」 | Just doing some thinking. |
[Talk-to line if you selected A.]
| 「ほら記てみろよ……まどの吠を」 | 「ほら見てみろよ……まどの外を」 | Hey, take a look out the window… |
| C: 路も記えないな | C: 何も見えないな | C: I can’t see anything. |
| D: 引首ないな | D: 興味ないな | D: Not interested. |
| D: | 「そうか……引首なしか。 | 「そうか……興味なしか。 | I see… not interested, huh. |
|---|---|---|---|
| 「なあ、趣伍な触熱だろうがよ。 | 「なあ、余計な世話だろうがよ。 | Hey, maybe you don’t need my advice, but | |
| あまり零疾のカラに支じこもんなよ。 | あまり自分のカラに閉じこもんなよ。 | don’t retreat so far into your own shell. | |
| 喰みたいになっちまうぜ」 | 俺みたいになっちまうぜ」 | You’ll turn into me. |
| C: | 「そうさ…なんにも記えねぇだろ。 | 「そうさ…なんにも見えねぇだろ。 | That’s right… you can’t see a thing. |
|---|---|---|---|
| あの仕とプレートのせいでよ | あの柱とプレートのせいでよ | Not a single star is shining because of | |
| 鼓ひとつ直らねえ。 | 星ひとつ光らねえ。 | the pillar and that plate. | |
| 「けどなぁ…… | 「けどなぁ…… | But… at some point, | |
| いつからだろ、もうすっかりなれちまった。 | いつからだろ、もうすっかりなれちまった。 | I got used to it. …Used | |
| ……毒のない家によ」 | ……空のない街によ」 | to a town with no sky. |
[Talk-To Line If You Selected C.]
| 「よう、あんた？ | 「よう、あんた？ | Hey, you. |
| ミッドガルは、攻いのか？」 | ミッドガルは、長いのか？」 | Have you been in Midgar long? |
| E: まあな…… | E: まあな…… | E: Something like that… |
| F: 魅案ないだろ…… | F: 関係ないだろ…… | F: That’s my business… |
| E: | 「それで、どうだい？ | 「それで、どうだい？ | How is it, |
|---|---|---|---|
| ここの判草は？」 | ここの生活は？」 | living here? | |
| G: てきとうにやってるよ | G: てきとうにやってるよ | G: It’s going well enough. | |
| H: 魅案ないだろ…… | H: 関係ないだろ…… | H: That’s my business… |
| F or H | 「……がっかりだな。 | 「……がっかりだな。 | …I’m disappointed. |
|---|---|---|---|
| あんたがそんなやつとは | あんたがそんなやつとは | I didn’t think you were | |
| 磁わなかったよ」 | 思わなかったよ」 | that kind of guy. |
| G: | 「ああ…この家で判きてるとよ。 | 「ああ…この街で生きてるとよ。 | Yeah… living in this |
|---|---|---|---|
| てきとうになっちまうよな。 | てきとうになっちまうよな。 | town, you do alright. | |
| 「だから、喰、こんな障には | 「だから、俺、こんな朝には | That’s why I’ve been | |
| 記えねえ鼓のことなんかを | 見えねえ星のことなんかを | remembering the stars | |
| 磁い即しちゃうワケよ、ちょっとさ。 | 思い出しちゃうワケよ、ちょっとさ。 | that can’t be seen this morning. | |
| 喰たちも塔じじゃないのかなんてな」 | 俺たちも同じじゃないのかなんてな」 | I wonder if we aren’t the same. |
[Talk-To Line If You Selected G (Dialogue Branch Ends Here)]
| 「でもなぁ、性磁意と縁れらんねえだよな。 | 「でもなぁ、不思議と離れらんねえだよな。 | But, for some reason, I just |
| この家からは」 | この街からは」 | can’t seem to leave this place. |
[Talk-to line if you selected F or H. The dialogue branch ends here.]
| 「もうヨタ熱はおわりだ……」 | 「もうヨタ話はおわりだ……」 | Anyway, I’m done talking nonsense… |
A philosophical, serious soul in the midst of the depraved pack that haunts the Honey Bee Inn? What a nice change of pace.
Summary
Whenever we find an unused piece of Final Fantasy VII, we ask ourselves “Why was this removed?” With the Honey Bee Inn material, this question is asked with a thundering roar. So much was scrapped but still left in the game code, especially in the first Japanese release.
To speculate, it looks like the writers themselves did not start out with a complete vision of what was to take place in the Inn. Changing the “Adults’ Nest” into a room for employees and dividing the unused western customer room scene into two separate scenes implies that the developers were struggling with imagining the purpose and the events for each room.
Given some of the scrapped risque elements, there seems to have been disagreements among the event planners and writers about just how ‘adult’ the Honey Bee Inn should have been. Robert Seddon (see Credits) makes an acute guess about the matter:
“Given how much got implemented and then cut, I’m guessing project management was too compartmentalised: Toriyama got handed the HBI events, nobody else checked the script until the scenes were substantially implemented, then there’s a team meeting at which the others finally look at each other’s work and sudden you-can’t-do-thattery ensues…”.
A translation from page 569 of the FFVII Ultimania Omega, in response to a question asking the developers about ideas they’d had that weren’t implemented in the game, highlights this disagreement:
Nojima: What I remember is the Honey Bee Inn. Toriyama (Motomu Toriyama, the director of FFX-2) was in charge of the Honey Bee Inn’s events, but at first what took place there was more extreme, and everyone was saying “That’s going too far.”
Kitase: Was it really that bad?
Nojima: Yeah… for example, Palmer would emerge from the inn saying “Well, that was refreshing~!” *laughing*
Kitase: Toriyama was always making weird, tricky little events like that that kept getting edited. For instance, there was once a scene on the station platform where Biggs, Wedge, and Jessie from AVALANCHE would face each other and try to combine into one.
Naoyoshi: Yeah, that’s right.
Kitase: When an event begins in FFVII, the other 2 party members separate themselves from Cloud’s avatar. Once the event finishes, the party recombines and Cloud is alone once more. It’s just the way the game’s set up, but Toriyama parodied that. The 3 members of AVALANCHE were like “Let’s do that too!” and do their best to combine together, but they just ended up running into each other and muttering “I guess we still don’t have enough practice.” *laughing*
Not only do we get proof that Motomu Toriyama was the most perverted of the bunch, but his desire to joke and break the fourth wall also resonates with the unused “We apologize, but the following contains material unsuitable for the general public” line from ONNA_4. Elements like the Mystery Panties and the stronger adult “showgirl” tones of the lobby are clearly aspects that Toriyama would have greenlit while others might not have been so keen.
That accounts for the Honey Bee Inn. Thank you all for reading and for your continued support of this article series!
