An Analysis of Re:Zero: Did Subaru Really Learn Anything?

2016’s Re:Zero has been met with a lot of criticism over the course of its run. While the show has excellent production values and direction, the show also occupies a worn genre space that has shown up in a lot of recent anime. Re:Zero is yet another show about an Otaku trapped in a fantasy Universe, and while the show is not strictly a comedy, protagonist Natsuki Subaru is a character intent on cracking a self-aware joke in regards to his situation whenever he can, and opts to start and continue as much comedic banter with the other characters no matter how confused by his words and behaviour they may be, or how unwilling they may be to follow along with him at any given moment.

Subaru’s obnoxious character will make or break the show for different people, and his overbearing presence dominates almost all other aspects of the show. If you don’t care about him early on, you won’t care when he struggles. I’m not really interested in discussing how entertaining or irritating his character really is, however. For me, he often cracked some bad jokes, but his dorkiness was often endearing and I found the overall package surrounding him to be quite appealing as I watched through the show. For once in an anime protagonist, the fact that he is lame is basically the whole point, whereas most protagonists are meant to be taken seriously no matter how bland or stupid they may me. I enjoyed the other characters, the mysteries, the twists, and the central premise of Subaru being able to ‘reset’ at an earlier point in time after his death. There will be significant spoilers from here on out.

At around the halfway point of the show, Re:Zero decides to completely eviscerate many things core to Subaru’s personality and motivations. In the very first episode, Subaru meets Emilia, a young girl who is a potential candidate for the throne of her country. Without knowing this, Subaru immediately falls in love with her after she saves him from a group of thugs. Subaru keeps this attraction towards her throughout the series, and is very vocal in complimenting her and make his love quite clear at every opportunity he can, although a combination of Emilia having been too socially isolated to pick up on Subaru’s attraction, and the fact that their relationship is frequently reset whenever Subaru dies, means that Emilia never recognises this until it’s too late. All of Subaru’s most important memories regarding Emilia are only relevant to him, since they take place in past lives that have since been overwritten. In past lives, Emilia has proved strong and dependable, frequently saving Subaru when he’s in trouble. However in the timelines when both Subaru and Emilia live, Subaru is the one who saves her repeatedly, simply because he has enough foreknowledge of events that he is able to save the day before her help is required. Over the course of the show’s first half, this builds up to a very one-sided relationship where Emilia doesn’t understand why Subaru tries so hard for her, and where she remembers none of the important moments that she had spent with him.

This affects Subaru immensely. As an Otaku taken to a fantasy world, he starts to feel entitled to the idea that he ‘must’ be the hero, as that’s how this story is ‘supposed’ to go. He starts to believe that Emilia should accept his love simply because of the effort he has put in for her, a sentiment that only gets amplified every time he must experience the excruciating pain of death, or when his ego is boosted whenever he is able to save her. Furthermore, he is cursed with an inability to explain his time resetting powers to Emilia, forcing him to lie or speak vaguely about how he is ‘doing this for your sake’ whenever she asks for an explanation for his behaviour.

It is in episode 13 that the two have a large argument following Subaru completely embarrassing her during an introductory ceremony for the royal selection. Subaru appears at the ceremony against her wishes, proclaims himself as her knight, and openly berates the nobility for their discrimination against Emilia’s half-elf heritage. He also challenges a knight, who mocks Subaru’s arrogance and weakness, to a duel, and allows himself to get severely beaten as a result. Emilia realises that Subaru does things in her name simply for the sake of his own ego. Even if he did have a better reason, his inability to explain himself is incredibly frustrating to Emilia, forcing her to leave him behind.

Subaru spends the next few episodes of the show in a blind, hard to watch haze as he attempts to return to Emilia. He learns of a witch cult, and sees them assassinate Emilia and the surrounding village before he too is killed, which only makes Subaru more determined to slam his head against the wall by himself until he’s able to save her. He has companionship in the form of the maid Rem, who midway through the show, has decided that she herself loves Subaru, and is absolutely dedicated to him. This is when episode 18 rolls around.

