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gentle smile

[melliae]

Just an addenum, considering certain change in the new cutscenes.

They (seemingly) changed the color of Makoto's visage from gray/white to black.

It doesn't really alter anything; stone is stone at the end. However, it reminds me of some fragmens of "Psyche and Matter" again, which more or less mention the relation between death, time, the black color, and how they delineate the "event of horizon" of those who live. That's to say, and in Marie-Louise words:

"In dying we may only step outside the 'event horizon' of the living, but still exist in an unobservable state."

But really, that's me just rambling and throwing some possibilities to the air. The overall meaning of the Great Seal doesn't change.

The Great Seal’s Design

Considering how close Episode Aigis/The Answer is to being released, I think it’s time to point out one of the most interesting design choices in the game. Because everyone must have asked themselves why does the Great Seal look like this:

A golden door with 6 eyes and 4 spirals…

Well, the choice for it to be a door has an obvious source: one of the titles the Death card receives in esoteric traditions (in particular Thelema) is the “Lord of the Gate of Death”. This title is also seen in the card rendition of P3 and P4.

The doors behind the skull? Yeah, they are the ones.

I don’t think I’ve to do an in-depth explanation of why doors—and threshold in general—are a perfect representation for death and transformation/evolution, going from the known and familiar world into the great unknown, from the inner into the outer and vice versa.

“Man is a gateway, through which from the outer world of gods, daemons, and souls ye pass into the inner world; out of the greater into the smaller world. Small and transitory is man. Already is he behind you, and once again ye find yourselves in endless space, in the smaller or innermost infinity. At immeasurable distance standeth one single Star in the zenith.” - Seven Sermons to the Dead.

And as a curiosity that has no particular relation with the Seal’s design: Makoto creates the Seal within Nyx’s body, yet The Answer showed him using it within the depths of the collective unconscious. Pretty interesting indeed, and I can only link it with the Star mentioned in the previous quote, and thus with…

“An Indian picture of Shiva-bindu, the unextended point. It shows the divine power before the creation: the opposites are still united. The god rests in the point. Hence the snake signifies extension, the mother of Becoming, the creation of the world of forms. In India this point is also called Hiranyagarbha, 'golden germ' or 'golden egg.'” - Archetypes and the Collective Unconscious

How I lied about its importance xD

Again, I’m not going to repeat the meaning and role of Nyx’s here; I already wrote a post about it. So to put it shortly, Nyx isn’t something that can't be defeated, but only accepted, integrated and transformed. That’s why the Great Seal is a door, because doors are meant to be opened, to communicate the outer with the inner. However, as life and humanity are unable to confront their darkness, the Gate is sealed for the time being.

Now, moving into the next element, there’s the 6 eyes! And I have a perfect quote once more.

“Eyes are round and in common speech are likened to ‘cart-wheels.’ They also seem to be a typical symbol for what I have called the ‘multiple luminosities of the unconscious.’ By this I mean the seeming possibility that complexes possess a kind of consciousness, a luminosity of their own, which, I conjecture, expresses itself in the symbol of the soul-spark, multiple eyes (polyophthalmia), and the starry heaven.” - Mysterium Coniunctionis.

That quote was in regard to an analysis of Ezekiel’s visions about (biblically-accurate, duh) angels, the cherubim and ophanim. Since those angels are the bearer of God’s throne, they become extensions of his essence and symbols of the Self as well, of the unified and whole nature of man. The animal and monstrous characteristics of the angels are due to said wholeness, which fully embraces the autonomous and (sometimes) beastly aspects of the unconscious.

At any rate, the same logic should apply to the Great Seal, with the multiple eyes it has being representations or outright multiples souls/complexes that are working harmoniously as one, constantly watching their surroundings. In that regard, the number of eyes also makes sense: 6 is the quantity of directions (above, below, front, back, right, and left) in a 3D-space like the universe. While the number doesn’t really fit with the hindu Lokapala, it does with their role as the guardians of the cardinal directions and eternal watches of the universe at large.

However, as far as I’m aware, there’s no particular relevance of the number 6 within a psychoanalytic context beyond two mentions. The first one is in the explanation of Seven Sermons, where the candelabra named “Ignis” and “Eros” has seven arms due to the spiritual principle of the number 3, or “3 + 3 + a special 1”, which in turn connects with the second mention:

“Luna is thus the sum and essence of the metals’ natures, which are all taken up in her shimmering whiteness. She is multi-natured, whereas Sol has an exceptional nature as the ‘seventh from the six spiritual metals.’ He is “in himself nothing other than pure fire.” - Mysterium Coniunctionis

This one makes more sense, considering Makoto’s visage is a white/gray stone hanging near the center of the Seal. It could also connect with the alchemical symbol of the hexagram, representing the union of opposites during the Great Work and, as per Tatsuya’s Scenario, the macrocosm of space—or the macrocosmic universe (“大宇宙”). And just to put the final nail on the coffin:

“This sun has seven rays. A commentator remarks that four of them point to the four quarters; one points upwards, another downwards, but the seventh and ''best" points inwards. It is at the same time the sun's disc, named Hiranyagarbha.” - Archetypes and the Collective Unconscious

The six eyes are the multiple “consciousnesses” that watch over the ever-expanding and ever-developing outer word. They observe and change, focusing only on the reality that surrounds them. While the seventh ray, the most important and exceptional “metal” of all, focuses inwards, into the equal and contrary of the macrocosm: the human soul. And that disposition isn’t only found in Makoto’s “soul”, but also in the other element on the Seal, the 4 spirals.

“We can hardly escape the feeling that the unconscious process moves spiral-wise round a centre, gradually getting closer, while the characteristics of the centre grow more and more distinct. Or perhaps we could put it the other way round and say that the centre—itself virtually unknowable—acts like a magnet on the disparate materials and processes of the unconscious and gradually captures them as in a crystal lattice." - Psychology and Alchemy

4 is the number par excellence of the process of individuation and the Self, the sacred quaternity that’s ever so prevalent in mythology and folklore. And it’s present along with the figure of the spirals that, as previously quoted, stands for the movement of the psyche around its core and whole nature, the Self. Thus, the spirals go on forever, endlessly and fruitlessly getting close to the underlying archetype of life and humanity.

The eyes and spirals, then, present complementary imagery. They both represent the simultaneous collectivity and individuality of the Self, which is “smaller than small and bigger than big”. Yet, the divinity present on them is only fulfilled when the effigy of humanity is included, the immobile and changeless center from which every movement emerges and around which they move.

However, life is bound by time and change by definition. It transforms itself to accommodate archetypal wholeness. So what happens when that wholeness is achieved and embodied?

“That would probably mean—translated into our language—that when the Self, after having grown within the earthly man, has completely reached its goal, i.e., the mandala of the unus mundus, then it has a deadly effect on the earthly body because it has reached a form of definite oneness with the all-pervading cosmic One-continuum, which seems to be hostile to separated existence.” - Psyche and Matter, by Marie-Louise Von Franz.

The Self, the union between the outer and the inner, is the final goal of life, its purpose. And once it’s achieved, life is ready to “depart”, but not completely. Again, when individuation is finished the individual becomes one with the collective and world at large, and just like them, it keeps going even after death, though not necessarily in a physical manner. Again, the only thing that dies is the physical body, because the realized essence becomes everlasting, like stone itself.

“Then spirit, soul, and body become ‘the One, in which the whole mystery lies hidden.’ This ‘One’ is also described as a stone statue which is born out of the fire. It unites spirit, soul, and body and contains all four elements.” - Psyche and Matter.

The real stones that everyone knows of aren’t eternal, obviously. I’m not speaking about that kind of thing, but of their symbolic nature as things that surpass the lifespans of all living beings, that resist the weathering of time and the elements. Thus, what element better than stone to represent the non-bodily eternity of the soul? Even Erebus, with a strength that Elizabeth said was enough “to tear down mountains to the heavens”, can’t even put a scratch on Makoto’s effigy.

Following with the stone motif, Christ’s association with stones can also be noted, the eternal cornerstone of the house of god, as well as the Philosopher’s Stone, which, despite having red as its main color as seen with Trismegistus, is said to be a manifestation of God like Christ is, and the microcosm itself—the perfected human spirit. But again, the main idea behind the statue is the fact that it’s Makoto’s crystallized life force, made to last as long as humanity finds life unbearable.

The Great Seal, the manifestation of Makoto’s soul and his final resolution, will forever remain in the abyss of the collective unconscious as a symbol of the potential that lies dormant within everyone—the timeless bond that joins everyone as one. And as long as it remains as such, the Gate will be eternally closed, immovable as a mountain.

He may look alone, but that's from the truth.

[melliae]

Episode Aigis FAQ!

You don't need to complete the main game to play it; the difficulty can be changed; the Persona compendium from the main game can be transferred, but only Personas under Aigis' level can be summoned; the compendium isn't available on the HEARTLESS/Merciless difficulty; it can be upgraded from the ps4 to ps5 version for free; no physical version will be sold; all of Metis' outfits come with it; the previous waves can be used in the main game; you can stream all of it but have to put a spoiler warning.

[melliae]

The Great Seal’s Design

Considering how close Episode Aigis/The Answer is to being released, I think it’s time to point out one of the most interesting design choices in the game. Because everyone must have asked themselves why does the Great Seal look like this:

A golden door with 6 eyes and 4 spirals…

Well, the choice for it to be a door has an obvious source: one of the titles the Death card receives in esoteric traditions (in particular Thelema) is the “Lord of the Gate of Death”. This title is also seen in the card rendition of P3 and P4.

The doors behind the skull? Yeah, they are the ones.

I don’t think I’ve to do an in-depth explanation of why doors—and threshold in general—are a perfect representation for death and transformation/evolution, going from the known and familiar world into the great unknown, from the inner into the outer and vice versa.

“Man is a gateway, through which from the outer world of gods, daemons, and souls ye pass into the inner world; out of the greater into the smaller world. Small and transitory is man. Already is he behind you, and once again ye find yourselves in endless space, in the smaller or innermost infinity. At immeasurable distance standeth one single Star in the zenith.” - Seven Sermons to the Dead.

And as a curiosity that has no particular relation with the Seal’s design: Makoto creates the Seal within Nyx’s body, yet The Answer showed him using it within the depths of the collective unconscious. Pretty interesting indeed, and I can only link it with the Star mentioned in the previous quote, and thus with…

“An Indian picture of Shiva-bindu, the unextended point. It shows the divine power before the creation: the opposites are still united. The god rests in the point. Hence the snake signifies extension, the mother of Becoming, the creation of the world of forms. In India this point is also called Hiranyagarbha, 'golden germ' or 'golden egg.'” - Archetypes and the Collective Unconscious

How I lied about its importance xD

Again, I’m not going to repeat the meaning and role of Nyx’s here; I already wrote a post about it. So to put it shortly, Nyx isn’t something that can't be defeated, but only accepted, integrated and transformed. That’s why the Great Seal is a door, because doors are meant to be opened, to communicate the outer with the inner. However, as life and humanity are unable to confront their darkness, the Gate is sealed for the time being.

Now, moving into the next element, there’s the 6 eyes! And I have a perfect quote once more.

“Eyes are round and in common speech are likened to ‘cart-wheels.’ They also seem to be a typical symbol for what I have called the ‘multiple luminosities of the unconscious.’ By this I mean the seeming possibility that complexes possess a kind of consciousness, a luminosity of their own, which, I conjecture, expresses itself in the symbol of the soul-spark, multiple eyes (polyophthalmia), and the starry heaven.” - Mysterium Coniunctionis.

That quote was in regard to an analysis of Ezekiel’s visions about (biblically-accurate, duh) angels, the cherubim and ophanim. Since those angels are the bearer of God’s throne, they become extensions of his essence and symbols of the Self as well, of the unified and whole nature of man. The animal and monstrous characteristics of the angels are due to said wholeness, which fully embraces the autonomous and (sometimes) beastly aspects of the unconscious.

At any rate, the same logic should apply to the Great Seal, with the multiple eyes it has being representations or outright multiples souls/complexes that are working harmoniously as one, constantly watching their surroundings. In that regard, the number of eyes also makes sense: 6 is the quantity of directions (above, below, front, back, right, and left) in a 3D-space like the universe. While the number doesn’t really fit with the hindu Lokapala, it does with their role as the guardians of the cardinal directions and eternal watches of the universe at large.

However, as far as I’m aware, there’s no particular relevance of the number 6 within a psychoanalytic context beyond two mentions. The first one is in the explanation of Seven Sermons, where the candelabra named “Ignis” and “Eros” has seven arms due to the spiritual principle of the number 3, or “3 + 3 + a special 1”, which in turn connects with the second mention:

“Luna is thus the sum and essence of the metals’ natures, which are all taken up in her shimmering whiteness. She is multi-natured, whereas Sol has an exceptional nature as the ‘seventh from the six spiritual metals.’ He is “in himself nothing other than pure fire.” - Mysterium Coniunctionis

This one makes more sense, considering Makoto’s visage is a white/gray stone hanging near the center of the Seal. It could also connect with the alchemical symbol of the hexagram, representing the union of opposites during the Great Work and, as per Tatsuya’s Scenario, the macrocosm of space—or the macrocosmic universe (“大宇宙”). And just to put the final nail on the coffin:

“This sun has seven rays. A commentator remarks that four of them point to the four quarters; one points upwards, another downwards, but the seventh and ''best" points inwards. It is at the same time the sun's disc, named Hiranyagarbha.” - Archetypes and the Collective Unconscious

The six eyes are the multiple “consciousnesses” that watch over the ever-expanding and ever-developing outer word. They observe and change, focusing only on the reality that surrounds them. While the seventh ray, the most important and exceptional “metal” of all, focuses inwards, into the equal and contrary of the macrocosm: the human soul. And that disposition isn’t only found in Makoto’s “soul”, but also in the other element on the Seal, the 4 spirals.

“We can hardly escape the feeling that the unconscious process moves spiral-wise round a centre, gradually getting closer, while the characteristics of the centre grow more and more distinct. Or perhaps we could put it the other way round and say that the centre—itself virtually unknowable—acts like a magnet on the disparate materials and processes of the unconscious and gradually captures them as in a crystal lattice." - Psychology and Alchemy

4 is the number par excellence of the process of individuation and the Self, the sacred quaternity that’s ever so prevalent in mythology and folklore. And it’s present along with the figure of the spirals that, as previously quoted, stands for the movement of the psyche around its core and whole nature, the Self. Thus, the spirals go on forever, endlessly and fruitlessly getting close to the underlying archetype of life and humanity.

The eyes and spirals, then, present complementary imagery. They both represent the simultaneous collectivity and individuality of the Self, which is “smaller than small and bigger than big”. Yet, the divinity present on them is only fulfilled when the effigy of humanity is included, the immobile and changeless center from which every movement emerges and around which they move.

However, life is bound by time and change by definition. It transforms itself to accommodate archetypal wholeness. So what happens when that wholeness is achieved and embodied?

“That would probably mean—translated into our language—that when the Self, after having grown within the earthly man, has completely reached its goal, i.e., the mandala of the unus mundus, then it has a deadly effect on the earthly body because it has reached a form of definite oneness with the all-pervading cosmic One-continuum, which seems to be hostile to separated existence.” - Psyche and Matter, by Marie-Louise Von Franz.

The Self, the union between the outer and the inner, is the final goal of life, its purpose. And once it’s achieved, life is ready to “depart”, but not completely. Again, when individuation is finished the individual becomes one with the collective and world at large, and just like them, it keeps going even after death, though not necessarily in a physical manner. Again, the only thing that dies is the physical body, because the realized essence becomes everlasting, like stone itself.

“Then spirit, soul, and body become ‘the One, in which the whole mystery lies hidden.’ This ‘One’ is also described as a stone statue which is born out of the fire. It unites spirit, soul, and body and contains all four elements.” - Psyche and Matter.

The real stones that everyone knows of aren’t eternal, obviously. I’m not speaking about that kind of thing, but of their symbolic nature as things that surpass the lifespans of all living beings, that resist the weathering of time and the elements. Thus, what element better than stone to represent the non-bodily eternity of the soul? Even Erebus, with a strength that Elizabeth said was enough “to tear down mountains to the heavens”, can’t even put a scratch on Makoto’s effigy.

Following with the stone motif, Christ’s association with stones can also be noted, the eternal cornerstone of the house of god, as well as the Philosopher’s Stone, which, despite having red as its main color as seen with Trismegistus, is said to be a manifestation of God like Christ is, and the microcosm itself—the perfected human spirit. But again, the main idea behind the statue is the fact that it’s Makoto’s crystallized life force, made to last as long as humanity finds life unbearable.

The Great Seal, the manifestation of Makoto’s soul and his final resolution, will forever remain in the abyss of the collective unconscious as a symbol of the potential that lies dormant within everyone—the timeless bond that joins everyone as one. And as long as it remains as such, the Gate will be eternally closed, immovable as a mountain.

He may look alone, but that's from the truth.

[melliae]

About Metyr Being Abandoned

More than a theory, it's more of a little thought I had this morning. I think is more of a possibility.

So, I guess the first thing to do is to point to this reddit post about the relationship between the Greater Will and the Primeval Current. In essence, I'm taking them to be the same, which means that what Lusat and Azur saw within the Primeval Current was the Greater Will's true essence: an abyss that encompasses the movement of (seemingly) all stars and celestial bodies, the endless chain of causality that binds and encompasses the entire universe. In a way, it's a pretty buddhist conception of the world, and pretty lovecraftnian as well, how trying to understand the universe at large is a foolish task and only leads to madness.

Now, it's easy to see why the Greater Will never directly communicated with the inhabitants of The Lands Between, and why Metyr was sent as an intermediary between them, having by definition some sort of status or propety that allowed "her" to understand the Greater Will without ending like Lusat or Azur. We don't know what exactly that thing was, or if it even was a "thing" to begin with, but since Metyr was broken it wouldn't be surprising that "she" lost that capacity to understand the Greater Will unharmed. And really, what could have the Greate Will done in such case?

"Long ago, the Nox invoked the ire of the Greater Will, and were banished deep underground. Now they live under a false night sky, in eternal anticipation of their liege. Of the coming age of the stars. And their Lord of Night." - Nox Monk Hood.

