It only took around 5 weeks, no problemo. This production is going to be Hell :)

1. Research
Joe Duffy

2. Existing Product:
Persona 5
The game Persona 5 is an RPG by ATLUS that involves the main characters defeating
evils within palaces in another version of reality that effect the events of the real world.
Due to this change of tone between the worlds, the look and feel of the fights are
drastically different to the average school days witnessed normally.
However the interlinking of the worlds effects is intentional as it gives more gravity to
fighting situations, as instead of a small reward to defeating a small boss, the cause and
effect is felt throughout the rest of the game.
The design of this reward system incentivizes the audience to be successful as they go
through each fight so in the real world their positive effects can be felt and improve
their play time.

3. Persona 5’s Battle
With the plot importance having been discussed, I would like to describe how the
unique aesthetic of the game, especially in the other, unrealistic dimension supports
the battle sequence’s menu.
With it’s distinct appearance the player is given a strong idea of the type of game they
will be going through, that being a smooth yet somewhat flamboyant experience.
The UI given to the player once the battle has
begun are simple to understand despite their
far from formulaic look. The mise en scene ties
together well, with each option having enough
space to clearly represent themselves via the
quirky font that fits in well with the overall
design. Each characters HP and SP are
prominently shown so the player knows
exactly what risks they should take, making
sure the fight isn’t unfair. The use of bolder
colours, with black and red being key, provides
an eye catching experience while subtly
attracting players to the key moves they can
use in amidst the stylized scene.
As a part of the opening words to Kotaku’s
review of Persona 5, it is evident that the visual
design of the game is a key part of the lasting
impact the game has on the player, far out
doing the UI of many games before it.

4. Persona 5’s Design The character design is integral to
keeping the game as intriguing by the
end as it was at the start. The game
successfully creates memorable
characters by making each one have a
design that clearly correlates to their
personality, making any choices they
make seem correct even before you
know them well. Along with the
enthusiastic voice acting gives the
player have a deeper connection to
the protagonists as they are not one
dimensional and perhaps relatable to
the player. The battle system is
affected by the characters beyond EXP
points as doing activities with friends
in the real world provides buffs in
fights with higher leveled confidants.
These activities make you care more
for your friends and so losing them in
battle is avoided as much as possible.
An extra level of depth is therefore
added without sacrificing the simple
UI by interacting with the game.
The moves of the game share the visual impact of the UI
but also gets to the point without an over abundance of
motion, keeping the battle consistently high paced. The
exception for this rule is the “All Out Attack” where a small
cut scene shows each character the a distinct art style
before a ferocious attack on the enemy. The contrast of this
move shows it’s power to the rest. The moves also show
the strength of it on the opponent, with a clear indication
via text and how much HP has dropped. This allows the
player to learn what attacks are best for each situation,
learning the game’s mechanics naturally through gameplay.
The battle music is as I can best describe, Techno Jazz. This
lends itself well to the battle as it creates an up beat theme
to keep the intensity with the player through audio. The
singer brings the music together with her extremely
powerful voice invigorating the battle even further, making
the player more passionate about the battle.

5. Existing Product:
Celeste
Celeste is a hardcore platformer made by the Indie Developer Matt Makes Games where the
character Madeline goes on a climb up Celeste Mountain to find out who she wants to be.
The art style is done in a simplistic format so the characters have very little way to convey their
emotions. However despite this fact, due to the strong character building and occasional
drawings to better portray the personality in a single frame. The most significant part of the
game’s ability to give the player a serious interest in the people of the narrative is through the
dialogue. The type of speech is relatable and can go between a light-hearted conversation and a
deep talk about dealing with dark thoughts seamlessly. The profile images also convey the
characters feelings very successfully, with an occurrence of a character even going out of frame,
subverting expectations.
This narrative talking carries through into the gameplay as every level holds some meaning for
the main character’s arc so you want to succeed so you can further develop these people you
have grown attached to.

6. Celeste’s Visuals
As mentioned, the game has a simple style but it can
work in it’s favour as, while the dialogue of the game
gives the characters spoken arcs of the story, the
basic yet intricate design of the models allow the
player to contribute what they believe the character
is feeling. This makes the experience you feel while
playing the game more unique as you get to decide
their emotional state as you push through the
difficult levels. These feelings are most likely linked
to the player as I have felt while immersed in the
experience, bonding the player with the protagonist,
Madeline.
These thoughts are shared by the pixel artist behind
Celeste, Pedro Medeiros, who wrote that he only put
the essentials of the characters into the models, with
the appearances having exaggerated features to
communicate their personality.
This is how he put it:
Another aspect where the art style
flourishes despite not having an
extreme amount of realistic details are
the settings, more specifically the
backgrounds. The key part I really
appreciate about Celeste’s backgrounds
is the minimal range of colours. In most
instances, the colour pallet remains
small but that means the appearance of
the world is imaginative to catch the
player’s eye and make the atmosphere
richer. The use of a variety of colours is
made more significant as it strays away
from the norm, making the segment
seem far more important and earns the
players full attention.

7. Celeste’s Narrative
As the game is a platformer with a core narrative
of Madeline on her quest to the top of Celeste
Mountain, the game cleverly merges the two parts
of the game into one by having key story beats
play into the platforming. This is done through
examples such as doing tasks to clean up a Hotel
to leave by the back exit, going on a mission to
save your friend from a mirror dimension, or
having your once enemy, turned friend support
the climb after you get on the right terms with her.
Every character in the game is encountered first
and foremost through interacting as you the player
decides to instead of feeling forced to do what the
story wants. This level of depth is subtle, but
allows the player to feel more in tuned with the
story.
This drive to go with Madeline is essential as the
difficulty of the game can be infuriating, as
witnessed first hand, so the story keeps you going
by having you invested in progressing. The simple
controls mean that most faults are personal so
improvement is encouraged.

8. Celeste’s MusicThe game’s soundtrack finds a balance between anxiety, so the player is more vigilant at the plays
they make during a level, while also keeping a calming and mellow tone to incentivize eustress,
motivating the player to keep climbing up towards the goal and decreases what could otherwise be
a frustrating part of the game. On the other hand, distress is often implemented in boss fights with
a more frantic, energetic score behind it.
A part of the game portrays a panic attack through it’s musical transitions, having Madeline’s
peaceful piano theme slowly warp into a loud, siren like synth that eventually takes the centre
stage. This alarming sound creates a serious tension that can be felt with the player too as the
music pushes you feeling a similar state as the protagonist. When confronting this attack, the piano
begins to come back, signifying the return of control. While the scene let’s you understand the
situation, the music allows you to feel it, providing serious stakes for the player to overcome.
Another part of the game that taps into anxiety via music is in the Hotel, where the manager has
become constantly on edge as he wants to keep Madeline happy while she is there. However
instead of being through a cut scene, the music changes as you progress through the level, adding
different layers of sound to convey the manager’s ever increasing stress. An important note is that
the music never gets to the point of distress inciting the player is still in control, keeping the music
in a state of the before mentioned, eustress.

