Review of Shin Megami Tensai: Persona

fOx

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With the success of Persona 5, and the recent directors cut, Persona 5 Royal, there have been many new fans introduced to the series. The success of the modern persona series is largely due to the combination of JRPG mechanics with a dating/life simulator. Players spend half their time working jobs, dating girls, going to school, and living a normal life. The other half of the game is spent investigating mysteries, fighting monsters, and saving the world. Mix in just a little bit of high brow jargon about Jungians theories of identity, and the collective unconscious, as we have ourselves a recipe for success. So far, so anime. However, these modern trappings only began with Persona 3. Persona 1 and 2 were far more straight forward in their design, even if they were somewhat unusual in their subject matter. What they lacked in game mechanics, however, they made up for in scope and story. Many hardcore fans still consider Persona 2 the highlight of the series. Each persona game has a strong following of fans who consider it the highlight of the series… every game, that is, except for the often forgotten first entry. A game which is doubtlessly flawed, but whose success allowed the series to grow and evolve into what it is today. With this in mind, I decided to revisit the original game and see what holds up, and what doesn’t.

Finding a copy of Persona on modern hardware is surprisingly difficult. While the game got a re-release on the PSP, it has rarely been ported to other hardware. After a great deal of searching, however, I was eventually able to find a copy on PSN. My initial reaction to the game is quite a shock. The Persona series is largely known for its sleek visuals, and upbeat, poppy soundtracks. Both are absent from the opening. In a shocking turn of events, the game is actually in black and white. It is slow. Methodical. Images flash across the screen faster then I can process them, leaving me confused, and for some reason, slightly aroused. This is a bizarre, but bold, decision. A young boy looks into the screen, and places his hand on a sheet of glass. This appears to be making a statement about identity. The lightning fast editing, and questions of identity, seem familiar. I look up when Persona 1 released. 1996. Of course. They are ripping off Neon Genesis Evangelion, which shook the Japanese landscape upon its release in 1995.

The game continues. We are introduced to our two main characters, Alma and Elisabet. Alma is a nurse looking after her patient, Elisabet, a well know actress. By now we are 20 minutes into the cutscene. I am engrossed by the cinematography and story, but wonder when I will be able to kill some monsters while wearing a bath towel. The two women stay together, alone, in a cabin by the sea. Elisabet is silent, never speaking a word. Alma, clearly grateful to have someone to confide in, begins to tell Elisabet dark secrets. About cheating on her significant other, about getting pregnancy, about the resulting abortion… Elisabet listens, but never speaks. I ownder if this is connected to the boy from the beginning of the film. This is bold subject matter for a T rated game from the 90’s. As the cut scene continues, the women begin to fade into each other. Elisabet’s husband arrives at the house, and calls Alma Elisabet. Alma denies this, but makes love to the man. We begin to wonder who is Elisabet, and who is Alma. Are they on person? Is Elisabet the Persona, and Alma the shadow? This is storytelling on a level that has not been seen in video games, before or sense. I am blown away by the acting and shot composition, even if I am disappointed in the lack of stylized graphics and pop music. I remind myself that this was only the first game in the series.

The cutscene finally draws to a close- nearly two hours. I will not spoil the shocking content that transpires, since the story is clearly the major selling point of the game. I am stunned. Persona 1 asks deeply personal questions about the nature of identity and trauma. It explores this through an experimental storytelling lens that routinely breaks the fourth wall, and makes us question the sanity of both the protagonist, and frankly, the storyteller. It is shockingly post modern in its design. The credits roll, and I am left speechless. The controller slips from my hand, and skitters across the floor. Despite its strengths in storytelling, it occurs to me that there was no game play, and the game was less then 2 hours. Also, no bikini battles and I couldn't fuck my teacher. 2/10."
 

Neuromancer

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Fox you are but casual scum, why don't you play a real Shin Megoomi Tensai game like Nocturne or Strange Journey.
 

fOx

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Fox you are but casual scum, why don't you play a real Shin Megoomi Tensai game like Nocturne or Strange Journey.
Because my beloved waifu, chie, only exists within the Persona universe.
 

Neuromancer

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Because my beloved waifu, chie, only exists within the Persona universe.
Waifus and visuals novels and shit, I'll be here fighting angels in the name of Chaos while you cling to Chee. Can you even take on the armies of YHVH in the of Chaos? I bet you dream of holding Chee's hand instead of claiming the world in Lucifer's own glory. Do you even dungeon crawling?

Try not to feel bad, but the objective best waifu in the entire series is Louisa Furry from Strange Journey, and Chee is but a baker and unpure girl to her.
 

fOx

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Wikipedia says this is one of the greatest films ever made. Is it true?
Yes, with the caveat that you understand that it is an art house film. It makes 2001 A Space Odyssey look approachable. If you like slow, black and white experimental art house films, then its one of the absolute best in the medium.