And we all know that the Greater Will can be emotional.

[melliae]

Traumerei & Zahard (Pt. 1)

(Tower of God #580)

We're far enough along in Traumerei's character and the depiction of his relationships to other Family Heads now that I feel confident in trying to analyze them a little more in depth, beyond meme edits or brief speculations in the tags of said memes, with a focus on doing this mainly in comparison and contrast to his relationship to Zahard as this posts main focus, highlighted as his most prominent and defining one from well before Traumerei's actual introduction.

Warning: This will include spoilers up to roughly #638 of the Tower of God Webtoon, and in part draw on SIU's blogposts of published chapters of the Hidden Floor arc. Under the cut for length.

My Thesis Statement: The defining aspect of Zahard and Traumerei's relationship, built on a basis of genuine comradery and mutual support between the two, shows Zahard as the only Great Warrior so far who actually expects things from Traumerei (or to paraphrase, who, in however limited a form you want to argue, places his faith in him). We see Zahard confide in him, console him, and entrust vital tasks to him, to the exclusion of all their other comrades; not only as the first comrade Zahard turns to in the present day story (in what's Outside Zahard's technical debut), but also a long way back in the past, before the first war with F.U.G. even broke out.

I'll try to structure this into three segments (and going by the likely amount of screenshots, probably a reblog chain rather than one self - contained post as I had hoped):

Zahard and the Family Heads

Traumerei and the Family Heads

Zahard and Traumerei

1. Zahard and the Family Heads

The first thing I'm going to argue for this purpose is Zahard's sentiments towards his old Irregular companions. Contrary to what seems like a popular opinion in fandom, that the present day Zahard views them as means to an end exclusively, devoid of any kind of positive or emotional sentiment at all, I actually think it's the opposite, and that he would have a far easier time, strategically speaking, if he did view them in this indifferent manner.

1.1 Zahard and Self

I feel like the origin of this perspective of Zahard as a purely cold, ruthless and calculating mastermind stems from his treatment of the Hidden Floor, where he collaborated with his data to first segregate the data of the Great Warriors into the hidden hidden floor, and then delete them.

My main argument against the validity of this would be, first of all, that the recorded data of their past selfs are very much not equivalent to their Outside, real selves, and that it would be perfectly natural for Outside Zahard to not hold the same feelings for them as their "real" versions.

Secondly, I feel like people really overplay the extent to which Zahard manipulated his data self in this: Yes, we have Zahard sport a malicious grin when he reveals data Zahard's ignorance of events on the Outside, and declares him as a "poor thing", "a fake me":

(Tower of God #386)

However, what this scene itself confirms it that 1) data Zahard likely only got forcibly edited (and only regarding these specific memories) when Bam asked him about Arlene, since "their names" is unlikely to refer to Edahn, with whom he converses perfectly fine and in a familiar manner and thus likely to refer exclusively to Arlene and V, who were erased from offcial history on the Outside as well (and whom Zahard likely sometimes wishes he could edit out of his own memories as easily as in data Zahard's case).

This is basically all but confirmed in the beginning of #368:

and 2), that Zahard has a rather nostalgic side, considering that he harboured the wish to leave the remnant of his young and optimistic self in the world in any form at all.

We also get from data Zahard himself that he helped Outside Zahard of his own volition, in a scene that's arguably centered around the Outside Zahard's strong emotions:

(Tower of God #387)

The emotions in said case being "anxiety" and fear, but still ultimately serving to demonstrate that Zahard is far from limited to the stoic and ice - cold killer we saw in his words to and subsequent treatment of Bam immediately prior, something concluded in his decision to honor his young self's wish for Bam to reawaken his passion as he did for said data self, despite the fact that said data was already in the irrevocable process of being erased from existence, lacking crucial information about Bam and his current Outside self.

(Tower of God #388)

(Note that this is AFTER Zahard noted "That really is a power that desires the abilities of God" about the Second Thorn Fragment, about whose origin and purpose he would know, as well as a multitude of potentials regarding Bam's origin and "fate". That is not the kind of choice someone robotically calculating the best possible outcomes and most ruthless way to get there would make, much less at the prompting of a soon to be deleted "fake me" he truly held either nothing but contempt or no emotional connection to at all, one he might easily have deleted outright).

Also, I didn't quite know where to bring it up, but I'll also mention that there is no immediate correlation between the data of the Great Warriors entering the "Hidden Hidden Floor" and being automatically deleted. As data Edahn reveals, they were tired of their existence as data, and followed Zahard knowing there might have been something fishy about his mirror from his Outside self. For all we know, they might have been deleted upon explicit request, similar to the data of Yura's and Hwang's bodies mother, somewhat detracting from data and Outside Zahard as ruthless killers and deceivers in that particular matter:

(Tower of God #386)

But all of this has been very centered around Zahard and his interactions with his own past self, so when am I going to get to his relationships to the other Family Heads?

Well, this segment was important in and of itself for getting there, demonstrating that Outside Zahard is not an unfeeling robot but actually fairly sentimental, and will alter his course based on the considerations of people close to him whom he respects (even in ways that are arguably highly disadvantageous to his own continued well-being), even if in this instance said person was a version of himself, which still serves its own purpose of demonstrating a senitmentality regarding his younger days, back when he and his comrades where comparatively unburdened and driven young adults climbing the Tower together.

1. 2 Zahard and the Family Heads

(Blogpost Season 2 Episode 292)

In light of the abovementioned arguments, I don't think Zahard purposefully sawed of all connections to his old comrades because he no longer cared about them, but rather that he still values these relationshop above nearly everything else, and distanced himself because he though that was what was his duty as their leader and a "KIng", about which he developed something of a complex, in case you didn't notice.

Introduced in his data self of course (I promise, we'll leave the Hidden Floor after this one):

(Tower of God #365)

This mindset smells of Outside Zahard, and comes specifically after Bam mentions Arlene's name, which we have establish to have been one of the primary "triggers" installed into data Zahard. I also feel like the following "What do I look like to you now? A human being? Or a monster?" might reveal another sad aspect of Zahard's current self-image/conception, but I' ll have to restrain myself with the images if I want to be able to at least conclude the Zahard and Family Heads portion in this posts image limit).

In another form, we get this in Traumerei's (but truly, Enkidu's and Gustang's) recent flashback arc, specifically #618:

But since I'll have to save many of these more recent points for Traumerei's portion of the post lest I needlessly repeat myself, I think it's enough to conclude this with the observation that at least part of what drove Zahard to change his mindset and become the solitary figure he is in the present day story was a feeling of responsibilty, acting according to their stations, soaring far above anyone else in the Tower, an expectation he extended to his comrades.

As Kallavan said, With Great Power comes Great Responsibility, and all that:

(Tower of God #477)

And we do see Zahard explicitly consider the Family Heads in the big decisions/doesn't simply overrule them, such as involving Bam:

(Tower of God #539)

We as readers know that Zahard and Traumerei had their private conversation prior to the Nest that probably truly determined what happened wrt Bam, but if anything this just strengthens my point, since Zahard explicitly allowed Traumerei to do as he wished.

(Tower of God #551)

(The reason I included the panel with Zahard's reaction is that I find it very interesting and important to the point I'm making. I don't have a conclusive opinion, but to me he appears almost taken aback by Traumerei's answer. Because remember, Traumerei's answer here is his reveal of the "condition" under which he'd take up Zahard's proxy war against the Poe Bideau family. That's quite a selfless "condition", or at the least purpose for said condition, to place, so I might well imagine that Zahard was taken aback by the lengths Traumerei would go to, specifically for him. Even in a more cynical reading, this is still Zahard allowing Traumerei to recruit himself a second Irregular into his family (the one he may know is considered as destined to kill him) and therefore also showing a certain degree of trust wrt that. But more on their relationship in particular in the eventual concluding part of this post)

Last but not least (arguably the opposite), we also have what may be the implication of Zahard as the one who gave the Great Warriors access to their famous Imortality Contracts, or at the very least having done something to make Traumerei regard him as the main cause behind their current positions and perpetual longevity of said positions:

"From the moment we got to the top, the only choice we had was to fall or not. But Zahard has given us a way to avoid falling forever. Only now that we have defied the laws of the Tower have we become beings who will never fall."

(Traumerei, Tower of God #632)

So while I'll certainly agree that we don't have many direct interactions between Zahard and the Family Heads, he does leave them free room to act with the only stipulation basically not to declare war on him, and doesn't brute force his own choices over theirs. He is very lenient (so far) even in regards to the Family Head who has broken this one rule, and has shown considerable respect for Traumerei's opinions and plans. Furthermore, he may well have ensured or enabled the Family Heads current hax, for which I would find it difficult to see another reason than wanting to keep them with him.

While there is a very interesting conversation to be had about Zahard and Gustang (and whether Zahard was aware of Gustang's preservation of the Thorn and Floor of Death all the way back or not), it's worth pointing out that Zahard's order to destroy Gustang's family (something we now know Gustang himself desires) only occured as part of his three orders, and Gustang himself is not targeted by default.

Basically, I haven't seen anything so far that convinced me of the "Zahard doesn't care about the Family Heads anymore" stance.

And with that out of the way, I'll move on to Traumerei's relationships to the other Family Heads depicted so far (who thankfully does have some more actual interactions with them).

(And again, a point I didn't know where else to fit in in which only occured to me towards the end of this post: I do think it's noteworthy that Outside Zahard does adress data Edahn as a avalid representation of Outside Edahn, to the point of not considering that he may hold differing sentiments from Outside Edahn wrt his relationship with data Zahard. Which goes against one of my first points, that Zahard may have drawn a sharp line between the datas and Outside selves, but supports my main points even better:

(Tower of God #386))

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Akira Ishida's Persona3 The Movie #4 Winter of Rebirth blu-ray comment translation

Ideas about Persona 3 The Movie

For Makoto Yuki, the 4 chapters of Persona 3 The Movie were the story of how, after Death was sealed within him and his heart became hollow, it began to fill up and repair through his interactions with the Specialised Extracurricular Execution Squad.

I feel like as a part the adroit way the narrative is structured around the recollection of Makoto's memories, the timeline and timing of what is revealed is shifted, so that the audience members who hadn't exerienced the game version may have felt a sort of eerieness when seeing Makoto's position when he first appears. Moreover, many of the plot points that happen in every chapter, for example things like the misunderstanding regarding Yukari and her dad, the case of Junpei and Chidori, and Aragaki-senpai and Amada-kun's relationship, seem depressing and gloomy. However, it's not because they are cheerful and happy, but because they accurately depict the wounds that people carry inside themselves that Makoto, by meeting and understanding them as he progress through the chapters, is able to aquire the precious things everyone should have.

I believe that the reason why Persona 3 The Movie's 4 chapters were well recieved by the audience was not just due to their interest in seeing the story they experienced in game in a film, but also because the scenery that Makoto sees made an impact and they related to it, and were curious to see how things would develop. This is how Persona 3 The Movie depicts the various ups and downs of the experiences that make up people's hearts, but my understanding of the word 'Persona' is that it comes from psychology.

When I first heard about the title and contents during recording, I wondered why you would call the incarnation of yourself for battle a Persona. A mask that people wear to represent themselves externally. It becomes a weapon to fight your enemies, the things that face you. This seems like everyday communication itself. So, when I think about the original meaning of Persona, I can make my own satisfactory reasoning as to why Makoto's Persona isn't in the form of a single one that evolves, but instead uses multiple from the beginning. The empty minded Makoto has no desire to be seen externally. It doesn't matter to him; he doesn't care how he's seen, so there's no reason for him to limit himself to one mask. What do you think? Personally, I quite like this reasoning. By viewing Makoto as having been an empty vessel, it makes it a major necessity for the story to develop him as a character in the film. Is it too much of a stretch to say that Makoto Yuki's story isn't just limited by the framework of a game, and has the potential to withstand the development and adaption, so therefore it was inevitable that it would be made into a movie? Speaking of which, the climax scene of Winter of Rebirth. After all he's been through, regaining his lost humanity and filling himself, Makoto reaches the point where he is willing to sacrifice his own life for his friends, just like his mother once did for him. There is no recklessness that comes from the indifference to the fear of death as in Spring of Birth. In order to achieve their shared goal of protecting the proof of existance people leave behind, Makoto decided to save the friends who had filled him and given him the elements to reconstruct himself and the world in which they live. And, as you all saw, this action was based on a self-sacrifical idea. For this reason Makoto, who can wear the masks of many Personas, gets every one of them shattered, and in the end can only move forward without wearing a mask. Don't you think this is a very symbolic scene?

He entrusts his friends with the same word his mother told him: 'live'. If a mother's love for her child is the ultimate, unsupassed thing, then you can say that Makoto's inner self, which can pour out that selfless love from the bonds with his friends, has completely regained human form. In addition, there is a mechanism in place which means that you can only go to the last stage without wearing the mask of a Persona. This can be seen as a message that the power to stand up to Nyx, the last opponent, the environment, and the world resides in someone's true essence, and that it is impossible to do so while wearing a false mask. It is also suggested by the composition that it is necessary to wear the mask of a Persona when defeating enemies, and to expose your true self when protecting loved ones. I would like to say that there is no way that exposing your true self could lead to strength, but once reset and gained new experiences, Makoto reached the next stage before others, attaining the answer to life. He is no longer an ordinary person. Even though it's fiction, I'm glad that it was Makoto and the others that were given the mission to fight Shadows in the Dark Hour. If it had been me, since I still haven't found the answer to life, the world would have ended on January 31st as planned, and these ideas would have never come into the world. If you think about it, that could have been okay, too.

劇場版「ペルソナ3」にまつわる妄想

結城理にとって劇場版「ペルソナ3」の全4章はデスをその身に封印され、心が虚ろになってしまった彼が、特別課外活動部の仲間達とのふれあいを経て、その中身を満たし直していくまでの過程をたどる物語でした。

理の記憶の甦りという物語構成の妙として、時間軸とそれが公開されるタイミングがズラされていたりしたので、ゲーム版に触れたことがない観客の皆さんは初登場時の理の立ち位置に一種の不気味さを感じたのではないかと思います。そのうえ各章で起こる事件は、例えばゆかりの父親に対する誤解や順平とチドリの一件、荒垣先輩と天田くんの関係など暗くて重いものが多い印象です。しかしそういった明るくてハッピーなものばかりではない、人が内側に抱え込んでいる傷の部分をきちんと描いたからこそ、彼らに出会ってそれを見つめることになる理も、章が進むにつれて、本来、人として持っているべき大切なものを、欠けることなく獲得していけたのだと思います。

劇場版 「ペルソナ3」の全4章が観客の皆さんに受け入れて頂けたのも、ゲームで体験したストーリーを映像で見てみたいという興味の他に、そんな理の見る景色に影響され同調することで、その先の展開が気になったからという部分もあったのではないでしょうか。このように人の心を構成する様々な経験の起伏を描いた劇場版「ペルソナ3」ですが、そもそもペル���ナという単語は僕の理解では心理学周辺で出てくるものですよね。

一番初めのゲーム収録でこのタイトルと内容を知ったときに、バトルをするための自分の化身をペルソナと呼ぶなんて、何でシャレてるんだと思ったものでした。人が対外的に自分を表すため��かぶる仮面。それが敵、自分に向かってくるモノと戦うための武器になる。これは日常のコミュニケーションそのものに見えます。だから、そういうペルソナを本来の意味を考えると、理だけが一つのペルソナの進化という形ではなく、初めから複数のぺルソナを使い分けられるというところにも自分なりに納得のいく理屈をつけることができそうです。心の中が空っぽの理には端から対外的にどう見られたいという願望がありません。そんなことは彼にとってはそれこそ「どうでもいい」ことであって、どう見られても構わないからこそ、かぶる仮面を一つに限定する理由がないのです。どうでしょう。自分としてはこの理由付けの仕方、なかなか気に入っています。理が空の器であったと捉えることで、映画の登場人物として物語を展開させていく大きな必然性を持たせることにもなるのです。結城 理の物語はゲームの枠にとどまらず、映画化という展開にも充分耐えうるポテンシャルを持っていた、だから映画化されるのは必然だったというのはちょっと暴走し過ぎでしょうか。暴走ついでに、第4章『Winter of Rebirth』のクライマックスシーン。これまでの経験を経て、一度無くした人間性を取り戻し、中身を満たすことができた理は、かつて母親が自分にしてくれたように、仲間を生かすために自分の命を投げ出すという境地にまで達します。そこには第1章『Spring of Birth』の頃の己の死の恐怖に対するどうでもよさから来る蛮勇はありません。自分たちが存在した証を守り残すという全員の目標を果たすために、理は自分を満たしてくれた、自分を再構成するためのエレメンツをくれた仲間と彼らが生きていく世界を、今度は自分が救おうとしました。そしてそれが自己犠牲的発想に基づく行動だったのは皆さんも感じられた通りです。そのために数多くのペルソナという仮面をかぶることができる理が、ことごとくそのペルソナを打ち砕かれ、最後はその仮面をかぶらずに先へ進む。これはなかなか象徴的なシーンだとは思いませんか。

「生きろ」と自分に伝えてくれた母親と同じ言葉を仲間に託していく。母親が我が子を思う母性愛が、究極、無上のものであるならば、仲間たちとの間にその無償の愛情を注げるまでの絆を楽いた理の内面は、完全に人間としての形を取り戻したと言えるでしょう。それに加えて、ペルソナという仮面をかぶらない形でしか最後のステージに上がれないという仕掛けが用意されているわけです。これはニュクスという究極の敵、環境、世間に立ち向かえる力を宿す場所はその人の本質的な部分にしかない、虚飾の仮面を被った姿では無理なんだというメッセージにも見えるわけです。また、敵を倒すときにはペルソナという仮面をまとい、大切な人を守るときには自分の素の姿をさらけ出すことが必要だったという構図も暗示的です。自分なんかはとてもじゃないけれど素の自分をさらけ出したところで強さに結びつくとは到意思えないと言いたいところですが、一度リセットされ、新たに経験を積み直した理は、人より先に一つ上のステージ、命の答えに到達しているのです。もはや凡人ではありません。フィクションとはいえ、影時間でシャドウと戦う使命を与えられたのが理達で良かったとつくづく思います。もしも僕だったとしたら、命の答えにたどり着くのはまだまだ先のことでしょうから、世界は予定通り1月31日に終わっていたでしょうし、そうなったらこの妄想が世に出ることもなかったでしょう。そう考えるとそれもアリだったかもしれませんけどね。

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Video showing the Episode Aigis demo in Tokyo

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#ishida mentioned in the winter of rebirth blu ray that he cant use a persona in the fight because it requires being his true self#but thats more of a symbolic reason than lore

More than symbolic, it's thematic, and since the themes almost always inform the plot and world of a story...

