Front page

ANNEX: ANALYZIS Mathias Severin Digital Interaction Project Advisor: Denis Virloguex. masev@student.dkds.dk

10th Semester 25. november 2010

Analysis of Shadow of the Beast

Index
Front page.............................................................................................................................................1 Analysis of Shadow of the Beast..........................................................................................................2 Abstract.................................................................................................................................................3 Terms....................................................................................................................................................3 Introduction..........................................................................................................................................3 Problem.................................................................................................................................................4 Method..................................................................................................................................................4 Story.....................................................................................................................................................4 Storytelling........................................................................................................................5 The Beast's Journey...........................................................................................................6 Flow...................................................................................................................................8 Gameplay..............................................................................................................................................9 Mechanics..........................................................................................................................9 Object of the Game..........................................................................................................10 Genre..................................................................................................................................................10 Aesthetics............................................................................................................................................11 World................................................................................................................................11 Characters .......................................................................................................................15 Creatures..........................................................................................................................19 Appendix............................................................................................................................................20 A) Terms..........................................................................................................................20 B) Shadow of the Beast I, II and III Summarized Story:.................................................21 C) The Original Story of Shadow of the Beast I, II and III.............................................22 Shadow of the Beast I......................................................................................................22 Shadow of the Beast II.....................................................................................................24 D) Shadow of the Beast III..............................................................................................26

Abstract
As part of my masters project (read appendix: Program Shadow of the Beast 4) I have to analyze the original Amiga game Shadow of the Beast. Before trying to make a concept for a new version, there is a big part of research and analysis that needs to be done. In this paper I will go into depth on analysis of the story and gameplay of the game. I will also propose changes to the preexisting game that could improved it to suit current standards. I will not touch upon any aesthetics of the game.

Terms
Because computer game theory is a fairly new study, a lot of the words associated with the theories, are new as well. Even when computer game theory overlaps well known theories, such as movie theory, the words might not always correspond with their movie counterpart. It is important to note some of these terms, so you the reader, can better understand this paper. Please see the appendix for more information on terms.

Introduction
Through my research1 I have come to the conclusion that when you plan on making a game, the most important aspect of it, is the gameplay. Sure you can make a brilliant story that will help to motivate your players spending a lot of time playing the game, and of course you can make some stellar graphics that will catch their attention at the shop. However, to insure success, game play is alpha and omega. With great gameplay the players will have a great time even though the graphics and the story might lack. With great gameplay you can more or less make sure that players will come back for sequels. However, there is a limit to how many times you want to watch your favorite movie, or how long your favorite artwork might decorate your living room, but when you are dealing with something interactive, the rules are different. The time limits spent on this kind of media changes completely. Through prior research 2 I have found evidence that players might invest what equals a full time job on a game, for years. You can even find examples of people playing for so long that they actually die from over exhaustion. These extremes are not what I categorize as successful gameplay, but it shows the power of the interactive media. So logical, when making a remake I should start by constructing a skeleton of gameplay and mechanics, that would insure a profitable success.

1
Addictive Game Play Design Just one more level - Mathias Severin - 2010

2
Addictive Game Play Design Just one more level - Mathias Severin - 2010

Problem
When remaking a title, starting developing core gameplay is unfortunately exactly what I cannot do. First and foremost I have to focus on keeping the story the same, making sure the world is the same, so the brand doesn't change. Problem Formulation What steps do I have to take to remake the story of Shadow of the Beast? Based on the remade story of Shadow of the Beast, how can I find a suitable game genre to fit the story?

Method
By analyzing the story of Shadow of the Beast it is my intention to find key elements that make up the world. I want to research the story with the help of Jesse Schell's book The Art of Game Design: A book of Lenses. I will use Doom 3 as an example of how a remake is done correct. I will do this by referring to the book The Making of Doom 3 by Steven L. Kent and the video interview of id Software (the developers of the Doom franchise) The Making of Doom 3. It is my intention that through proper analysis of the story, I will be able to setup what obstacles the hero has to overcome, and thereby be able to pinpoint a suitable game genre for the game.

Story
You have a game that is so, it becomes a part of their [the fans] life, and they spend so many hours playing with it, they almost develop some sense of relationship with the game itself, that they have some ownership, and so, they almost feel like they have some say in how the game ought to be taken forward, because, I have played this game a 1000 hours of my life. Todd Hollenshead Co-owner/CEO id Software ...talking about the Doom fanbase3 The developers at id Software made it a top priority to keep the setting from the original game as intact as possible. The player would be back at the same base as the original and hell would break loose. To stop it, the player had to venture to hell. The plot would be the same. In order to take the old story into the future, they contracted the science fiction writer Matthew Castello, to redo the old story, fill in the gaps, and adjust it to current audience. After the story was completed id Software began making a story board for the whole game. As the original Doom game, Shadow of the Beast has it's own story line4. Although this is not very clear in the actual game, Reflections (the developers of Shadow of the Beast) included the story in the game manual. A trick to involve the player in the world and save precious memory. However, current demands crave for a world that is more interactive. With action titles like God of War, that throws the player right into the action from the beginning, and uses the mechanic of the game to tell the story, you would be hard pressed to try and do the same with a story manual by the side of the game. Unless the point of the game was to include a physical manual as a mechanic, it would most likely be a nuisance.

