Persona 5: The Phantom X.

Original Release: Android, iOS, Windows, 2025. Platform Used: Steam Deck.

Note: This review is based on 60 hours of playtime, including the first two palaces, various side-quests, and the "Crossroads of Fate" event.


THE PLOT:

After observing a fellow student's attempted suicide, a high school teen attending the Shujin Academy in Tokyo finds himself whisked away to The Velvet Room, where attendants Igor and Merope inform him that he is facing "ruin" unless he can find a way to fight back against it. He dismisses this as just a dream... until he presses a strange icon that appears on his cell phone.

He is abruptly transported to a world where he must battle Shadows alongside Lufel, an owl who is somehow able to communicate with him. Lufel dubs them "Phantom Thieves," and insists they use code names to disguise their identities, with the boy now dubbed "Wonder."

Wonder's new double life begins at just the right time. Disgraced former baseball player Kiuchi has begun violently bumping into women on the subway, evading consequences by claiming this was accidental. His behavior is becoming steadily more aggressive, and he has started targeting Wonder's fellow student, Motoha. When her best friend gets injured shielding her from this "Subway Slammer" (yes, really), Motoha's own Persona awakens, enabling her to fight alongside Wonder and Lufel to get justice for her friend by changing Kiuchi's warped desires.

Meet the Phantom Thieves. Um, the discount versions.

CHARACTERS:

Wonder may well be the dullest Persona protagonist. He has little personality, either in artwork or dialogue options. Persona 5's Joker had been set up as a delinquent, making him an outsider before he even arrived at Shujin; Persona 4's Yu Narakami had a preppy aesthetic that fit well with that game's social circle, and the uncle he lived with was investigating the crimes that gave that game its structure. Wonder is just... present. He has no personal stake in defeating either of the first two bosses, and he seems generally blank and featureless.

The supporting cast is better, with Motoha both enthusiastic and quick to anger and later supporting character Shun burdened by feelings of guilt, but neither of them transcends basic anime tropes. Talking owl Lufel, meanwhile, just feels like a discount version of Persona 5's Morgana.

Not helping are crossover events with the Persona 5 cast. In every instance in which Wonder's group shares the screen with Joker, Ryuji, and company, I just end up being reminded how much more dynamic the earlier game's characters were.

The boss fight against the first Palace ruler, a former baseball
player. Combat, like most of the gameplay, is excellent.

GAMEPLAY:

One area in which The Phantom X excels is the gameplay. As a free-to-play gacha title that many will play on their smartphones, its exploration and combat mechanics are simplified from those of Persona 5. However, it retains the feel of the earlier game. When you infiltrate palaces, you will have to find ways to get through locked doors, with various types of puzzles to solve. Ambushing Shadows is clunkier than in Persona 5 thanks to the cruder interface, but it's also more forgiving - to the point where you just about have to try in order to end up being ambushed.

The gameplay and combat remain addictive when you're in the Palaces or the Metaverse, and the game designers have done a terrific job of translating Persona 5 to a simpler, handheld-friendly format. The gacha elements can be intrusive, particularly when they "pop up"on the screen... but that more or less goes with the territory, and in most other respects, this is an extremely well-made title.

I just wish I could be half as positive about the writing...

Your first enemy: Takeyuki Kiuchi, The Subway Slammer.
The whole subway's his for the slammin'.

WRITTEN ON THE SUBWAY WALLS:

"The whole subway's mine for the slammin'!"
-The game's first boss, "The Subway Slammer," becomes an accidental Internet meme in the space of a single line.

Persona 5: The Phantom X has a lot going for it. It looks great, it plays well, and it boasts a fantastic score. Thus far, I haven't spent one penny, and I've found it generally free-to-play friendly - not as much as a Hoyoverse title, perhaps, but more than most gacha games I've dipped into.

But as I was playing it, even as I mostly enjoyed myself, a single thought kept popping into my brain - a tired Internet meme that nonetheless perfectly describes my reaction:

"We have Persona 5 at home."

Phantom X delivers a taste of what Persona is and how it plays (post-PS1 era, at least). It has the school/life division, though without the calendar that aspect is greatly diminished, and it attempts to tackle themes of alienation and social issues that have marked the modern Persona series. I'd say it's a decent enough free sampler of the series... except that the writing is so much worse than any of the actual mainline titles.

The opening "Subway Slammer" arc tries to build a story around a legitimate problem in Japan, of disturbed individuals deliberately and forcefully slamming into others (mostly young women, of course) with their shoulders and claiming accident. This is a passable seed to build a story around. Too bad, then, that Kiuchi, the villain of the first Palace, is cartoonishly over-the-top. At one point, he charges one of his victims and body slams her over a protective wall. Tokyo subways have a lot of security cameras, and he barreled toward his victim like he was an NFL linebacker. Claiming "accident" would simply not fly.

Oh, but the game has a "get-out-of-jail-free" card: "Apathy Syndrome." This isn't new to this entry, having been used in previous Persona titles as a growing sign that the world is moving toward ruin. Here, though, it becomes a magic wand that can justify any plothole.

There's more than enough evidence to throw Kiuchi in jail and be done with him? "Apathy Syndrome" means that neither police nor public care. The second villain is a popular restaurant reviewer who destroys good restaurants by giving bad-faith negative reviews (yes, really). And this works flawlessly in ruining even successful and well-loved establishments because "Apathy Syndrome" means that people will take his word over the delicious meal they ate last week.

It's difficult for the game's story to capture any real world resonance when its villains require a Magic Syndrome in order to be effective threats in the first place.

The Palaces are big, to make sure you don't get through
them too quickly. But they're too big to remain interesting.

