Persona 4 & Persona 4 Golden
Soejima: Regarding P4 and Persona 4 Golden, I really liked the disc covers I made for the anime. I put each character under their own spotlight and, believing that such an opportunity may never come again, I happily got to work. I even made sure to draw the hinges on the glasses. I also drew with the thinnest lines that my computer could support.
Why did you impose this type of challenge on yourself?
Soejima: There were several reasons; the most important being that I wanted to try expressing everything using only line detailing. The result was illustrations that followed a new pattern, which ended up being extremely beneficial later on.
What kind of advantages did that bring?
Soejima: There are advantages and disadvantages with involving other staff in art. The biggest advantage was that the more people involved, the more perspectives you get. But on the other hand, since it’s a collaborative effort, saying to make something “that feels like this” doesn’t work, because there’s no unified idea of what that feeling is.
However, once one of these illustrations was complete, I could say “make it like the P4 anime box art”, and everyone on the staff would be on the same page. Sure, at the time it brought many advantages, but I was too enthusiastic at first, which later on caused problems for the staff because they had to match the level of detail. (laughs)
- Page 1: Introduction & Catherine
- Page 2: Persona 3 Portable
- Page 4: Persona 4 Arena
- Page 5: Persona Q: Shadow of the Labyrinth
- Page 6: Persona 4 Arena Ultimax
- Page 7: Persona 4: Dancing All Night
- Page 8: Persona 5
- Page 9: Project Re Fantasy & Other
- Page 10: The Artbook Cover
- Page 11: Seeing the World as Flat
- Page 12: Proceeding with the Art Unit
- Page 13: Shigenori Soejima’s Frustrations
- Page 14: A Character Designer’s Happiness
- Page 15: A Way to Put Our Work in the Spotlight