Episode 18 has Rem and Subaru talking on top of a building for the majority of its extended run. Subaru tries to run away from Emilia and the witch cult, he tries to convince Rem to live with him, and he lays out each and every one of his character flaws, from his arrogance in spite of his weakness, and his laziness that masquerades as pointless effort for the sake of effort with no real progression towards self-improvement or any other long-term goal. The episode is hard to watch, however Rem lists all the small things she loves about Subaru, and the way he had encouraged and motivated her earlier in the series. Rem becomes something of an ultimate source of validation for Subaru, a character who can tell him that he is perfect the way he is, even if he loves Emilia instead of her. With full awareness of his flaws in mind, Subaru once again resolves to become Emilia’s hero.

Because he still deserves to be, right?

It is true that Subaru at that moment in time was the only person who could save Emilia’s life and that of many others, and that the plot had to progress down the path of him reuniting with Emilia. However Subaru’s attitude following episode 18 largely just returns to how it was before episode 13. He still wants to be a hero, and he still wants to be with her despite how much his social circle has rapidly grown, and how badly he screwed up his relationship with her. He even has Rem, a girl who is about as devoted to him as someone can be, her blind devotion to Subaru almost mirroring his devotion to Emilia. It’s not exactly fair to call Subaru an idiot for not choosing to be with Rem- feelings of love aren’t something you can logically control, after all. But in terms of narrative the justifications for his love for Emilia, and his overall attitude, start to wear thin. Emilia gets very little screen time in the second half, and Rem and many other other characters get more screen time overall, meaning that the audience naturally isn’t going to be as attached to Emilia as Subaru is. On top of that it just doesn’t feel narratively rewarding when Subaru gets his way anyway, despite the show plainly stating all the reasons why he shouldn’t be rewarded. Life isn’t really a linear progression of effort in > reward out.

Subaru of course does deserve a chance at redemption, as does anyone, and his awkward dorkiness is one of his main charms. (arguably) And in truth Subaru is able to learn how to negotiate, and how to not demand that others conform to his needs. He’s able to convince one of the royal candidates to help him save Emilia and combat the witches in exchange for the location of the White Whale, a deadly beast that has been terrorizing the world for centuries, which he had encountered in an earlier timeline. He’s able to earn respect from the knights and the nobility for risking his life to help them put down this menace, and as a result his victory feels earned.

In the last episode, Subaru finally defeats the witch cult and saves the day, and clearly professes his love for Emilia for the first time. While he isn’t able to explain why he’s so devoted, he’s able to apologise and still be far more open with his feelings than he had been previously, as well as a lot calmer. He lets Emilia know that he’ll still be devoted to her, and that he won’t expect her to accept his love right away. His entitlement still creeps in however- telling her that ‘I’ll let you fall for me slowly’, clearly still expecting her love as an inevitability. While Emilia doesn’t explicitly return his feelings right away, her tears and the way she explains that she never expected anyone to fall in love with her make it clear that Subaru has succeeded in winning her heart.

While Re:Zero does a good job attacking the ugliness at the core of many shows of its type, and the arrogance at the center of an unfortunate amount of anime Otaku culture and media, Re:Zero simply can’t help but indulge in many of the same cliches and aesthetic choices, as well as developing a character who doesn’t fully progress past a lot of his character flaws, and who, indeed, chooses to embrace his flaws. Subaru chooses to pursue his goals by putting in the effort rather than demand others hand it to him, but the show can’t help but feel like it conforms too neatly around him, as even when he does suffer, die, and screw up in horrible ways, the time reset mechanic will leave these times, while emotionally devastating in the moment, ultimately lacking in lasting impact on both Subaru and the audience.

But in the end, I don’t think anyone really wanted to see, or indeed write, a story where the main character becomes so acutely aware of his faults that he gives up completely. Maybe in real life he wouldn’t deserve Emilia, but miracles happen. At least, people want to believe that they can happen. We all want a happy ending, and Subaru’s story is still very aware of all the ways that that that attitude and desire can be twisted. I feel Re:Zero’s ultimate message of championing emotional honesty and gradual self-improvement still manages to hit the mark in spite of the flaws surrounding it. Re:Zero’s subversions of its genre, and the overall effort put into its production and plotting still perhaps make it one of the best of its genre for years.

Although that isn’t really saying much when Sword Art Online also occupies your genre space.

Big Order: How Being Bland Ruins Anime

Big Order is an anime that, from the outset of Japan’s spring anime season, promised to be an experience, the type of show that is rarely ever produced in this day and age. Big Order appears to be a show so terrible, so inept in its storytelling, so earnestly rotten to its fundamental core that it can’t help but be entertaining in its own horrific way, a trainwreck of an anime to stand alongside similarly terrible classics, such as Tommy Wiseau’s The Room from the west. Unfortunately, that’s not quite what ended up happening, and this unfortunately results in a weird paradox when you realise that Big Order would be better if it was worse. And that it so clearly wants to be worse makes it all the more tragic.