LEVEL-GATING AND TIME-WASTING:

The gameplay is this title's saving grace... almost.

As I said earlier, the addictive Persona 5 gameplay has been effectively streamlined to work in a mobile format. The Palaces are beautiful to look at, the soundtrack is fantastic, and the combat flows smoothly. Puzzles are mostly well integrated (though if I never see another colored baseball that I need to fit into a lock, it will be too soon), and the palace designs cleverly reflect the individual villains - frankly, the level designers do a better job of characterizing the baddies than the actual script does!

But it's an online, ongoing gacha game, which means that the developers don't want you getting through content too quickly. Hoyoverse mostly tried to avoid this issue in their gacha games by creating lots and lots of content, with side quests and daily missions that further developed their settings and were often quite interesting in themselves (and, yes, some that were effectively fetch quests). Black Wings/Atlus follow a more time-honored strategy:

They waste your time.

There are multiple points in the game at which you will find yourself level-gated, pushing you off to grind side activities until you are graciously allowed to continue the story. This is a mild annoyance, as you can gain levels reasonably quickly, but it turns those side activities - quick combats that gain you Personas or upgrade materials - into chores.

The palaces are also big. Too big. If the first of these dungeons - which is larger than all but the final Persona 5 ones - had been the standard size, then I would be reasonably OK with this. But the second Palace is almost double that size, to the point where its repetitive hallways and trap puzzles become boring.

Lastly, at the end of the second Palace - which, until an update earlier this week, marked the end of the initial story content - the game unveils its final delaying tactic: a sudden difficulty spike. The second boss is recommended for a party of Level 58 or higher. You can comfortably reach him, defeating most of the mini-bosses along the way, with a party of about Level 40. I would generally call this poor design - except in this case, the design is doing exactly what's intended. It's just that the intent is to delay players by sending them back to grind for several sessions.

Of other games I've played, I'd most compare these time-wasting tendencies to the "four Tombs" quest in Anthem - unnecessary barriers that exist only to keep you from running out of story, even if it transforms gameplay that had been enjoyable into a tedious irritation. It's a massive misjudgment, one that I suspect has caused at least some players to drop the game entirely.

Igor and Merope, in The Velvet Room, offer you a contract.

OVERALL:

Persona 5: The Phantom X is entirely salvageable. The designers have done a terrific job of adapting Persona 5's gameplay into a mobile format, and it's genuinely fun to play. The problem isn't the game's architecture but its writing - and it's my understanding that Atlus has already stepped in to change writers for the latest update, so there is an excellent chance that this will improve.

I'm disappointed in Phantom X, but I haven't given up on it. It's my hope that, in due course, I will find myself issuing an update to note improvements. As of the end of the second arc, however, I would rate this as a passable Persona sampler, but one that falls well short of any of the "real" Persona games.


Overall Rating: 4/10.

Previous Game: Persona 5 Tactica

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Devil Summoner: Raidou Kuzunoha vs. the Soulless Army

Original Release: PS2, 2006. Version Reviewed: PS2, 2006. Platform Used: PS3.


THE PLOT:

After completing his training, devil summoner Raidou Kuzunoha XIV is sent to the Capital to join the Narumi Detective Agency. Not long after he arrives, Narumi receives a call from Kaya Daidōji, the teenage daughter of a wealthy family. Kaya makes a bizarre and desperate plea: She asks Raidou and Narumi to kill her.

Before they can fully process that, mysterious soldiers appear to kidnap her. As the detectives attempt to track down the missing girl, they find themselves drawn into a conspiracy involving the Japanese military, Russian devil summoner Grigori Rasputin, and a horde of demons who all seem focused on the same goal. Unless Raidou can unravel the mystery, not only will Kaya be doomed - so will the Capital itself!

Dogged reporter Tae Asakura's introduction.
Unfortunately, there's not much more to her character.

CHARACTERS:

One of the game's weaknesses is that the characters are shallow. They fall into base types: the cynical detective (who doesn't pay his bills, naturally), the dogged female reporter, and so on. They all have a degree of personality, and the character art invests style and attitude, but there's nothing beyond the surface. The recent remaster's voice acting likely offsets some of this - from what I've seen, the remaster's voice acting is quite good - but these are thin characters on the page, and I found it impossible to get particularly invested in any of them.

I did enjoy the supporting character of Rasputin, however. He doesn't have any more depth than the others, but he is over-the-top in a way that's a lot of fun. When you battle him, his "fighting move" involves doing a Russian dance, while he summons Russian dolls to help him - both things that I found utterly hilarious. It helps that his appearances tend be both brief and limited, so there's no chance to get tired of him.

Normal combat encounters mostly involve clunky button-mashing.

COMBAT:

Given the frequency of random encounters, you'll be spending a lot of time in combat. This is a problem, because in the original version, Raidou's combat is... well, bad.

Atlus attempted to perform fusion between hack-and-slash games and their usual turn-based combat, and it just didn't come out well. The combat largely consists of hacking away at enemies with a three-attack combo. You can summon exactly one demon to assist; if you need a different demon's skills, you have to return that demon and summon the next in mid-battle. In theory, this can be strategic, with a mix of blocks, attacks, and using specialized bullets and/or your demon's magic to hit weak points. In practice, the control and timing aren't there. In random encounters, particularly with multiple opponents, I quickly realized that I was better off ignoring strategy and just hacking away.

You can still exploit enemy weaknesses to capture demons - but instead of negotiation, you first hit its weakness, then hit the "O" button to capture, which brings up the capture mini-game... which consists of still mashing the "O" button as fast as you can.

The boss fight against Rasputin. In contrast to
normal combat, the boss fights are actually fun.