9. Existing Product:
Undertale
Undertale, a game created by developer Toby Fox, is a story heavy RPG where a human
goes through the Underground to leave back to their world while meeting some unlikely
friends along the way.
The game’s unique and main draw is how the classic battle system from most previous
Role-Playing Games is turned on it’s head by implementing the ability to spare every
supposed foe you face. This choice system to gain LV by killing or keeping an empathetic
demeanor but remaining weaker, engages the player as any decision they make greatly
effect the the story ahead of them. The game’s narrative makes the different options hard
to decide between, with the mercy option often being the more difficult to accomplish on
the key characters therefore making it more rewarding in terms of progression when you
can succeed without brute force.

10. Undertale’s Choices
As mentioned in the battle description, choice is
integral to the plot of the game, even beyond the
fighting element. Throughout the three different
routes that are based on the player’s LV, that being
Pacifist, Neutral and Genocide, the characters test
your morality, for either the ability to be kind or to
be cruel. This thought-provoking theme pushes the
player to further analyse for what reason they have
for their particular motive and if they should keep
going.
Examples of this key choice system are scattered
mostly within battles with key figures, with their
death having side effects on other characters as the
most obvious example. Most of the decisions appear
near the end of the journey, when the player
believes what they are doing is the best option so as
to get the full effect that in a split second they could
avoid having to go through with the initial plan, that
you can escape as the player from what you have
done. This can be seen in the pacifist route with the
King asking for your forgiveness and to be with his
family happily, or sparing the antagonist despite his
threats. On the genocide narrative, the player is
given a single choice to repent for their murder.
However, in all of these cases the player is forced to
face their prior actions as these choices are
meaningless in the end so subvert what is expected.
The King is killed even if you forgive, the villain
comes back to terrorize your friends and the choice
to repent comes too late as a tool to trick and attack
you for the violence you did. In the end of the
pacifist route there is a final choice, to stay with the
people you have grown to admire or leave to go back
home as your mission was the entire game. The
protagonist's eventual arc is developed based on
how you treated your experience in the game. The
attachment to choice gives the story a closer link to
the player, making them think about their ideals.

11. Undertale Characters Pt.1
One of the most interesting aspects of
Undertale are the rich character
personalities that populate the
Underground. Every character is distinctly
different from the last, making the
experience of venturing through the game
far more memorable. Whereas games like
Pokémon typically restrict individualism to
characters involved in the core plot,
Undertale allows every NPC to have their
time in the sun and even provide somewhat
of an arc to several of the smaller monsters
of the land. Not only are the identities more
alive throughout but the designs are
particularly separate, giving the player at
least one part of their figure to remember.
A good reason for the vivid appearances
could be because of the game’s purely black
and white battle colours, meaning that the
opponents need to pop out on the screen.

12. Undertale Characters Pt. 2
In terms of the narrative, each and every single
character holds importance to the plot due to the
before mentioned choices in progression. I believe
this links to the distinct identities of the characters
as the game needs the player to feel conscious
about whether they spare or kill. Once again going
back to Pokémon, the fights don’t make you feel
anything for knocking out the enemy as you don’t
know how the Pokémon feels being where they are
and what they’re doing etc. However here,
especially if you finish the pacifist run where you
learn about every NPC, the genocide run makes the
player feel awful since the inhabitant can create a
small connection in a small amount of time. This
comes back to the knowledge that the game
connects to the player by making people to care
about. Without the narrative aspect, each character
fits in well with the area they live in, personifying
the mood of the location. This can be seen with the
first place with many monsters, Snowdin, having a
more carefree atmosphere with the most well
known characters of Sans and Papyrus signifying
this. Nearing the end of the game, at The Core,
everyone is either stressed out, bored or violent as
with the knights and King attacking you as opposed
to the usual choice to fight.

13. Undertale’s Music
During the game a variety of different music genres, all
very unique, are used to set the mood of the location or
with the associated character it’s heard alongside.
These tracks are often the most memorable part of the
locations since they have a far more complex structure
than the purely visual design. Another reason as to why
they are easily remembered is how they perfectly link
to the theming of the area and where it is in the story.
I will describe some of the reasons as to why certain
parts of the game have particular music. The Ruins
begin the adventure and the music starts off with a
calming piano that hits high notes and low notes in it’s
first 15 or so seconds, perhaps to resemble the mix of
emotions the main character is feeling. The music adds
more musical beats as it goes, eventually leading to
long notes reminiscent of 8-bit sounds, infused with
drum beats and almost flute like noises.
The first fully inhabited area the player finds is Snowdin
Town. This is still early in the game so the music is light-
hearted to match the mostly positive mood of the
town’s appearance as well as it’s monsters. The track
remains in the higher sound range for the vast majority,
only dipping a little lower to be contrasted by the
lighter piano afterward. Since Snowdin has a festive
theme, the music provides jingle bells to further
emphasize this aesthetic.

14. Undertale’s Music
Moving away from calming themes set in the overworld, I
would like to describe the effect that the warrior,
Undyne’s theme called Spear of Justice has on the player.
For context, Undyne has been tasked with killing humans
so monsterkind can leave the Underground. She is the
most powerful monster aside from perhaps the King and
you the player are at the top of her kill list. The monster’s
hero has been chasing the main character and finally
caught you. The dramatic music matches her intense
passion to kill you with it’s very fast beat continues
throughout. The start of the track increases the pitch of
the tune, perhaps signifying the growing rage from the
warrior. The music keeps an almost military drum beat
that can be heard best during the quietest moment of the
song, accompanying a mellow bit-like tune. The truly
intense segment of the song has a brass instrument in it’s
core, defining the wild nature of the song. As this piece is
set during a battle, this wildly bombastic music, unlike
anything heard before, adds more tension especially due
to the fact this confrontation has been building up for a
long while.
Near the end of the game as the player moves toward the
exit to the world above but must go through The Core,
the source of all power in the Underground. The music in
this area begins with a high pitch and fast beat, which I
hazard a guess could be recalling to the player that as
with the piano at the beginning of the journey, a mirror
opposite is seen for the end. However the track
introduces a heavy synth that drowns out the piano,
relating to the more industrial theme f the area and
perhaps the calm at the start isn’t as prominent by this
point. After around half a minute, the music becomes
more sporadic, with it’s tempo being mixed up while the
steady piano is completely taken out for multiple intense
synth beats. This could represent how the further you
move through The Core, the less control the player has
over what should be done and where to go.
This is a segment from a review in which the writer
describes how each piece of music can convey a wide
range of emotion and well reflect the story of the game.
They note how it’s particularly impressive how a single
person now has the ability to arrange the entire by
themselves as well as create the game almost alone
whereas 10 years ago that would be seen as outlandish
at best. Another remark they speak about is how quite a
few of the tracks hold some influence from NES titles
and the likes of Ocarina of Time as well as more modern
fantasy games like Xenoblade Chronicles.