Using a Persona - a mask - against what's the mother of the psyche itself is stupid. It doesn't have any logic. You are using a fragment of the whole to fight the whole itself... It's interesting to see how that inability seems to be almost instictual, as if the protagonist (or maybe even the Persona or unconscious itself) knew it was meaningless at some level.

Good finding!

By Nyx Core, you can't summon a Persona.

In game, the option isn't available, and Great Seal is cast without one.

In the movies, Messiah dissolves when Makoto gets close.

In the Weird Masquerade, Shiomi attempts to summon their Persona, and fails.

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elaborate on the motherhood

regarding motherhood and p3? Sure. I’ll use minato as a name, typing hero for too long gets annoying. general p3 spoilers as we continue.

first, we��ll seperate motherhood into two concepts. childbirth and maternal presence. childbirth is the process of becoming a mother. maternal presence is the aftermath. sometimes both can fit under the word, sometimes only one exists. it’s interchangeable. keep this in mind.

let’s skip to our awakening. to my knowledge, every persona awakening so far has only resulted in one being summoned. this is an unspoken rule of the world, so when minato presses the evoker to his head and calls to orpheus, things seem relatively regular.

until, minato starts to scream.

something is inside orpheus. and it wants out. the embodiment of minatos soul twists and contorts to fit this Thing inside of him. and then, it rips out, tearing orpheus to pieces.

orpheus’s head lurches back in a screaming position as the rebirth of death occurs.

“birth” isn’t just a means of granting life. it weighs heavily on the mother, irreversibly changing her entire body structure. you can never be the same after giving birth, you tear upon a wound that cannot be stitched together. birth is painful and life altering.

but, surely this is ridiculous. childbirth, seriously? there’s something missing here. the child in childbirth? where is the child? that thing is a strange and terrifying monster, where on earth is the-

oh, right. hello pharos. he arrived along with this being. it probably means nothing. they’re totally not the same fucking guy.

afterwards, minato passes out from exhaustion, and takes a long while to recover whilst in the hospital. for minato, carrying death was painful and life altering. since now, he can never be the same.

(this is personal input, but due to the mature appearance of mituru’s persona despite being 8 years old at the time during summoning, i think it was subconsciously filling in the lack of maternal presence. again, personal interpretation.)

moving on. we first meet minato, yukari, mitsuru, junpei and akihiko. minato had a mother, but she was slaughtered in an accident. yukari has a mother, but complications exist between them. mitsuru and junpeis mothers also seem to be out of the picture. i presume they’re dead, but i could be wrong. akihiko’s adopted, and his current ‘mother’ doesn’t seem very relevant in his life. either way, they’re all clearly lacking parental supervision in the dorms.

after speaking to the chairman (the only present adult currently) minato is now part of a group fighting against shadows, referred to as SEES. in other words, you’re a child soldier now. congrats! usually children with more stable support systems and family dynamics would be less vulnerable to such things. maybe if minato had a mother, she should see through the chairman’s lies. maybe he would’ve been protected. but he doesn’t. but he does now have a child that now visits him every full moon. maybe with enough love, pharos could grow to be unlike minato.

we are further introduced to other members of SEES. fuuka. her home-life exists behind closed doors, and she can’t wait to be rid of it. she does not speak of her mother, and that says enough about her. aigis. she was created by scientists. ken, a presumably bastard child with a single mother. he was orphaned after she was killed in an accident. and shinjiro is another orphan. Mother’s Day must be a blast for this mob.

the first death of the series to due to maternal presence. well, more like a lack of it. after shinjiro killed his mother, ken has been left alone. suicidal in primary school. poor thing. he would be happier if she was still here. he devises a plan to avenge her. in the end, shinjiro dies. but he is instead killed by strega.

strega is in a similar boat to SEES. if they had mothers, perhaps they could’ve been spared from this mess. instead they were experimented on, and implanted with beings that destroy them from the inside. hm. sounds familiar.

time passes. shadows of the arcana are defeated as something else grows. tartarus is described as a nest of shadows. it’s like an anthill. but we are yet to the see the mother, the queen. pharos leaves, says he’s remembered what he has to do.

we are then introduced to ryoji.

ryoji. he’s a masculine ladies man. bit odd at times, but well adjusted. sweet thing that seems to be made with pure love. a glaring contrast to the current state of SEES. but let’s not kid ourselves here. we know what ryoji really is. but he doesn’t.

death is a constant throughout the narrative. you can sort it into two categories. the death of a loved one and Death. the Death that Tartarus is built to host, the Death is the part of the moon, the Death that tore apart orpheus, the Death holding the contract. The Death extracted from Nyx.

Death calls himself ryoji mochizuki. and she is the avatar for the maternal being.

Nyx, the planet eater. referred to by feminine terms since a deity that caused creation of humanity and all cognitive beings can’t be masculine. men cant be mothers. according to the scientists, at least.

either way, this Death that has plagued the narrative has a label. and she is introduced as a mother. it’s contradictory combination. so far, hasn’t this discussion surrounded motherhood being the giver of life? but, persona 3 is about living as much as it is about dying. if you to say to live is to die, wouldn’t you say the same about birth? to be born is to die. you come from Her, and you will return to Her.

ryoji wears a scarf. it’s often joked to be random, but i think it’s supposed to look like a nuchal cord. for those unaware, a nuchal cord is when the umbilical cord wraps itself around the babies neck during pregnancy. although rare, it can result in strangulation. i think this is meant represent the only way he can be killed. which is by the being that created him.

the fact ryoji can only be killed by minato speaks for itself. minato had a entity that placed inside him as a child, and that thing will kill everything on this earth. Death ruined his entire life, placed a limit on his lifespan. Death is a parasite that makes him weaker by the day. nonetheless, minato holds no ill will to Death. so he spares him.

the final boss battle. the final cry. we meet ryoji, or what’s become of him. or her. you cant really tell anymore.

one unspoken point ive held though this entire post is pregnancy is a form of body horror. motherhood is a form of body horror. it can still be a beautiful and nurturing thing, but it all falls down to what you make of it. sometimes it is a role you do not want.

ryojis body is contorted and twisted into something barely recognisable. nyx avatar is primarily referred to as a she. although, she still has a flat chest and a deep voice. we see a character that was introduced to us as a child, now be fully ‘grown’ and now called Mother.

the inside the moon, you’re met with a being labelled as pure “Death”

to match the avatars avian appearance, the final fight of this game is between minato and an egg. it’s a perfect final form. i don’t have to explain to you what an egg means at this point, it’s the representation of birth of all life.

i could end it there, with the primordial mother of all life and death herself being presented by an egg. but i still have some things to about minato. as i keep repeatedly stating, by holding death minato was forever changed. and finally by the end of the game, he dies.

and he becomes a massive door at the ends of the universe, with six massive eyes. again, he will never be the same. if he had never created Death, if he had never held Death inside him, he would’ve lived. but in the end, like a loving mother (and The Universe, now protecting the world that nyx created), i don’t think he regrets a thing.

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This... This is good stuff! Holy fucking hell! Finally translated! :D

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Master Post (?)

Persona 3

MBTI: Philemon & Nyarlathotep

The Universe Arcana

Nyx in Persona 3

Assorted Pharos/Ryoji Thoughts

The Great Seal's Design

Limbus Company

Hermann's Goal Theory

Faust Network Theory

Refraction Railway Line #4 Abnormalities

Refraction Railway Line #3 Abnormalities (Part 1: Dream-Devouring Siltcurrent; Drenched Gossypium; Ambling Pearl)

Refraction Railway Line #3 Abnormalities (Part 2: Skin Prophet; Ardor Blossom Moth; Spiral of Contempt)

Refraction Railway Line #2 Abnormalities (Part 1: So That No One Will Cry; Steam Transport Machine; Drifting Fox; Faelantern)

Elden Ring

About Metyr Being Abandoned

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Refraction Railway Line #2 Abnormalities Part 1 (Analysis)

The Möbius strip. The famous 2D manifold that has only one side, meaning that no matter how much you walk, you will always end up where you started. There’s no other path in front of you beyond that which endlessly repeats itself, forever.

Without escape, without release…

“Be still. Just be still, and do nothing more than breathe. For now, that’s how you must live. You cannot fly.” - ??? (Sang Yi), Chapter 48: Bud, Canto IV.

But only to the extent you allow yourself to be trapped in such a cycle, too afraid of soaring away and getting your wings hurt again.

“This is an adequate place to get off this train without getting lost. The refraction rate is already off the charts. For the first time since we embarked on this journey… I see a signpost. Maybe, this is where this railway line ends. Or maybe...this is where we meet our ends.” - Dante, Terminus: The Garden, Refraction Railway Line 2.

Nobody knows what lies beyond the known, familiar and soothing cycle, if there’s a dead end or true freedom. Nonetheless, you must walk towards it, for your and…

For Everyone’s Sake

“Are the talismans filling the room for a wish? Does this wooden doll wish for anything?” - Abnormality Encounter.

An effigy is, in essence, a sculptural representation of someone or something made with the express purpose of acquiring the dignity of that person/thing: whatever happens to the effigy, it will happen to its “model”. Yet one has to wonder what a stiff, featureless wooden doll represents? What kind of person can even begin to bear that quantity of curses on them?

No one.

No human can hope to be strong and resilient enough to carry all that hatred, despair, and sadness. Only a copy of one can do such a thing, especially crafted to be a faceless caricature that will never amount to anything more than that—no one.

It will be forever trapped in that room, bearing all the evils of the world because someone has to do it, and what better “person” to do it than the one specifically made to do so? It can’t wish to be anything but the nameless scapegoat of humanity, the star that weeps for everyone.

“When we look up at our sky… all we see is a pinch of muddled light. But here… I can see lone stars looking down at us. Since the city I can see from here is filled with cries of pain and despair… I’d rather… gaze down at people from the loneliness up in the sky and shed tears with them…” - Unknown Boy, Blossoming League of Nine Littérateurs, Canto IV.

I implied in my post about the RR3’s Abnormalities that Siltcurrent represents the experiences and memories of Mermaids at some level. Thus, it shouldn’t be surprising that the Tearful Thing, a human monstrosity with a boundless heart that cries for all misfortunes that befall people, can also participate in the creation of an Abnormality.

However, So That No One Will Cry (“STNOWC” from now on) is not only a manifestation of the Tearful Thing’s trauma and wishes; it’s also one for Yi Sang’s past conflict to an extent.

“Those were the kinds of achievements we accomplished in T Corp’s district. Which is why… I became more engrossed in the mirror. Untainted, unadulterated… I wished to immerse myself in the pure exploration of knowledge. So that… I wouldn’t have to take anything from anyone.” - Yi Sang, Blossoming League of Nine Littérateurs, Canto IV.

It isn’t a coincidence that its namesake skill, “So That No One Will Cry”, is Gloom-based: the expression of bottomless despair born from witnessing the evils of the world and those who one has caused. After all, who doesn’t know the bitterness of not wanting to do anything after doing or getting something wrong? The taste of the lies when someone asks you how you are doing? Those countless cases of martyrs for their loved ones? Maybe that’s why its mid-combat Event has Sloth advantage, because it keep things as they are and were, with the burden being too much to bear for the chosen Sinner.

At the end, someone has to cry, to purge all the accumulated pain, and you can't really be bothered with it.

… But as Project Moon does, things aren’t that simple: for some reason, all STNOWC’s remaining skills are Lust-based and give Cursed Talismans on hit. This last effect can be easily attributed to a mere side effect by the Abnormality’s attack or activity in general, as its mid-combat Event and Logs suggest. The Lust affinity, on the other hand, is a bit more tricky, though thankfully I already explained it in my RR4 post: Lust, in its most general form, corresponds to the Sin of love and passion, which is something STNOWC has in spades—an absolutely selfless love that leads it to carry countless curses.

“We start removing every single talisman in the room. The wooden doll paces here and there, uneasy and anxious. We ignore it and continue removing the talismans. As we were almost finished with removing the talismans, the wooden doll stands before the Sinners as though to tell them that enough is enough.” - Abnormality Encounter.

And like a great part of the Sin’s examples in the game, STNOWC is heavily attached to its role as a bearer of pain too, not wanting to abandon it by any means. This situation is repeated somewhat when you choose to remove the Doll’s talismans, despite the final ambiguity presented by Dante at the end. Personally, I think the Abnormality is ultimately afraid of someone else carrying the talismans.

“The wooden doll at the center seemed to be liberated from a binding force. It walked to you, offering an object.” - Abnormality Encounter.

Because even when you give it freedom through choosing to remove the room’s talismans, STNOWC decides to give you a copy of itself, as if to say that you should still use it to carry curses, brushing aside your sacrifice. 

Such stubborn behavior makes the Sin advantages of the previous choice pretty ironic: you either don’t want the Doll to be trapped by your sins out of a slothful refusal to change, or, more importantly, because you hate allowing someone to bear all that suffering alone. And by that matter, the Abnormality’s weakness to Wrath is explained by that last part, because just as well have felt on some level the bitterness of hiding things from others, the frustration that comes from a loved one doing the same surely is familiar; but no matter how much you worry about them, if that loved one keeps ignoring or rejecting any and all help, only a wrathful worry can truly “save” them, and not more (misdirected) love (which in turn explains its resistance to Lust).

At any rate, the main idea should be obvious at this point, about how the answer to suffering isn’t to make someone carry it in complete solitude; that’s nothing but wishful and magical thinking. To stop the pain you must share it, just like the Talismans in both the battle and with Red Sheet Sinclair, lest everything becomes too heavy for anyone to bear.

Only when everyone shares their curses, truly no one will have to cry.

Refusing to Change

“Did the Steam Transport Machine return to when it was first produced? Leaving behind everything it’s gone through. The older the machine gets, the more of itself it will have to reconstruct.” - Mid-Combat Event.

By definition, meaning must exist in our lives. That’s not an idea anyone can argue against, because I’m not even speaking about any sort of metaphysical reality, let alone some kind of deeper, transcendental truth. It’s all a simple psychological fact: the drive to find (or construct, or whatever word you fancy) is an essential fundament of our psyche, of who we are as a species. We are literally programmed to see them anywhere, anytime, and we can’t function without one.

However, just as the outside world keeps on changing, so does our inner reality, and with it what we hold (or held) as true fades away. Thus, when confronted with the reality of our meaning—our life—disappearing to never return, despair sets in and we wonder what we will do. The answer, as most things in life, depends on the individual, but Steam Transport Machine surely shows what a sizable amount of people did and do.

“Hohmm… ‘twasn’t that it released tiny machines to repair itself; it was as though it un—did the damages that had already transpired.” - Don Quixote, Abnormality’s Observation Log #1.

To regress to the past. To act as if things haven't changed, or to try to restore them to what they were. That’s what the Accumulated Past mechanic is all about, being reflective of the work the Machine does and thus the turns the battle is taking, with a higher count indicating an increase in the use and degradation of its body; RR2 follows the same principle, though it was tied to the overall “time” (i.e., turns)  the Sinners took.

Now, since the “past” is “accumulated”, asking where it’s stored is a natural question, and the Logs, the MD Encounter and the mid-combat Event give an obvious answer: Steam Machine’s past is 100% literally gathered in the nixie tubes (incorrectly called “vacuum tube” by Don) in its body. In fact, reducing the number shown by the tubes allows the Abnormality to return to a previous, less damaged state, as seen in its “Returning Past” passive. You can compare it to save scumming in a way.

Accumulated Past is so important for Steam Machine that it literally affects every other part of its kit, including its Poise or, as stated by Don in the Observation Logs, steam generation… or it should in theory.

While Don seems to be pretty sure about the relationship, there’s no gameplay element that reflects such a relation. The closest thing to it are how some of its skills do more damage based on the Machine’s Accumulated Past, and its RR2 exclusive passive, “Overlapping Past”, which grants it 1 Attack Power Up for every 80 Accumulated Past. It’s possible to make the connection between “more steam means more skills used, and more skills used means more turns”, but I don’t think the Logs referred to that…

At any rate, “Overlapping Past” is a curious name, because it implies that Steam Machine is somehow overlapping (duh) its past states within its current one to achieve greater strength in every attack. Something equally interesting happens with its other passive, “Metronome”, named for the instrument used to set a regular tempo by musicians and dancers to help maintain the rhythm in their work, which means the Steam Machine’s Accumulated Past helps it to set the “speed” of the fight, explaining the defenses and attack modifiers acquired through the tube’s numbers.

All of that clearly shows the Accumulated Past is not some sort of abstraction or symbol for something else; it’s an essential part of the Abnormality. Its past is a tangible reality to which it can not only return, but also clearly manifest in the present, and that ultimately controls it. In fact, one may say that the past is the thing that makes up Steam Machine’s own existence, as shown with the story presented through its skill set.

Beginning with the two “oldest” skills as indicated by their names, “853” and “5384”, these are Sloth-based and thus indicate the mindset the Machine had “back there”: a complete lack of zeal for its “work”, mindlessly carrying luggage without any deeper consideration about its existence. Such a state is as soulless and robotic as you get… or maybe not. Maybe that is its soul, its entire existence from which its very own sense of self and thus pride grew as defenses against its meaninglessness, as shown with the Pride skills, “6463” and “6753”.

“A purposeless machine is bound to lose the meaning of its existence, even if it is functional.” - Abnormality Encounter

But it doesn’t matter how many swords are used to defend one’s ego, everything inevitably has to change, especially within Steam Machine’s absurd lifespan. Thus, when confronted with that truth, what can it do besides raging against the world, as “6475384” demonstrates? It’s unknown if it was betrayed, abandoned or something along those lines, but its hatred is a real and dangerous thing; we all know the horrifying things people and even us can do in order to make our existences feel meaningful (again).