I will say that the combat plays much better in the boss fights. Boss battles usually don't involve large numbers of enemies, making it possible to properly focus on the attacks and movements. Normal encounters in this game aren't difficult once you comprehend the battle system, but they are tedious. Bosses, however, are fun, particularly as the game goes along, because there's usually one specific strategy you have to find to avoid massive damage and deal proper damage on your own part.

The remaster completely overhauls the combat. I know from glancing at online videos that the new version allows players the use of two demons, while also allowing a greater range of movements to block and evade attacks. It looks as if the energy Atlus tried to capture in 2006 actually is present, and I've heard from others that the new version's battles are enjoyable.

In the PS2 version, however, Raidou's combat is mostly a chore.

Non-combat gameplay involves exploring
settings around The Capital to advance the story.

GAMEPLAY:

Non-combat gameplay is familiar, not just from other Megaten games but from RPGs in general. Your hub is Tsukodo-Cho, which is home to: Narumi's detective agency, where you can check in for reminders of plot details and to save your game; Konnou-Ya, the antiques shop where you can purchase healing items and different types of ammunition to hit weak points; and Goumma Den, where mad scientist Victor performs demon fusion.

When you leave Tsukodo-Cho, you enter an overworld map. Explorable areas unlock as the story progresses, and you will return to most or all of them in later chapters either for story reasons or just to hear the various characters comment on new plot developments. Random encounters will trigger as you explore these areas, with lower-level demons in Tsukodo-Cho and higher-level demons in areas from later chapters.

You can also travel to the Shinoda Shrine, where Raidou can enter the "Dark Realm," which offers demon-controlled variants of the regular area maps. I gather that in the remaster, random encounters are limited to the Dark Realm. In the PS2 original, random encounters happen everywhere and with great frequency... which, in fairness, can be good for grinding.

Most chapters involve traveling among different areas to advance the story. Usually, you will have to go to the Dark Realm near the end of the chapter to defeat a powerful demon. This triggers a cutscene that ends the chapter, with an automatic save point at the end of each chapter.

Raidou watches as a witness transforms into a demon.

OTHER MUSINGS:

The first thing I noticed about Raidou Kuzunoha vs. the Soulless Army is that it has a wonderful sense of visual style. Characters' costumes and art deliberately evoke 1940s film noir, and Raidou himself may be the most distinctively designed SMT hero I've yet encountered.

Playstation 2 games often had a "washout" effect, the limitations of the hardware resulting in muted colors and a general preference for blues and greens over brighter hues. Well-designed games often made use of this to enhance atmosphere. This is very much the case here. The muted palette evokes a sense of watching a faded film reel. The reliance on darker colors also helps lend an ominous atmosphere to the Dark Realm. The visuals are matched by composer Shoji Meguro's score; as of this writing, the game's main theme has been firmly stuck in my head for the better part of a week.

The story is structured into twelve chapters, each of which is described as an "episode," each with its own title. They're even structured like episodes of a series, with each having a beginning, middle, and end, and with early chapters seeming related but still narratively distinct.

This is both a benefit and a drawback. Since each episode only takes a few hours to beat, it gives the player a sense of regularly making progress. However, the separation in the early episodes saps the urgency, at least until the chapters become more connected later. I started playing this game before the remaster was announced, going a chapter at a time with breaks in between. I was enjoying it well enough... but the natural break built in by "End of Episode" made it easy for me to set it aside to play something else for a bit.

This changes in the second half, around Chapters 7 and 8. At this point, it clearly becomes a single story, gaining first focus and then momentum. It took me months to play through the first six chapters, but less than a single month to play through the last six. The final dungeon is lengthy and annoyingly maze-like, but I plowed through it quickly because by that point, I wanted to see how the story turned out (for the record, I was satisfied with the ending)..

I suspect I won't be alone in finding the game's first half to be a bit slow and disconnected. My advice to anyone struggling with the early chapters is to stick with it, because the improvement in the second half is worth the slow start.

Raidou attempts to protect both Kaya and The Capital.

OVERALL:

From what I've read and videos I've seen, the recent remaster (really more of a faithful remake) fixes or at least offsets the worst issues. From side-by-side comparison videos, I actually prefer the visual look of the PS2 version... but in other respects, based on what I've seen, the remaster appears to be the better version of the game.

That said, I didn't play the remaster, I played the original. I enjoyed it. It's wonderfully stylish, the plot is bizarre but intriguing, and the atmosphere is aided by a terrific music score that switches from upbeat and jazzy to ominous to match each dramatic cue.

If you have a PS3, as of this writing the original versions of both Raidou games are available for about $10 each on the PS3 store, and I definitely feel that I got my money's worth. But it's a flawed game, with weak characters and horribly clunky combat - and since that's the version I played and that's the version I'm reviewing, my score has to take those issues into account.


Overall Rating: 6/10. I suspect you can bump that up to a "7" for the remaster.

Sequel: Digital Devil Summoner - Raidou Kuzunoha vs. King Abaddon (not yet reviewed)

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Tokyo Mirage Sessions

Original Release: Wii U, 2015. Version Reviewed: Wii U, 2015.


THE PLOT:

When Tokyo high school student Itsuki Aoi attends an audition for the next Japanese idol , he is shocked to find his childhood friend, Tusabasa Oribe, participating in!

Tsubasa's older sister had been a successful idol... until five years ago, when she vanished while performing in an opera - along with all the other performers and the entire audience! Tsubasa hopes that following in her sister's footsteps will help her to discover the truth about what happened.