15. Undertale’ Style
Undertale approaches it's visual design very uniquely, especially in comparison to other games of
the RPG genre during it's release. The general aesthetic the game strives for in this department
harkens back to the technological limitations that games had in the 1980's and even 70's. The
stark contrast in time frames makes the otherwise not particularly impressive graphical ability of
the game a key point for it's memorability and overall fondness from the large fanbase.
Perhaps the segment of visual design that is most mentioned
would be the monochromatic battle sequences, in which the
enemy appears in only white lines against a completely black
background. The choice to use such simple colours make it so
each character has to have a clear look so the player has an
immediate understanding of what they're against. This leads
from the topic of character design as the character must have a
easy to recognise appearance in order to work on such a basic
colour scheme. This clarity is done very successfully as essential
parts of the persons are made the most obvious, the face being
the main point to make sure is correct. On top of this modest
design choice, each character's subtle movement during battle
makes their liveliness more apparent, instead of looking purely
for show if stagnant. This allows the player to understand, not
just the initial appearance of the opposing creature, but how
they set themselves apart in the way they approach the player.
Is they move slowly, they could be seen as patient or confident
whereas a faster character would seem more energised and
ready to fight.

16. Undertale’s Style Pt. 2
The only use of colour come in the shape of the player's heart, being a bright red. This singularity
produces a divide, with the monsters being consumed by the same colours as the menus and
background, making their appearance that less impactful than the protagonist. The colour usage
provides an underlying message about which being is more important, Monsters or Humans. I
believe the red signify that the Human is seen to be of great importance, whether be because
they are the player, they are the only Human in the Underground or the Monsters desire their
soul to escape.
A final point I must mention about the battles are the
very few times that the opposition has their own colours.
As mentioned during the section on choice, each path
leads to a mostly individual end.
To begin with, the Neutral end, and Pacifist's first ending,
has the reoccurring antagonist Flowey obtain enough
power to change form. This leads into possibly the
biggest surprise of the game visually. This is because the
new appearance is drastically different to the "norm",
using realistic textures and images to combine into a
surrealist, scary monster. The shock value comes from the
player having expectations for the game's visual design so
taking that away makes the battle more stressful as any
prior knowledge seems useless in this completely new
format. The creature has vivid greens throughout it's
body which contrast heavily with the player's red heart,
implying the individuals are opposite through the colour
alone.

17. Undertale’s Style Pt. 3
The final ending of the Pacifist route has the enemy, named Asriel, in the classic monochromatic scheme but as
the fight continues a flashy, constant flow of colour fills the background to signify the enemy's power. However
as they are of the normal colours we can suspect they're still connected to our reality. This hope is crushed in
the second phase of the fight when Asriel embeds the colours into his body as a final showing of his power.
Certain attacks have key influences based off the colours shown, intertwining the palette with the gameplay to
further engage the player in the visual. When Asriel gives up, to represent their weakness, his body fades to
leave the original colours within the head. This tells the player that Asriel has successfully extinguished the
power and brought back restraint.
The final character whose design has a colour
change during battle is Sans during the
Genocide route. The change is far more subtle
than previous fights, within eye being the only
proper difference, being bright blue. This small
change makes the appearance even more
memorable than if any more colour was used,
standing out from the blacks and whites. The
eye is interchangeable into yellow as a part of
the fight as mentioned with Asriel so the player
is more involved with its change. The fact that
Sans is mostly the same colour as most
monsters show his level of control, making him
appear more dominant.

18. Undertale’s Style Pt. 4
As for the other section of the visuals, that being the overworld, the design was allowed to use as
much colour as wanted, opposed to restrictions set in the fights. Due to this, each specific area
had a certain spectrum of colour, with the "Snowdin" area having mostly whites and light blues,
the "Waterfall" area using darker blues and the "Hotland" section having mostly warm colours.
The colour uses allow the player to remember the distinct locations more vividly by correlating
the colour to the area. On a narrative standpoint, the start and end of the game use similar
purples to give the player an idea of how the scenario will play out.
There are an insane amount of overworld
narrative points so I will only mention my
favourites. The first of these is a comedic set
piece with the Skeleton Brothers are trying to
stop the protagonist by using a colour based
puzzle. Papyrus, one of the skeletons,
elaborates on the insanely complicated rules
for the puzzle. However when the puzzle is set,
the layout is the easiest route possible. The
anti-climactic end subverts expectations,
therefore making the scene more humorous.
The scene also sets up later plot components
with the machine fur the puzzle becoming it's
own character while used very little here. This
makes the world feel very connected by
entwining these different elements.

19. Undertale’s Style Pt. 5
The other piece of plot progression is quite
the opposite to the previous more
lighthearted section. The Warrior Undyne is
chasing the player through a dark boardwalk
with her spears, contrasting to the otherwise
calming area of "Waterfall". The sudden
change in tone puts the player on edge as
they move to avoid the weapons and enemy
following them. The fast paced music also
increases the intensity but at the end of the
scene the music vanishes, making the player
feel anxious as they progress. However
when they reach a dead end and have to
retreat the only sound that increases are
Undyne's footsteps. The player is flung from
the boardwalk leaving their uncertain
The overall idea of this part of the story is to
alert the player to expect the unexpected,
therefore keeping them on edge.

