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Game Narrative Review
Game Narrative Review ==================== Your name (one name, please): Ian Switaj Your school: Rochester Institute of Technology Your email: [email protected] Month/Year you submitted this review: December 2013 ==================== Game Title: Shin Megami Tensei: Persona 4 Platform: Playstation 2 Genre: Role-playing, Social simulation Release Date: July 10, 2008 (JP) / December 9, 2008 (NA) Developer: Atlus Publisher: Atlus Game Writer/Creative Director/Narrative Designer: Katsura Hashino (Director), Azusa Kido (Scenario and Social Link Planning Leader), Yuichiro Tanaka and Akira Kawasaki (Scenario Writer), US Localization: Martin Britton, James Kuroki, Mai Namba, and Jensen Kamiya (Translator), Nich Maragos (Lead Editor) Overview Persona 4 is a Japanese Roleplaying Game (JRPG) in which a group of high school students are trying to capture the culprit responsible for a chain of murders and kidnappings that began plaguing their town starting April 11, 2011. In the town of Inaba a rumor is going around that by looking at a TV screen at 12:00 AM on a rainy night the face of the viewer’s soulmate will be revealed. The player takes control of a second year high school student who is forced to move to the countryside and live with his uncle’s family for an entire year while his parents are overseas on business and, as a result, becomes inexplicitly involved in the supernatural chain of murders. Victims that are thrown into the TV are attacked and ultimately killed by their Shadows, or manifestations of their repressed psyches, and are found dead in the human world on days of fog. The protagonist and his team of Persona users, must brave the horrors and unknowns of the mysterious TV world populated by Shadows, beings that represent the generally negative emotions and psyches of mankind, in order to seek the truth behind the chain of mysterious murders and their connections to this mysterious rumor, rescue the victims, and uncover the identity of the culprit responsible. -
A Influência Do Tarô Na Construção De Personagens Na Franquia Persona1
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 42º Congresso Brasileiro de Ciências da Comunicação – Belém - PA – 2 a 7/09/2019 A influência do tarô na construção de personagens na franquia Persona1 Ana Raquel Romeu AGUIAR2 Ricardo Jorge de Lucena LUCAS3 Universidade de Fortaleza, Fortaleza, CE RESUMO Esse artigo procura mostrar como o tarô, mais especificamente o Tarô de Marselha, teve impacto nos personagens de Persona, sendo isso mais evidente nos três últimos jogos. Para isso, cada Arcano será explicado de acordo com Kaplan (1972), Nichols (1995) e Peradejordi (1993). Depois, será mostrada a sua aplicação nos personagens dos jogos, que pode variar de seu background ao character design, passando pelas habilidades. PALAVRAS-CHAVE: Persona; Personagens; Tarô INTRODUÇÃO Tarô é um assunto complexo. Não se sabe a origem exata. Há diversos tipos, com cartas extremamente diferentes, e pode ser comparado a diversos jogos, do xadrez às cartas indianas, passando pelo jogo indiano e pelo Fez, que é marroquino. Nota-se que o tarô foi bastante forte na Itália, já que os Tarocchi de Mantegna, de Veneza, de Bolonha, bem como o Minchiate de Florença e o baralho Vinconti-Sforza, são nomes de cidade do país. Para esse trabalho, focaremos em um dos principais, que é o Tarô de Marselha, porque é o mais evidente nos jogos estudados. Além disso, pode ser considerado o tarô mais tradicional e é fácil de achar comercialmente (PERADEJORDI, 1993, p. 23). Foi bastante popular no sul da França, e foi baseado e modificado dos baralhos italianos mencionados no parágrafo anterior. As cartas são enumeradas de 0 a XXI e normalmente possuem figuras coloridas. -
Aniplex of America Acquires PERSONA5 the Animation and Launches Official U.S
FOR IMMEDIATE RELEASE February 15, 2018 Aniplex of America Acquires PERSONA5 the Animation and Launches Official U.S. Site © ATLUS © SEGA/PERSONA5 the Animation Project Based on the smash hit JRPG series, PERSONA5 the Animation premieres April 2018! SANTA MONICA, CA (February 15, 2018) – Aniplex of America launched the official U.S. website and announced the acquisition of PERSONA5 the Animation, the highly-anticipated anime adaptation of the best-selling JRPG series by game developer, ATLUS. The Aniplex of America YouTube page also released an English subtitled trailer giving fans a sneak peek into what to expect this spring season. Following the release of the anime OVA PERSONA5: the Animation –THE DAYBREAKERS-, which coincided with the Persona 5 game’s release, fans will now get to enjoy a full length TV series detailing the adventures of the Phantom Thieves of Hearts. Key creators of the original game reunite for the highly anticipated series, including sound composer Shoji Meguro providing the stylized and jazz-themed soundtrack, Katsura Hashino credited for the Original Concept, and ATLUS’s own Shigenori Soejima providing the series’ Original Character Design. Critically acclaimed animation studio A-1 Pictures (Sword Art Online, Blue Exorcist) will produce the series with Director Masashi Ishihama (ERASED, Your lie in April) bringing the game to the TV screen. The series is scheduled to premiere April 2018 with more information to follow on the official website address and official Facebook page at: www.Facebook.com/P5A.USA. Set in modern Tokyo, PERSONA5 the Animation chronicles the adventures of an eclectic team of teenagers calling themselves the “Phantom Thieves of Hearts.” The group dive into a world deep in the corrupt hearts of adults, where demons have taken hold of their victims and cause havoc in the real world. -
