DEBUNKING 30 SHIN MEGAMI TENSEI FAN MYTHS, PART TWO: #16-30

At last, the final 15 Shin Megami Tensei fan myths have arrived. So which are next on the chopping block? 

Well, I’ve been told there are Multiverses, but I couldn’t find any. Interpretations of Nocturne lyrics are a dime a dozen and actually worth even less. Somehow, there’s even a Tyrannosaurus Rex! And obviously many more than just these. Rumors even whisper of a mysterious 31st myth. 

Read on (or check out PART ONE: MYTHS #1-15 if you haven’t, they’re essential!) and help stem the tide against rampant SMT misinformation!

DEBUNKING 30 SHIN MEGAMI TENSEI FAN MYTHS, PART ONE: #1-15

2021 marks the 17th year of Shin Megami Tensei’s existence in the West and while that’s not exactly an auspicious number it’s certainly long enough to have developed its current thriving fan culture. But fans are overzealous things, literally fanatics. Arguments are raised, interpretations are julienned, and hills are died upon over what constitute acceptable concepts for a shared canon of ideas. Shin Megami Tensei is of course no different and over the years its fan wars of attrition have resulted in its own assumed fundamental truths.

However, over this same span of time “truths” of dubious origins have mixed in with the actual facts to an indistinguishable degree for many, negatively affecting how the series is perceived and discussed. So, drawing on my 15+ years of experience with the series, I’ve picked 30 of the most infamous Shin Megami Tensei “fan myths” to debunk one by one. We begin with the first 15, which include some of the series’ more well known misconceptions, including the mysteries of Kaneko’s Twitter account, Doi’s artistic output, and everything about the Great Will!

Demons by Design: An Introduction to Patterns of Form and Function in Shin Megami Tensei

This article was originally featured in Hardcore Gaming 101's The Unofficial Guide to Shin Megami Tensei and Persona, available now in print or digitally at Amazon, and digitally on itch.io and through HG101's Patreon!

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You’re walking down a dark, seemingly endless video game corridor when, suddenly, a silhouetted form approaches you from the shadows. Its appearance is obscured, its mutterings are unclear, and its motivations unknown--what could it be? This is a question answered by the very game you find yourself playing. If it’s Final Fantasy and the form calls itself Odin, you know it can’t be the real Odin because there is no Scandinavia in its fictitious world. If you’re playing Doom and the silhouette identifies as Satan, you should question the context because Christian Hell is (believe it or not) more complex than skeletons with rocket launchers. But if the game is Shin Megami Tensei and the figure names itself Cu Chulainn, you can be almost certain it is the actual hero from Irish myth because SMT’s “modern reality with a supernatural twist” setting does not exclude the existence of Ireland and its cultural heritage. And thus is SMT’s version of the RPG “monster”: its demons, which serve as the skeleton of its entire body, supporting all of the series’ gameplay mechanics and texturing its narrative conflicts. 

KANEKO'S CRIB NOTES LVI: THE CAREER OF MASAYUKI DOI

by Soren and Eirikr

Masayuki Doi has the unfortunate distinction of being the black sheep of Atlus' main art designers, no doubt due to the fact that some of his best work is hidden within a dead series and that his rise to prominence came at a tumultuous time in the company's history. However, we think his surprisingly expansive oeuvre is definitely worthy of a comprehensive reevaluation and deserving of wider recognition, even if some of it is tarnished by lamentable choices and circumstances. Join Kaneko's Crib Notes editors Soren and Eirikr once more as they break down Doi's entire career, from Trauma Center to Shin Megami Tensei and much more!

KANEKO'S CRIB NOTES LIII: SHIGERU MIZUKI, MASTER OF MYSTERIES

by Soren and Eirikr 

(This post contains "hacked-in" tables Blogger otherwise lacks that don't play nice on tablets or smartphones. If you're on a mobile device, FOLLOW THIS LINK for the mobile version / スマホ版 of this post!) 

We here at Kaneko’s Crib Notes have been researching the true identities and origins of certain demons for the better part of a decade, along with many other like-minded collaborators. The diversity of source and reference at play in the series compendium is a sight to behold, but that same variety includes origins of the utmost obscurity, particularly for an English-speaking audience; many of these figures and sources of inspiration have only the most paper-thin presence even in Japanese media. World Mythology is a field of nearly immeasurable depth, so adding clumsy renderings to and from katakana to the mix tends to complicate matters even further. But by turning our attention to the oeuvre of one of Kaneko’s known influences, celebrated artist and folklorist Shigeru Mizuki, we’ve stumbled upon a motherlode of cribs and sources the likes of which we aren’t likely to see again. And so we’ve decided to catalogue it all in one place: not just the mountain of Mizuki cribwork, but the results of many years of hunting for the identities and sources of the most mystifying figures to ever grace the compendium.

This Crib has been years in the making, and for once that actually means something. We’ve publicly discussed these endeavors before, at least in microcosm, but this is where the pieces really fall together. Read on and be acquainted with some of the most persistent secrets the series has to offer!

