As for Aeris, everyone remembers because of the cutscene–there have been plenty of other Final Fantasy deaths that came before Aeris, but having it via FMV brought things to life so to speak. There were plenty of emotional deaths as far back as Final Fantasy IV (boy, that game is depressing if you think about it) and in FFVI. I’m not arguing against the power of that moment, even today, because it’s unforgettable and defining as you said, and it showed the world that video games were more than jumping on the heads of Goombas (no offense, Mario). It’s just that the way it is shown is more important than the event itself.

I can’t argue with the reveal on Cloud’s past. That was excellent, and holds up with the best of Square’s narrative tricks through the years. It was as shocking as the midpoint of FFVI and the major twist in FFIV. I think if they had followed their own history with the “big secret” in FFX by holding on to it a little longer, I would have felt more emotionally impacted by it, rather than just annoyed at knowing throughout the game.

….

….

After reading a book on Alfred Hitchcock, I think part of the immense success of FF7 is due to three great narrative events:

1) The motorcycle escape from Shinra HQ. This happens within the first five hours of the game, if I recall correctly, and it’s the first “this is cool” moment I ever had with FMV.

2) The death of Aeris toward the end of Disc 1. One of the most effective uses of FMV in a game ever. Has anyone who’s seen it forgot it? Even more than the other two things I’ve cited, it’s the undeniable, unforgettable “event” of FF7.

3) The reveal on Cloud’s past, which I think is still clever now. Throughout the game, you almost have to wonder if he’s psychotic from the SOLDIER serum, if Sephiroth is lying, etc. I thought it was sneaky clever to have him actually be there, but as a bit player (one of the blue soldiers) that no one would consider his role as.