20. Existing Product:
EarthBound
EarthBound, an RPG created by HAL Laboratory, is about a boy named Ness who goes
on a journey to find a way to destroy the evil entity Giygas who in the future controls
the Earth. Oh, and he is told all of this by a bee! He meets new friends in his
adventure who help in his plan to stop the villain. These include Paula, Jeff and Poo
along with a vast cast of interesting characters to fill the world with wonder.
The world itself sets itself apart from other more gritty RPG's worlds like Final Fantasy
by giving each area a distinct appearence, through the colour palette or generally
how the area looks and is treated by NPCs (Non-Playable Characters). I think this fresh
take in world design would make the player want to interact with the environment to
see how it reacts in a surprising way.

21. EarthBound’s Surrealism/Grounded
Despite the world seeming overly surreal, what with
the game starting with a talking bee coming out of a
meteor that the world will end in the future, but
surprisingly enough the world manages to remain
grounded. I believe the game achieves this by
having the towns and cities appear somewhat
identical to real life places, with their skyscrapers,
casinos, supermarkets and regular little houses
where residents roam. Speaking of which, having
such a diverse cast is bound to give the player
someone who they can relate with therefore
making this imaginary world have a closer
connection to ours.
This grounded outlook also successfully presents
the player with shock and interest when they face a
part of the plot or a character that is surreal,
wether they be a robot from the future or a larger
purple reptile. The effect of this, mentioned in the
previous background information, does draw the
player in as they can never know what to expect
from the next step of the journey since they could
feel comfortable in a regular looking place, but find
a new and exciting thing appear without warning.

22. EarthBound’s Character Personality
The character interaction is the key to EarthBound. The game can remain so consistently
interesting to play because the people who inhabit this version of Earth are so exciting to talk to
and to see their view on day to day life like meeting an old friend. In my short time playing the
game I found myself seeing the perspective of Ness' Sister, Mother, Neighbour, Police, Friend,
Dog and a Bee on purely the first scene. Everyone of them felt unique and made me more
invested in the moment to moment story pieces. I imagine the same can be said for the rest of
the game, when more characters and higher stakes are introduced that make the investment all
the higher as well.
Each one of Ness' companions attitudes can already be seen purely by their renders. This can be
described with Paula looking confident with her hand behind her back, Jeff's very stereotypical
nerdy bowl cut and glasses combo but having a certain style by keeping a hand in his pockets
and finally Poo looking ready to fight, showing off his ready and sturdy personality. Ness, as the
protagonist, doesn't convey quite so much, with a smile being the only real show of expression,
perhaps to give the player a simple template to add their own identity on to. That makes your
journey personal and makes it worth it to complete certain tasks.

23. EarthBound’s Quirky Music
The audio design of the game matches the overall strangeness the narrative and visuals share.
The genre can change so quickly from a jazzy, up-beat tempo to a theme ripped from a horror
film. The sporadic music choices suit the game's quirkiness as the player learns to expect the
unexpected and yet the game can still surprise. When listening to the soundtrack for my
research, I found that the genres I picked out for the sporadicness were placed in a sandwich
between 02 and 04. The first is unsettling piece to match the mood of invasion by the
antagonist, the second portrays a grander scale with an almost brass sound to I produce the
game properly. The third song in the OST gives the jazzy vibes for the character customisation
screen. Despite the vastly different tones, the music doesn't feel out of place as I can say for
the rest of the game. I think this is due to the fact the game's visual design carries such a
quirkiness that the music can follow suit without looking odd, intertwining the different
aspects together so the experience feels richer.
02 – The Evil Giygas Attacks! – https://youtu.be/MxX2EcFzUw4
03 – Title Screen – https://youtu.be/SZ4H1DWafx0
04 – Opening Credits – https://youtu.be/-jjFUgKiaiw

24. Research Analysis:
Common Features
The two most significant aspects that I found are common throughout the researched products would
be the character design and the score. I suppose these segments are vital to making the atmosphere of
a game, both visually and audibly, that keeps the player interested in progression.
The character design is seen to be unique as it's own recognizable image, creating a memorable visage
of the game's narrative through the points of interaction with the characters. This keeps the player in
the know on what events have happened as they can use the characters progression to harken back to
the important point in the story they may have forgotten. Not just on a narrative stand point are these
characters appearance and personality important, but also as a way to make the player feel more
connected to the world inside the game, whether because they're inspired by the character or because
they can relate to them on some level. Or to put it simply, the player may just like how the design
looks, regardless of them appearing cool or cute or somewhere in the middle.
Moving over to the importance of music, there marks a striking resemblance to the way character
design makes the game more memorable. Listening to a track should allow the player to create an
image of the location in which it plays, as this expresses how well the song connects to the area the
player has previously progressed through. As a slight difference to the visual, I believe that the music is
supposed to work better in terms of pushing the player to feel certain emotions, especially during
specific scenes involving characters. The emotive side of the score gives it an extra depth that without
would have made the game seem somewhat hollow and heartless, making me guess that it would be
more difficult to care about playing.

25. Research Analysis:
Aspects to Include
I would obviously like to include both of these areas in some shape or form, to give my video
game animation the memorability it deserves.
The characters that I have designed all have a distinct flavour from each other, hopefully leading
to some dynamic interactions as you could imagine between the cast of the Avengers for
example. From my practises for the characters, I believe that not only will the personalities have a
unique quality, but the appearances will contrast heavily to the point where they may even creep
slightly into other genres of art. I know this is a little off topic but I also wish that the background
of the game feels vibrant and "alive" as a place that would actually want to be explored instead of
look a bit bland for the player.
For music I think the job may be more difficult. The sites and programmes we have used
previously are good but I haven't been able to properly understand how to make a very dynamic
tune, keeping my beats fairly simple, especially in comparison to the recommended on the
websites we use to create them. As this is the case, I am hoping that the variety of music and it's
good connection to the moment happening on screen is successful enough to make up for my
restricted musical ability. I am planning on having a mix of low to high intensity music that keeps
the player on edge to what will happen next, and increase any stress they may feel at a point by
including a fast-paced track.

