When one thinks of developer Atlus’ Shin Megami Tensei series, two things usually come to mind: Iconic, muffled music tracks and demons. In fact, one of the main draws of the franchise quickly became its creative and diverse depictions of gods, demons, and mythical creatures taken from various cultures around the globe. The pleasure of being able to view, battle, and negotiate with these entities, which can range from eye candy to visual vomit, comes in part from the efforts of the series’ newest lead demon designer as of Shin Megami Tensei 5, Masayuki Doi.
Doi began at Atlus as a graphic artist for Persona 2: Eternal Punishment. Since then, he’s worked on many installments of the SMT series and its various spinoff titles. For Doi, creating Shin Megami Tensei V’s grotesque monsters was a childhood dream come true.
“Looking back in elementary school, though, there was definitely times when I would draw pictures of my own demons while flipping through an SMT artbook,” Doi explained when I spoke to him about his work on the game. The designer told Digital Trends about his process, his demons, and what goes into creating such distinct visual representations of them while staying true to their original interpretations.
We’re thorough in how much time we spend on research to help find clues about how we should approach our designs. Aside from the folktales surrounding each demon, we also look into their broader mythological lore, historical details about the time period, as well as things like what kind of traditional garbs and accessories people in that era wore. Some demons actually have very few surviving stories, so we try to be comprehensive in compiling these sorts of relevant information.
We typically look at visual references and designs created during the corresponding historical periods. For example, when designing a demon from the Greek pantheon, aside from paintings and sculptures, we also like to look at things like architecture, as well as artifacts and furnishings discovered by archeologists. Hydra, which appears in this game, is a great example of a demon we designed after finding clues from these types of reference materials.
It’s difficult for me to choose because I have such fond memories of each one, but I do love the design of Nuwa. Rather than designing her literally, we were able to give our own unique interpretation to her appearance, and infuse what we felt would be appealing to see in a game character.
Generally, I think certain deities and demons that have been depicted widely throughout history are easier to turn out intuitive designs for. But I think an important task is also to see how much of a unique twist you can add to such designs. It’s always difficult to balance this without compromising the essence of each demon, but I think Nuwa is an example of a character design where we succeeded in achieving what we wanted.
Thank you! Zeus and Amon are both demons that are very popular among Japanese fans as well. Interestingly, the approaches we took for these demons were actually quite opposite from each other.
I think Zeus’ design is something that deviates from how people typically imagine him to be. Because he’s such a major deity, we intentionally wanted to differentiate him from existing designs and aimed to represent him in a more unconventional way. Zeus possesses two weapons, Keraunos and an adamantine sickle, as well as two exteriors — one commanding fear and the other inducing awe. Given that, we wanted to include all of that into a design that highlighted his duality, such as his nobleness and malice. I personally envision him to have taken a form like this during the Gigantomachy, the greatest battle in Greek mythology.
The design of Amon, on the other hand, is strongly influenced by the woodblock prints featured in the Dictionnaire Infernal by Jacques Collin de Plancy. The demon designs in SMT have historically used these types of demonology books as reference, so we inherited that design philosophy here as well.
In essence, these two demons each represent a case where we prioritized originality versus a more classic design. I think you can really get a feel for how wide the spectrum is in terms of how we approach our designs with these two.
Manananggal, which appeared in this game, definitely comes to mind. We did try to design her in a way that muddled any areas that could potentially be restricted, but because we really emphasized the grotesque and erotic, I did feel it was maybe a bit out there.
Ultimately, the fan reception has been well, so I’m glad I challenged myself, but there was a part of me that was a tad bit nervous if she’d be able to make it until launch of the game.
Since it has been over 20 years, at this point, I wouldn’t consider myself a specialist at all. However, the foundational knowledge and know-how regarding how to draft blueprints for designs is perhaps a unique asset of mine, especially as someone who has more formal training compared to others. I feel this knowledge often helps me when designing the costumes and outfits of characters.
I played the original Megami Tensei in elementary school, and Shin Megami Tensei in high school, but truthfully, I never would’ve imagined that I’d end up in Atlus and become involved in SMT, let alone become someone others would consider a key contributor. Looking back in elementary school, though, there was definitely times when I would draw pictures of my own demons while flipping through an SMT artbook. In a sense, perhaps I’ve always had a connection to the series since then, and was maybe guided by the powers that be without knowing. No one will truly know.
The Call of Duty franchise has held a special place in my heart ever since I played my first Black Ops game back in 2010. That game's campaign was something else, with twists and turns that culminated in a mind-blowing finale. We can all admit that compared to those older campaigns, the recent CODs have been lackluster at best, and a complete and utter disappointment at worst. The reboot of Modern Warfare did give me some hope, as the first two installments were actually quite good, but the third game left such a bad taste in my mouth that I wasn’t exactly expecting much from Modern Warfare 4.
After recently finishing the campaign, I can say that this installment is nothing like the recent releases and instead feels closer to the franchise’s roots. For the first time in a long while, the campaign comes across as well-crafted rather than rushed to hit a release date. It arrives three years after MW3, and you can see exactly where all that time went. It seems the studio finally made listening to player feedback a priority.
Epic Games has just announced the 2026 Epic AI MegaJam, which is looking to see how much game development can be squeezed into a very short window. This is running from November 12 through November 15.
Participants can work alone or in teams of up to five people, build in Unreal Engine or Unreal Editor for Fortnite, and bring along “as many AI agents as you want.” Epic explicitly encourages coding agents, AI-generated assets, audio tools, writing tools, and other AI systems. The official event page literally says "Vibe your way to $50k.”
It’s turning into a pretty good time to be a Monster Hunter fan who plays on a phone. Capcom has confirmed that Monster Hunter Outlanders will launch on Android and iOS on October 29, giving the series a new mobile-first game just as Monster Hunter Rise is also preparing to make the jump to smartphones through Netflix.
Outlanders is being developed by Tencent subsidiary TiMi Studio Group under license and supervision from Capcom. Unlike Rise, which appears to be the full console and PC game adapted for mobile, Outlanders is a free-to-play survival hunting game made specifically for phones.