185385

 

Continue reading

Let’s Play Persona 2: Innocent Sin- Part 2: Demon Invasion

Ok, without further delay, lets continue Persona 2. Last time Miche’s friends had been turned into Shadowmen by Joker, our villain, and we reached the world map.

 

Michel will stop you from going anywhere other than the mall, where we’re supposed to investigate the rumour of the weapon shop owner. Because of course we’ll need weapons. Sure, Joker is dangerous, but what makes the characters think that they’ll ever need to fight? They don’t know anything about the demons that will pop up later. Moreover, Michel is traveling with us as a party member, and there seemed to be no animosity generated by either Lisa or Tatsuya. Furthermore, I guess none of these characters need to go home either. In fact, these characters never go to school again (not for lessons anyway) and they never seem to go home or otherwise sleep at any point. It’s like the entire rest of the game is frozen in this inescapable after school-time purgatory. Was this intentional? All Philemon said is that rumours would become reality, and that we’d have to fight an evil of some description. Nothing more or less than that. All of this is happening because the narrative demands it, not because the characters have well-defined motivations. The game doesn’t feel organic, and it feels incredibly rushed and clunky. It never explains the most basic of plot points, resulting in nagging, easy to fix plot holes that any competent writer would fix by naturally writing a better story in their initial draft to begin with.

 

At the mall there’s a selection of options, and oh hey, the Velvet Room is on the menu as if it belongs with regular old Ramen shops. In this game, every party member can enter. I assume that only Persona users can enter, but still, come on. This is the Velvet Room we’re talking about, shouldn’t it deserve a bit more build up? In later games its this mysterious place that only the protagonist can visit, it feels metaphorical and allegorical, it foreshadows future events and it overall feels like its something more than a facility where you fuse Personas- Personas are more than merely an equipment item that you can buy normally in reality.

 

The Velvet Room itself, however, is alright. For one, it’s actually room, so hallelujah to that. Unfortunately the form of the room doesn’t really have any significance, like how P4’s was an car driving through fog reflecting the protagonists own aimless wandering in search of the truth. Persona 2’s is pretty boring. Igor greets us and tells us that he had been waiting for us at the command of his master, Philemon, making the room feel less mysterious and more a shop. The Velvet Room is a convenience, nothing more. The music in here is actually pretty good, it starts out with the Aria of the Soul track which made its way to later games, but once it ends, a beautiful piano piece starts playing. Honestly, P2’s Velvet Room track is my favourite in the game by a very large margine. The rest of the soundtrack is just so dull. Another thing I like about the Aria of the Soul here is that two of the residents in here are a vocalist and a pianist, so you get the sense that they are playing the music.

 

However, their artistry is honestly the least interesting thing about the other attendants. There’s Belladona, Namless, and the Demon Painter, and their only real character is the job that they have been ascribed, namly, aiding you. Actually, only Igor and the Demon Painter provide any help. Namless and Belladona play the great soundtrack, but otherwise, your only interaction with them will be when you decide to talk to them. Belladona will have nothing interesting to say, but Namless will occasionally have some interesting perspectives and thoughts on life. For example, he tells us that he plaus the Piano to open up the heart’s of guests. He must ‘confront’ his own heart to produce such wonderful artistry, and wears a blindfold as a result. But, yeah, these three combined have less personality, motivation, and thematic relevance than Elizabeth’s little toe. I don’t even think their designs are as interesting as the later attendants.

 

We’ll leave what the room actually does for us until later, as right now, there’s nothing we can do yet. I’ve complained enough about this one location anyway.

 

Going to the ramen shop, we find that Michel’s Dad runs the place, and wants Michel to help out. Not right now Dad, we’ve got ghost shit to figure out. What confuses me however is that his Dad gets angry when he notices that Michel is wearing his school uniform… I mean, that is his school uniform right? Michel’s friends were wearing the same clothes. Why would his Dad be annoyed about that? His Dad wants Michel to take over the store, but surely he shouldn’t be annoyed that Michel is getting an education. Surely he must be paying the tuition fees one way or another, as well. What am I even playing right now, this is so fucking stupid. I sometimes wonder if all of these problems can be pinned down to various translation or localisation errors. But even if that was the case, no translation is this consistently bad. It had to make just as little sense in the original Japanese as well.  In any case, there’s nothing we can do here.