26. Audience Research

27. Secondary Audience Research:
System Demographic
As a part of my Audience Research I have tried to make a prediction as to the demographic of the system, that
being the Nintendo Switch, that my game would primarily be on. I have based my hypothesis on some evidence
as well as my own educated guesses so I can know who the most likely people would be to buy it on Switch.
Where the previous console of the Wii U based its advertisements on young children, the adverts of the Switch
era have vastly changed their tone to fit an older audience. This has been done by having mostly young adult
actors play the console in everyday type situations like parties or on meetups. This is far different to the
childish, unsuccessful ads of the Wii U as an older demographic can feel that the Switch wouldn't be frowned
upon by peers since it appears more orientated to them, showing Nintendo's wishes to open up their audience
to these people.
However, while reintroducing an older audience, children are still a
large part of the Nintendo demographic not matter the system. The
company's mostly family friendly IPs are still more towards this group
than the rest of the game market, with the competitors mostly
restricting their big games to older audiences. The exclusivity gives
Nintendo an edge in that they can have a wider audience with little
disruption. The adverts for the Switch also work for kids as they look
up to what the older people are doing as the cool, new thing as
represented by in the videos.
With all of this in mind, I believe that the Switch would have the
younger audience that all Nintendo consoles have had, but also bring
in an older group of people that may not have been interested before.
This means that I can have a more cartoonish look to the work to draw
in a slightly younger audience but keep any form of seriousness and

28. Secondary Audience Research:
Genre Age Ratings
The genre that I believe would best fit the game I am making would go under as Fantasy
Adventure RPG. This name makes the demographic look pretty broad as to who the game would
be directed towards but I reckon that when broken down, each part of the genre makes the
audience's appeal a little more focused.
While Fantasy is of interest by younger audience as well as older groups due to the immersion,
the design of RPGs usually adds a level of complexity to the gameplay that would be off-putting
to kids who do not enjoy having to think about what equipment is required to achieve a task or
the best moves to win a fight.
I think the same can be said for older adults who don't have
time to care about such considerations, therefore placing the
demographic between older children and young adults.
Coincidentally as I found on the official Rating Boards website,
the usual ratings for RPGs are between twelves, with games
like EarthBound and sixteens such as Persona 5. Some game
series even fluctuate between these rating s like Final Fantasy.
This tells me that the developers understand what audience
would be more interested in purchasing their game and
approach the game's design from that viewpoint. The ratings
have informed that making sure the game's tone works well
for the audience it's dedicated to, instead if trying to appeal to
literally everyone, will make it more successful.

29. Primary Audience Research:
Survey Majority Votes
In this segment of the survey analysis, I will go into detail on the
majority of votes placed on a certain answer to find a reasoning behind
the people's decision.
To begin with, I can confirm all of the applicants were seventeen or
above which fits within the age range of my target demographic which
makes the answers given by the rest of the survey seem more
legitimate. On the other hand, all of the survey takers were male,
askewing the results away from female opinion. However, I already
thought the basic premise of my product would be orientated more
toward the Male gender stereotypically so hopefully it isn't too drastic
of a push away from what I'd expect.
When it comes to theming of a game, the results have not been kind to
me. This is because the majority chose they would prefer a futuristic
setting while playing a game. I believe this is because the landscape
that they move around has far more freedom in it's creativity since we
can't tangibly know what that will look like. This makes it so the player
has a lot more wonderment to find or explore somewhere that they
could never expect to see, making the journey feel more exciting. This
may be a problem as my game is set in Fantasy and would have to be
altered to the point of being unrecognizable to fit the techno settings of
the future and whatnot.

30. Primary Audience Research:
Majority Votes
When asked what style was preferred, the general consensus
was that a simple design was more popular, with a pixel look
throughout the game. I think the reason behind this would be
mostly timing, with the retro look having a major comeback
in popular games like Undertale, Shovel Knight and the 2017
Best Game award nominated Celeste. This Renaissance of
sorts has been taken in my the general audience as the
design can look timeless if done confidently, and in my
opinion having a pixel format gives the game a richer visual
aspect so infatuated the player more. Thankfully my game's
design is set within the pixel format so I have little to worry
about except how to use those pixels to design the world.
In terms of music, most people voted in favour of energetic
beats being the favourite. I think this is the case because
these types of audio are mostly used to connect to an intense
scene, in which the player is already on edge, but the music
amplifies the anxiety which, from personal experience, can
make the song far more memorable. The player can connect
with the sound on a deeper level as it pushes them to play
better despite its threatening tune. With this in mind, I will
attempt to provide an up beat piece of music or two within
both sections of my game, being the overworld and obviously
within battle.

31. Primary Audience Research:
Majority Votes
Carrying over to the importance of a character's design, it is believed that
out of five, most people believe the design is worthy of full marks. My
thought process behind these decisions is that by having a more
memorable character, especially as the main protagonist or antagonist,
builds up the narrative to make the player consider the story and it's
people far more than if it were an empty slate. Any small details on
individuals that are unique to them give them something for the player to
remember them by, like Mario's moustache or Link's hat so the player has
a stronger bond with the character, therefore being more intrigued with
the game.
With the options of dialogue or silent games to choose from, the result
was unanimous with speech being the preferred options. I reckon the
answer is so one sided because people find they can connect to a person
who can portray their personality easily so the character feels real and
organic to the player. That's not to say silent games are bland, with most
games completely free of it from the NES era, but the player usually
prefers to understand the concept of the story and characters as
efficiently as possible to have interest in continuing and dialogue is one of
the best ways to deliver that. Dialogue is planned to be in my work,
perhaps even adding voice lines to further show off the characters
personalities.

32. Primary Audience Research:
Majority Votes
Most of the voters chose that they prefer having cutscenes
embedded in the games they play. I can use the character and
dialogue evaluations to decide why this was the popular answer. As
with those topics, cutscenes give concrete character moments and
story progression for the player to feel involved in making while
also being able to take the scene in as there is no gameplay to take
part in. Alongside this, the camera being set also allows for more
dynamic shots to break up the camera placement in normal
gameplay. Hopefully I can implement this in my work but the
amount of work it would take to look visually pleasing could it be
worth the time.
As a final majority description, let's move toward intensity in which
middling was the victor. Its interesting to that the middle of the
road was the most popular instead of the two extremes, therefore
implying that the majority of these players enjoy some form of
difficulty as long as it doesn't get annoying in the slightest. Perhaps
people don't have enough time or a long enough attention span to
play the same part over and over if it's too hard. Speaking of
attention spans, the player could also need the game to have some
aim to focus on so they don't get bored and stop playing. I can't
gauge how my game would be for intensity but I assume within the
RPG genre, the battles would get more intense throughout.