And finally, at the end lies “974569A”, the only possible destination a being that refuses to change can arrive at: envy for all those who can move beyond a monotonous existence, finding meaning within their selves that change with every step of their journeys. For the first time, the Machine finds itself broken in a way its ability can’t erase, for it has gone through an untold quantity of time trying to hold onto the only thing it has through reliving its past, all the while ignoring that single, insulting fact.

This understanding is reflected in its Sin resistances too, especially to Sloth since it’s touched upon when you choose “order it to do nothing” during its Encounter: because it was made with the purpose of carrying things and do work in general, Steam Machine will simply blow up when confronted against a situation in which it can’t do anything, unable to fulfill its only purpose. That’s to say, the Machine won’t give up on its meaning and core essence by any means, despite its own affinity for inertia and refusal to change, which in turn explains its resistance to both Pride and Gloom—it’s too stubborn and bitter to question its ways, let alone be distracted by the despair of losing its meaning.

Steam Machine will keep doing the same, over and over again, for all eternity. And you, the Player, are the only one who can free it from its self-created cycle.

“It was working ceaselessly. The machine has never stopped working since its pressurized, scalding hot steam turned its first gears. We must break the cycle in which it has long been trapped to continue on our path.” - Dante, Station #2: Servitude, Refraction Railway Line 2.

However, during its Encounter, you are also free to perpetuate it through your own indolence and needs.

“Machines exist for a purpose. You feel like you should give it an order.” - Abnormality Encounter.

That’s the reason behind the Sloth and Gluttony advantages in the “order it to carry luggage” choice, and why Steam Machine kind of “turns off” in case you fail the check: the order lacked a purpose, an actual need behind it. But that leaves the Envy advantage unexplained, because what does a Sinner’s envy has to do with the purpose of an order? The only answer I can come up with is that the advantage reflects a twisted desire to maintain the cycle out of fear the Machine might one day break it, to bring it down along with the chosen Sinner. And considering how susceptible and weak the Abnormality is to Envy, it’s plausible.

But if you, ignoring and tempering your own fears and necessities, decide to help it through destroying the cycle in which it trapped itself, there’s only one thing you must do: to break its nixie tubes. Only there, with its past misplaced and lost, out of the shadow of what happened, Steam Machine can truly begin to live in the present, unbounded by the refusal to let go of its past, creating its own life instead of endlessly repeating all it has done.

Maybe that’s why its mid-combat Event has a Gloom advantage, for it’s hard to suppress that desire to act as if nothing has changed. It’s a path full of despair and anxiety that most people fear. Nonetheless, you must walk towards the future and live in the now, because when you take the first, second, third step forward, you will realize it.

Changing isn’t as painful as you think it is.

Note: For those who still haven’t noticed it, all of the enemy debuffs during RR2 are inspired by the non-history Abnos + Fairy duo. In Steam Transport Machine’s case, the buff corresponds to “Hardening”, with the icon literally being the nixie tubes.

Umbrellas of Love

“There is no way to know why the fox remained buried under the umbrellas, but perhaps removing them all will inspire it to move to a different spot. The fox gently holds the old and worn umbrella in its mouth and yips at us, as though it did not want us to take it away.” - Abnormality Encounter.

Driftig Fox is an interesting Abnormality, because I believe is the only who has an excerpt of the Lobotomy Corp.’s original documents, and four different iterations of its EGO: Sunshower Yi Sang, Sunshower Outis, Lobotomy EGO Heathcliff, and Lobotomy EGO Dongbaek. It has a lot of material to analyze, to the point I really don’t know where to begin… So I think its overall kit is a good place to start.

Unlike the previous two Abnormalities, the Fox lacks any gimmicky status, making its fight quite straightforward. The closest thing to Talismans and Accumulated Past is its Gloom skill, “Cries Seeking Something”, that normally allows it to summon Old Umbrellas, which in turn have access to a single Gloom skill that inflicts both Rupture and Sinking. In RR2, the end result is the same despite the differences in mechanics.

From this, we can obviously deduce that hopelessness, despair, and the like are the core part of its existence, with even its defense skill, “Waiting”, reducing the Sinners’ SP through pity alone (apparently). That much is obvious, mentioned even by the Logs.

“In particular... it sometimes does nothing and waits, but the attack that comes after was especially powerful. ...Huh. The fox... sometimes cries.  Looking at the sky, howling for long... as if it's laying bare some kind of sorrow into the sky.” - Sinclair, Abnormality’s Observation Log #2.

But that’s not all, because, just as the effect of its skill shows, the Fox focuses on its survival too. The RR2 version of the skill demonstrates it better, since it gives it the special status “Protection Umbrellas”, which grants it Protection scaling with the former’s quantity; that’s to say, the Old Umbrellas are meant to shield the Fox from the rain, apparently lodging into its body as answer to its cry. The normal version lacks the mechanic and directly summons the Umbrellas, though the overall meaning is kept the same.

This desperate desire for survival is represented by its two Gluttony skills, “Sorrowful Recoil” and “Sorrowful Torrent”, used only by its umbrella-perforated body: even if they are painful and make contact with others unbearable, causing it to recoil, the Fox “gladly” accepts such mutilations in order to survive. This behavior is reflected perfectly in the excerpt I quoted under the image, from the “take the gathered umbrellas” option, and in a couple of battle mechanics:

Its passive, “Last Struggle”, causes the Abnormality to desperately call for help every turn when it’s on its last legs (less than 15% HP), getting weaker and slower every turn. Naturally, those who answer will do everything they can to protect it (Umbrellas with 30% more HP).

Based on the name and effects, the Umbrellas’ “Scattering Sorrow” skill seems to represent how they try to perforate the Sinners and deflect the rain towards them, despite how tattered they are.

It doesn’t matter if one likes it or not, the Old Umbrellas are the only “shield” the Fox has and knows, and they will try their best to protect it… which makes Sinclair’s conclusion in the Logs much more horrifying.

“I, I see where it's coming from. We have to take away the worn umbrellas on that poor child, and embrace it ourselves. We-” - Sinclair, Abnormality’s Observation Log #3.

At first glance, it sounds perfectly fine and sensible, repeating the information given by the fragment of L Corp.’s document in Dongbaek’s Log. However, we know that Sinclair felt bad for destroying the Fox’s umbrellas (for a reason) thanks to the second log, and that removing them as well would have caused the Fox greater pain, as seen in many parts:

Its “Broken Umbrella” passive grants it 3 Fragile every turn once its umbrella-filled body is broken (during a normal fight; the RR2 version was modified to be harder I believe).

The Umbrellas actively hurt the Fox through applying “Umbrella Splinters” once they are destroyed. This happens with Sunshower Dongbaek too, but through degrading her mind with Sinking instead of applying Rupture to her body.

In the RR2 version, two unique Glooms counters were added to its kit, “Volatile Response” for the body and “Volatile Reaction” for the head. Taking into account their names, the Thorns they grant on use, and the previous mechanics, it’s quite obvious what they represent.

And finally, there’s the “pull out the umbrellas” option in the Encounter

“Those umbrellas seem to be causing it pain. When you pull them out with force, bits of its flesh come off with them. The fox yelped sharply and gave us a glare. Then, it smacked you with the umbrella in its mouth. It seemed to reprimand your attitude of pursuing resolution without forethought.” - Abnormality Encounter.

It’s quite telling that Heathcliff—the one who has the Identity with the Sunshower Lobotomy EGO—was the one that snapped (somewhat literally) Sinclair out of his “panic” state

Don’t misunderstand, though. There's no doubt about how the umbrellas harm and bring pain to the Fox, but living in such a state is much more preferable for it than being in pain and exposed to the rain simultaneously. In fact, this paradoxical, self-destructive drive to survive is also seen in Dongbaek’s kit—with two of her skills aptly named “Self-defense” and “Sink It All”—and Outis’ Sunshower, which, beyond her Gluttony affinity, has an interesting contrast between the Awakening and Corrosion voicelines 

“I don't need... any pointless attention!” - Outis (Sunshower), EGO Awakening.

“Don't—leave me this time…” - Outis (Sunshower), EGO Corrosion.

I normally don’t do this, since EGOs are better reserved for a character analysis. But I’m going to do an exception for this version of Sunshower due to how well it translates the Fox’s ambivalence regarding the “affection” given by people: at its best, the Abnormality knows that the people called by its cry will only hurt it, notwithstanding their good intentions; at its worst, it accepts any and all attention without care of the resulting pain, as long as it can take refuge from the rain, however small it is.

At the end, it doesn’t matter how many people come to its help, Drifting Fox will forever remain out in the open, constantly assaulted by the rain as it wanders in dark and damp alleyways, for the umbrellas are too old and worn to be of any help. That’s why it will always be hungry for more, too scared and distrustful of people to not allow itself to be touched and thus satiated, explaining both its affinity and weakness to Gloom and Gluttony.

… But there’s something else regarding the Fox, something that doesn’t fit with its perpetual hunger for a place to rest: why does it keep on crying for help instead of just moving out of the rain? Why does it insist on roaming the darkest, most humiliating places? Those questions were implied in the first quote of this section (again), and then by the two Lobotomy EGO versions.

“Look. See how she is helplessly caught in the falling rain. She must have no intention of avoiding it. She is simply showering herself and all others in the rain…” - Yi Sang, Dogbaek’s Observation Log.

“But… When I'm done, the chill reminds me that I'm alone. I go back to wandering damp, dark alleys… Now I can hardly sleep anywhere else.” - Heathcliff, Lobotomy EGO Uptie Story.

Due to their circumstances in which they are, both Dongbaek and TLA Heathcliff are stubborn individuals trying to bring great changes to the City, with the latter even planning to “go back [somewhere] with pride” after creating a world without technology—to keep enjoying life. Yet, in the following quotes he states that he has no friends left and rejects all sources of possible comfort, sleeping in the cold streets, akin to how Dongbaek lets herself exposed to the rain without care.

What I’m implying here is that the Fox ultimately doesn’t care about stopping its suffering once and for all. Maybe it’s because it doesn’t know better, or because it finds comfort in the pain; there’s no way for us to know. Even so, it keeps on crying out loud for people as it refuses to move on from the circumstances in which it as abandoned, as seen with its RR2 exclusive passive “Vain Heart”, the source of the Protection Umbrella status and that which allows it to summon Old Umbrellas through its defense skill—through Waiting.

This unwillingness to change and simply move on is the last thing that characterizes Drifting Fox, as seen with Lobotomy EGO Heathcliff’s third skill and Sunshower Yi Sang, with their Sloth affinity. Naturally, it’s also reflected on the remaining skills of the Abnormality, all of them being Sloth-based except for the (RR2 exclusive) Gloom skill, “Pleading Cries”, though the name does fit with the Fox’s “vanity”… or better said, its pity-inducing nature.

That’s why all the Sloth skills inflict Sinking, for they are representations of the dangerous notion that one day the Fox is going to receive what it truly wants if it remains on such poor conditions, instead of more unwanted attention. Its last passive, “Ragged Umbrella”, lends the most on such “tactic”, allowing it to inflict more Sinking once the umbrella in its mouth (i.e., its head) is broken and rendered “useless”.

However, nothing really suggests that Drifting Fox is deliberately manipulating people. By definition it can’t due to its fully animalistic nature. If there’s someone to blame, it would be the people that are unable to stand the sight of ugly and miserable things tainting their day, just like when it rains during sunny days. Nevertheless, such events happen, and the solution isn’t simply to lash out against that ugliness without forethought (likely explaining its Wrath resistance), but to simply celebrate it—to share the love during the “wedding of the fox”.

“Its growl recedes. You stroke it once more, and it closes its eyes, pleased. You stroke it once more, and it settles on the ground, comforted. You stroke it once more, and it shrinks to become a statue.” - Abnormality Encounter.

When it finally finds what it wants, the Fox can rest in peace knowing it’s in good hands. That’s the reason behind the Lust advantage of the “pet the fox” option, with the Sloth advantage being its total opposite—utter apathy and indifference for its surroundings and appearance, lacking any judgment or reaction. The Pride advantage is similar to the Lust one, though much more self-centered for obvious reasons; less sensual and warm, but more confident in a way.

Now, beyond trying to comfort it, there’s also another method to confront the Abnormality, shown with the mid-combat Event, where the chosen Sinner is sent to approach the Fox and its Umbrellas. Since it has Gloom advantage, it’s easy to see how the identities who are most familiar with despair and pain are able to reach the epiphany the Fox lacks easier than any other: that its cries and thus the umbrellas are ultimately unneeded. That revelation is so shocking that it even causes the Old Umbrellas to lose 30% of their HP, representing their loss of meaning.

“The umbrellas look like they've been standing there for Wings know how long trying to protect the fox, but it certainly doesn't seem like they're doing a good job at it.” - Mid-Combat Event.

Although, things are a little more complicated than just “waiting for the rain to stop”, since the Fox is already waiting, isn't it? In fact, that mentality is its main problem, and what led Yi Sang to not do anything when Dongrang began to doubt himself.

“Some considered the assemblage to be mere noise… While some considered the commotion to be growth. As for me… I saw it slantwise as always. As heavy rain might pour for days after a spell of clear skies… I saw no meaning in attempting to fathom the caprices of the weather. Yi Sang: I would simply wait for things to calm, looking out for the day’s arrival.” - Rowdy League of Nine Littérateurs, Canto IV.

And we can’t forget K Corp. eagerly “awaiting” for the Tearful Thing to cry, nor the bitter conclusion of Dongrang right before the Fox’s battle, about how there was no need for him to do anything thanks to K Corp.’s ampules.

Waiting for the end of things you can’t change is good and all, but sometimes doing nothing can actively worsen things. So even if you can’t do much, you still must stand up and brace yourself to fight against misery, unless you want it to consume and rust you like it does with the “little world” that surrounds you.

“I ran off and roamed the Backstreets like a thrown away umbrella until they took me in…” - Heathcliff, Lobotomy EGO Uptie Story.

“We know, however, that the umbrellas piercing its body are not there for the rain. For the fox has not once opened them for itself.” - Dante, Station #3: Rainfall, Refraction Railway Line 2.

And naturally, what better way to confront the rain than through sharing an umbrella~?

Devouring Lives

“The fairy's smile stretches into an eerie grin. The strangeness didn't need to be pointed out for everyone to share the same sentiment. Even though we knew we shouldn't trust things by the looks, we still fell for it. We'll have to pay the price for it.” - Abnormality Encounter.

Everyone should know what kind of being are fairies within the British Isles’ folklore by now. It’s one of “curiosities you must know” repeated ad nauseam in every article, video or media that deals with them in any capacity, no matter how bare-bones the actual explanation is. Thus, there’s no need for me to explain in-depth those aspects, especially when you consider all the other fairy-related Abnormalities that Project Moon has created.

So to begin, Faelatern isn’t really that connected to Midsummer Night’s Dream beyond its tricky behavior, despite what the name of its first EGO gift, “Midwinter Nightmare”, may suggest. There’s a complete lack of commentaries regarding the play’s main theme, the fickleness and irony of love (or Lust, in Limbus), which seems to have been replaced by the predatoriness of the “fairy” itself, cunningly acting upon its gluttony instead of… any other goal, really.

However, a parallel with a certain character of the story can still be drawn: Puck, the servant of the fairy king Oberon. This is not solely due to his role as the one who charms and tricks the human characters of the play and queen Titania herself, but also thanks to one of his folkloric sources, the celtic púca/pwca/pooka.

The legends of the púca, as most stories, are varied, but they mostly focus on the fairy’s penchant to trick (mostly drunk) people during the night, shapeshifting into diverse animals to offer them a ride to their homes… just to lead them anywhere but there. Still, there’s a particular version I think is important to the Abnormality, the one that came from “British Goblins: Welsh Folklore, Fairy Mythology, Legends and Traditions” by Wirt Sikes:

“Pwca, or Pooka, is but another name for the Ellylldan, as our Puck is another name for the Will-o’-wisp; but in both cases the shorter term has a more poetic flavour and a wider latitude. [...] This form presents a peasant who is returning home from his work, or from a fair, when he sees a light travelling before him. Looking closer he perceives that it is carried by a dusky little figure, holding a lantern candle at arm’s length over its head. He follows it for several miles, and suddenly finds himself on the brink of a frightful precipice. From far down below there rises to his ears to his ears the sound of a foaming torrent. At the same time the little goblin with the lantern springs across the chasm, alighting on the opposite side; raises the light again high over its head, utters a loud and malicious laugh, blows out its candle and disappears up the opposite hill, leaving the awestruck peasant to get home as best he can.”

As far as I know, the equalization between the púca and the will-o’-wisp isn’t common, but it kinda fits at the end: both entities (commonly) lead astray people that decide to accept their help/follow them. One can even say the play supports this, with Puck claiming that he can appear like “fire” as he leads people through “bogs, bushes, brakes, and briers” during the third act, despite the more well-known domestic nature of the hobgoblin—an aspect that is present at some level in Faelatern’s illusion.

In more than one sense the Abnormality is a distorted mirror of the three fairies: while the púca, the will-o’-wisp and the puck/hobgoblin act during the night, either through helping people or causing (relatively speaking) harmless scares, Faelantern presents itself during the day as a homely and mysterious light that promises rest to people, with its true nature as a voracious abyss lying underneath the “fairy fire”.

If the púca/puck causes all sorts of pranks and tricks that, as the literary Puck said, are no different from dreams, then Faelatern is a nightmare that begins with a hypnotizing beauty whose true nature will soon be learned and never forgotten.

… And yeah, that’s the possible inspiration behind this Abnormality, and the hard part to analyze. The rest of it, like its skills and game mechanic, are quite self-explanatory:

“Snagged Lure”, “Burrowing Roots” and “Encroaching Stems” are all Gluttony skills to represent how survival-driven Faelantern is.

“Expanding Roots” is Sloth-based thanks to its Modus Operandi, resting and waiting in a single place until a prey appears.

The “Leading Lure”, “Evolving Lure” and “Charmed” passives explain how it works, continuously trying to “improve” its Fairy Lure to catch more people.

The “Broken Stump” reinforces the Gluttony affinity, with the Abnormality focusing on stealing the nutrients so it can (apparently) restore its broken body.