 

There’s a clinic, an item shop, and a weapon shop, but they’re either closed or worthless to us, so lets progress.

 

There’s a guy from the detective agency trying to buy weapons from the shop owner, however it seems pretty clear that she doesn’t sell weapons. Yet. Talking to the shop owner gives us access to the Kuzunoha detective agency, a fairly important location. SMT fans may note that the Kuzunohas are a prominent family in the Devil Summoner series, them being a long line of detectives who can also summon demons. Most notably, two games in the Devil Summoner series star Raidou Kuzunoha the XIV. Kuzunoha hasn’t really been prominent in any of the modern SMT games for a long time though, not only because Atlus is much more modern-Persona and Etrian Odyssey focused nowadays, but also because their only other recent SMT game was a mainline game, which never featured the Kuzunohas in the first place. I have no idea what caused the company that used to churn out games so rapidly during the PS1/2 eras to slow down so significantly immediately after the release of Persona 4 in 2008. Maybe the new generation meant that they had to start making new art and programming assets from scratch?

 

We tell the chief of detectives about Joker, and his character introduction tells us that he does indeed summon demons, he does Devil Summoning on the side, apparently. It’s a shame that no actual demon summoners actually help us poor persona users out on our quest, because that would be really helpful. This is why Atlus games should probably stay out of continuity, Demons can invade only so many times before you start questioning how modern life even continues to function in a post-demon world. The modern Persona games just about pulled it off, but it was looking potentially bleak a few years back.

 

Sorry, I’ve been going off on a lot of tangents. Since rumours are coming true, we decide to spread the rumour about the ramen shop owner selling weapons. Which is ridiculous since the rumour had already been spread, yet it didn’t become reality. But ah, we have to spread it ‘officially’. Spreading rumours is very serious business, you guys. I once had to wait for eight weeks until I was permitted to tell my friend that our classmate may secretly be a fury due to some gossip I had overheard in the National Vague Untested Information Bureau. Or NVUIB… which is an anagram for VI BUN? I feel like eating a very important bun now.

 

So we spread the rumour and instantly the ramen shop owner starts selling weapons. So basically we have the power of a god now. I mean, this rumour stuff is serious business, seriously. We just rewrote a major portion of someone’s life just to get her to sell weapons. We’ve altered the past, completely overwritten free will, and we’ve probably caused a huge amount of other changes to have taken place butterfly effect style. I mean, she was apparently a spy now, so who knows how many governments and wars that she has singlehandedly swayed just because of our one rumour? DO YOU HAVE ANY IDEA WHAT YOU HAVE DONE? No. This potentially interesting idea is never explored, in fact, no one seems to care. The whole rumour thing is the plot point that I absolutely most despise about this game, in fact, I think it’s the worst thing in the game as a whole. The whole idea of rumours coming true not only makes no sense while being morally bankrupt, it’s also never explored in any depth. Better writers could probably explore some wonderful ideas here, how societal perception affects reality, how you become what society says you are, the morality of overwriting free will or manipulating the media for your own needs, all lots of interesting ideas. In Persona 2, however, the rumour thing is just a plot device that allows the writers to pull out whatever stupid thing they want out of the proverbial magic hat. And I mean stupid, you’ll see. This power also leaves major, major plot holes- why the villains or the heroes don’t spread useful rumours, like, the villains could say ‘I hear rumours that these people called ‘persona users’ will die tomorrow’ or ‘I hear there’s this sword which can kill anything, even a god, in one strike. Apparently only this ‘Tatsuya Suou’ kid can use it, weird, huh?’ Anyone could do anything with this power, but it only ever gets put to use when the writers want it to. Reality should have already collapsed in on itself by now. The universe should have exploded. How could the writers overlook such basic information, usually bad writing comes when the writer tries to over explain their universe, not when they under explain it!

 

We return to Sevens to find that the clocktower has started moving again, and apparently tons of students and faculty are still at the school. Go. Home. Get a hobby or a social life, get some food and rest and sleep for christ sake. Rumour is, bad stuff will start happening when the clock starts moving again. Apparently, the emblems on the uniforms also does… something to your face, though apparently removing the emblem doesn’t help either. So what’s the point of the emblem curse? I don’t think it comes up again.