Taira no Masakado: History vs. Legend (vs. Lemon)

Taira no Masakado has been variously depicted as an iron giant, a rebellious demon worthy of divine retribution, a vengeful floating head, a cosmic deity, and the bellwether of Tokyo's fortunes. All of these fantastical descriptions speak to a grand personality of great importance, but what of the historical Masakado, the 10th century samurai? What exactly did he do to deserve such mythical aggrandizement?

And because of Masakado's prominence in Shin Megami Tensei, it's useful, even essential, to survey the beheaded samurai's biography and the superstitions that quickly surrounded his posthumous image. Though not meant to be comprehensive, the following examination of his fabled life nonetheless reveals where the lines are drawn between Masakado the man and Masakado the angry spirit of folklore and SMT--plus a little "extra," let's say. Bottom line: You just can't keep a good samurai lich down.

Dissecting Dagda

"Role-wise there was a discrepancy in the game with the generally transmitted image of a good, food-loving god, so I broadened the definition." -Masayuki Doi, from Shin Megami Tensei IV Apocalypse Official World Setting Collection + Journey Towards the World of Mythology.   

This was Doi's initial comment describing Dagda's Shin Megami Tensei IV: Apocalypse design. And what was the first thing mentioned? A "discrepancy."

I myself glossed over the juicy implications of this quote while editing Dijeh's translations of the artbook contents, as this was before the release of SMT4A's English version and with it the definitive information about the game's "broadened" version of Dagda. Still, it was right there, plain as day, and from a key member of the development team, no less! So just how profound must the differences be if even Shin Megami Tensei's new main artist has to admit right off the bat that SMT4A's take on Dagda is at odds with the mythological version? 

Hijiri, Candles, Freedom: Maniacs' Retcon Woes (and the Atlus "Enhanced" Edition Formula)

For many years it seemed almost unthinkable to criticize the seminal and influential Shin Megami Tensei: Nocturne in any way. Besides, any such criticisms could be easily excused. Re-rolling fusion skills? It just makes it all that more intense and satisfying to get exactly what you want. Random negotiation? It's just, uh, more fun that way, yeah! No story? Okay, that one is seriously illegitimate. Point is, an epoch-making, 15-year-old game like Nocturne will survive having its flaws exposed since it has a lot more to offer than RNG insanity.

The same goes for the vaunted Maniacs additions. Flat out, Maniacs made Nocturne a more fun game to play. Most of us across the Pacific or further will never know the difference, but I can't imagine a Nocturne with more ambushes and instant death and less Matador and Daisoujou becoming a cult hit. Its plot and backstory additions, though? It's open season.

I should state up front that this is article consists mostly of old material. It is the original survey of the writing inconsistencies of Hijiri's character (which the post permalink will continue to reflect) appended with two other older posts that dealt with iffy Maniacs creative decisions, like the guiding figures of the Freedom ending (a close reading of which contradicts Maniacs retcons of Aradia) and the kabbalistic theming attached to the Fiends' candelabra. Also, a new, somewhat meaty conclusion about the quality of the Atlus enhanced editions (re-releases, ports, whatever you want to call them) we'll continue receiving until the heat death of the universe.

And as of this update (December 2019), it's an extremely boring time to be a Shin Megami Tensei fan, so why not spend a quick 30 minutes reuniting with the writing tendencies of the team that will (eventually) bring us Shin Megami Tensei V? Hey, at least you know those improved gameplay mechanics are going to be pretty good...  

Eirikr's Personal Canon

Let’s face it, Tumblr sucks as an archive. A shame, as there have been some good questions and discussions over the years and it would be a shame for them to be lost forever to the ether. So what better way to protest the ephemeral nature of Internet content than to make my own archive? 

Below are links to just about every major thing I've written online, including website articles, Tumblr asks, etc. It will be updated periodically as warranted! Right now consider it a work-in-progress (formatting is a little rough), but all the links should be live.

LATEST UPDATE: 4/1/18! The latest additions are in boldface. 

Shin Megami Tensei's Identity Crisis (Part 3 of 3): False Reincarnation

by Eirikr [tumblr] [twitter]

(continued from Part 2) (Part 1 is recommended to read prior to Part 3)

Shin Megami Tensei: Strange Journey might be one of the greatest examples of fanservice ever made. In a genre where “fanservice” usually means crass pandering with skimpy outfits for female characters or other brazen titillation, Strange Journey instead provided its ravenous fans with more of what they already loved about Shin Megami Tensei: creative direction from Kazuma Kaneko, more demons, mature characters, an original setting, and proper apocalyptic atmosphere—a true SMT game in every sense. Neither the limits of the Nintendo DS hardware nor the series’ usual rough edges would suppress Strange Journey’s understanding that the greatest fanservice is respect for its audience.

There’s just one big problem: Strange Journey under-performed at retail relative to other games in the franchise and in spite of being on a platform with a large install base, moving only 127,946 copies in Japan. [1] To add insult to injury, Persona 3 Portable, the second re-release of Persona 3, was released in Japan only a few weeks after Strange Journey’s launch and completely outclassed it with 183,283 in sales. [1] The niche Shin Megami Tensei had always relied on was apparently eroding away.