Lastly, and as curiosity, the “Fairy Dust” passive is an obvious reference to another fairy, Tinker Bell. But where her dust allows people to fly, Faelantern’s dust only makes them faster and more agile (i.e., Poise).

The only part of its kit that requires a higher level of interpretation is the passive and Pride skill that share the name, “Uncovered Abyss”. In tandem, the two elements likely point that, whatever higher thinking the Abnormality has, it’s more preoccupied with a self-absorbed appreciation of itself as an “abyss” that devours everything in the forest than with meaningfully improving its hunting tactics.

Another element that requires further analysis is, obviously, its weaknesses. While Faelantern’s resistances to Gluttony and Gloom should be obvious, being a monster that fully accepts its hunger and that genuinely doesn’t care about anything else, it being weak to Pride and Lust likely derive from how those dispositions can interfere with the Abnormality’s behavior: a pride that sees the Fairy’s “gift” as useless or irrelevant from the get-go, or maybe messing with its (lack of) love in a no so dissimilar way to Midsummer’s Puck.

And finally, there’s the mid-combat Event with Sloth advantage, implying that one needs to be “guided” by the Lure without question or care to destroy it along with the question given: Who will answer the bait?

I like to think that part shows the underlying meaning of the Abnormality, how it’s a symbol for an all-devouring thing that conceals itself through charm and light. It may be a person, an organization, or even an ideology; it doesn’t matter, because all it smokes and mirrors, a trick, a sick and twisted hoax. Faelantern doesn’t care about anything else but to satisfy the gaping hole of its “stomach”, unlike, say, Siltcurrent and Skin Prophet, who completely believe their own delusions.

You should always take care when you walk the (dark) forest of life, for no matter how bright it may be, disguised predators are bound to appear.

Note: Following the pattern I mentioned in Steam Machine’s section, Faelantern’s buff corresponds to “Inhaling”. The symbol likely represents the Abnormality’s stump/branches forming into a mouth to “steal nutrients”, which is also seen in its EGOs’ healing (beyond its own passives, of course).

Post-Commentary

This time I bring the first four Abnormalities of RR2. I began to write about them a couple of weeks after I finished the RR3 post, before RR4. However, since I only have one of the Abnormalities for the next part done (Shock Centipede), the second post will take some more time. Not much though, considering Wayward Passenger and Sign of Roses are on the easier side to analyze.

Anyway, in regards to some other thoughts I had while writing… I already commented how Steam Machine and Portrait of a Certain Day are similar on how they represent the weight of the past. The difference falls, I suppose, in that one is born out of love and nostalgia, while the other out of fear—Steam Machina lives to work, unable and fearful to imagine any other life beyond what it has done from its birth.

Another thing I wish to note is about Faelantern, since while I’m pretty sure about its meaning, it’s not so in the folkloric inspiration. In the first place I searched about the Will-o’-Wisp since the Lure acted like one in a way, and I found (in wikipedia, naturally) that the púca may be related to it. I lost a couple of days watching videos about it xD I wonder if Fairy Gentleman and Long-Legs will have a similar inspiration…

And since we are speaking about a “fairy”, I think it is funny that Drifting Fox is a trauma-related Abnormality and not a fairy-tale one, despite its EGO name’s origin. So instead of focusing on any folkloric element, I tried to see the meaning behind the colloquial names of sunshowers: the devil beating his wife (or doing anything undevil), or an animal’s wedding. I ultimately reached the conclusion it was because, just like animals or the devil don’t actually get wedded, there shouldn’t be a rain during a sunny day. It’s something that doesn't make sense.

[melliae]

HES HERE MY GLORIOUS SPITE RIDDEN GOAT

[melliae]

Dengeki Playstation Vol.359 Persona 3 parts pictures and transcription.

影時間を巡る少年たちの群像劇

前作までの世界観を踏襲しつつも、まったく新しい物語が展開するシリーズ最新作。プレイヤーは、ペルソナという力を使える主人公となって、1日と1日の狭間にある “影時間” で、そこに巣食うシャドウと戦うことになる。学校や街の人との関係がペルソナに影響を与える「コミュ」や、爽快感バツグンの戦闘など、個性的かつ魅力的なシステムが満載。

GOOD メインストーリーはもちろん、「コミュ」や会話など、それぞれのシナリオが練り込まれていて楽しい。「コミュ」を育てることでペルソナも育つので、レベル上げの作業を必要とせず、サクサク進めることができる。弱点を突いた敵に追撃できるなど、爽快感だけでなく戦略性も高い戦闘システムは秀逸。

BAD 似たようなダンジョンが続くため、新鮮味は薄い。戦闘時の仲間の思考に不満を感じることも。

現代が舞台の人気RPG。合体を奥深くする「コミュニティ」をはじめ、弱点を突くことで戦闘が有利になる「プレス攻撃」を搭載。

コミックのように効果音が文字として出たり、ポリゴンキャラが細かいしぐさを見せてくれたりと、フィールド上での演出が凝ってマス。さらに、重要なシーンでは各キャラのカットインも入って、世界観&ストーリーにぐいぐい引き込まれましたよ。戦闘はオート攻撃やチャンス時にたたみかける「総攻撃」のコマンドもあって、テンポよく進められて◎。戦闘フィールドの探索も、仲間が勝手にアイテムなどを探し回ってくれる「散開」などの指示が出せて、サクサク進められたダス。難易度も最初に選べるし、これまでシリーズ作品をプレイしたことがない人もスンナリ楽しめるのでは？

90

学園生活とダンジョン探索をいっぺんに楽しめる作品です。昼間は人間関係を築き、夜はひたすら冒険。一見昼夜の出来事は切り離されているようですが、昼間の行動がペルソナの強さに影響するなど、ちゃんと連動しているのがポイントだったりします。ダンジョンでは、どんどん探索するのも途中でひくのも自由。敵の弱点をつきながら効率よく戦うと、ごほうびとしてペルソナやアイテムがもらえるので、いわゆるザコ戦でもついつい真剣に。まったり遊びたいときにも、アニメーションのスキップつきの通常攻撃が便利。お気楽プレイが可能なイージーモードもオススメですよ。

90

「ペルソナ」「学園」というキーワードは残しつつも、完全に一新された世界観が新鮮です。昼間の学生生活で楽しめる「コミュ」の話がメインストーリー以上に気になったり、弱点を突き続けることでどんどん有利になる夜の戦闘が楽しかったりと、新しいシステムが作品全体をとおしてかみあってるのは見事。のんびりとした「学生」部分に、なんだかノスタルジーを感じずにはいられません。中盤あたりからダンジョン探索が単調に感じられたり、お約束の1発死でヘコんだりしますけど、そんな細かいことを忘れてしまうほどのめり込みました。夏休みじっくり遊ぶのに最適な1本。

95

ペルソナ育成にも関係するコミュの存在がおもしろい。限られた時間をやりくりしてコミュを開拓&育てるところは恋愛SLGのノリだし。戦闘システムはシンプルだが戦略性もある。仲間のペルソナが固定されているだけに、弱点をつかれるとザコ戦でも苦労するけどね (先制攻撃が決まればなんとかなりますが)。ボス戦前にはワープポイントがあるので「帰還してセーブし、すぐボスのフロアに戻る」ことができる点も親切。依頼という小目的があるのも○。ただ、仲間の装備手順が煩雑 (ダンジョン内で個別に話しかける必要がある) など、不親切に感じた部分も少なからずあった。

80

PERSONA NON GRATA

ペルソナ ノン グラータ

死を想え⋯！

MEMENTO MORI

次ページより

ペルソナ ノン グラータ

“歓迎されざる者”

シャドウを追い詰める生と死の12ページ攻略!！

『ペルソナ3』の真実に迫る橋野桂氏 (プロデューサー) × 副島成記氏 (アートディレクター) ロングインタビュー

Cogito, ergo sum

一我思う故に我あり一

橋野桂氏 × 副島成記氏

ロングインタビュー

『ペルソナ』ファン、RPGファンから多くの期待を集め、ついに発売の日を迎えた『ペルソナ3』。発売直後となる今回は、プロデューサー橋野氏と、キャラクターデザインの副島氏両名へのインタビューを敢行。『ペルソナ3』に散りばめられたさまざまなキーワードを紐解いていく。さらに、攻略情報となる基礎知識や、ゲーム内の5月までに判明するデータも掲載。インタビュー&攻略の2本柱で、本作の魅力に鋭く切り込む12Pをお届けしよう！

プロデューサー

橋野 桂 氏

本作のプロデューサーディレクターとして、システム、ストーリーなどを総括。スタッフの本作に対する熱い想いを見事にまとめ���げた。

アートディレクター

副島 成記 氏

メインからコミュまで、ほぼすべてのキャラクターをデザイン。本作が持つマンガ調の演出にマッチした、魅力的な登場人物を誕生させた。

右で紹介している『ぺルソナ3』の生みの親、橋野氏と副島氏両名のロングインタビュー。ここでお届けする本作の成り立ちや世界観の内容に続き、次のベージからも「コミュ」「戦闘」「ペルソナ」「キャラクター」と、『ペルソナ3』の大きな軸となる要素を攻略情報とともに伝えていく。ゲームをプレイしただけでは決してわからない、さま ざまなヒミツがここで明らかになる！

■『ペルソナ』に触れたことがない人に遊んで欲しい1本

『ペルソナ』シリーズの前作にあたる『ペルソナ2罰』から6年という期間がありましたが、なぜ今、このタイミングで『3』を出されたのでしょう？

橋野桂 (以下橋野、敬称略) : 以前から作りたいとは思っていたんです。ただ、『真・女神転生Ⅲ』の直後から、さまざまなタイトルがほぼ同時に動き出して、私たちの時間が空いたことがきっかけですかね。それと、これまでどちらかというとコアなユーザー向けのタイトルが続いたので、これまで関連シリーズで遊んだことのないユーザーさんにも、手にとってもらえる可能性のあるタイトルを出したかったという理由もあります。

新しいユーザーを意識して、キャラクターデザインも副島さんにされたのでしょうか？

橋野 : 表面的にイメージをガラッと変えたいという意識はありました。ただ、それ以上に副島の絵の持つ雰囲気が、このゲームでメッセージを送りたい対象の世代にマッチするという理由のほうが強かったですね。

実際、そのような話を聞いてどう思われましたか？

副島成記 (以下副島、敬称略) : これまでのシリーズでもキャラクターデザイン (※1) もしていましたけど、正直なところを言うと相当なプレッシャーでしたね。ただ、好き勝手にやると変わりすぎるかなと思ったので、変わりすぎないギリギリのところで調整しました (笑)。

完全なアニメーションムービーもシリーズではめずらしい演出だと思うのですが。

副島 : 最初からアニメでいこうというわけではなかったんですよ。『ペルソナ』シリーズは、ほかの『女神転生』シリーズほどクールではなく、少年少女の熱いストーリーだと思うんです。そうなると、キャラクターの表情は一番見せないといけない要素になるんですね。で、何かしらのムービーが必要になったときに、手描きの絵がいいねと。

今までのシリーズに比べて、システム面で大幅な変更が見られますね。

橋野 : システムを変える変えない、ということの前に、「ペルソナ」というものはなんなのかということを考えました。それは実際に心理学で社会に適応するための能力であったり、学園を舞台にしているだけに、若者ならではの葛藤を描いたりといった、根底の部分を考えていったんです。そこをキチンと描かなければ、「ペルソナ」がただの超能力になってしまう気がしたんですね。だから、システムは気にせず、まずはテーマをしっかりと練って、そこにシステムを乗せていくという形になりました。高校生活は3年間で限られていて、だからこそ輝くのであって、卒業に意味が出てくると思うんです。まずそれを描きたかったんですね。じつは最初、ゲームの期間は3年だったんですよ (笑)。

副島 : 『ペルソナ』という以上、学園という舞台ははずせないって話し合っていたんですけど、スタッフから3年はありえない、せめて3カ月だって (笑)。

■作品にこめられた「死」というテーマ

橋野 : 今の社会、とくに若者など “生きがい” が足りていないようなことを耳にしますよね。ジュブナイルとして若者にメッセージを送るとしたら、「死」を見つめ直すことで、今生きている「生」をも見つめ直す、生きがいというのは、死にがいと同義なのかなと思ったんですね。そう考えたとき、ゲームならではの “生きがい” の体験を提供できるんじゃないかなと⋯⋯。ここはあまり詳しくは言えないのですが⋯⋯。

副島 : 今もニートの問題とか、無気力な現状がこの先もずっと続くと思っている人もいるじゃないですか。それを望んでいる部分もあったりして。そういう人たちに死を意識させられればという思いはありましたね。その生きることの区切りをゲームに組み込みたいということから、1年365日に区切られたシステムを作りました。

橋野 : そういうリアルさは追及したつもりです。例えば、街にゴミのオブジェを置いてみたり、人の話し方なんかにもこだわりましたね。このゲームでそれぞれに何かを感じてもらい、少しでも何かよい変化へのきっかけになってくれたとしたら、作った意味があるかなって思います。

■新しい『ペルソナ』ワールドを彩る設定

橋�� : 設定面でいえば、影時間は「死」というテーマを象徴する形で作られた設定ですね。それに、主人公たちがみんなに見える世界で活躍するのではなく、隠された世界で活躍するという組織としてのカッコよさもあるかなってことで作りました。

副島 : 元ネタとしては、人間の脳内時計では25時間あるらしいってところからきているんです。なんで25時間あるんだろうっていう部分を創作的に解釈して、誕生した部分もありますね。

橋野 : あとは月齢もそうですね。最近のメガテンシリーズは月があるだけってことが多かったので、しっかりシステムに組み込みたい。そこから、月をストーリーの流れにのせたスケジュールが完成しました。あともう1つは、タロットの月が持つ「迷い」という意味の象徴として演出的に使ってますね。

ロボットや犬など、主要キャラを学生だけでそろえなかった意図というのは？

橋野 : 単純に、犬を連れて歩きたい⋯⋯という願望がありました (笑)。最初は韓流キャラもいたんですけど、増えすぎてさすがにカットしましたね (笑)。

副島 : 韓流キャラは設定もイラストも完成していたんですよ。サブキャラになることもなく、消えていったキャラですね。

橋野 : 逆にアイギスは最初から登場することが決まっていたキャラですね。というのも、ロボットだけに精神を持たないので、その部分を主人公の感情的な面と対比させたいというのがあったんです。また、本作のテーマである死への恐れがない存在として、欠かせない登場人物だったんですよ。

副島 : コンセプトよりも先に設定があったような気もしますね。なので、ストーリーやテンションもわからない段階で描き始めることになってしまって、描きにくかった記憶があります。

橋野 : はじめ、アイギスがヘリオスって機械を呼び出して、月面着陸するってイベントもあったんですけど、さすがにSFすぎるってことでカットしました。リアリティという面で悩んだんですけど、2009年には完成してないかなぁって (笑)。最初、副島は女の子ロボットというのに抵抗があったみたいなんですけど、アイギスこそがヒロインだからって説得して、なんとか。その反動で、機械むき出しのデザインになったの？

副島 : 別に反抗してそういうデザインにしたわけじゃないですよ (笑)。ただ、ハイテクな感じよりはノスタルジックなメカにしたかったんですね。まあ、半分は趣味なんですけど (笑)。

今回、ぺルソナ使いは召喚器 (※2) を使うことで、ぺルソナを召喚できますけど、アイギスやコロ丸は⋯⋯？

橋野 : アイギスは内蔵型のペルソナ召喚器なんです。コロ丸は、首輪の部分にコロ丸用の召喚器が付いています。

副島 : コロ丸はどうやって発動させているんでしょうね。首輪が絞まるとか？(笑)

橋野 : どうなんでしょうね (笑)。もともとは、覚悟を決めさせるロシアンルーレットからきているのですが。あれは自殺しているわけではないので (笑)。

作中、さまざまなところで前作のキャラらしき人物 (※3) が出てきますが、はっきりと登場させなかったのには理由があるのでしょうか？

橋野 : あまり意味がないので、はっきりとは登場させていませんね。ただ、まったく関係ないというよりも、同じシリーズとして世界のつながりを確認するうえで、彼らは彼らで大人になって生きているという設定を盛り込みたかったのです。

前作までは、スタッフのかたもゲームキャラとして登場していましたね。

橋野 : 今回は、内輪ウケになったら恐いなと思って意図的にさけました。ただ、「時価ネットたなか」は、シナリオ書いてる田中ですけど (笑)。ちなみにあの歌 (※4) の作詞は僕で、作曲がサウンドの目黒氏ですね。最初、西城秀樹の声質でって言われたんですけど (笑)。

歌といえば、今回のBGMの多くがボーカル入りですよね。

橋野 : だいぶハッチャけてますよね (笑)。今回は好きにやってくれていいって言いました。ただ、好きにやっていいぶん、テーマ的な言葉だけを与えて作曲してもらいましたね。そのテーマさえ入っているなら、今までシリーズのしがらみでできなかったこともやっていいっよって感じで作らせたら、好きなジャンルでできて楽しかったみたいです。ただ、ボーカルはバージョンが上がるたびに追加されてきて (笑)。最初ボーカルが入ってないからOKを出したのに、マスターアップの直前でボーカル入れてきたりしましたからね (※5)。

最後に、今このゲームを遊んでいるユーザー、またはこれからプレイするユーザーにひとことお願いします。

副島 : 絵に関していえば、グラフィカルな部分では挑戦的なことをやっていると思うので、最近のゲームにはない感覚で楽しんでもらえると思います。インターフェイスとか、ハッチャけたBGMとかも含め、そのあたりを注目してもらえるとうれしいですね。

橋野 : ある種、ワンパターンな型にハマったRPGに飽きた人にプレイしてほしいという想いはありますね。普通のRPGだったら1週間という流れの中で平日はカットしたと思うんです。いわゆる土日の大きなイベントが続くタイプですね。でも『ペルソナ3』は、平日の何気ない学園生活までキチッと描いている。だからこそ、土日のイベント的な部分がより楽しみになると思うんです。実験的な部分もあるとは思うんですけど、夏休みって長いなぁ (笑) とか、変にリアルな1年間を楽しんでもらえればと思います。

