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Persona began as a spin-off based on the positively-received high school setting of Shin Megami Tensei If... (1994). Persona's core features include a group of students as the main cast, a silent protagonist similar to the mainline Megami Tensei franchise, and combat using Personas. Since the release of Persona 3 in 2006, the main series has used a social simulation function called Social Links, which are directly linked to how Personas evolve. Character designs are by series co-creator Kazuma Kaneko (Persona and the Persona 2 duology) and Shigenori Soejima (Persona 3 onwards). Its overall theme is exploration of the human psyche and how the characters find their true selves. The series' recurring concepts and design elements draw on Jungian psychology, psychological personas and tarot cards, along with religion, mythology, and literature themes and influences.

The main character of each Persona game is a silent protagonist representing the player, with a manner described by the series' director as "silent and cool".[108] When the writer for new story content in Eternal Punishment's PSP version wished for the main character to have spoken dialogue, this was vetoed as it went against the series tradition.[109] Two recurring characters generated by the collective unconscious are Philemon and Nyarlathotep, the respective representatives of the positive and negative traits of humanity.[7] In Innocent Sin, the two reveal that they are engaged in a proxy contest as to whether humanity can embrace its contradictory feelings and find a higher purpose before destroying itself.[98] Philemon makes appearances in later Persona games as a blue butterfly.[85][91] Many of the major antagonists in the series are personifications of death generated by the human subconscious.[91] The central theme of the Persona series is exploration of the human psyche and the main characters discovering their true selves.[110] The stories generally focus on the main cast's interpersonal relationships and psychologies.[111] There is also an underlying focus on "the human soul".[112]

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Many of the concepts and characters within the series (Personas, Shadows, Philemon) use Jungian psychology and archetypes.[106] A recurring motif are the "masks" people wear during everyday life, which ties back to their Personas. This motif was more overtly expressed in Persona 5 through the main casts' use of masks in their thief guises.[108][113] The dual lives of the main casts are directly inspired by these themes.[104] Each game also includes specific themes and motifs. Persona 2 focuses on the effect of rumors on the fabric of reality (referred to by the developers as "the power of Kotodama"); Persona 3 employs themes involving depression and the darkness within people; Persona 4 focuses on how gossip and the media influences people's views of others; and Persona 5 shows how the main characters pursue personal freedom in a restrictive modern society.[85][96][114] A recurring element in the earlier entries is "The Butterfly Dream", a famous story by the Chinese philosopher Zhuang Zhou. It ties in with the series' themes, and also with Philemon's frequent appearances as a butterfly.[7] Philemon's original appearance was based on Zhuang Zhou.[106] The character Nyarlathotep is based on the character of the same name from H. P. Lovecraft's Cthulhu Mythos, and the Mythos as a whole is frequently referenced in Persona 2.[85][115] The Velvet Room was based on the Black Lodge from Twin Peaks, while Igor and his assistants are all named after characters from Mary Shelley's novel Frankenstein and its adaptations.[106][91]

The Persona series was first conceived after the release of Shin Megami Tensei If... for the Super Famicom. As the high school setting of If... had been positively received, Atlus decided to create a dedicated subseries focusing on the inner struggles of young adults.[112][116] The focus on high school life was also decided upon due to the experiences of the series' creators, Kouji Okada and Kazuma Kaneko: according to them, as nearly everyone experiences being a student at some point in their lives, it was something everyone could relate to, representing a time of both learning and personal freedom. In their view, this approach helped players accept the series' themes and the variety of ideas included in each title. Kaneko in particular tried to recreate his experiences and the impact it had on him during his time with the series.[117] The main concept behind the first game was a Megami Tensei title that was more approachable for new and casual players than the main series. The abundance of casual games on the PlayStation reinforced this decision.[106][118] The game's title, Megami Ibunroku,[Jp. 12] represented the game's status as a direct spin-off from the series.[119] It was later dropped to further define Persona as a standalone series.[115] After the success of Persona, Innocent Sin began development, retaining many of the original staff. During the writing of Innocent Sin, it was decided that the world of Persona 2 needed a different perspective than that of the current protagonist. This decision laid the groundwork for Eternal Punishment.[115][120] Following this, the Persona series entered a hiatus while focus turned to other projects, including Shin Megami Tensei III: Nocturne.[121]