33. Primary Audience Research:
Survey Minority Votes
Now I want to go over the minority votes, trying to understand why these options were less
appealing to the survey takers.
For the theming, Fantasy was the lesser of the two options. I understand this could be
because it is based off a certain type of reality, being mostly Medieval so having an almost
period piece be the setting for a game may seem less interesting. As the setting is more past
orientated, the lack of technology or more advanced weapons etc. could appear to lack too
much imagination to the player.
Complexity wasn't the most appreciated option in visual design. I think a major reason for
this is that hyper-realistitic games has oversaturated so have lost their complete "WOW"
factor. The complex look could also make it difficult to fully engage with the game as nothing
is left up to the imagination that isn't in the game since everything is too clear to need filling
in the gaps with your own inclination.
Apparently calming music isn't as popular as energetic beats to the audience. A guess could
be made that this type of music might appear boring, especially as a stereotype for males
who are the singular gender who took part in the survey, is having little attention spans.
With this being the case, by having a slow tempo that's associated with a slow game, the
player may not be invigorated enough to keep interested.

34. Primary Audience Research:
Minority Votes
When looking at the importance of character design, the question comes under a unique case of two equal
answers that come below the main choice. These options are that out if five, the importance is a four or
three. This can tell me that the category isn't as unanimous as most the rest so people have a more varied
preference. Perhaps the three signifies that as long as the character is competently made, all that's needed
is for the gameplay to be good. While on the other hand the four suggests that while it would be great for
the game to have a distinct character, it wouldn't be seen as a point of contention wether a game is amazing
or just good. It's also important to note that one or two wasnt selected, at least acknowledging that people
understand that having some character design is necessary to a game.
It appears that fewer people would like to go through a game without cutscenes, preferring a purely
gameplay experience. While it would make the game more immersive to continue playing while the
narrative continues, I believe this is the less popular option due to how repetitive the game could feel if no
distinctive change was made occasionally through cutscene. The camera may move a bit but overall, the
entire run through the game would look and feel mostly the same, gradually getting duller to look at and
play.
As mentioned with the music portion, it appears the survey takers don't enjoy slower paced games all that
much. This relates to intensity as the low amount was never picked but at least the high intensity came
second out of the three. As it seems to be a through line all of the survey results, I believe this answer is
based off attention spans. Having a high action game is bound to keep the player on their toes so
necessitating concentration. The implication of this need to work on the game would be to keep the player
interested and continue playing. This of course would be favoured and so is somewhat popular. It probably
isn't the most popular as needing a constantly high concentration is probably quite fatiguing.

35. Primary Audience Research:
Interview One
When interviewing Person One, I first asked their age which they answered with 17 and already took
note of their gender, being female, so I could base the answer they gave me off these factors.
My initial question was what genre of game they were the most interested in to which I was told
game series' like Animal Crossing and Stardew Valley were particular interests to them. They said they
enjoyed the relaxing nature if these types of games as the only objectives are your own so you can
take in the game as you decide to. From this answer I was able to acknowledge a couple of things, the
games they preferred were simulator type games with a lower intensity to relax while playing.
I then asked about what setting they would rather play in, Fantasy or Futuristic. They answered fast
by saying Fantasy was nicer to look at, with a more natural approach being pleasant for the eyes. I
suppose this preferred setting would make sense from games that were mentioned they play doesn't
use technology filled worlds. This choice has made it clear that my Fantasy setting could be very nice
look at if I increase the amount of natural elements within it.
I decided to move on to ask how they would like to play the games they have, so I could better
understand what they believe is the best way to play the simulator games. They made it quite clear,
with an "obviously", that they think portable playtime is the best way to enjoy the games they play.
They told me it was a luxury of sorts to play when and wherever they like so they don't feel like they
are restricted by one location to play. When asked specifically what they used, I was told the Switch
and 3DS were the consoles they used as they allow this portability the best. This decision makes me
think that keeping the game at a design level that is easy to see on a smaller screen as well as on TV
would increase accessibility, being on the Switch primarily, therefore increasing potential sales.

36. Primary Audience Research:
Interview Two
My second interviewee was male but retained the same age as the former person I questioned. I realised
this could give me answered more orientated toward the male demographic.
When I asked them about the game genre they would call their favourite, after a small amount of time
they decided Platformers were their most played, adding on that more challenging versions like Celeste
were more preferable. I asked why they liked the higher intensity to better understand why this person
felt the opposite of the former person. They went on to tell me that they felt beating levels in a high
intensity game felt more rewarding to complete, especially after a long time of learning the level's layout.
They went on to express that the games kept his interest by making new challenges to face and
overcome, prolonging each session of playing. Bouncing off this answer, I plan to add some sense of
difficulty but it really depends on how well I can even out the moves used with the amount if health each
character has so it may become more difficult than wanted.
After giving them a choice between Fantasy and Futurism in terms of setting, the person found it difficult
to decide which they liked more, citing that each option had their own merits. They sort of cheated by
combing the options into a natural world that has parts of advanced technology, remarking that the mix
of the past and future was a more interesting concept to look at that either of the options separately.
While I believe this dynamic of different histories crossing is a very interesting idea I hadn't thought of
previously, the story I have already planned out doesnt have enough room to add this concept
unfortunately.

37. Primary Audience Research:
Interview Two
As for how they enjoy their playing experience, they did note how nice it is to play
outside of the house, but ultimately believes that a clear HD screen and more
powerful console experience was preferred. After asking why they believed this was
better for them, I recieved the answer that for the previously mentioned challenging
Platformers and games in general, it is easier to understand the parts they should do if
the screen is bigger. After this was mentioned I thought about, since my game requires
some concentration to progress, the game should have a clear UI to give the player a
better understanding of what they should do.

38. Subject Research:
Myths
From writings about myths from Joshua J. Mark, the idea of mythology
has occured since the times of pre-historic wall painting as a way for
people to grasp a sense or reality and surrealism in their every day
lives. In some cases, as with the Egyptians, what we would call a myth
in the present day would be seen as religion in that period of time.
They believed that animal Gods would control parts of the body and
that doing certain ritualistic funerals would make the after life better.
This concept could make religions of the present look like the story of
St George and the Dragon do today, as fantastical stories to remove
oneself from any troubles they could be having.
There are different types of myths including Etiological, the
explanation of why or how a thing came to be, a Historical one,
retelling a past event but with more grandeur and meaning, and finally
a Psychological myth that follows a narrative from the known to the
unknown as a way to solve a crisis. This type is meant to balance the
mind from the external world and internal consciousness, as according
to Scholar Joseph Campbell and psychiatrist Carl Jung.