『ペルソナ』新章のすべてを語る⋯

PICK UP WORDS

用語解説

※1 【キャラクターデザイ ン】 副島氏は、今回以外にも過去の『女神転生』作品の多くに携わっている。前作にあたる『ペルソナ2罰』では、「トレビア～ン」という口癖が特徴の「ギャルソン副島」としてゲームに登場していた。

※2 【召喚器】 主人公たちが、ペルソナを召喚するために使う銃型のアイテム。じつは、撃つときのポーズはキャラごとに異なるこだわりよう。

※3 【シリーズキャラ】 本作の拠点となる寮のロビー。そこで見ることが可能なTVには、ファンならニヤリとできるキャラが数多く登場する。しかも、TVの内容はほぼ毎日変化するのだ。

※4 【時価ネットたなか】 ゲーム中に利用できる通販ショップ。前作までは、シナリオの里見氏をモデルにした「サトミタダシ」があり、店内に流れる脱力感あふれる歌が話題になった。

※5 【BGM】 シリーズ最高峰のセンスをほこるサントラが7月19日に発売！ゲーム内のすべての楽曲が収録されている。

※6 【女の子のコミュ (P.208)】 女の子のコミュのみ、一定以上仲よくなった段階で、ほかの女の子に話しかけると怒ってしまう。編集部内では「王道恋愛シミュレーションシステム」として、女の子コミュは非常に丁寧に扱われている。

※7 【セリフ (P.200)】 メインキャストのみならず人気声優がそろった本作。じつはスタッフに声優に詳しい人がおらず、近所のレンタル店で大量のアニメをレンタル。そのアニメを見ながら、キャラに合った声優をチョイスしていった。

Crescit enim cum mamplitudine rerum vis inqenii

一無垢なる者の力は課される命題の大きさにより成長する一

一日の流れとタウンマップから暴く

コミュニティ

本作を大きく特徴づけている「コミュニティ(以下、コミュ)」。戦闘にも大きな影響を与える交流のシステムを、1日の流れにあわせて戻ってくる。

1日は大きく分けて、昼間のコミュと夜の戦闘という流れで進行していく。次ページのカレンダーの情報を参考に、キャラ、コミュを計画的に育成しよう。

一日の流れ

A.M.8:00

●登校

●午前

A.M.12:00

●昼休み

●午後

学校の授業では学力、魅力アップのチャンス。授業内容は定期試験にも出る。

P.M.3:00

●放課後

放課後は自由に行動が可能。校内、学園外でステータス、コミュを育てよう。

P.M.9:00

●夜

A.M.2:00

●深夜 (タルタロス)

戦闘はこの時間でしか発生しないが、戦闘せずに次の日に進むことも可能だ。

次の日へ

STATUS

主人公のステータスはコミュの発生に大きく影響

下で紹介している主人公だけのステータスは、主人公の「人」としての能力。つまり戦闘に直接影響する能力ではない。ただし、コミュの発生がこのステータスに依存していることがあるので、ぺルソナ育成のためにも欠かせない要素となる。ステータスは、主に街の各施設で上げることが可能だ。左のマップに上昇するステータスも掲載しているので参考にしてほしい。

▲ステータスは、ポイントをためることで次の段階へと成長する。

ACADEMIC

学力

成長一覧

もう少し

できなくはない

そこそこ良い

なかなか優秀

かなりの秀才

天才

学力はコミュ以外に定期試験の結果にも影響する。また街の施設以外に、夜の勉強でも上昇。

CHARM

魅力

成長一覧

これといって

磨けば光る

そこそこある

光っている

オーラが出ている

カリスマ

コミュの発生に影響。夜の自由行動が可能になれば、「シャガール辰巳店」でも上げられる。

COURAGE

勇気

成長一覧

今ひとつ

ないこともない

ここぞでは違う

頼りがいがある

胆が据わっている

漢

コミュの発生に影響。夜の自由行動が可能になれば、「カラオケマンドラゴラ」でも上げられる。

COMMU

会話を重ねてコミュをランクアップ！

コミュは相手に話しかけて会話を重ねることで最大10ランクまでアップする。ただし、好感度が一定値までたまらないとランクは上がらない。話しかけるだけでも好感度は上がるが、会話中の選択肢でさらに稼げるので、最適な選択肢を選べば成長の度合いは大きく変化する。また、部活動なら「戦車」というように、対象となる人物ごとにペルソナとリンクした属性があることも覚えておこう。

▲レベルに応じて作成可能なペルソナの名前、スキルの閲覧も可能。

休日は学校が休みの日であります

学校が休みの日は昼間から自由に行動できる。休日だけのコミュや施設もあるので、有効に活用したいところ。街などへも移動できるが、学校および学校関係者のコミュは発生しない。ただし、休日に会う誘いを受ければ、学校関係者の好感度を稼ぐことも可能だ。

休日だけのコミュ

▶ほかに比べ会話のチャンスは少ない。

アイテム通販「時価ネットたなか」

◀ここでしか入手できない装備品、アイテムも購入可能。性能に比べ価格も安めだ。

長鳴神社

！commu 神社の女の子

会える日 : 日曜以外 (昼)

ぺルソナ属性 : 刑死者

おさいせん

毎日 (1日1回)

上昇ステータス : 学力

おさいせんの金額によって学力アップの確率が変化。できるだけ千円を選択！

おみくじ

ランダムの結果によって資金、体調が変化。

結果 大吉 中吉 小吉 凶 大凶

金額 1万円 千円 五百円 一千円 一五千円

体調 絶好調⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯疲労

巌戸台駅

ワイルダックバーガー

利用可能日 : 木曜以外 (昼)

上昇パラメータ : 勇気

！commu 古書 本の虫

利用可能日 : 日曜以外 (昼)

ペルソナ属性 : 法王

和食屋 わかつ

利用可能日 : 火曜以外 (昼)

上昇パラメータ : 学力

鍋島ラーメン はがくれ

利用可能日 : 土曜以外 (昼)

上昇パラメータ : 魅力

学生寮

カウンター

利用可能日 : 毎日

セーブポイント

！commu ネットゲーム

利用可能日 : 日 (昼)

ペルソナ属性 : 隱者

4月29日より発生可能なコミュ。休日にしか会話を進めることができない。そのほか休日に机を調べると、勉強して学力をアップさせることもできる。

SHOP 時価ネットたなか

利用可能日 : 日 (昼)

－

日曜日にしか利用できない通販ショップ。商品は次週中に届く。テレビは���間ではなく、主人公の部屋にあ��ものを見ること。以下は序盤手に入るリスト。

5月3日 ¥2980

斬撃見切りの書+樹液ゼリー×1

5月10日 ¥2980

ギガパワーバンド+ダイエットフード×1

5月17日 ¥5980

十徳刀+ダイエットフード×2

5月24日 ¥5980

多機能エプロン+ダイエットフード×2

5月31日 ¥3980

超健康サンダル+ダイエットフード×1

ポートアイランド駅

スクリーンショット

利用可能日 : 毎日 (昼)

上昇ステータス : 魅力、勇気

SHOP ラフレシ屋

利用可能日 : 毎日 (昼)

商品 : 花

◀花屋で購入できるアイテムは、女性キャラへの贈り物に使える。

月高館学園

！commu クラスメート

会える日 : 火、木、金

ペルソナ属性 : 魔術師

！commu 運動部

会える日 : 月、水～金

ペルソナ属性 : 戰車

SHOP 購買部

利用可能日 : 日曜以外

商品 : 消費アイテム

！commu 生徒会

会える日 : 月、水、金

ペルソナ属性 : 皇帝

保健室

利用可能日 : 休日以外

上昇パラメータ : 勇気 (疲労、風時のみ)

図書室

利用可能日 : 休日以外

上昇パラメータ : 学力

保健室ではパラメータはアップするが体調を回復させることはできない。購買部では回復アイテムとブックカバーを販売。ブックカバーはプレゼントに使用できる。

ポロニアンモール

SHOP 青ひげファーマシー

利用可能日 : 毎日 (昼、夜)

商品 : 消費アイテム

SHOP 辰巳東交番

利用可能日 : 毎日 (昼)

商品 : 武器、防具

SHOP ビー・ブルー・ヴィー

利用可能日 : 毎日 (昼)

商品 : アクセサリー

シャガール辰巳店

利用可能日 : 毎日 (昼、夜)

上昇ステータス : 魅力

ベルベットルーム

利用可能日 : 毎日 (昼、夜)

ぺルソナ合体

タルタロス以外でも使用可能。ここでの行動で時間が進むことはない。

カラオケ マンドラゴラ

利用可能日 : 金・土以外 (夜)

上昇ステータス : 勇気

ペスカレイド

利用可能日 : 毎日 (夜)

占い

ゲームセンター ゲームパニック

利用可能日 : 毎日 (昼、夜)

クレーンゲーム(店外)

特売日を活用であります

・青ひげファーマシー : 土曜日

・辰巳東交番 : 月曜日

・ビー・ブルー・ヴィー : 日曜日

TOWN's MAP

全施設&コミュキャラの場所がわかる港区完全マップ

本作の舞台、港区のマップを紹介。場所や上昇するステータス、コミュなど、利用可能な各施設の情報を詳しく掲載していく。

まずは各施設を移動してゲームシステムに慣れよう

主人公が入寮するのは始業式前日の深夜 (影時間)。ここで謎の少年との初対面となる。9日にはオープニングイベントとして、臆病のマーヤ×2との戦闘が発生。戦闘時にはすでに主人公のペルソナが使えるので、弱点を突いて倒してしまおう。戦闘後は主人公が倒れてしまうため、カレンダーのようにしばらく空白期間となる。実際にタルタロスに入るのは順平が入寮した翌日から。最初の探索はチュートリアルのようになっており、美鶴が探索の基本を教えてくれるのでしっかり聞いておくこと。この日を境にして自由にタルタロス探索が可能で、放課後や夜の行動、交番での武器・防具の購入もできるようになる。青ひげファーマシ一は夜も利用可能なので、タルタロスに行く前に準備を整えるといいだろう。

LONG INTERVIEW

ロングインタビュー

ただのサブストーリーではなくクリアするための力に直結させたい

「コミュ」というシステムはどのようにして生まれたのでしょうか？

橋野 : コミュは、『ペルソナ3』の原案からあったシステムなんです。そこで、僕たちのなかでのテーマがあって、ただメインストーリーのほかにサブストーリーがあるっていうものではなく、コミュというシステムがクリアするための力に直結できるようにと考えて制作していました。そこから、コミュを育てればペルソナが強くなり、ペルソナが強ければクリアもラクになるという形になりましたね。

副島 : 最初はコミュのストーリ―も、すごくあっさりしたものだったんですよ。でも、テストプレイでメインよりコミュのストーリーが気になるという感想が多くて、凝らないとまずいかなってことになりましたね (笑)。

「コミュ」のストーリーはなにかもとになっているものがあるのでしょうか？

橋野 : 部活動のコミュなんかは、スタッフの実体験をもとにしているものもありますね。マネージャーを希望する女子は、ほかの女子から嫌われる傾向にあるらしく、ああいった感じのストーリーになっていたり (笑)。じつはこれにもテーマがあって、できるだけありがちにしてほしいと。でもそこに、何かをあきらめる出来事、そしてそこを乗り越えて覚悟を得るという結果にしてほしいと注文しましたね。あとは、「太陽」なら最後に光を見つけるとか、「悪魔」なら誘惑があるなど、ペルソナのアルカナごとにそったストーリーになるようまとめています。

コミュのキャラと仲が悪くなるシステムも当初からあったものですか？

橋野 : そうですね。実際に、仲よくしている人がいて、ある流行とか流れで違うグループの人とずっと一緒にいることってありますよね。そのあと、仲よかった人との関係がギクシャクするってことあるじゃないですか。そういう関係みたいなものをシステムで再現したかったんですよ。僕自身の体験がよくないだけかもしれませんが (笑)。ほかの人とずっといるのに、その人がずっと時間が止まったように待たれても、それはリアルさに欠けるかなという考えもありましたね。ただ、女の子のコミユ (※6) は、あれを作ったスタッフがすごい凝っていろいろな仕組みを入れたもので、僕が想定した以上に複雑になっていますけど。あと女性コミュは、それ以外にも悩みましたね。ランクが最大まで達したときのイベントの到達点がどうしたらいいのか、と。最終的には、まぁうまくまとまったかなぁ (笑)。あと、最初女性キャラはすべてアルカナの「恋愛」だったんですよ。「恋愛1」「恋愛2」って感じで。でも、同じものを育てるくらいなら、ほかのアルカナを育てるだろうなと思いまして、まだ完成していなかったショップのコミュをカットして、ほかのアルカナに振り直したりとか、最後までこの部分についてはいじってましたね。

ちなみに、お2人のお気に入りのコミュなどありますか？

副島 : 僕は、「魔術師」のコミュの友近ですね。話はありえないけど、不思議とリアルな友人なんですよね (笑)。

橋野 : 僕は無達和尚ですね。あんな和尚も世の中にはいるのかなぁって (笑)。

Bellum se ipsum

一争いは自身を無に帰す一

タルタロスの激戦を乗り切る

戦闘知識

主人公たちの深夜の顔「シャドウ討伐隊」。ここでは、戦闘システムや敵データなど、タルタロスでの激戦を切り抜けるための基礎知識を伝授していこう。

▲「月をバックにそびえる塔」というラフスケッチからタルタロスは生まれた。

MEDIALAND

ゲームショップ・メディアランドの予約特典テレカ絵柄。特別課外活動部部長の美鶴と、凛とした主人公の組み合わせが特徴的な一枚。

全員が前線で戦うわけではない、チームとしての仲間意識

LONG INTERVIEW

ロングインタビュー

月に向かって落ちていく塔それがタルタロス

タルタロスをなぜ塔にしたのでしょうか？

副島 : タルタロスは本来「奈落」といった意味なのですが、1つには登ったほうが達成感があるという理由があります。

橋野 : 個人的には、地下迷宮を降りていくほうが好きなんですけど、今回は絵を優先させた結果塔になったんです。あとは、学園を舞台にしているので、学校をからませたいという理由もありましたね。いくら影時間とはいえ、学校が変化して地下迷宮というのもピンとこなかったので (笑)。そんな、塔にするかどうかも決まっていない段階で、副島から月にそびえる塔というラフスケッチを見せてもらって、これだって感じで進んでいきましたね。

副島 : 一応、自分のなかの設定がありまして、あのタルタロスは地面から月に向かって落ちていっているということになって います。なぜ、そういう設定かは、ゲームを進めてもらえればわかると思います。

■一方的に押し込める、ある意味リアルなバトルシステム

本作では、これまでとまた違った戦闘システムが採用されていますが？

橋野 : 当初、リアルタイムにしたいという案もありましたが、ダンジョン探索はリアルタイムでもいいけど、戦闘は今までつちかってきた得意のシステムを継承したいということで、今の仕様が生まれてきたんです。ただ、プレスシステムもある意味リアルさは盛り込んでいまして、普通ケンカで殴ったとしたら、相手から反撃されるまえに、股ったほうが追撃できるものじゃないかなって。それが、バーティ全員なら全員で押し込んでポコボコにできると (笑)。

さらに今は「作戦」というものがありますが？

橋野 : 今回の戦闘では仲間は自律した存在として描いているんです。でも、だからといって主人公が何も発言できないのはおかしいという考えから、作戦である程度の指示を出せるようにしました。ただ、この魔法を使えというところまで指示できてしまうと、仲間が完全にキャラになってしまうので、そのあたりは自律を尊重するよう注意しましたね。ただ、仲よくなればいろいろ言えるようにもなるだろうってことで、ストーリーが進むと作戦も増えるようにしています。

もう1つ「情報支援」という特殊なシステムを搭載したのはなぜでしょう？

橋野 : 刑事ものとかの映画を見ると、前線で戦う人がいて、後方で支援する人がいて、それでチームが成り立っている。全員が剣を持って突っ込んで、主人公が装備を着替えさせてというよりは、自然な関係、リアルな仲間を意識させるために、後方でサポートするというキャラが必要だろうと。これは、情報支援以外のキャラが自律しているという点にも意識させてはいますね。

通信時に小さな画面が出てきますが、あれはどういったものでしょうか？

橋野 : みんな通信機は持っているのですが、それは機械的なもので、風花の通信は非常にファンタジックな設定のものですね。みんな、風花という情報支援キャラをとおして、さまざまな情報を得る。そこで支援キャラの大切さを意識してもらえればいいんですけどね。

Search

探索

タルタロス探索をスムーズに進めるための基礎知識を解説

タルタロスでは、敵との戦闘以外にも「探索」という要素が大きなカギを握る。そのシステムを詳しく解説していこう。

▲段差を利用してアタックをかければ、安全に先制攻撃できる。

シンボ ルの意味を頭にたたき込め！

本作はエンカウント式ではなく、敵のシンボルに触れることで戦闘が開始される。シンボルは、敵の種類によって異なるものが用意されているので、まずその違いを頭に入れておこう。また、タルタロスには敵以外にもさまざまなシンボルが存在する。そのすべてをここで紹介しよう。ちなみに、1度タルタロス内部に入ると、エントランスに戻らない限り、下の階へ戻ることができない。ターミナルに関係しているこの基本ルールも忘れないように。

“死神”はダメであります

タルタロスで最強の敵ともいえる死神。序盤で手を出すのは自殺行為なので、出現したらすぐに逃げること。同じ階層で戦い続けていると出現しやすいので、あまり長く同じ階層でウロウロしないようにすること。