This actually works, though not in the way she expected. Midway through her audition, a mysterious portal appears. Strange beings emerge, kidnapping Tsubasa. Most of the audience is paralyzed, drained of all energy, but Itsuki remains unaffected. He chases his friend's captors through the portal, into a mysterious labyrinth populated by monsters. There, he discovers a new power - one that first helps him to free Tsubasa, then sees him enlisted by Fortuna Entertainment into a quest to not only to save the world, but - even more terrifying - to become a part of Tokyo's entertainment industry!

The heroes unite against a threat to the entire world.

CHARACTERS:

This isn't technically a Persona game, but it hews pretty close to that formula. The main characters are a mix of teens, each driven by things that are revealed during optional "side stories." Reckless Touma participates in live "hero shows," and recalls to Itsuki how such cheesy entertainment helped to give him hope during a difficult childhood. Half-Caucasian actress Ellie seems brash and annoyingly obsessed with all things Hollywood, but we gradually realize just how much of her behavior stems from insecurity, with her light skin and European features making her an outsider in an insular society. Child star Mamori is so eager to please those around her that she has difficulty standing up for what she wants. Even the characters who initially seem one-note or irritating are revealed to have a degree of depth, and by the end even the most standoffish of them has emerged as entirely likable.

There are two unfortunate exceptions, however. Tsubasa could pretty much be described as "anime girl," with none of her side stories building any particular personality beyond that. This is a major problem, because the first third of the game revolves almost entirely around her. Even when she becomes less prominent later on, it's clear that she's the female lead - and I'm sorry, but as a character she is incredibly boring.

Then there is the gaping hole at the game's center: Itsuki himself. His character art is drawn to be blandly pleasant, and that description applies pretty well to him as a whole. I can almost see what the developers were going for in a few scenes, ones that actually turn his lack of direction into text... but since he never progresses from that point, it can't really qualify as an arc. The other, more driven (and interesting) characters push him into every situation. His circumstances change a lot, but he remains very much the same person at the end that he was at the beginning.

In short, the two most prominent characters are a bust, leaving it to the supporting cast to carry the story.

A combat session: a series of chained attacks. 
These can get really long by the end of the game.

GAMEPLAY:

If you've played any Persona game that postdates the PS1 era, then the gameplay is going to be entirely familiar. Roughly half of the game is spent exploring dungeons, each of which is designed around a theme. You will fight enemies - known here as "mirages" instead of demons - and level up your weapons and abilities. Hitting enemy weaknesses will allow your characters to engage in "Sessions," chained attacks that can do devastating damage.

The other half of the game is spent exploring various real world locations, interacting with characters and completing requests that range from minor fetch quests (find a random person's watch or briefcase) to more elaborate stories that will take you back into the dungeons trying to rescue people or recover specific items. This is also where you will complete the side stories that are this game's equivalent to Persona's Social Links, helping out your teammates and revealing their personalities (and usually unlocking new and more powerful attacks in the process).


THE SORT-OF CROSSOVER...:

Tokyo Mirage Sessions: #FE is officially a crossover between the Shin Megami Tensei and Fire Emblem franchises. It would be more accurate to describe it as Persona Lite: The Musical, with a Fire Emblem skin. The gameplay is a direct lift from the Persona series. The tone is lighter than any of the mainline Persona games (never mind Shin Megami Tensei), but it's unmistakably part of that range in all but name.

The Fire Emblem elements are considerably more minor. The "personas" gained from the Velvet Room in the Persona series are replaced by mirages who reside in the "Bloom Palace." Each mirage is a Fire Emblem character selected to match the personality of the individual they're teamed with. Bosses are also drawn from Fire Emblem games, and the story - when it's fully revealed - effectively acts as a sequel to Shadow Dragon... which likely explains why all the mirages are drawn from either Shadow Dragon or Awakening.

Musical number as combat move:
Tsubasa and Ellie perform a mid-battle duet.

NOT FOR ALL TASTES:

Tokyo Mirage Sessions is probably the definition of "not for all tastes."

It has a heavily stylized look. In the "real world," the people you can't interact with are represented by colored outlines, making the faceless crowds appear as ghosts. Only your characters and the NPCs with whom you can actually speak are fully detailed. Characters are extremely tropey, to the point where some of them are initially irritating, though most gain added dimensions as the story goes on. 

It's also a musical. The characters are performers, and many of their side stories culminate in concert performances. This carries over to the in-game combat. Once you've unlocked a character's real world performance, it becomes a special attack that can be triggered in mid-battle... meaning that in the midst of combat, two of your characters will start singing and dancing before unleashing a devastating combo. It's fun (and thankfully, even in the Wii-U version, is skippable so that you don't have to watch the same scene repeated endlessly)... but there's no denying that it's weird.

Oh, and the dialogue is in Japanese with English subtitles. This was certainly a commercial decision, with Nintendo deciding not to throw extra money at a tough-to-advertise title on the already-failed Wii U... but I think it actually works in the game's favor. The only way this could be more Japanese is if Godzilla started stomping around leveling buildings - and you could probably drop such a bit in here without it feeling even a little bit out of place! In my opinion, English language dialogue might actually be a distraction from the overall vibe of the piece.

Itsuki is targeted by a demon... er, shadow... er, mirage!

OTHER MUSINGS:

Tokyo Mirage Sessions was the first Shin Megami Tensei-related game I ever played. As a Fire Emblem fan, I was wary of this title, but my inner completionist refused to let me ignore it. I purchased a used Wii U from ebay (this was years before the Switch re-release), fired up the game... and quickly found myself engaged. It was this game that led me to the Persona series; and revisiting it years later, I still find myself enjoying it.

