The Sound of Rebellion

Western audiences often connect the visuals of Persona 5 with the punk subculture of the 1970s. The cut-out typography and vivid colors certainly reflect punk's aesthetic peak, but they also represent a refracted view of a fifty-year-old movement through the lens of Japanese culture.

When punk emerged in Japan, it did so in a post-war environment that was profoundly different from its Western counterpart. Counterculture became a key aspect of Japanese society, unlike the apathy that characterized the West, where punk became a mere shadow of its former self, mired in commercialism and imitation. In contrast, punk thrived in Japan, evolving into a distinct form influenced by the memories of American occupation and a collective, techno-driven ethos.

This blending of influences is not a new phenomenon; for nearly two centuries, East and West have exchanged ideas that challenge our simplistic views of Japan as the far East.

This led to the emergence of Noise, a movement that intensified punk's ideals into an unpredictable sonic assault. Noise emerged from the remnants of punk but also incorporated a variety of musical influences, resulting in a genre often referred to as "Japanoise." This style challenges conventional representations of musical history, refusing to be confined to specific groups or places, making it difficult to categorize ethnographically.

Initially, Noise embraced the chaotic sounds characteristic of punk, often devoid of melody or rhythm. However, it has since evolved, drawing from jazz and new wave influences and moving beyond mere intensity.

Pioneers like Shonen Knife, Melt Banana, and Omoide Hatoba represent a stylistic benchmark that continues to inspire many. Noise has transcended its underground roots, gaining visibility in the international music scene, attracting sold-out shows and gracing magazine covers.

While punk and jazz are among the most politicized genres in popular music, Noise in Japan developed not as festival music but as a deeply personal and emotional experience.

Individual vs. Collective

At the core of Persona 5 is a narrative that pits the individual against the collective. The game's protagonists grapple with societal corruption as Jung's concept of collective consciousness is manipulated to control the masses. Their quest for free thought ultimately contributes to the collective good.

The Phantom Thieves begin their journey by confronting an abusive teacher, whose actions are overlooked by the institution for its supposed benefit. As their mission expands to national issues, they remain motivated by personal stakes. This resonates with many Noise enthusiasts, who often seek to reclaim control over their perceptions.

In an increasingly mechanized Japan, the goal was to transform daily industrial disruptions into something intentional—“to create a superior noise” that offsets one form of chaos with another.

By confronting and accepting their inner selves, the protagonists of Persona 5 mimic this process. They drown out the noise of their elders, who preach the virtues of collectivism, prioritizing their own judgments.

This struggle is visually represented throughout the game. Each palace is populated by ordinary individuals rendered drone-like by their adherence to a greater good. They become enslaved to societal norms—be it through sports, debt, artistic ambition, or the pressures of status. In every instance, the collective serves the interests of the individual.

This tension between collectivism and individualism is central to the game's narrative and its influences. The protagonists of Persona 5 resist authoritarian antagonists much like punk challenged right-wing ideologies.

Whatever Noise has evolved into, its roots in punk remain a blank canvas for expressing rebellion and the desire for change. While Persona 5 may visually echo punk clichés, it, like Noise, draws from a diverse range of inspirations, all of which manifest in its soundtrack, gameplay, and visual style, coalescing into a singular identity that reflects accomplished DIY counterculture, often obscured by its rough edges.

Despite its achievements, Persona 5 is not without visual shortcomings, particularly regarding accessibility. Players with visual impairments may find it challenging to keep up with the rapid typography. The lack of accessibility features in both the game and its 2020 re-release exacerbates this concern.

While traditional JRPG interfaces may be visually dull, they often prioritize readability. Persona 5 could have benefited from simplifying its UI design. Accessibility advocate Kelly Marine argues that flashy effects should be optional, emphasizing that usability should take precedence over aesthetic considerations. Form should follow function, ensuring that the graphical intent is not compromised.

The game's complex imagery can be overwhelming, and the typographical choices in Persona 5's localization have also been criticized. The bold font in the Japanese version lacks proper Latin character support. If it does include them, Atlus opted for a different, extra-bold typeface that creates visual discord. In dialogue, the dense font can be hard to read even for able-bodied players.

Japanese typography generally falls into the categories of mincho and gothic, which correspond with our classifications of serif and sans-serif. Given the gothic nature of the original typeface, a sans-serif option would have been more appropriate. The current choice, while potentially a Japanese typeface with Latin characters, lacks consideration for readability.

This oversight is particularly glaring in a year that saw the release of The Last of Us Part II, which featured numerous accessibility options.

Disabled voices often remain unheard in discussions about diversity. Developers must strive to keep pace with growing awareness. As time progresses, the practice of concealing games behind inaccessible barriers is shifting from ignorance to prejudice. For the more cynical among us, there is an incentive to consider accessibility for disabled players, not just from a moral standpoint but as a way to expand the market to a broader, paying audience.

Persona 5 showcases the potential of visual storytelling in gaming. Its seamless integration of narrative and UI demonstrates that art direction can enhance gameplay rather than detract from it, resulting in a richer overall experience. This is a significant leap in how we navigate games, deserving of recognition. While its shortcomings reflect broader industry issues, there is ample opportunity for individual improvement.

In many respects, Persona 5 serves as an exploration of how far one can push the boundaries of game art direction. Masayoshi Suto and his team deserve immense credit for their accomplishments. However, like most experiments, the focus often remains on the project itself rather than its broader implications. Moving forward, for Persona 6 and subsequent Megami Tensei titles, Atlus should strive to consider a more diverse player base beyond those who have historically engaged with their games.

The Echoes of Noise

Persona 5 represents an exemplary approach to handling historical imagery and visual language in an accessible way. It adeptly evokes a specific era for contemporary audiences, achieving a level of competence that many recent releases fail to match. When asked whether video games can be considered art, Atlus provides a resounding affirmation.

However, it also highlights the risks associated with generalizing cultures into media-friendly narratives. Persona 5 stands apart from other JRPGs, a fact that serves as a significant selling point in Western markets. Yet, we must recognize that the term "Japanese role-playing game" encompasses more nuance than we often acknowledge.

The success of Bong Joon Ho's Parasite sparked increased interest in Korean cinema among Western audiences, yet many fail to understand that Korean films are just as varied and diverse in genre as their Western counterparts. There is no singular "Korean" film; Stranger differs significantly from Crash Landing on You, just as Babymetal contrasts with Aklo. While common threads may exist, each is as distinct from one another as their Western equivalents. Thus, we should consider that there may not be a single classification for Japanese role-playing games, regardless of what is most visible and appealing in the West.

Persona 5 is, like Noise, an amalgamation of numerous influences. It transcends the chaotic soundscape of the 1980s, instead representing a rich tapestry of cultural history. Much like punk and Noise emerged from a foundation of rebellion, they always needed a context against which to define themselves.

“A stable and continuous culture against which they can take shape as an interruptive force of creativity and change, serving as a subversive, anti-hegemonic form of social resistance.”

While Persona 5 is unique in its presentation, it owes much to the standards it seeks to challenge. The decades of underwhelming art direction that the game appears to leave behind are, in reality, part of the many influences that shaped its creation. One could argue that as it resists the clichés of its genre, it simultaneously embraces them, reshaping them into something entirely original yet familiar. With this understanding, its parallels to Japanoise seem intentional; the blend of concepts and styles is so significant that it inevitably reflects the movement's values. Consequently, every aspect of Persona 5 embodies the essence of Noise.