 

By ‘bad stuff’ what they actually meant was ‘demon invasion’ and honestly this particular demon invasion happens to be yet another stupid plot point introduced by the game. This is a demon invasion. Remember Nocturne? How normal Tokyo was obliterated, all life eradicated, leaving only a wasteland filled with ghosts and monsters? In Persona 2, life continues on as normal. Yep. Nobody cares. In fact, the demons don’t even have an effect on the story, only the gameplay really. They exist in their own dimmension really, not even the main characters talk about them. I think about 99% of this game’s story could have been told without demons or Personas. I’m dead serious, the the demons only really serve to waste your time. There’s no relevance to them, no emotional impact… you pretty much go from place to place, and only the bossfights factor as important gameplay. As for the demons… maybe the idea is that, like shadowmen, they’re invisible to non-persona users? That’s how it worked in Devil Summoner, and I didn’t exactly like it then either. They just don’t affect anything, I’d still consider their implementation poor even if they did explain that the demons were invisible.

 

A slime greets us in the first random encounter and tutorialises us on the convoluted demon negotiation system. While negotiation is a welcome staple of the SMT franchise, P2 decides to make the system much worse and really, really boring. In other games, you can talk to a demon and they’ll ask you some questions, and they’ll ask you for stuff. Give a good answer or two and give let it take what it asks for, weather that be cash, items, or HP/SP and there is a pretty good chance that they will join you. Some parts of the system are random, for example you might give a demon some money, and then they’ll just leave with no compensation. However most of the time you can usually rely on the same demons to ask mostly the same questions and they’ll respond the same way to the same answers, depending on the game. In Persona 2, you have a set amount of actions dependent on the character. Demons respond differently to these actions, which will cause an ‘emotion gauge’ on the top right to build up. They may have an angry, happy, eager, or scared response to your actions. Rise one emotion up three times and something special happens. If angry, they’ll attack. No benefit. If scared, they run. Whatever. If happy, they become your ‘friend’ which has various benefits, but it does not mean that that demon will join your party. Generally, you want to raise eager, since that will cause them to give you some tarot cards, which can be exchanged for personas at the velvet room. The same demons respond in the same way to the same actions, but the set up makes it much harder to memorise which demons respond to what, since you don’t have any cues with which to remember the correct actions. Furthermore, when demons interrupt you to ask questions, your answers don’t matter whatsoever because they have incredibly random responses. Meaning that you could be doing everything right but fail because you give a series of angering responses to a demon. It’s the most luck based negotiation system in the franchise. Yes, sometimes the negotiation system can have funny lines, but since negotiations are such a frequent and repetitive task, you’ll eventually end up hearing the same jokes again and again. Having to raise an emotion three times is also really, really tedious compared to other systems, and there’s no instant gratification. You don’t get a new demon or a new persona now, you get it later when you eventually return to the Velvet Room. And we’ll talk about why Persona ‘fusion’ is bullshit when we next return to the Velvet Room. An absolutely horrible system. Thankfully, being on easy difficulty, I shouldn’t have to bother with negotiations that often. Because the Persona system in this game is, yes, a pile of wank, you can get through the game with very low leveled Personas.

 

The actual combat itself doesn’t do anything special. It’s turn based, and you have basic attack commands and special moves using your equipped Personas. As is standard to SMT, enemies and allies have various elemental weaknesses and resistances which you can exploit for more damage. In this game though, the element system basically sucks. Damage is pretty much the only thing affected. This is fine for games such as Pokemon where enemies and allies alike are much more fragile, meaning that the damage modifiers make can mean the difference between life and death. In Persona 2… not so much. Unless an enemy nullifies an element, it doesn’t really feel like it matters what you hit them with. Enemies will do such pathetic damage to you that it really doesn’t matter what your Persona’s elemental attributes are, either. Other games in the SMT franchise such as Nocturne use what is perhaps my favourite turn based-JRPG mechanic of all time- the press turn system.

 

The press turn system gives you icons dependent on the number of enemies or allies in battle, usually meaning four for allies. This determines the amount of turns the party as a whole has. These icons can be ‘halved’ causing them to flash if an ally passes their turn, providing an incentive to wait out a turn, as it can let your first party member take two actions in a turn. Hitting weaknesses will also create flashing turn, giving even more of an incentive to keep hitting your enemies weak points, moreover, you can loose press turns if an enemy nulls the element you’re attacking with. These rules all apply to the enemy, as well, encouraging you to cover up your weaknesses. Modern Persona games don’t have this system, instead, hitting weaknesses will give you extra actions and knock down the enemy. Persona 2 doesn’t have a system like this, so the only real strategy is to use your highest damaging attacks while healing. It’s an extremely brainless battle system, although there are some nice features.

