If you meet a certain other requirement (that I can't say because it will spoil #2), you're given the option to hide the killer's identity from everyone and try to join forces.Again, it's pretty obvious if that happens. You have three chances, so you can probably figure it out, but if you fail all three times, you'll get bad ending #2. Shortly afterwards, you will have to identify the killer from a list of basically everyone who's appeared in the game.Failing this segment gets you bad ending #1 and is pretty obvious, so if it does happen, just don't save your clear data you can reload before it happens. Best advice I can give is to try to make them talk about things you haven't discussed so far, but don't ever ignore what they want to do. This is the hardest one, because you need to choose five specific dialogue options in a row. In the story segment that happens after the window for the current dungeon, your friends will float the idea of carrying out a certain act of vigilante justice, and you'll need to talk them down from it.If anything's too vague, let me know, and I'll try to clarify. Almost all of them involve stuff specific from the scenes when things can divert, so it's hard to describe without spoilers, but I'm gonna try to break it down with as little detail as possible. If the latter, I applaud that move and respect Atlus’ localization teams even more.There are several paths that will divert you from the true ending in Golden. I can’t help but wonder if that question was in the original Japanese version, or if it was added in as part of the localization process. Talk about a perfect word to describe Adachi, especially given his boss-fight monologue about only “talent” mattering in the world he wanted to wipe away. The term “ Ressentiment” comes up during the game, and is defined as a philosophical construct wherein one assigns blame and directs hostility to those which he considers superior, creating a scapegoat and avoiding culpability for one’s own. That he did it “for the lulz,” is hardly a fitting motivation at first glance. Divorced from his wife, then having his mistress horribly murdered, Namatame collapsed into despair, succumbing to his shadow self out of a desperate need for meaning, throwing people into the fog thinking that they would be saved from the death (spiritual and literal) that came from being exposed on TV, as happened to his lover after their affair was brought to light.įor Adachi, has caught a lot of flak for his supposed simplicity. People only gain power and resolve after recognizing that they cannot be complete without accepting their shadow selves as part of the equation, taking the bad along with the good, ultimately forming that more perfect union.Īs expanded upon in the true ending, Izanami selected Adachi and Namatame as representatives of traits that revealed humanity’s “true” nature. TV world dungeons are exaggerations, manifestations of that insecurity and self-deception, twisted by the fog. Persona 4 is about the search for truth, one’s unobstructed, complete identity. The only time he is alone is in the final, final final event which, after analysis, still isn’t about the protagonist himself. Even the optional super-boss can be faced with company. And the player is never, ever left alone over the course of the game. Acquiring one’s persona is just the first step on the road to self-awareness, simply a promise to start dealing with the issues that led to those dungeons and boss fights in the first place. Every dungeon is associated with a character character’s shadow. That little mystery sits in the back of the player’s mind until the final big reveal, turning it into a giant “OH SNAP” moment.Įvery major event involves a character coming to terms with his or her shadow. Most importantly, these details give them cause to wonder why exactly he is the Wild Card. They reference his background when talking about how boring Inaba must be compared to the city. They give the cast something to work with as they interact with the protagonist. While these details are superficial at best, they matter. He came from the Big City, and in a year, he will be going back to it, by hook or by crook. He’s moved to Inaba because his parents are working abroad. With nothing behind him, he only looks to the future, the top of Tartarus, and the end of his journey.īy contrast, Persona 4‘s protagonist is not a blank slate. It certainly makes sense within the story, but Persona 3‘s lead is very much a man living in the present. Even then, it serves merely as a point of trivia to explain the character’s power. Only much later in the plot does he gain any sort of background. In Persona 3, the protagonist is almost a literal blank slate.
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