There are some downsides. The chained sessions, where hitting an enemy weakness allows each of your characters to attack in turn, are very entertaining... for a while. However, a full session chain, with each attack individually animated, can run up to two minutes; if you earn an additional special attack, which will in turn usually earn a new session, you can easily double or even triple that time. That makes for a lot of play time spent just watching your characters attack, over and over again. The Switch re-release fixes this, allowing a "Quick Session" function that fast-forwards the attacks... but if you're playing the Wii-U version, these attack chains are entirely unskippable.

The game allows you to save almost anywhere outside of combat, which is good. However, there is no auto save, which is downright bizarre in a modern game and can easily trip up gamers who have become accustomed to regular checkpoints. Simply put: Save regularly. Save when you enter a dungeon; save before boss battles; save after big cutscenes. Don't be lulled by the generally easy difficulty, because you are never more than one "Savage Enemy Encounter" away from potentially losing an hour or more of progress.

Outside of these annoyances, the game is generally a lot of fun. Sure, the "save the world" plot often gets lost in the shuffle of side quests. "It's the end of the world and we have to stop it!... right after we help Tsubasa with her singing, assist Ellie in landing a big part, and save Mamori's cooking show from a meddling new producer." But it's churlish to complain about that, for two reasons: (1) Many of those side quests are more engaging than the main plot; and (2) There's not a single post-PS1 era Persona game that couldn't be subject to the exact same criticism.


OVERALL:

Tokyo Mirage Sessions is an odd game, even by Shin Megami Tensei standards. That said, I found it highly enjoyable. The characters are likable, the stylized visuals are appealing, the combat is mostly a lot of fun, and - critically for a musical - most of the music is good. I'll admit that it's not for all tastes, and I'd definitely rank it a step or two below Persona 4 or Persona 5. Still, for fans of the franchise, I'd say this is worth checking out.


Overall Rating: 7/10.

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Persona 5 Tactica.

Original Release: Playstation 4, Playstation 5, Ninendo Swittch, 2023. Version Reviewed: Playstation 5, 2023.


THE PLOT:

After bringing down Minister Shido and defeating the dark god Yaldabaoth, the Phantom Thieves have earned a rest... but they aren't going to get one.

They are in Cafe Leblanc, watching a news report about the disappearance of politician Toshiro Kasukabe, who is favored to become Prime Minister. Suddenly, the group finds itself transported into an Alice in Wonderland-like Kingdom, ruled over by Marie, a wedding-obsessed tyrant. Joker and Morgana manage to escape, thanks to the intervention of rebel leader Erina. However, their friends are captured.

While staging a rescue, they stumble across another prisoner: Toshiro. He's been abducted, but he has no memory of it happening. In fact, there are large gaps in all of his memories. Even as the Phantom Thieves are reunited, they come to realize that Toshiro's past holds the key to their presence in this strange world.

Getting back home will mean keeping him alive - which, given Toshiro's general uselessness, might be easier said than done!

Toshiro is shaken after being transported to an impossible world.

CHARACTERS:

There are more than a few similarities between this title and the Persona Q games that came out for the 3DS. One of the biggest is that the Phantom Thieves are essentially "guest characters" in their own game. The real focus is on the new characters, Toshiro and Erina. They have full character arcs, and both of them gain considerable depth as the story progresses.

By contrast, the Phantom Thieves are basically "present." There are parallels between some of Toshiro's and Erina's issues and problems that some of the Thieves went through during Persona 5, notably Futaba and Haru. But the Phantom Thieves are static characters. They observe the events happening to Toshiro and Erina, they react to those events, and they protect the pair - but in the end, this isn't their story.

Setting up a devastating Triple Threat - this
game's version of the series' All Out Attack.

GAMEPLAY:

The gameplay segments of Tactica represent a very basic tactical RPG. If you've played any Fire Emblem, or Suikoden, or X-Com, the grid-based maps will be entirely familiar. Also, if you've played any of those, the difficulty will seem downright laughable by comparison, even on the hardest setting. I managed to botch parts of the fight with the first Kingdom's boss, with my characters getting literally run over and scattered about the map like ragdolls... and not only was I able to salvage the level, my units didn't even take that much damage! Call this "Baby's First Tactics Game."

There are a few neat curveballs. If your character manages to score a critical hit (easy to set up once you know how), that character gets an additional turn. Exploit it properly, and you can stretch one turn into several offensive actions. Also, once you get a "One More!", you can position your characters in a triangle around enemies and perform an All Out Attack. Yes, all of this makes an easy game even easier... but I'd be lying if I said it didn't feel satisfying to pull off.

There is some difficulty. Not in the main story missions, but optional "Quests" will test your ability to exploit the game's mechanics in bite-sized encounters that have strict conditions for victory. Some of these get repetitive, though, particularly the altogether too many "defeat all enemies in one turn" quests.

Erina plants the flag symbolizing her rebellion as she and
the Phantom Thieves take their fight to the Tyrant, Marie.

THOUGHTS:

Persona 5 Tactica might as well be titled Persona Q: Tactics. Yes, the Etrian Odyssey-inspired mapmaking has been replaced with tactical grid maps. In all other respects, though, this is essentially a Persona Q title. The cast gets whisked into a fantasy world, where they act as protectors for the actual focal characters while traversing four dungeons related to the new arrivals' arcs. There's a base, where character development occurs through optional conversations. All the characters get to equip sub-Personas, just like in the 3DS games. Oh, and it utilizes a Chibi art style.

I will say that I enjoyed it more than the second Persona Q game, though I didn't think it's as creative as the first one. That said, for a current gen game, there's little if anything here that couldn't have been accomplished on the 3DS. The maps are mostly small; even the boss levels have less elaborate maps than some of what was seen in the 3DS Fire Emblem games. It's also quite short. You can blow through the main story and all Quests in about 30 hours.