▲戦闘後のカード選択でドクロマークを選ぶと出現することも。

■タルタロスの移動

相互通行

エントランスから直接移動できるターミナル。

一方通行

エントランスへの一方通行となるターミナル。

1Fエントランス

セーブポイント

タルタロス唯一のセーブポイント。塔内部ではセーブできないので、探索前、帰還時など、マメにセーブをするように心がけよう。

ベルベットルーム

ペルソナの合体や工リザベスの依頼を受けることができる部屋。依頼は1度に3つしか受けることができないので、達成したらすぐにエリザベスに報告するクセをつけておこう。

宝箱の種類

宝箱には見た目の異なる2種類のシンボルが存在。階層が上がるごとに中身は豪華になっていく。取り逃さないように！

通常の宝箱。装備品や回復薬などの消費アイテム、お金が入っている。

レアアイテムの宝箱。この箱からしか入手できない装備品もある。

敵の種類

敵のシンボルは全部で5種類。この違いは、主に依頼達成のために覚えておきたいところ。

通常の敵シンボル。敵の数によって大きさが変わるが色に変化はない。

通常に比べ強力なタイプの敵はこのシンボルになるが、動きは同じ。

いわゆるレア敵。見つかると猛スピードで逃げ、すぐに消滅してしまう。

レベル差があるため動揺している敵。見つかると逃げ出してしまう。

死神タイプの敵。超絶的な戦闘能力を有する。出現したら逃げあるのみ。

背後から狙い先制攻撃を目指せ

本作では、敵に気づかれずに「アタック」することで先制をとることができる。先制をとれば、行動が一巡するまで敵は動けないため、かなり有利に戦闘を進められる。ここでは、主人公が装備している武器によって異なる、アタックの特徴を解説していこう。

◀▼当然ながら、敵からアタックを受ければ、敵の先制攻撃になる。

武器の特性

片手剣 リーチ : ★★ スピード : ★★

リーチ、スピードともに平均点だが、最もバンスがよく扱いやすい。空振りしてしまったときのスキは大きいものの、リーチさえ覚えてしまえば安定性は高い。敵が向かってきたときのことも考えて、武器を出す速さも把握しておこう。

拳 リーチ : ★ スピード : ★★★

拳の特徴は、武器を出すスピードの速さ。そのスピードは全武器のなかでも最速でスキは小さい。ただし、リーチは一番短く、敵にかなり近づく必要がある。レベルが高い敵ほど反応が早いので、高レベルの敵がいるエリアでは不利になる。

両手剣 リーチ : ★★ スピード : ★

武器を出すスピードという点では、ほかの武器に劣る両手剣。しかし、そのリーチの長さはスピードの遅さを補って余りある魅力といえる。敵の背後にさえ回ることができれば、高い確率で先制攻撃のチャンスを得ることが可能だ。

弓 リーチ : ★★★ スピード : ★

リーチの長さでいえば、全武器中最長を誇る弓。敵の視界外からアタックすることも可能なのは大きなポイントだ。ただし、矢の軌道が見えなかったり、アタック後の硬直時間が長かったりと、正確に敵を狙うにはかなりの慣れが必要。

レア敵はこの武器がオススメであります！

反応が敏感で素早いレア敵は、とらえにくい敵。ただし、背後から接近すれば、そう簡単には気づかれない。そこで真後ろから近づき、アタックの出も早めでリーチもある片手剣でアタックするのがオススメ。真後ろから少しズレるだけでも気づかれるので注意。

◀敵の視界外から弓で狙う手もあるが、難易度は高め。

中間試験終了後はついに真田がパーティに加入

連休があるため、コミュのランクやステータスアップに最適。ただし、中間試験前にはゆかりがタルタロスに行かないと言い出すので、学生生活にばかり気を取られず、たまに探索もしておくこと。試験前にタルタロスに行く場合、主人公と順平の2人パーティになるのでできれば避けておきたい。試験期間は試験シーンのみで1日が進み、最終日には真田がパーティ

Battle

戦闘

敵の弱点を突き無傷で進むためのバトルテクニックを紹介!！

シンボル、アタックをマスターできれば、いよいよ戦闘へ！弱点を突くことで一気にたたみ込めるシステムから敵データまで、この情報で戦闘を極めろ！

▲動揺状態の敵なら、クリティカルも出やすい。

1moreからボコスカまでの完全チャート

本作の戦闘では、敵の弱点やクリティカルを突くことで敵がダウンし、もう1度行動できる「1moreプレス」が発生する。これを使うことで、敵に行動する機会を与えることなく勝利できるので、積極的に狙っていきたい。さらに、出現している敵すべてをダウンさせれば味方全員による総攻撃「ボコスカプレス」が発生。左ではその特徴を解説！

■BATTLE CHART

▲ダウンさせたうえにもう1度行動できるのは大きい。

支援キャラの情報をもとに敵の弱点を突くことは、本作の戦闘では必須ともいえる。弱点を突けば敵は行動不能なダウン状態に。ダウンは敵の行動順がくると回復されるが、それ以外の行動はできない。

弱点を突く！

全体攻撃をはずすと「1more」はなし！

「1more」は、弱点攻擊を当てることで発生する。ただし、弱点の全体攻撃であっても1体でも攻撃をはずすと発生しない。

▲魔法攻撃であっても回避されることはある。

ダウン状態の敵への攻撃は必中となる。ただし、ダウン状態の敵を攻撃すると、それが弱点攻撃であってもダウンが回復されてしまう。確実にトドメを刺せるとき以外は、ほかの敵を攻撃するように。

Down！

通常攻撃でもダウンのチャンスあり！

ダウンは基本的に弱点への攻撃だが、例外として通常攻撃のクリティカルでも発生させることが可能だ。弱点攻撃がない場合に狙え。

▲攻撃に属性はなく、どの敵へもダメージを与える。

出現しているすべての敵をダウンさせれば、全員攻撃である「ボコスカプレス」が発生。これは、行動順に関係なく行える攻撃なうえ、必ず当たるという特典つき。参加する人数でダメージが変化する。

ボコスカ!！

「ポコスカ」の攻撃力は？

非常に強力な攻撃だが、ダウンしている仲間は攻撃に参加できない。また、主人公がダウンしていると、この攻撃自体が行えない。

JIN

ジン

タカヤにつき添う関西弁の男性。 ストレガの情報収集や分析役として暗躍する。

TAKAYA

タカヤ

ネット上のサイトで、復讐代行を請け負う謎の集団「ストレガ」のリーダー。

作戦を使いこなし、より有利に戦いを進めろ！

「作戦」は、自律して行動する仲間をある程度制御するためのシステム。下に5月までに使える作戦の一覧を掲載するので、それぞれの特徴をつかんでほしい。作戦は主人公の行動順でしか変更できないので、ときには意図どおりにいかないこともある。そこで、通常攻撃のオート戦闘となる△ボタンの「ラッシュ」を使い仲間をコントロールしよう。

▲無駄にHPやSPを消費しそうなときは、とっさに△ボタンを押して通常攻撃に。

「システム」も活用するです！

▶システムのコンフィグから変更が可能だ。

戦闘開始時の作戦は「自由に戦え」になっている。多用する作戦が別のものなら、システムで作戦を変更することも可能だ。もっと も、弱点を突いた攻撃、通常攻撃、回復、補助とバランスよく行う「自由に戦え」は、優秀な作戦としてオススメできる。初期状態はこの作戦のままで、敵の種類にあわせてコマメに変更したほうが安定して戦えるだろう。

■5月までに習得可能な作戦一覧

戦闘時 探索時

作戦名 内容

自由に戦え 弱点がわかっていれば弱点攻撃を、仲間のHPが減っていれば回復をと、バランスよく行動する作戦。

回復、補助に徹しろ 少しでもHPが減っていれば、回復行動を優先して行う。全員のHPが全快で、ステータス異常もなければ攻撃を行う。

SPを温存しろ SPを消費するスキルを使わなくさせる作戦。ただし、HPを消費するスキルの使用を抑えることはできない。

ターゲットを指示 攻撃するターゲットを指定できる。ターゲットの固定以外は「自由に戦え」と同じ思考で行動する。

待機しろ 攻撃、回復などを一切行わせない作戦。主人公でトドメを刺したい場合やアナライズを優先させたい場合などに使おう。

散会しろ 仲間をバラバラに行動させて、宝箱の回収や上の階層への階段を探させるといった行動をとらせることができる。

敵討伐を優先しろ 仲間をバラバラに行動させて、個別に敵と戦わせることができる。個別に行動すれば1人当たりの入手経験値も上昇。

作戦を得ることが、勝利への近道！

5月までは美鶴が務めることになる情報支援キャラ。これは一緒に行動する戦闘キャラとは別に存在するもので、タルタロスの状況を解説したり、敵の情報を解析したりするのが主な仕事となる。なかでも重要なのが敵の弱点などがわかる「アナライズ」。新しい敵に出会ったら、まずはアナライズを行おう。

▲アナライズはL1ボタンでショートカットできる。

▲仲間がはぐれたら、「救援要請」で呼び戻そう。

弱点がわかっていても調べるであります

▲仲間は支援の情報をもとに行動している。

戦闘を重ねると、敵の種類や偶然で、アナライズする前に弱点がわかることもある。しかし、そこでアナライズをしないと、仲間には弱点が伝わらないままになってしまう。調べる前に弱点がわかったとしても、アナライズは必ず行おう。

CHIDORI

チドリ

その行動、目的などが謎に包まれた集団ストレガの紅一点。その能力とは一体⋯⋯!？

■タルタロス25階までの敵データ

タルタロス25Fまでに出現するボス以外の敵を、階層順、レベル順に羅列。ただし、赤いシンボルと金色のシンボルのレア敵は、各階層の最後に色分けして表示している。敵の名前が赤色のものは赤いシンボルの敵、オレンジのものは金色のシンボルの敵を表す。

カードはどれを狙うのがオススメ？

最後の敵を倒したときの攻撃に主人公がからんでいると発生する「シャッフルタイム」では、カードの中から1枚を引ける。このカードからは、お金や武器、ペルソナなど得られるものは多い。なかでも経験値がアップする「ワンド」は効率よく探索を進めるためにも、優先して狙いたいカードだ。また、武器よりもお金を選んだほうがお得。

[オラクルカード一覧]

ぺルソナ

合体の素材としてはもちろん、そのまま戦闘にも使える。主人公よりレベルが高いと入手不可。

カップ

HPが回復するカード。主人公のHPの減り具合によって、主人公のみか仲間全員かで対象が変化。

ワンド

その戦闘で入手した経験値が割り増しされる力ード。数字しだいで倍以上になることもある。

ソード

武器の装備品を入手できる。数字が大きいほど効果の高い武器になるが、店売りと同じもののみ。

コイン

お金を入手できるカード。金額はランダムだが、 数字が大きいほど高額になっていく。

ブランク

ダブルアップ時に出現されるカード。このカードを選ぶと、すでに得たカードが失われてしまう。

Animae dimidium meae

一魂の半身一

自らの分身⋯

ペルソナを極める！

戦闘において主人公たちの大きな力となるペルソナ。序盤で使える仲間たちの特徴、スキルなどぺルソナに関する情報を解説。もう1人の自分を極めるコツがここにある！

MESSE SANOH

ゲームショップ・メッセサンオーの予約特典テレカ絵柄。これはシャドウか？ペルソナなのか？主人公はいったい何に魅入られているのだろうか？シナリオにからむ重要な存在と主人公が対面している激レアな絵だ。

ペルソナの力が主人公の力になる

本作では、主人公の戦闘における能力はペルソナのステータスに依存している。レベルアップで上昇するのはHP、SPのみなので覚えておいてほしい。また、特定の組み合わせのペルソナを持ち合わせることで「ミックスレイド」という特殊スキルを覚える。序盤で覚えることができる組み合わせを掲載するので、有効活用してほしい。

▲主人公の能力は純粋にペルソナに依存。より強いペルソナが必須に！

序盤で使えるミックスレイド

カデンツァ

オルフェウス+アプサラス

効果 : 味方全員のHPが50%回復+味方全員の回避率上昇

ジャックブラザーズ

ジャックフロスト+ジャックランタン

効果 : 敵全体を中確率でダウンさせる (ダメージはなし)

ジャスティス！

エンジェル+アークエンジェル

効果 : 敵全体に光属性で現在HPの50%ダメージ

▲消費SPは大きめなものの、効果は絶大。とくに「カデンツァ」はボス戦で役立つ。

インセンスカードでさらにパワーアップです

キングやクイーンの名前がついたアイテム「インセンスカード」を使えば、ぺルソナのステータスを増強させることができる。お気に入りや有効なスキルを覚えたぺルソナができれば、レベルにかかわらずこれで一線級に強化することも可能だ。また、この強化した能力は合体しても引き継がれる。

▲▶低レベルのピクシーでも、強化することで高ステータスのぺルソナに！

仲間の特徴も覚えるべし

前ページでも述べたように、本作では仲間が自律して行動する。それだけに、仲間の持つスキル、弱点、行動のクセを把握することは重要といえるだろう。そこで、ここでは序盤で一緒に行動する3人の仲間の特徴を掲載。これを参考に、仲間が持つ戦闘のパターンをつかんでおこう。

▼仲間のスキルを把握することで、指示する作戦もより効果的なものを選択できるようになる。

あなたが弱点を補うであります

連れ歩ける仲間は主人公を除いて3人。次のスキルページでも説明しているように、基本的な属性攻撃だけでも4種類あり、仲間だけでは補完できない。そこで、ぺルソナを自由に付け替えられる主人公に、仲間が持っていないスキルを埋める役割をさせる。属性を幅広くカバーし、どんな弱点も突けるようにしよう。

▶スキル継承を使い1体で複数の属性を覚えさせたい。

TAKEBA YUKARI

岳羽ゆかり

スリップなしの貫通攻撃

ゆかりが使う弓は、命中率こそ多少劣るものの、はずしてもスリップすることがない。SPが少なければ通常攻撃させるのも手だ。

イオ

パーティの生命線

風属性の魔法と回復系スキルを使いこなすイオ。攻撃よりも回復担当としての役割を主眼においた戦い方をさせていきたい。

■耐性 風

■弱点 雷

■序盤に覚えるスキル ディア パトラ ガル

◀ボスや強敵なら回復に徹しよう。

IORI JUNPEI

伊織順平

攻撃力は大きいけれど⋯⋯

順平が使う両手剣は攻撃力が大きいぶん、命中力に不安が残る武器。ぺルソナが育って速度が育つまでは、スキル中心で戦おう。

ヘルメス

回復のサポートは必須

ヘルメスは直接攻撃を好むタイプのペルソナ。物理攻撃のスキルはHPを消費するため、ゆかりやここせよう。明彦などの回復でフォローしよう。

■耐性 火

■弱点 風

■序盤に覚えるスキル スラッシュ アギ リパトラ スクカジャ

◀攻撃力という長所を伸ばしたい。

SANADA AKΙΗΙΚΟ

真田明彦

高いコンボ率に期待

拳の武器は高い命中率とコンボ発生率が強み。攻撃力は低めなものの、コンボが出やすいため総攻撃力でほかの武器との差は少ない。

ポリデュークス

攻守に優れたバランス型

物理攻擊、魔法攻撃、回復にサポートとバランスよくスキルを覚える。主人公とあわせて、ほかの2人を補助する形で活躍させよう。

■耐性 雷

■弱点 氷

■序盤に覚えるスキル ソニックパンチ ディア ジオ

◀自由に戦わせるのがオススメ。

巷で噂の！

エリザベスセクシーふわふわスキル講座

みなさん、タルタロス探索のほうは順調でございましょうか？今回は、私が特別に探索には欠かせないスキルをご教授させていただこうと思います。

1時限目攻撃方法の活用を覚えましょう

まずみなさんに覚えていただきたいのは攻撃魔法の属性。敵の多くは、この6属性のうちどれかを弱点として持っていますので、名前と属性の関係をしっかり頭にたたき込んでもらえると助かります。また、魔法は強化→最強と進化するにつれ、その攻撃力も上がっていきます。ただ、弱点を突くことが重要ですので、威力の高さよりも複数の属性を所持することを優先させたほうがよろしいでしょう。

基本形 強化形 最強形

アギ(火炎) アギラオ アギダイン

ブフ(氷結) ブフーラ ブフダイン

ガル(疾風) ガルーラ ガルダイン

ジオ(電撃) ジオンガ ジオダイン

ハマ(光) ハマオン

ムド(闇) ムドオン

全体には「マハ」をつけましょう

▼序盤は敵が1種類なので全体が有効。

上の魔法名の頭にマハをつけると、範囲が全体に変わります。どちらがいいかは一長一短といったところですが、基本的に3体以上に攻撃するなら、マハ〜のほうが消費SPの面でお得でございます。敵の数で使い分けましょう。

CHECK

その他のスキル

～カジャ

味方の能力アップはこの系統です

味方の各ステータスを上げるのが、カジャ系の魔法です。武器の命中率が低めなので、スクカジャが重宝しそうですね。また、デカジャはカジャ系の効果を消滅させる効果がございます。

▲有効な攻撃手段がないときにお使いください。

～ンダ

敵の能力ダウンはこちらになります

カジャ系とは逆に、敵のステータスを下げるのがこちらのンダ系の魔法です。回避率の高い敵にスクンダを、攻撃力の大きい敵にタルンダをというように活用すれば攻守に渡って役立つでしょう。

▲敵の突出した能力を抑えるときに使いましょう。

オート

使用の必要がない自動発動スキルです

こちらは、わざわざ使用せずとも自動で発動するという特殊な系統でございます。たとえば、タルカジャオートなら、タルカジャの効果がある状態で戦闘が開始されるというものです。

▲オートで発動するので、SP消費もありません。

LONG INTERVIEW

ロングインタビュー

個人と他者との距離感、つながりをぺルソナのシステムに反映

今回主人公以外のペルソナが固定なのは？

橋野 : 今回は主人公の力が世界を変えるという話で、タロットが象徴する愚者、つまりゼロの状態から出発して主人公が成長していくという軸を最初に引いたんですね。そこで、主人公は特別扱いしたかったのが理由の1つです。あとは、夜一緒に仲間と戦うなら、昼間はそれぞれがバラバラに行動するという仕組みを作りたかったんですね。バーティのありかた、仲間の自律をゲームシステムで表現したかったわけです。そうしたとき、装備からぺルソナからすべて主人公が面倒を見るのは違うんじゃないかなって思ったんですね。もちろん、仲間のペルソナを付け替えたいって人もいるとは思いますけど、思い切って主人公だけにしました。