An Analysis and Expansion of Queerbaiting in Video Games
Wilfrid Laurier University Scholars Commons @ Laurier Cultural Analysis and Social Theory Major Research Papers Cultural Analysis and Social Theory 8-2018 Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games Jessica Kathryn Needham Wilfrid Laurier University Follow this and additional works at: https://scholars.wlu.ca/cast_mrp Part of the Communication Technology and New Media Commons, Gender and Sexuality Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Needham, Jessica Kathryn, "Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games" (2018). Cultural Analysis and Social Theory Major Research Papers. 6. https://scholars.wlu.ca/cast_mrp/6 This Article is brought to you for free and open access by the Cultural Analysis and Social Theory at Scholars Commons @ Laurier. It has been accepted for inclusion in Cultural Analysis and Social Theory Major Research Papers by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. Queering player agency and paratexts: An analysis and expansion of queerbaiting in video games by Jessica Kathryn Needham Honours Rhetoric and Professional Writing, Arts and Business, University of Waterloo, 2016 Major Research Paper Submitted to the M.A. in Cultural Analysis and Social Theory in partial fulfillment of the requirements for Master of Arts Wilfrid Laurier University 2018 © Jessica Kathryn Needham 2018 1 Abstract Queerbaiting refers to the way that consumers are lured in with a queer storyline only to have it taken away, collapse into tragic cliché, or fail to offer affirmative representation. Recent queerbaiting research has focused almost exclusively on television, leaving gaps in the ways queer representation is negotiated in other media forms. -
Sven Dwulecki, ''I Am Thou… Thou Art I…''—How Persona 4'S Young Adult
“I am thou… Thou art I…”—How Persona 4’s Young Adult Fiction Communicates Japanese Values Sven Dwulecki Abstract Life is Strange, INSIDE, Oxenfree—all these video games represent a seem- ingly entirely new genre. Young Adult videogames diverge from the male, gloomy grown-up stereotypes and replace them with adolescent protago- nists in their coming of age stories. Their commercial success seem to val- idate their endeavors. However, YA narratives are hidden in plain sights for many years within JRPGs. Shin Megami Tensei – Persona 4 (short Persona 4 or P4) is a cultural ambassador. This paper examines how the game’s pro- cedural rhetoric in combination with its Young Adult story advocate in fa- vor of specific Japanese values. The time structure of P4 reinforces a long- term orientation and requires strategic planning as well as tactical flexibil- ity. So-called “Social Links” represents Japan unique take on collectivism. Each link encapsulates a small YA narrative and offers different benefits to social-active protagonist. Finally, grinding mechanics reflect the notion of repetition-based learning. Japanese schools teach through engaging with developing several solutions to a singular problem. The same holds true for the grinding process. All these elements combined create a game rhet- oric promoting these aspects of Japanese culture. Sven Dwulecki is a PhD candidate at the University of Tübingen and former market researcher at Crytek; his research is focused on the rhetoric of video games and their influence upon consumers; in his field of expertise he combines business and digital rhetoric with a focus on marketing strategy, innovation, and the role of entertainment industry. -
Shin Megami Tensei Persona: the Tabletop Roleplaying Game (Production Bible) V
Shin Megami Tensei Persona: The Tabletop Roleplaying Game (Production Bible) v. 0.5 (Beta 1 Hotfix) Principal Author: Will Canady. Supplementary Authors: breadotop, Sebastian Sung, Chris Robichaux, Daina Changelog: - Known Issues: [UNDER CONSTRUCTION] Chapter # - Character Creation [PLEASE WEAR A HARD HAT] Table of Contents [Under Construction] Forward What Kind of Game is This? What is Shin Megami Tensei? What is Persona? What Can You Expect? Character Creation What IS Persona: the RPG? Character Creation Checklist The Basics Dice System Jargon Pathos Classes? The Attributes Attribute Generation Attributes in Detail Muscle Finesse Intellect Charm Magic Power Aegis Background Persona Mechanics and the Major Arcana 2 [UNDER CONSTRUCTION] Chapter # - Character Creation [PLEASE WEAR A HARD HAT] CHARACTER CREATION “Elizabeth! We have a new group of users. They must have intriguing stories to tell…” -Igor, to a new party. Creating a character in Persona may seem daunting at first, especially if this is your first tabletop role-playing game. The sheer complexity of the rules can turn off newcomers to the genre. The jargon may seem incomprehensible and downright inane. That sentiment is totally understandable – tabletop is not for everyone. While a game like Persona is innately complex and due to a complex system, every effort will be made to make sure that character creation is made as simple as possible, and easy enough for anyone to pick up. Why? To give the prospective players, both old and new, an ease of access to the system, without being threatened with jargon and vague bullshit. To begin, let’s outline what Persona: the RPG is. -