39. Subject Research:
Myths
Perhaps one of the more famous Psychological myth
would originate from ancient Greece, where a Prince,
wanting to avoid a prediction where he kills his Father,
leaves his life behind but kills his real father who
abandoned him at birth, fulfilling his prophecy. This story
impressed the Greek and it taught the lessons to never
escape fate or, in their eyes, the Gods would inspire fear.
Another Greek myth of the Etiological kind explained the
seasons to the people through the Gods having a dispute
about harvest. The intricacies of the story are a little
complicated to explain in a simple manner but overall, it
made the Gods appear even more powerful and existent
to the Greek.
The final and probably most famous myth that occurred
during the 8th century BC, being Historic would be of
Troy. Aside from the Trojan Horse being a sign to trust no
one, the fighter, Achilles, who is invulnerable in battle
loses loved ones because of his arrogance which teaches
people to remain modest. This story is so memorable not
only because of its famous story of romance and betrayal,
but also that the lessons it teaches are for everyone.
Speaking if this permanence, Campbell explains his
thoughts about the strengths of myths in this quote:

40. Subject Research:
Medieval Weapons
Apparently, according to Keely DeVires, a Medieval Warfare Expert, weapons of the
time didn't do much to get through armour, having most of its threat be through the
pure shock of being attacked to take down their foe. Although if a weapon was
needed and sought after, it would be the sword. This is due to the fact that it served
two purposes, stabbing and slicing, that caused the most damage without needing too
much thought. However developing new types of martial arts with the blade gave
experienced knights a more favourable advantage. The sword was useful outside of
battle too, with the rarity of metal working making swords expensive and therefore a
fancy piece to show off about.
The other very popular tool was the lance used mostly by the cavalry. It had one hit kill
potential but shattered fast so was one time use.
Weapons that could be more obtainable included the spear, axe and mace, all of
which were useful when fighting. As with melee weapons, archers rarely got through
amour but a constant bombardment could lower morale and were vital to keep
advantage, especially on a high ground. However as the 14th century continued gun
like weapons that shot rocks were being introduced named Trebuchets. However
when gun powder was discovered, the landscape of warfare was vastly changed from
the prime Medieval period.

41. Subject Research:
Animation
Technically the art of animation has been typified as early as 30,000 BC during the
European Renaissance. A famous piece that provides evidence is a bronze-age bowl
from Iran that depicts a goat leaping continuously around it.
The next big jump in moving images was during the 18th and 19th century when
artists began creating tools to move the different drawings onto each other fast to
make the illusion of movement. The most obvious example would be the flip book but
there were objects like the Zoetrope that spun different disks as an optical illusion for
children.
During the period of silent cinema, animators were given the ability to show their
work on the screen for the first time. Characters like Felix the Cat were first timers for
the era that led I to the Golden Era if animation...
In the 30's and 40's, world famous creations like Mickey Mouse and Bugs Bunny were
introduced that dominated the market for decades. Along with them came colour to
liven up the movements. In the late 1930's, the first hand-drawn film was released,
Snow White and the Seven Dwarfs.
As the 50's and 60's introduced television, a variety of new characters were made for
children entertainment like Pink Panther, the Flintstones and Scooby Doo. The cheaply
made shows didn't show off animation's abilities but were still successful.
Later in the decade, the Simpsons showed that animation could be enjoyed by adults
as well and in 1995, the first computer animated film, Toy Story, revolutionised the
genre forever.

42. Practical Research

43. Practical Research:
Why?
I decided that this type of experiment would be ideal to make as the main focus of
my project is animation. I knew the visual style of my animation would be in pixel
art as that's how the final product will be handled. I wanted to practise more
seamless appearing work as my previous animations were quite jumpy, especially
on more detailed pieces. Another contributor to selecting this specific type of
animation was to practice some basic lighting like shadow. As I had decided the
main area of movement in the final piece was going to be via people I decided a
face somewhat similar to the style I opted for the main animation would be
beneficial. A final idea I wanted to attempt during my practise piece was to make
scrolling text. In previous projects making text roll across the screen was strenuous
so finding a more accessible route could be helpful.

44. Practical Research:
Face 1
Once I had figured out the basic premise to my practise piece, that being
a girl blowing up her hair, I had to put the essential in the first frame to
carry through the animation. I created a small document so that when
using the pen tool in Photoshop, the drawing would appear pixelated. I
wanted to put enough detail to test myself while also understanding how
much would be excessive. As it would be the area with most movement,
the hair became the initial focus. I had to place it low enough to cast a
large shadow on her face while not being so large that I would have a pain
changing every detail on later frames. In hindsight, it may have needed to
consume her face a little more but that could have resulted in more
tedium. I decided that different colour tones on the hair could make it
appear more flowing by having it fluctuate as it went, and having a
Manga-esque hair strand at the top could provide an extra level of
challenge while relating to the type of design I was heading toward. I
decided hair in the background could help me practise using multiple
levels along with the frontal hair and face. Speaking of which, at this early
stage I hadn't settled on the face design so focused primarily on the
shadow aspect, keeping the nose shaded. I used a darker skin tone for the
neck with it's own shadow to differentiate it fro the face colour. As the
frame was the starting point the mouth remained simple so to be added
on to later.

45. Practical Research:
Face 2
As I had completed the base design of the girl's face, the new
challenge was how I would change each every part to continue
the motion. I decided to go subtly to keep with my wish of
more flow throughout as well as keep the general look similar
enough to know where each part was. I slightly nudged the
hair and shadow upwards along with the overall head piece to
make her look like she was breathing in and therefore pushing
herself up. I wanted to create a few more differences so the
head didn't seem too familiar to the first so I moved the hair
lines around, giving it a more lively appearance when moving
between frames. Along with the general curriculum of hair
pushing up, I slightly increased the height of the large hair
strand and lighter blonde highlights. I also produced extra lines
to give the top area of the fringe more detail. I tried to figure
out what type of mouth movement would depict starting to
open the mouth to breathe in. I knew it had to be small to
begin with so I had little to work with. I went with a black line
to distinctly show the position, and be a continuation from the
former frame, and darker pink for the general mouth. I could
probably have added the tongue from later on for more flow
but since it's small, I doubt it would be too noticable.

46. Practical Research:
Face 3
The third phase of her design didn't implement very much
new content, more so building upon its predecessor's
ideals. The hair, face and neck are all elevated, with a very
gradual difference from face number two. The hair lines
were featured more prominently to make it stand out a
little more to the others since most of it had little tweaks
throughout the portrait. I began making a more conscious
effort of how proportional the hair would be in relation to
the shadow so they would seem out of place with each
other. The same can be said for the nose which subtly
moved up to keep the steady flow. The most obvious
change to the model would be through the mouth. The
most simple departure from the last piece would be its
overall size increase, being almost identical in shaping to
keep continuity. Since there was added space, I could fill
what would otherwise look like a empty chasm with more
colour via the tongue having a distinctive reddish hue,
unique from the test of the race's colours.