It was in this climate that development of Shin Megami Tensei IV began. "I first started thinking about [SMT4] once Strange Journey, which came out October 2009, was finished," said SMT4’s director, Kazuyuki Yamai. "I've been hearing from fans who wanted an 'official' SMT sequel for ages, and we thought that we were finally at the point as a team where we were mature enough to tackle the job, so that's how it got started." [2] So much like what happened with Persona, a new generation of creators would take hold of Shin Megami Tensei with a fresh, modern approach. But amid changing tastes, how much of SMT’s old identity would have to be sacrificed to bridge the series to the new players it so desperately needed?

Shin Megami Tensei's Identity Crisis (Part 2 of 3): That Which Leads to Intimacy

by Eirikr J.S. [tumblr] [twitter]

(continued from Part 1)

Though Shin Megami Tensei is far from mainstream, it wasn't long into its history that it began experimenting with spinoffs to reach different audiences. Shin Megami Tensei if…’s 1994 release traded nuclear devastation for a high school setting that served as a hub for abstract dungeons and a focus on the eroding psychological health of its villain—a much more intimate subject than previous games, establishing that “the side games… [treated] smaller themes compared to mainline [SMT].” [1] The second major spinoff was 1995’s Devil Summoner, a mix of detective pulp and occult matter which “was kept relatively simple and straightforward so that players could enjoy the story as it unfolded." [2] Though narrower in scope, these spinoffs were still clearly cut from SMT’s cloth.

Of course, there was another spinoff, 1996’s Persona, which saw the potential of SMT: if...'s high school setting and psychoanalytical concepts and ran with them. Its very title and central concept refer to the work of Carl Gustav Jung, famed psychoanalyst, and don’t stop there: terms like Shadows, Philemon, personas originating from a "sea of the soul," and many other premises and interpretations derive from Jung's work. The psych angle was a natural fit for the Megami Tensei franchise, as Jung is still known for popularizing the psychological interpretation of myths and the religious experience. What were once gods and monsters physically manifesting through computers could now be personality-changing "masks" originating from internal rather than external sources, without the need of technology.

But it would be naive to say that the creation of Persona was entirely for the purpose of exploring psychological matters. Kaneko admits that, compared to the main series, “Persona was geared towards a younger audience." [2] The switch to casts of high schoolers and a heavier story and dialogue focus was all about appealing to different demographics. This turned out to be a seemingly magic formula, as adding a more relatable human element to Megami Tensei's modern settings paved the way for the breakout hits of Persona 3 and Persona 4. But what exactly is behind the popularity of these modern Persona games, and how would their success impact Atlus and the Shin Megami Tensei series as a whole?

Shin Megami Tensei's Identity Crisis (Part 1 of 3): Iconoclasm Incarnate

by Eirikr J.S. [tumblr] [twitter]

Shin Megami Tensei has thrived on being different than the RPG standard. Mixing the modern megalopolis with abstract concepts, mythological themes, and at times theologically challenging material, SMT created for itself an identity distinct from its fantasy contemporaries. According to series artist Kazuma Kaneko, “Back then we were in this sort of competition with Dragon Quest and felt the need to do something different from the others. If they were Babyface,[i.e., a well-liked hero] then we felt we could only be Asian mist. [i.e., an illegal move thrown by the hero's rival]” [1] In another interview, he expounds, "I like to think of Shin Megami Tensei games as rock stars or singers in punk bands whereas blockbuster games like Final Fantasy are more like the Academy Award winners." [2] SMT stood toe-to-toe with a crowded genre’s juggernauts due to unique features and a subversive attitude inherent in its presentation and gameplay—for better or worse. SMT fully embraced that it was neither the prettiest nor the best-selling, earning itself a comfortable niche where its creativity could shine.

However, the gaming landscape has changed significantly since the days of the Super NES or even PlayStation 2, inside of Japan and out. While Dragon Quest and Final Fantasy are still big, they've also become diluted through their own ubiquity with spinoffs galore and main series releases that seem fewer and farther between. Countless mainstay publishers of yore have either been absorbed, shuttered, or changed focus from games to health clubs. With mobile markets contracting the traditional games business, the way in which the majority of consumers perceive and play games has been substantially impacted. Needless to say, Atlus needs more than Shin Megami Tensei’s niche to survive. But in this uncertain environment, or perhaps because of it, an unexpected RPG star has risen to prominence: Persona. Beyond merely revitalizing a genre, Persona’s expanding popularity has commanded great influence, as evidenced by abundant copycats imitating its style and mechanics. At last, the Megami Tensei franchise, even if only a spinoff, was the one dictating the trends.

But being overshadowed by Persona in every respect has left the Shin Megami Tensei main series in an awkward position. How can it embody a rebellious spirit when its own child is the definition of what’s en vogue, with much of its own DNA in tow? Ostensibly, the answer to that question is Shin Megami Tensei IV, a paradoxical game eager to follow the trail blazed by Persona’s success, but containing a number of reactionary decisions in its design work and thematics that are contrary to the series’ identity. With the series at a crossroads where some measure of adaptation to survive is inevitable, significant questions emerge: What is Shin Megami Tensei’s identity—and can it survive beyond the niche?