Comparative Analysis of Storytelling Technique in Kingdom Hearts II (2005) and Persona 3 Portable (2009)
International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 12, 2020, E-ISSN: 2222 -6990 © 2020 HRMARS Comparative Analysis of Storytelling Technique in Kingdom Hearts II (2005) and Persona 3 Portable (2009) Shazwin Bt. Sahmir, Norlela Ismail To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v10-i12/8357 DOI:10.6007/IJARBSS/v10-i12/8357 Received: 18 October 2020, Revised: 12 November 2020, Accepted: 28 November 2020 Published Online: 26 December 2020 In-Text Citation: (Sahmir & Ismail, 2020) To Cite this Article: Sahmir, S. B., & Ismail, N. (2020). Comparative Analysis of Storytelling Technique in Kingdom Hearts II (2005) and Persona 3 Portable (2009). International Journal of Academic Research in Business and Social Sciences. 10(12), 583-596. Copyright: © 2020 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 10, No. 12, 2020, Pg. 583 - 596 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 583 International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 12, 2020, E-ISSN: 2222 -6990 © 2020 HRMARS Comparative Analysis of Storytelling Technique in Kingdom Hearts II (2005) and Persona 3 Portable (2009) Shazwin Bt. -
Contradictory Character Traits As Seen in Persona 4: the Animation
CONTRADICTORY CHARACTER TRAITS AS SEEN IN PERSONA 4: THE ANIMATION Sabrina, N. A.1 and Suprajitno, S.2 1,2English Department, Faculty of Letters, Petra Christian University, Siwalankerto 121-131, Surabaya, 60236, East Java, INDONESIA E-mails: [email protected]; [email protected] ABSTRACT Anime is Japanese cartoon that has a vast popularity due to its story and art. The popularity of anime results in the various genres such as: crime-fiction, urban fantasy, and slice of life. One of the popular animes that combines the three genres is Persona 4: the Animation. The popularity and the combination of three genres of that anime makes me interested in analyzing this anime. I am particularly attracted to the two main characters in Persona 4: The Animation namely, Yu Narukami and Tohru Adachi. Those two main character possess contradictory character traits and represent a certain symbol on the society. In this paper, I examine the values that influence their character traits. Using Carl Gustav -ung‘s theory of individuation, , proves that they have contradictory character traits by looking through their Persona, Shadow, Ego, and Self. Through the analysis of character traits, I find that they symbolize yin yang. Like yin yang, they are contradicting as well as complementing. Yet, they also are not paragon of evil or good. Keywords: Character traits, Persona, Self, Shadow Anime is Japanese cartoon that has a worldwide popularity. Its popularity comes from the uniqueness of the story and the art. The variety of the stories makes it appealing for people in the world. -
Patrick Hayes Narrative Review Eng 410-‐A December 3, 2009 Game
Patrick Hayes Narrative Review Eng 410-A December 3, 2009 Game Title: Shin Megami Tensei: Persona 4 Platform: Sony Playstation 2 Genre: Japanese Style Role Playing Game Release Date: December 9, 2008 Developer: Atlus Publisher: Atlus Game Writer/Creative Director/Narrative Designer: Katsura Hashino (Director) Author of this review: Patrick Hayes E-mail: [email protected] Overview Shin Megami Tensei: Persona 4 continues long-standing tradition within the Persona series of making high school students overcome their psychological shortcomings through the students’ involvement in extraordinary events. The story is presented as a murder mystery where the murderer throws his victims into a bizarre world that exists inside of televisions. While a victim is within the TV world, their “Shadow” manifests physically and torments them until a certain point in time when the “Shadow” turns on the person and kills him, depositing him back in the real world. The protagonist gets caught up in this mystery by coincidence during a one-year stay at his uncle’s house in the rural town of Inaba. The player controls this protagonist and must balance his attempts to save the victims from the TV world while maintaining a social life and attending classes at school. Early in the game, the protagonist awakens to his Persona, a powerful deity that represents his inner strength. The principle characters that the protagonist befriends are explored through their encounters with their “Shadows” which, when overcome, awakens them to their own Personas. Other characters the protagonist meets, as well as these principle friends, are explored through “Social Links”, events where the protagonist meets with friends during his free time. -