Soejima's first major work for the series was working on side characters for Persona 2 alongside Kaneko.[141] Kaneko put Soejima in charge of the series' art direction after Persona 2 as Kaneko did not want to imprint his drawing style on the Persona series, and also wanted Soejima to gain experience.[139] Soejima felt a degree of pressure when he was given his new role, as the series had accumulated a substantial following during Kaneko's tenure.[136] In a later interview, Soejima said that although he respected and admired Kaneko, he never consciously imitated the latter's work, and eventually settled into the role of pleasing the fans of the Persona series, approaching character designs with the idea of creating something new rather than referring back to Kaneko's work.[81] For his character designs, Soejima uses real people he has met or seen, looking at what their appearance says about their personality. If his designs come too close to the people he has seen, he does a rough sketch while keeping the personality of the person in mind.[140] For his work on Persona Q, his first time working with a deformed Chibi style due to its links with the Etrian Odyssey series, Soejima took into account what fans felt about the characters. A crucial part of his design technique was looking at what made a character stand out, then adjusting those features so they remained recognizable even with the redesign.[140][142]

Characterized by elements of psychological horror, Persona has been the subject of much critical analysis, interpretation, and debate. The film's exploration of duality, insanity, and personal identity has been interpreted as reflecting the Jungian theory of persona and dealing with issues related to filmmaking, vampirism, homosexuality, motherhood, abortion, and other subjects. The experimental style of its prologue, storytelling, and end has also been noted. The enigmatic film has been called the Mount Everest of cinematic analysis; according to film historian Peter Cowie, "Everything one says about Persona may be contradicted; the opposite will also be true".[n 2]

Michaels summarized what he calls "the most widely held view" of Persona:[19] that it is "a kind of modernist horror movie".[7] Elisabet's condition, described by a doctor as "the hopeless dream to be", is "the shared condition of both life and film art".[20] Film scholar Marc Gervais has suggested several possible interpretations: "a metaphor of the subconscious or unconscious", "one personality consuming the other", "the fusing of two personalities into one", or "the different sides of the same personality fleetingly merging".[21] Gado suggested that Persona was "an investigation of schizophrenia, a story about lesbian attraction, or a parable about the artist".[8]

Persona's title reflects the Latin word for "mask" and Carl Jung's theory of persona, an external identity separate from the soul ("alma").[40] Jung believed that people project public images to protect themselves, and can come to identify with their personae.[41] An interviewer asked Bergman about the Jungian connotations of the film's title, acknowledging an alternative interpretation that it references persona masks worn by actors in ancient drama, but saying that Jung's concept "admirably" matched the film. Bergman agreed, saying that Jung's theory "fits well in this case".[42] Coates also connected masks to themes of identity and duality: "The mask is Janus-faced".[38]

Alma's secret is revealed in her orgy monologue, and critic Robin Wood related it to a combination of shame and nostalgia perhaps indicating the character's sexual liberation. According to Wood, the incident touched on unfaithfulness and juvenile sexuality;[43] in Swedish, the young boys are called "pojkar" and are in need of coaching.[44] Arnold Weinstein wrote that Alma's story is the hardest-hitting example of the "cracks" in the character's mask, belying her persona of a nurse and leading to a "collapse of self".[45] Her monologue is so intense that it verges on pornography, although there is no depiction of the sexual escapade.[45]

Analysts have noted possible lesbian under-[14] and overtones.[21] Alison Darren profiled Persona in her Lesbian Film Guide, calling Alma and Elisabet's relationship "halfway between love and hate"; they may come close to having sex in one scene, "though this might easily be an illusion".[54] Scholar Gwendolyn Audrey Foster interpreted the film in feminist terms as a depiction of lesbianism, viewing the scene where Elisabet enters Alma's room as seduction.[55] Professor Alexis Luko also felt that the characters' touching and resemblance in the scene, in addition to symbolizing their personalities merging, indicated intimacy and eroticism.[56] 2351a5e196