I enjoyed it on its own terms, but I can't deny that it feels... well, small. I think I'd be a lot more forgiving of its limitations if not for one thing: the price point. This looks and plays like a $30 game, but it was released at a full $60. Tactica ended up with soft sales compared to most Persona offshoots, and I strongly suspect the asking price had a lot to do with that.

The story starts out poorly, with clunky dialogue that makes it even harder to adjust to the art style. Futaba gets some particularly bad lines. Yes, she's a techie, a hacker, and a gamer; but in the first part of the story, practically every word she utters is a gaming reference. The main game's Futaba was working through severe issues related to grieving, guilt, and anxiety, but she still did her best to connect with and help her friends. I liked that Futaba. This game's version? Well, not for the first time in a Persona 5 spinoff, she's been flattened into someone I would find unbearable in real life.

Thankfully, the writing improves as the story progresses. The dialogue improves, even if many of the conversations are a bit repetitive. Toshiro and Erina grow from one-dimensional ciphers into genuinely engaging characters. Oh, and it's a Persona game, so it goes without saying that there's a terrific soundtrack, though my personal favorite track ended up coming from the DLC campaign.

Joker teams up with Akechi and Kasumi for
the Repaint Your Heart DLC campaign.

DLC: REPAINT YOUR HEART:

Yes, the game has a DLC campaign - Day One DLC, no less.

Repaint Your Heart is a fully separate story, set during the "Sae's Palace" segment of the original game. The story teams Joker with Akechi and Kasumi as they're drawn into a street artist's nightmare world. It's actually a lot of fun, with both your characters and the enemies having to "paint" areas of the map to gain tactical advantages (Persona: Splatoon!), and it benefits from some excellent voice acting, particularly by veteran voice actress Susanne Blakeslee as the villain.

The story is engaging, and the element of "tactical paint" suits the narrative while improving upon the main game's gameplay. Character interactions are well-written, sometimes more so than in this game's main campaign, with several exchanges playing on the secrets kept by both Akechi and Kasumi. It does feel like a missed opportunity that Yusuke, the artist member of the Phantom Thieves, is completely absent for a story centered around art, but that's really my only complaint about the story.

If it was $10, I'd recommend it without reservation. As with the main game, though, I think it's a bit overpriced. This DLC lists at $19.99, and it lasts all of four hours. Yes, you get some challenge levels after you beat it, and you unlock Akechi and Kasumi for your next playthrough of the main game. But it's hard to see this trifle, enjoyable though it is, as something that's worth the asking price.

The Phantom Thieves find themselves in
a bizarre fantasy world. It must be Tuesday.

OVERALL:

Persona 5 Tactica is too small scale to justify its price. It's a Playstation 5 game that feels like it should be a mobile or handheld title, a sense not helped by it being so strongly reminiscent of the 3DS Persona Q spinoffs.

It is enjoyable, as its DLC campaign. I don't think it's worth full price, but I'm not going to deny that I had fun playing it. Catch it on sale at a decent discount, and I'd say it's worth giving a go. But at its list price, it costs about double what it actually merits.


Overall Rating: 6/10.

Previous Game: Persona 5 Strikers
Next Game: Persona 5 - The Phantom X

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Persona 5 Strikers.

Aka, Persona 5 Scramble (Japanese title). Original Release: Playstation 4, Nintendo Swittch, 2020. Version Reviewed: Playstation 4, 2020.


THE PLOT:

It's summer vacation, and Joker has returned to Tokyo to reunite with his old friends, the group formerly known as "The Phantom Thieves." With the defeat of both Shido and the God of Control, there's no more need for heroics, and the friends plan to relax and spend the month just enjoying each other's company.

But life intervenes.  A wave of "changes of heart" has left the police suspecting the Phantom Thieves are once again active.  Zenkichi Hasegawa, a police inspector, thinks otherwise. He approaches the group and makes a deal to shield them from arrest - if they can unravel these new incidents and find the real culprit behind them!

A police inspector approaches the Phantom
Thieves with an offer they can't refuse..,

CHARACTERS:

Spinoffs Persona 5: Dancing in Starlight and Persona Q2 reduced the rich cast to two-dimensional caricatures... Which makes it all the more joyous to see the cast back in form in this sequel. Each of the main characters gets a moment in the spotlight, thanks to a structure which connects each of them with one of the game's mini-bosses. This adds additional depth, even the ones the original game sometimes overlooked. Haru in particular gets more focus than in Persona 5, emerging as a surprisingly strong character. Meanwhile, Ryuji - generally just comedy relief - receives a strong dramatic moment midway through that's in-character while still acting as an effective contrast to his usual antics.

The new characters are also engaging. Zenkichi originally seems to be just a replacement for the earlier game's Akechi: the detective whom the characters are forced to work with to stay out of jail. As the story unfolds, he becomes such a well-developed character that I wouldn't mind seeing him return in another title. Friendly AI Sophia is possibly a bit too anime-tropey for my personal tastes, but she also receives several good moments - and all of the various mini-bosses are three dimensional characters whose pasts are explored by the narrative.

Voice acting is terrific across the board. In the original Persona 5, I didn't much care for Xanthe Huynh's overly-breathy Haru. Either the actress has toned it down or the improved material she's received has boosted her performance, but she's not only good here: She's arguably one of the game's standouts.

One of the game's boss battles. 
Yes, the enemies are still pretty weird...