A Brief Overview of Persona 4 and Its Programming
A Brief Overview of Persona 4 and its Programming Persona 4 Box Art6 Anthony Perno ENGL 202C Melissa Kaye March 22, 2014 Introduction Videogames are a huge part of today’s culture. In 2012 research found that about 58% of Americans play videogames.7 Additionally, consumers spent approximately $20.77 billion dollars on videogames.7 Atlus is just one of the many videogame companies that exist today. Atlus’ most well-known product is the Shin Megami Tenesi series. The Shin Megami Tenesi series is comprised of about 49 games.8 This report is just an introduction to one of the many games in the Shin Megami Tensei series. Shin Megami Tensei: Persona 4, usually just called Persona 4, is a PlayStation 2 (PS2) role playing game (RPG) developed by Atlus. Persona 4 is the fifth game in Atlus’ ongoing Persona series. Persona 4 revolves around the lives of seven high school students and Teddie (a teddy bear who can speak and interact with humans) as they attempt to capture the culprit responsible for the recent murders and kidnappings happening in their town of Inaba, Japan. Persona 4’s playable characters from left to right: Teddie, Rise Kujikawa, Yosuke Hanamura, Naoto Shirogane, Kanji Tatsumi, Yu Narukami, Chie Satonaka, Yukiko Amagi1 How a Player Interacts with the Game Just like how a movie without a story feels wrong so does a game without a story. Many game companies spend months developing a story. Persona 4’s story is played out in two parts. There are cutscenes (in-game movies where the player has limited control) and then there is gameplay. -
Decision Tree Application to Find the Optimal Way of Spending Daily Life Activities in Persona 4
Decision Tree Application to Find the Optimal Way of Spending Daily Life Activities in Persona 4 Muhammad Iqbal Sigid 13519152 Program Studi Teknik Informatika Sekolah Teknik Elektro dan Informatika Institut Teknologi Bandung, Jl. Ganesha 10 Bandung 40132, Indonesia [email protected] Abstract— Video games has come a long way. What used to be a The game that will be covered here is Persona 4, a JRPG simple thing to have fun has now become a hobby to many people. developed by Atlus, a Japanese video game company. Persona Some games offer a lot of freedom to the players and give them 4 is a unique JRPG. It uses a calendar system, which makes the different choices on what to do. Although it is a positive thing, this game fairly linear and time limited. The player can spend the can cause some players to be confused on what to do and some will be unable to experience the game to its potential. To solve this, we days on several activity which will be explained later. Because can analyze the game mechanics and use discrete mathematics, in of this time limit and several choices, the player will need to this case decision tree, in order to find the best course of action in spend their days carefully in the game. Hence, we apply the this game. decision tree to find the activities that needs to be done to spend the days efficiently. Keywords—Tree, Graph, Decision, Persona II. BASIC THEORIES I. INTRODUCTION A. Graph A graph, represented by G = (V, E), is a tuple consists of V, a Graph can be used in many applications. -
A Quest to Unravel the Secrets of Gender Inclusive Game Design -A Qualitative Study on the Design Process of Female Protagonists
Örebro university School of business - Informatics Bachelor thesis 15hp Supervisor - Antonios Tsertsidis Examiner – Andreas Ask Ht- 18, 2019-01-11. A quest to unravel the secrets of gender inclusive game design -A qualitative study on the design process of female protagonists Linda Allansson 931002 Abstract This thesis revolves around the almost unexplored subject of gender inclusive game design. The main research question is How can game design become more gender inclusive and the secondary research question used to examine this is: how the design process is affected by a female protagonist. Female protagonist in games are lacking and have been scares thorough history. Times are changing, and the female protagonist are on the rise. How can the design process be evolved to continue the trend? The study is conducted by using the qualitive method of in-depth interviews with the people who are closest to the problem, the game developers themselves. The results are compared to previous research on the topic and analysed by using the MDA- framework to examine and look at game design as a design artifact. The study gives an insight into the mind of a game designer and what the process of creating gender inclusive games entails. It is a very opinionated topic and that really shows in the result. To achieve gender inclusiveness seems for some, to be as easy as working a few more hours on the protagonist’s gloves, and for others as difficult as trying to fight a social and political construction. The one unanimous opinion is the value of the players, the audience need be vocal about the demand for gender inclusivity and diversity in games.