今回『女神転生』でも初となる4～6身合体を入れようと思った理由は？

橋野 : 今までと違うようで、じつは組み合わせの決められた合体という仕組みで、複雑なものにはしたくなかったんですよ。それと、『ぺルソナ』もそうですけど、『DDS』など合体から離れている部分があって、自分のなかでフラストレーションがたまっていたんですね。そういうこともあって、今回は合体もちゃんとやってますってことをユーザーさんに伝えたいと思い、4～6体の合体を入れたんです。ただ合体を増やすだけでなく、そこにコミュによるボーナス経験値が加算されることで、いわゆる経験値稼ぎが不必要になって、テンポもよくなるかなという狙いもありましたね。といっても、スキルの継承などを深くやり込んでいこうって考え出す人には、いくらでもやり込める要素は用意されていると思います。『Ⅲ』で好評だった、「悪魔 (ペルソナ) 全書」もきちんと用意してありますからね。

今回ぺルソナは何体くらいいるのですか？

橋野 : 『真・女神転生Ⅲ』のときより多くしたかったのですが、3Dのモデルで悪魔を作ると、じつは1体あたりにかかる時間も費用も相当なものに⋯⋯。今回はシャドウとペルソナも別個に作っているので、さらに大変で。そこは今までの財産を生かしながら、今回150体近いペルソナを用意できましたね。逆にそれくらいの数を用意しなければ、今作の合体システムが充分楽しめないだろうなと思いました。

Amor caecus

一愛は盲目一

愛すべき『ペルソナ3』の登場人物たち⋯より世界に浸るための

キャラクター特集

さまざまなドラマを魅せ、プレイヤーをひきつけるキャラクターたち。そんなキャラクターたちを盛り上げる「電撃コミュ」が本格始動！さらに今回は、『ペルソナ3』スタッフお気に入りのコミュや幻のコミュなど、本格始動にふさわしい豪華な内容でお送りしていく。

こんなコミュに反応が！

電撃コミュニティ

DENGEKI COMMU

「電撃コミュ」から拡がる『ペルソナ3』の輪！早くもメッセージを紹介！

キャラクターの魅力満載の本作。その魅力を多くの人に伝えるためのオリジナルコミュニティ、それが「電撃コミュ」だ！ソフトも発売され、好きなキャラや、コミュを発生させたいキャラなど、キャラに対する愛情があふれているころだろう。左に紹介しているように、そんな想いを募らせたファンから早くも多くのメッセージが到着！さらに、スタッフイチオシのコミュなど、今回だけの特別企画満載で『ペルソナ3』の深い世界観に迫っていく！

美鶴先輩が白ブラウスでハイヒールなコミュ

・お嬢様で生徒会長でハイヒールってとこにビンビンきてます。早くプレイしたい！(埼玉県・セーブさん)・美鶴は絶対パーティからはずしません、いえはずせません (兵庫県・ヤマオカさん)

▲クールビューティなお嬢様に、主に男性諸君の理性が陥落中。

風花かわいいよ風花コミュ

・戦闘キャラじゃないってとこですでにメロメロです (香川県・ドンさん)・おどおどしてるトコが守ってあげたい。ちょっとドジっ娘なナビがあったら萌えです！(山形県・ふにさん)・能登さん大 好き (京都府・城さん)

▲弱そうなところが母性本能をくすぐったのか大反響。

電撃コミュの基本ルール

●自分が気になるキャラのコミュがあれば、迷うことなく参加せよ！

●気になるコミュがないのなら、迷うことなくコミュを立ち上げろ！

●キャラへの愛、熱い想いさえ伝われば、どんなコメントでもOK！

●『ペルソナ3』に関することやネタなら、どんなものでもOK！

ココに注目

開発スタッフ▶イチオシ妄想コミュ

ここでは、今回の企画のために『ペルソナ3』開発スタッフから送っていただいたイチオシ (個人的好み) の妄想コミュを紹介。コミュキャラ以外に秘められたスタッフの熱い想いを見よ！

ゲームプランナー・田坂氏

保健の江戸川先生とのコミュ

現実にはありえないインパクトありまくりな魔術の授業が魅力的です。独特のセリフ回しで語る先生自身もお気に入り。オススメは授業のときより怪しさに磨きのかかった保健室での先生です。

ゲームブランナー・田坂氏

喫茶店「シャガール」のウェイトレスコミュ

喫茶店「シャガール」で働いているウェイトレスの女の子。まるでメイドのようなキュートな服装にひかれ、ついついそれを目的に喫茶店に通ってしまう自分がそこにいるのです。

ゲームプランナー・田坂氏

柿の木を見ている女子生徒のコミュ

月光館学園の渡り廊下で、柿の木を見ている女の子。ひたすら柿の実が生るのを待っている姿は、どこか哀愁がただよっていて渡り廊下の風景を引き立たせているような感じがします。

ゲームプランナー兼広報・宇田氏

教室で街案内をしてくれる男子コミュ

教室で街案内をしてくれる男子。ずーっと黒板のほうを向いている暗さが、学生時代の自分とかぶり非常にお友だちになりたい感じです。きっと、何かに思い悩んでいるんですよ。えぇ。

ゲームプランナー・後藤氏

メモリーカードのコミュ

正確には『ペルソナ3』の開発ラインには属していないボクですが、ある時期に元デバッカーの経験を買われ、メモリーカード関連のデバック作業を行いました。休日、人もまばらな開発室でただひたすらにセーブデータを作成し、上書きし、消去し、メモリーカードを本体から抜き差しする。現時点でボクの中の『ペルソナ3』は、タルタロスのエントランスと寮のロビーです。ああ、麗しのメモリーカード。ボクの友だちはキミだけだよ⋯⋯。

そのほかにも⋯

⋯こんなコミュを募集中！

右で紹介している以外にも、「電撃コミュ」ではさまざまなキャラのコミュを募集中！ちょっとでも賛同できる内容があれば、『ぺルソナ3』の輪を拡げるためにも下のあて先までコメントをぜひ送ってほしい。もちろん、キミの愛がつまったオリジナルコミュも大歓迎だ！

コミュ名: 順平のセリフが気になるッ！

シャドウ討伐隊のムードメーカー順平くん。最近、テレッテッテー、○○はレベルアップ！と思ったビルドアッパーな出来事を募集しますっ！

コミュ名: ペルソナ犬・コロマル

家の愛犬、どうやらなんかついてるっぽいと心配な飼い主さん。ここで飼い犬の真相を暴露してみませんか？いや、もう、猫でも鳥でも、いいよ？

番 外 編 ボツになった幻のコミュ!？

スタッフイチオシのコミュに加え、開発初期には存在したものの、さまざまな事情でお蔵入りとなった幻のコミュを大公開！

黒澤巡査のコミュ

購入金額に応じてランクアップ⋯ってアコギですよね？

コロマルとのコミュ

話さないけど、餌をあげたり散歩したり、意外と楽しい!？

電撃コミュのあて先

住所、氏名、年齢、そして参加したコミュ名、もしくは自分で立ち上げたいコミュ名とコメントを明記して、「persona3@mediaworks.co.jp」まで、どしどしメールを送っちゃおう！

Sofmap

ゲームショップ・sofmapさん予約特典テレカ絵柄。物思いにふけるアイギス⋯⋯。彼女はいったい何を思うのだろうか？

P3 REPLAY

コミュニティ最大ランクへの必勝法を探せ！

ペルソナの主人公は学生、しかも今回は学校生活を体験できる！ということで友人たちとよい関係を築きつつ、ステータスをALL MAXにすることを目標にゲームを進めてみたいと思います。ということで、前情報ナシに4月を進めてみました。

ボーっと進めるとあっという間に日は過ぎますが、行けるところ、やれることは意外に多い。そこで効率よく1日を過ごすため、1週間のスケジュールを決めることに。これで5月末までにはステータスもランクアップしつつ、コミュの2つくらい最大ランクにできそうという手ごたえを受けました。いや余裕かな？時間余るかもしれない。

よし、もう1回最初からやりなおそう！⋯⋯その前にこのデータを使って5月末までのカレンダーを確認しながら具体的な1週間のローテーションを解説していきましょう。

1.【コミュは平日に集中する】

神社でさい銭を入れると学力が上がるのなら毎日通うほうがいいと予想し「神社～コミュ～カラオケ (金土は喫茶店)」という平日休日共通の基本行動を立てる (しかし直後にやってきたのはGW⋯⋯4連休)。

2.【上げるコミュは固定する】

一点集中したほうがコミュの上がりがいいんじゃないかと予想し散々悩んだ結果、4月末までに手に入るコミュから「クラスメイト」と「古本屋」を選び出し固定することにしました。

そして日は流れて試験前週間。いつものように友近と帰ろうと思ったら⋯⋯あれ、席にいない。校内をうろうろしていたら玄関で立ちつくしている友近を見つけ声をかけると⋯⋯。

「試験前だから帰って勉強する」とのこと。⋯⋯え？友近寄り道なし？へぇ～スケジュールによって行動が変わるんだ～。それじゃ古本屋行こうっと。 それによって集中的にランクが上がる老夫婦のコミュ。2つを同時進行してると、こういうときに便利です。同じ学校の生徒じゃこうはいかなかったですね。

そして中間試験開始⋯⋯って試験中は何も行動できないの!？

ちょっと待って、このままだとコミュの2つくらい最大ランクどころか1つもムリだよ！

ビックリよりガッカリが先にきた試験期間が終わると、さっそく成績発表が⋯⋯掲示板に貼り出されましたので見に行くと、「わりと上位だった」。

⋯⋯わりと上位。うーん、もう少し学力上げてたら1位とれたのかな。気になるなぁ⋯⋯。

思った以上に散々な結果だったので、こうなったらローテーションの変更はせずに、狙うコミュも変えないで作戦の練り直しだけしてリトライ決行！その作戦がどういう結果をもたらすのか、次回をお楽しみに！

Long Interview

ロングインタビュー

キャラクターの性格はそれぞれ題名がつけられるくらいプロファイリングしました

各キャラクターの性格などは、どのようにして決められたのでしょうか？

橋野 : 最初、スタッフにいろいろ設定を出してもらったんですけど、どうにも型にハマったものばかりで⋯⋯。パターンみたいなものも必要な部分はあると思いますが、それだと中身が薄くなってしまう気がしたんです。それで、設定の担当者と心理学の本を見たりしながら性格づ けをしたのですが、決まってみたら結構型にハマったキャラクターで、世の中のキャラクターものはよくできてるなぁと思いました (笑)。

副島 : プロファイリングはしましたね。最終的には、社員だったり知り合いだったりがイメージモデルになったりしているんですけど。それだけに、いろいろ設定もありましたが、カットされました。最初は順平がビッグスクーターに乗っているって設定もあったんですよ (笑)。

女性のメインキャラ4人中3人がショートカットなのにはなにか理由が？

副島 : とくに意識はしてないのですが、昔からショートカット好きと言われていたので (笑)。女性キャラといえば、ゆかりは最初すごく嫌味な性格だったんですよ。

橋野 : 順平とゆかりは、今でこそ主人公の代弁者という役づけがされていますけど、初期のころは暗いわねたむわで、今の素直な感じは見当たりませんでした。美鶴に通信で敵を倒してこいって言われたあと「なんなのよ⋯」とか (笑)。あと、美鶴はベタベタの生徒会長ですけど、真田も最初は情けない男だったんですよ。ただ、初期のゆかりと真田は当初の設定がスタッフに大不評で⋯⋯。やっぱり女性のファンの方にも楽しんでほしいので、真田には真田なりの戦う理由をつけて、修正していきましたね。

副島 : 逆に風花は最初からもめることなく、静かなキャラとして作られていきましたね。RPGだと、みんな戦えてソロになっても全然戦える人ばかりじゃないですか。だけど、直接戦えないけど情報解析で助けてくれるというキャラがいることで、仲間としての連帯感が生まれるかなって ことで風花が作られたんです。

橋野 : 最初は、風花だけ危険がないよねってことで、風花が殺されかけるみたいなイベントもあったんです。ただ、時間やボリュームの問題で泣く泣くカットしました。その名残といえるイベントがあるので、プレイしていてそういうシーンがあったら、ニヤリとできると思いますよ。そのぶんというわけではありませんが、風花のセリフ(※7)は全キャラ中で一番多くなりました。セリフのパターンもかなりあるので、あたりも楽しんでもらえればと思います。

ゆかりと真田は当初スタッフに大不評なキャラでした

[melliae]

…That's a good question, and that's what we haven't figured out yet: their motive. They don't kill their prey; they feed on their minds. It can be considered predation, but is it really? Is there an underlying intent behind their behavior? The purpose of the Shadows as a whole… That's what we need to consider.

⋯いい質問だね。実は"目的"が、よく分かってないんだよ。連中は獲物を殺さずに"精神を喰らう"。"捕食"には違いないが⋯生き物のようにただ繁殖するのが目的なら、遠回りすぎる。シャドウは"総体"としては何を目指す存在なのか⋯その辺は研究中なんだ。

(Google Translated)...That's a good question. Actually, I don't really understand the "purpose". They "eat the spirit" of their prey without killing it. It's definitely "predation", but if the purpose is just to reproduce like living things, it's too far-fetched. What is Shadow's goal as a whole? That's something I'm currently researching.

[melliae]

I called it

Addition to the Faust Network Theory

I'd say this kind of a messy post, since it's just a sudden realization I had that, in retrospective, should have been quite obvious...

At any rate, the thing is that I just hit me that the "Children in the Flask" Abno is quite literally Faust. Naturally, not the "Faust" we know of, but Faust as a whole, composed out by every version of hers - the so-called "Faust Network".

"Something that creaks, squeaks, and shakes is stood before us. Inside it is a pink liquid. It heaves whenever the liquid container shakes. Or it might be the liquid's movement that causes the massive glass body to move. The liquid seems to consist of multiple things and beings. Each droplet has its own face." - Abnormality Encounter.

The Abnormality is not only located in some sort of old-fashioned laboratory, but also shares the same color (in name, I mean) as Faust, her "cerebral pink". And I genuinely don't think I've to mention her icon in this context.

I'd say that this implies that the idea or image that LCB Faust presents of herself is not hers, but of every Faust. The woman we know of just forms a small aspect of that whole, a point or pixel of the entire picture. And which particular point is she?

"One sad-looking droplet is pushed away by its mean-faced peers. The glass giant trembles, and a pink droplet is ejected. The droplet is crying." - Continuation of the excerpt above.

LCB Faust may not cry... nor express anything beyond some basic expressions, really. But something tells me that rejected droplet is our Faust, which, more than anything, wishes to separate herself from the "Network".

"It's only right to put it back where it belongs. The droplet is lifted and pushed into the giant glass container. And we watched. We watched the face of the droplet being filled with terror, contempt, anger, and loathing as it slid down the tube. 'You shouldn't have done that.' 'We might have looked like one in your eyes. But to me, this is hell.' It felt like it told us such things. Along with the glass container, we could hear something within our hearts crack." - When you choose to put the droplet in the flask and pass the check.

I don't know what is the reason behind LCB Faust's feelings of alienation. But I think we can get a glimpse of them through the Sin advantages on said option: Gloom and Envy. Now, if those envious feelings and despair are truly hers or from her Identities, I can't answer it either. However, I can theorize a little bit.

"Demian: Imagine that there was a single rose you've cared for a long time. Your room was always brimming from the sweet aroma of that flower. But one day, you leave the rose behind to go on a long, long journey. In your journey, you come across a large garden... and there, you see thousands of the very same rose you once you cared for. That sight... brings you to tears, and you drop to your knees. ... Why do you suppose that is? Dante: <…….> Demian... he's appeared before me in the past. He would always leave me with these cryptic riddles. But I'm starting to understand what his riddles are supposed to represent. Dante: <Because I've finally come to understand. That the one I truly loved was the rose I'd left behind.>" - After the Credits, Canto VI.

Okay, I'm not going to explain everything in detail since there's a too much material to work with, and I should be doing college things right now. So to summarize everything...

LCB Faust wants to become herself, more than anything. She wants to be the "Faust" that is unbounded by all other Fausts, freed from her own bounds. That's the path the devil Mephistopheles, as representation of her Shadow and unconscious, lead her in, which is no other thing that the journey of individuation, the inner evolution of an individual that allows to define themselves as what they truly are, according to Carl Jung.

"The concept of individuation plays a large role in our psychology. In general, it is the process by which individual beings are formed and differentiated; in particular, it is the development of the psychological individual as a being distinct from the general, collective psychology. Individuation, therefore, is a process of differentiation having for its goal the development of the individual personality." - Psychological Types.

This concept fits perfectly with the droplet's intentions, trying to separate itself from the "undifferentiated" (i.e., unconscious) collective. If it sounds familiar, you are correct! This is the fundamental principle around which "Demian" was written, and thus what Demian, Sinclair, Sonya and Rodya are written around in Limbus (... kind of).

Also, considering how both Child in the Flask is an obvious reference to the alchemical idea of the homunculus, I think is noteworthy to mention how the later is a symbol the Self, the archetype of psychic wholeness that's the goal of Individuation.

"The egg is a germ of life with a lofty symbolical significance. It is not just a cosmogonic symbol—it is also a "philosophical" one. As the former it is the Orphic egg, the world's beginning; as the latter, the philosophical egg of the medieval natural philosophers, the vessel from which, at the end of the opus alchymicum, the homunculus emerges, that is, the Anthropos, the spiritual, inner and complete man, who in Chinese alchemy is called the chen-yen (literally, 'perfect man')" - The Archetypes and the Collective Unconscious.

And at the same time, God Himself, both in "Faust" and the Divine Comedy, is also a symbol of that psychic wholeness, of the uniqueness inherent to all living beings. That may be related at some level to my theory of Hermann's goal too (which paints in another light Faust's explanation). But I think it's more important to note that in the two works, the protagonists were saved only through the love other people had for them, and thus the love of God.

"'How do I comfort a droplet...' As odd as the order sounds, the Sinner does their best to lift its spirits. The droplet seems to have perked up thanks to the Sinner's efforts. 'I could be free thanks to you.' It feels as though the droplet said something like that." - When you choose to comfort the droplet and pass the check.

Faust's Gluttony, her drive for (psychological) survival and fulfillment, can only be satiated and thus reedemed by love itself. Her quest to become "all-knowing" is ultimately meaningless, because as long as she pulls things from "the garden", her Self will forever remain undeveloped, resentful from that "pink ocean", no matter how hard she tries to chase that one star.