47. Practical Research:
Face 4
As with the previous face, the overall change of the face
remained pretty subtle, slightly elevating all the previously
mentioned areas. The hair strand in the centre got a larger
increase in height comparitively to the former to make the
movement more substantial in at least one area as with
the face for the new mouth piece. This mouth is of a
similar size to face three but the black line is mirrored as
an attempt to show breathing in. I am not entirely sure
how successful it is at being clear but I hope by introducing
the air lines, I could make it seem more distinct. The air
was made more transparent to represent its gaseous
nature. I created two versions of the air for all the faces
that needed them to give more dynamics but in the end I
think using one of them would make the animation flow
better. One more thing to mention is how in this frame the
shadow is high enough to allow the nose to mix its colours
between the shadow and natural tones, combining the
different portions of the face.

48. Practical Research:
Face 5
The fifth face elevates the hair and therefore shadow high
enough to allow the top parts of the face to be revealed. The
most blatant sign of this change would be the visibility of the
eyes. When producing this portion, I made most of the eyes
shaping and then covered the top part with shadow so in later
frames I could reference this work to make my production go
faster. The eyes are a very vivid green that vastly contrasts the
rest of the face, therefore catching people's attention more. I
decided different tones of green would make the irises more
interesting to look at. The overall eye look relates to the style
of manga as with the hair strand, being hyperbolised to fit
with the rest. The hair highlights have increased in amount
and length to show the air blowing up making it move more
rapidly. The hair strand is put much higher now along with the
fringe somewhat so I could keep up the the shadow cast. This
probably made the fluency decrease but was needed to keep
the overall appearance consistent. I found it difficult on how
to show the hair starting to curl upwards, deciding to make it
a darker shade from the rest. It probably wasn't very clear but
worked better later on. The mouth was made smaller but in
the same vein as the former as the blowing out motion. The
air art tries to signify this by curling outwards and upwards
from the mouth to her eyes.

49. Practical Research:
Face 6
The key change for this frame is that basically all
of the face is visible, with a small bit of shadow
between parts of the fringe. This allowed me to
fully draw the eyes, giving her more expression.
The eyes have light reflection, giving me a chance
to not only practise shadow but a small bit of the
opposite form of light work. The fact she had
more expression made me realise the face should
have eyebrows so I went through all the frames to
add slightly red brows, elevating them with the
rest of her throughout. This made her look more
lively and followed the Japanese style by having
them in front of the hair. Most of the rest of the
hair and face remained the same in progression. I
probably could have made the shadow decrease a
little less in size as with the former frame to keep
the animation more gradual.

50. Practical Research:
Face 7
The final frame lets all of the hair reach their
highest point so no shadow remains. I decided to
push the curled hair the largest I could which I
think worked best in this frames as without
shadow, it appears more obvious. The parts at the
sides could have been made a bit better as they
don't seem to flow up as successfully as the fringe
does. I thought the face should have a clear
difference that wasn't just a different type of air
blowing out. I thought as the eyes were so
prominent that they should be moved to look up
at the moving hair. The change made me think
about how I could make it look natural, deciding
that the pupils would go up while the greens
slightly move to stop it looking too stagnant. On
the way back to the original frame, the air layers
were removed from the faces so I could double up
the faces as a loop.

51. Practical Research:
WOOOSH Text
After completing the animation on Photoshop, as I
had a decent amount of time left I thought I would
expand upon my work by adding the text portion to
the completed animation. I decided to use Premiere
as the tool to produce the moving text as I felt fairly
comfortable using the programme. However I had to
research the specifics into scrolling text which I
discovered on YouTube. The tool option named
"Legacy Title" allowed me to write in the aptly
worded "WOOOSH" and decide the area and scroll
direction it would be placed. In the timeline I could
configure its speed when it would appear. While it
was successful, having good timing with the
animation, the effect was my intended goal. I was
hoping to discover a way to have text appear as
dialogue would appear within game's text boxes.
Instead the closest I could find to simple to create
moving text was closer to the form of film credits. I
decided, as it was a practise piece, the text was fitting
to keep and had the same basic premise.

52. Practical Research:
Evaluation/Improvements?
I believe that I successfully portrayed my idea for the practise piece as
successfully as I could for a first attempt, holding on to core ideas like lighting and
character design all the way through. While the entire animation wasn't
completely without error, I am content with the piece and think it looks great
when lit as a GIF since no cut-offs appear.
If I could repeat this specific project, I would like to work on improving certain
aspects. These include keeping a consistent flow, especially toward the end when
the shadow and hair are moved much more than the subtle advances of the first
few frames. Speaking of the hair, on the latter parts when it curls up, I would
want to find a way to make them even more distinctive to the audience and
making it more lively. If I wanted to expand upon the premise, I would even add
the upper part of the body with the shoulders to show their motion through the
animation.

53. Practical Research:
Carrying Through to FMP
Parts of the piece I would like to implement in some form within my FMP include the mostly
flowing movement to make the characters or environment feel more alive as well as take
some design inspiration from the more hyperbolised appearance. This would allow me to
make the identities more distinct if the audience could clearly visualise the emotions being
expressed. I would like to add the idea of lighting into the final piece, perhaps with reflections
of the characters, adding different hues to the clothing or skin. The effect would make the
area being traversed feel like it's actually being interacted with by the audience, providing
deeper immersion.

54. Bibliography

55. Bibliography
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2. Nicholson, O. (2019) Target Audience Research Survey (conducted on 5th April)
3. Anderson, W. (2019) Target Audience Research Survey (conducted on 5th April)
4. Wild, E. (2019) Target Audience Research Research Survey (conducted on 5th April)
5. Dyble, B. (2019) Target Audience Research Survey (conducted on 5th April)
6. McKeegan, J. (2019) Audience Research Interview (conducted on 15th April)
7. Murgatroyd, L. (2019) Audience Research Interview (conducted on 15th April)
8. ATLUS (2016) Persona 5
9. Hamilton, K. (2017). Persona 5: The Kotaku Review. Available: https://kotaku.com/persona-5-the-kotaku-review-1793752909. Last accessed
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10. Matt Makes Games Inc. (2018) Celeste
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