GAMEPLAY:

Like earlier Persona titles, gameplay is divided into two segments: the real world, and the fantasy world (here known as "the Metaverse"). Real world gameplay is similar to earlier titles. You control Joker, exploring bits of various Japanese cities while listening in on conversations and interacting with your companions and assorted NPCs.

In the fantasy world, however, Persona 5 Strikers is very different. The game is a crossover of sorts with the popular Dynasty Warriors series, and it replaces Persona's usual turn-based combat for real-time "hack-and-slash" battles against large groups of enemies. I'll admit that this made me wary of the game, despite its many good reviews. I'm not fond of hack-and-slash combat; and I had previously been left completely unengaged by Fire Emblem Warriors, a Warriors crossover with another of my favorite series.

Happily, once I adjusted to the hectic pace of combat, I was surprised by how intuitive and enjoyable this game's combat became. Persona battle tactics have been carefully merged with the frenetic Warriors "Musou" style, and the results succeed in feeling like Persona combat that's simply achieved in a different way. The basic rules still apply: You do extra damage for successfully ambushing enemies, but are at a disadvantage if they ambush you. Enemies have weaknesses that you can target and exploit, often resulting in battle-ending "All-Out Attacks." Baton Passes can be done at the press of a directional button. It's all accomplished so artfully that, long before the end, I stopped even thinking of it as being different.

The Phantom Thieves rise again.

THOUGHTS:

Persona 5 Strikers is not just another Persona spinoff. This is no minor side title like the Arena or Persona Dancing games. This is a proper sequel, with a storyline that builds on Persona 5's while taking concepts and characters in new directions.

The story follows the structure of a road trip, with the group traveling in an RV from city to city. The result is a tour of some major Japanese locations, including Tokyo, Sapporo, Okinawa, Kyoto, and Osaka. It's no open world game - You only get to explore a few sections of each city. But those sections are meticulously recreated, as side-by-side photos of the game's locations vs. their real-world counterparts attest.

The "tour of Japan" aspect carries over to the "Jails," this game's dungeons. Each Jail is tied to a specific city, meaning that the fantasy world provides a distorted recreation of those same locations, merged with the Jail's theme. For example, after touring Sapporo's parks and shopping district, you enter its Jail... and go through those same locations, only now reinvented as an ice-covered winter wonderland. The effect is visually striking, and simultaneously eerie and engaging.

Persona 5 already boasted my favorite soundtrack of a series that's become known for its splendid soundtracks. The core songs from the earlier game return at appropriate moments: notably Life Will Change after the sending of Calling Cards and Rivers in the Desert for a key boss fight. Several new tracks have also been commissioned. They are in the same jazz/rock style, and a few of them are every bit as good as the original game's songs.

The script intelligently explores significant issues, from the effects of bullying to government corruption. Many of the game's villains are people who actually wanted to do good, or who were themselves victims of abuse or mistreatment, which makes the Phantom Thieves' adversaries more than the usual "Eeeviill" video game bosses. When the Shadow of one such character - a mayor who has been mistreating her staff - falls, she frets, "What kind of monster will... (take my place)?" Given the backstory we've already learned by this point, her cry is not without some justification.

Unfortunately, the series' tendency toward heavy-handedness remains in evidence. I was involved by the story throughout... but I'd be lying if I didn't admit to rolling my eyes at a few of the late-game monologues. Also, some of the series' overused elements are dutifully trotted out again here. Every significant female character seems to be in love with, or at least expresses interest in, Joker. Running gags have a tendency to run out. And yes, the group visits a hot spring for another round of the same allegedly hilarious hijinks that became tired long ago.

For Persona 6, I hope some of these elements are retired. I'd love for at least a couple members of the opposite sex to be romantically uninterested in the protagonist. I'd be very happy if the exploration of moral and sociological issues didn't have to end with After School Special style speeches. And I would be positively delighted if all future Persona games declared a moratorium on sitcom-level misunderstandings at hot springs!

Still, these are minor pet peeves that apply to the series as a whole.  While they are no less annoying in this game than in previous ones, they are also no worse. Like frustrating mini games in Final Fantasy titles, these just seem to be blemishes that must be accepted when picking up a Persona game.

Joker returns, his flair for the dramatic fully intact.

OVERALL:

I approached Persona 5 Strikers with wariness, after being underwhelmed by previous Persona 5 spinoffs and by previous Warriors crossovers. To my delight, it ended up being a full sequel that at all times felt like a proper Persona title, even while using a radically different combat style.

In its way, this is almost as good a game as Persona 5; and I would rate it every bit as much a part of the "core series" as any of the numbered entries.


Overall Rating: 7/10.

Previous Game: Persona Q2 - New Cinema Labyrinth
Next Game: Persona 5 Tactica

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Persona Q2: New Cinema Labyrinth.

Original Release: Nintendo 3DS, 2018. Version Reviewed: Nintendo 3DS, 2018.


THE PLOT:

During the period in which the Phantom Thieves have struck an uneasy alliance with "Detective Prince" Goro Akechi, the group decides to train in Mementos. However, something feels off, and they soon find themselves ejected into a bizarre world dominated by a superhero known as "Kamoshidaman" - who looks exactly like the gym teacher who so badly tormented Ann and Ryushi.

They discover that they are inside a movie, one that is rife with Shadows.  They are able to escape into a movie theater, but are unable to exit to the outside world. There are only two people inside: Nagi, the theater's manager, and Hikari, a painfully shy teen girl who is the only customer. Also present is "Doe," a mysterious creature who shows movies - films that are "wrong," showing stories about giving into authority and conforming to groups regardless of personal beliefs.

To escape this strange place, the Phantom Thieves will need to enter these movies and change them for the better. And as they do so, they learn that they are not the only group that has been brought here...

