![]() ![]() Those are the kinds of things I paid attention to. I also drew each character’s unique features bigger, such as Ann’s twin tails and hood. ![]() I avoided detailed linework wherever possible, and emphasized the variation between straight lines and curves. Oribe: The 3DS has a small screen and several characters appear on-screen at once, so I had to design them in a way that you could recognize them even if they were very small. ![]() We did this for the previous game too, and for Q2, we again prepared as many motions as we could. So, the best way to draw chibi characters is to make them move around a lot. Maeda: When it comes to character mannerisms during scenes, chibi models have more symbolic, expressive silhouettes than realistically proportioned models. Q: What do you pay attention to when converting Persona characters to chibi form? And of course, we also draw concept art for the new characters. We also make corrections to the Persona Q-style character sheets for the characters new to Q2, 3D character models and field maps, and illustrations that appear in the game. These are basically the reference sheets for the setting. Locations such as the hub where the characters gather and Theodore’s shop are also drawn in this phase. Oribe: When the setting and dungeon specifications are done, we draw concept art for the dungeons with characters inside them. Which phase are the character designs done in? Q: One of Persona Q’s major appeals is that it brings together characters from the Persona series. On top of that, we have kitsch, because eccentricity is another Persona staple. Retro for an old-fashioned feeling, while not forgetting pop, because it is a Persona title. Maeda: The design keywords of retro, pop, and kitsch were decided at around the same time that the setting was fleshed out. Q: So, the game’s setting was created by combining the scenario’s motif with the art team’s vision. But, despite the uncertainty, some of my initial image boards did end up being selected as-is. Most of the elements were still uncertain, so I relied on the mood board as I felt my way through drawing the image boards. Oribe: When I was assigned to Persona Q2, very little had been decided at that point. ![]() As we were wondering what to make it, Oribe suggested adding American-style retro elements and put together an image board which would become the basis for Persona Q2’s movie theater. That said, the movie theater’s ambience would change drastically based on how we designed it-would it be a multiplex with all of the latest features, or an art-house cinema with old-fashioned charm? A regular movie theater wouldn’t be interesting enough, either. Since the theme would be movies, we immediately decided that the characters’ home base would be a movie theater. In the end, we went with the flashy choice of “movies,” which seemed like it’d be fun, albeit not exactly a great representation of storage media. Maeda: In the initial phase of development, the producer and director wanted to tell a story in a setting that included “storage media.” Since they wanted something similar to a materialization of the Akashic records, we came up with motifs such as a library, archives, a brain, etc. Q: Did you decide that the game would take place in a movie theater during this first planning phase? We share this with the other staff, get their feedback, and move on to sketching our ideas on image boards. From there, we narrow it down to 30-50 and create something called a “mood board” that will determine the game’s art direction. We first gather images of all kinds, ranging from candy wrapper art to contemporary art-around 500 pieces in all. For Persona Q2, the game’s design keywords were retro, pop, and kitsch. Oribe: In the first planning phase, we select the theme colors and start brainstorming ideas. Q: What aspect of the art team’s work do you start with first? ![]()
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