 

For one, although we don’t have everyone yet, you will have five playable characters in total, and in battle you can use all these characters. It can be strange how in other games, you can have a huge roster of characters, but you’re only allowed to use three or four of them at a time, raising the question of what the rest of your party is doing. I like that everyone can be used at once. Being able to change turn order is also a nice feature, as is the fusion spell system. Again, since the system is pretty brainless, fusion spells don’t really add much in the way of depth, but the cut-in portraits and the flashy animations are satisfying to watch. Fusion spells also use up multiple party member’s actions, so there is, theoretically, some depth to be found in weighing your options between using one big powerful attack, or several smaller but more flexible commands, should you ever need to, say, heal.


The last thing I want to mention about the battle system right now is that after battle, your SP completely heals, which is probably the worst decision they could have made. Part of the challenge of dungeon crawling is that SP is a precious resource, you can choose to win battles now with powerful skills, or wisely save them lest your SP pool run dry and leave you helpless in future encounters. It forces you to play more carefully, more smartly, always planning ahead. Persona 2 will always let you use your most powerful skills, and SP never really becomes a concern, even in the slightly longer boss battles.

Lets Play Persona 2: Innocent Sin Part 1

So with all the Persona 5 hype since the recent trailer, I’ve been put on such a Persona buzz that I’ve decided to return to one of the earlier entries in the series. The PSP remake of Persona 2: Innocent Sin. I’ve decided that I’m going to do a text-based lets play of the game for my second playthrough. It is worth noting, however, that I have no way of capturing high quality screenshots or footage of the game. I hope this wont be too boring to sit through.

Now lets get some things out of the way first. I’m a huge fan of not only the Persona series, but Shin Megami Tensei as a whole. While my first games in the series were Personas 3 and 4, these were quickly followed up by entries such as Nocturne and Digital Devil Saga, and most recently, Shin Megami Tensei IV. I don’t love every entry in the series, however, as I find games such as Devil Summoner: Soul Hackers and the first Raidou Kuzunoha game (since I haven’t played the sequel) to be interesting, though fairly dull to actually play overall.

Persona 2: Innocent Sin happens to be one of those games, bearing in mind that I have not played Eternal Punishment, and likely never will, since I have no way of playing the game legally at this time. During my first playthrough of Innocent Sin, I found both the story and the gameplay to be lackluster and outdated, especially compared to later entries. That said, I do understand why people like these games, however, I have little sympathy for those that actively hate the later entries and the fans they brought in simply for not being Persona 1 or 2. I know that I love this series for the story, characters, themes, gameplay, and overall quality, and not because I like to write fanfiction shipping my favourite characters together while purchasing countless body pillows. It doesn’t matter what other people get out of the series, even if they do creep you out- they just want to enjoy a fun game the way they want to enjoy it, I don’t think a fan needs to show up with a list of credentials in order to be accepted as a ‘true’ fan. That’s all I’ll say on the matter of the fandom and my relationship with it, because the rest of this is going to be purely about P2:IS. I will try to keep comparisons to later entries and other SMT games to a minimum, especially considering the fact that this is an older game which came out before those entries. However, I hold no promises- the truth is, I think Atlus have become much better game makers, writers, composers, art designers and yes, marketers since their PS1 days. I’ll try to make comparisons wherever possible when I feel that the game does something better than the later entries, too. Let’s dig in.

Continue reading

Persona 5 Trailer Analysis

Lets dig in to the new Persona 5 trailer.

Firstly, there’s this teaser image released prior to the trailer, showing an image of the new protagonist seemingly clawing his way out of some paper. The link shows an artwork comparison between the protagonist here and the antagonist of Persona 4 Arena Ultimax, Sho Minazuki. The facial structure and pose seem basically identical. The true ending of Ultimax also had Sho leaving, his plans foiled and his alter-ego having disappeared, to go off on new adventures and presumably learn the true meaning of friendship. I find it highly likely that Sho Minazuki is the new protagonist, whether he be silent or not,  which this trailer supports.

Continue reading