The Persona casts set out to "fix" a series of bizarre movies.

THE LANGUAGE ISSUE

Persona Q2 was the final 3DS game to receive a physical release in the West. By the time it came out, the 3DS was already effectively a dead system. As such, it's really no surprise that Atlus did not pour money into doing an English dub featuring three full casts made up of some heavily sought-after voice actors. Instead, they subtitled the dialogue while retaining the Japanese audio.

I honestly had no problem with this, and even found some fun in comparing the Japanese and English voices. I'm certainly not going to blame Atlus for refusing to throw a large amount of extra money to dub a large-cast release on an already obsolete system. That said, if you have difficulty with subtitled movies, this game probably won't be for you.

In the movie theater, which acts as the home base and quest hub.

CHARACTERS:

Persona Q2's most interesting character ends up being its most surprising inclusion: the female protagonist from Persona 3 Portable. When she is reunited with the Persona 3 cast, she finds that these familiar faces don't recognize her at all - because they are from the male protagonist's Persona 3. This creates some nice character moments, as she insists on acting cheerful even while privately feeling that she doesn't belong.

The game combines the casts of Personas 3 - 5. The first Persona Q, Shadow of the Labyrinth, did a decent job balancing two casts... but even there the strain showed, with many characters reduced to simply one or two traits. With three full casts to deal with, the sequel has trouble finding anything interesting for most of them to do. Futaba has an effective strand that spans the game's first half, with the painfully shy Hikari reminding her too much of how she was before meeting the Phantom Thieves. Aegis and Akechi get a few decent bits, and Teddie receives just enough prominence to make clear that his Japanese-language voice is even more aggravating than his English-language one. The rest of the supporting characters might as well not be there.

This situation is made worse by a change to the first game's format. In the first Persona Q, the characters interacted with each other through "Strolls," while you got additional bits of interaction and experience through optional side quests. This game eliminates the strolls, moving all its character asides to the quests. A poor decision, as character interactions are now brief and broken up by long stretches of wandering and random encounters.  Also, since these quests are entirely optional, no character arcs build for the Persona casts. As a result, the only substantial character development belongs to Hikari, while the characters actually used to sell the game are left all but entirely static.

Persona 3 Portable's female protagonist meets the Phantom Thieves.

GAMEPLAY:

Core gameplay is identical to the first Persona Q game. The movies the characters enter are dungeons, each designed around a theme: an urban superhero movie, a dinosaur-themed theme park, a sci-fi dystopia, and a brightly colored children's musical. You map each dungeon as you explore, fighting turn-based random encounters and exploiting enemy weaknesses. A boss waits at the bottom of each labyrinth, and you will need to employ careful strategies to defeat each boss.

As with the earlier title, all of this proves addictive. There's something very satisfying about putting the pieces of the maps into place, and the combat is well-designed and enjoyably challenging. Optional side missions give you a chance to level up further, with short explorations of dungeons you've already defeated. The gameplay is generally well-balanced, with bosses providing enough of a challenge to engage without being difficult enough to frustrate... though for masochists, higher difficulty levels are available.

The film-obsessed Hikari watches wide-eyed as
the theater's oppressive movies are made better.

THOUGHTS:

Persona Q2: New Cinema Labyrinth makes a strong first impression. The first hour of the game offers up a jaunty opening cutscene and a strong introduction to the basic scenario. The next few hours are also enjoyable, as you figure out (or, if you played the first game, are refreshed on) the mechanics while exploring a first dungeon that is terrific fun. When the heroes finally confront Kamoshidaman, there's even a Persona 5-like Calling Card delivery, complete with the instrumental for Life Will Change. At ten hours in, I fully anticipated delivering a glowing review.

Unfortunately, the spell fades in the subsequent dungeons. The second and third labyrinths do almost nothing to advance the plot, save for hammering some obvious and repetitive themes. They mainly serve to introduce more Persona casts to the increasingly bloated ensemble, while the main story basically stands still.

It isn't until the fourth (of five total) dungeons that the story actually comes into focus. There are some effective scenes once that happens... but by that point, most of my emotional investment had faded, and so even these well-written moments didn't hit as strongly as they should have.

As with the first Persona Q, the story is centered around Q2's original character - Zen and Rei in the earlier game, Hikari in this one. The first game made Zen and Rei playable characters, which increased player connection to them. In this game, Hikari is an NPC (you do act as her once - but even then, it's in entirely scripted encounters), and so we are never as connected to her as we were to Zen and Rei.

Even with regard to gameplay, which is this title's strongest point, it just isn't as good a title as its predecessor. The maps are simpler, with relatively few creative puzzles or curveballs. The final boss is tedious, an otherwise straightforward boss battle but with an aggravating "Retake" move that requires you to periodically redo a turn. This is an utterly pointless bit of business that doesn't make the battle more challenging in any way; it simply makes it take longer.

The Phantom Thieves in "Kamo City,"
their introduction to this bizarre world.

OVERALL:

Persona Q2 disappointed me, which may be why I'm focusing so much on the negatives. Let me emphasize, then, that this remains an enjoyable game overall, with engaging combat and mapmaking mechanics. But after an excellent first Act, the story stalls for much of the running time - likely in part because it's overburdened by cramming in the full casts of all three "modern" Persona games.

This is not a bad game. But even the things it does well were done better by the previous Persona Q, which is also more widely available. Given that, for all but die hard completists I would recommend playing Persona Q: Shadow of the Labyrinth, and giving New Cinema Labyrinth a pass.


Overall Rating: 5/10.

Previous Game: Persona 5 - Dancing in Starlight
Next Game: Persona 5 Strikers

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