3 The Making of Doom 3 (Video) (Part 2/4) 2:50 4 Appendix The Original Story of Shadow of the Beast I, II and III

So even though the setting and story are most important, we should note that using the mechanics of the game to help tell the story is not only useful, it is how current generation games work. Jesse Schell (author of The Art of Game Design: A Book of Lenses) talks in length about the duality of story and gameplay in his book, and how to handle that conundrum. From Jesse Schell's point of view, storytelling is basically the same no matter what the media, but it is more challenging with interactive media, because of the many uncontrolled factors and expectations of the player5. Shadow of the Beast is a story about a protagonist that was wronged and therfor seeks revenge upon the antagonist that wronged him. The method of telling this story seems very straight forward. Seek out the antagonist and kill everything between you and him, meanwhile mechanically being rewarded with new weapons and humanity along the way. The way the story is told within the game is almost nonexistent. As a player I know there are things that hurt me, my only method of dealing with this is killing them. Even though killing monsters is fun, and motivates me to play, having to read manual first in order to understand what is going on, is just not on par with current standards of storytelling. When handling the story, or creating a story, Jesse Schell recommends consulting the Christopher Voglers synopsis Hero's Journey6 as guideline for making decent game story. This will give us a good idea of how the goals, obstacles and conflicts of the game should be handled.

Storytelling
Because so many videogames revolve around a theme of heroism, it is only logical that the Hero's Journey is a relevant structure for a powerful video game story.7 -Jesse Schell The story of Doom 3 can be largely shoehorned into the Hero's Journey synopsis. The marine protagonist is forced to go to a base on mars (the New World), he is reluctant to do his job, but through the guide of Sarge (Mentor), he gains confidence and fights on. He meets various allies and enemies. Has lots of test's. He realizes that he has fought for the wrong team (Setbacks). The hero has a boss fight with his Sarge (the Ordeal). He gets the BFG (the Reward). The hero returns to his last allies, only to find out that he has to venture to the hell hole to close the gate. Here he has to fight the Cyberdemon (Resurrection) . After wards all is golden and he has saved humanity (Elixir). Now lets look at the highlights of the original Shadow of the Beast story and see how we can adapt that to the Hero's Journey's twelve steps as shown below.

5 Jesse Schell The Art of Game Design: A Book of Lenses Page 264 6 Jesse Schell The Art of Game Design: A Book of Lenses Page 275 7 Jesse Schell The Art of Game Design: A Book of Lenses Page 173

Through the three installments of Shadow of the Beast, the plot has largely remained the same. To get a better understanding I will separate the story into three parts corresponding with the three games. To read the full original story see the appendix: The Original Story of Shadow of the Beast I, II and III. You can also read the summarized version in the appendix: Shadow of the Beast I, II and III Summarized Story.

The Beast's Journey

When you compare the original story with the Hero's Journey synopsis, you will notice that the game starts midway in the story. The ordinary world has already been left, and the protagonist is at the start of part 6: Tests, Allies and Enemies. This is not necessarily a bad thing. It could even benefit the story to make it more interesting and different. With a little relocation of the events in the original story, we can fit the entire plot into the Hero's Journey with flare. 1: The Ordinary World Aabron, the Beast Messenger, is on a mission, he is delivering a message to his master Zelek, the Beast Mage. He boards an airship under the control of the Beast Lord. A vessel powered by dark magic and ritual sacrifices. 2: The Call to Adventure On board the vessel, Aabron unintentionally sacrifices his father to Maletoth, it awakens faint memories and he realizes the truth about everything. Aabron goes berserk and kills everybody, even other slaves, as the airship crashes into the swampy wasteland below. 3: Refusal of the Call Aabron thinks all is lost, even with his immense power, he is nothing but a wild beast, and contemplates ending his existence. 4: Meeting with the Mentor The spirit of a trapped magician, Rekann, confronts him in the swamps. Rekann teaches him about his powers, about the Beast Lord, and how to control himself in the presence of the innocent. 5: Crossing the First Threshold Aabron is now motivated to find and kill Zelek, the Beast Mage that transformed him. He ventures towards the nearest stronghold of the Beast Mage. 6: Tests, Allies and Enemies Better capable of controlling his powers, Aabron must overcome hazardous environments, puzzles and hordes of monsters, to find the Zelek. He bests many of the most terrifying monsters created by the Beast Mage to find him.

7: Approach the Inmost Cave Aabron finally finds Zelek in one of the strongholds. Here he slays his nemesis. However, with the dark power of Zelek gone, so fades the beast powers in Aabron as well. Controlling his powers become even more difficult now, which adds to the suspension of the story.

8: Supreme Ordeal Zelek not truly dead, seeks revenge on Aabron and abducts his sister to take his place as Beast Messenger. Rekann sees this with his magic, and warns Aabron. He ventures to the land of Kara-moon. Here he encounters tests, enemies and allies again. This time though, everything is much more difficult because of the stronger influence of the Beast Lord and the lessened control of his own powers. However, because Aabron now spends more time in human form, he must handle the ordeal differently. He gains new weapons and even help from certain people of Kara-moon who oppose the rule of Maletoth. 9: Reward (Seizing the Sword) Finally killing Zelek, Aabron has found his revenge and has full control of his beast powers. Being able to switch them on and off as he sees fit. 10: The Road Back As Aabron sets his way home, he is reminded by Rekann, still imprisoned by Maletoth, that his job is not fully over. With Zelek gone, Maletoth is weak. To end his evil, they must strike now while they have a chance. 11: Resurrection Killing a powerful being like Maletoth is not easy, and Aabron must find four artifacts of power to construct the ultimate weapon to kill Maletoth. Doing this requires all the skill Aabron has learned. Finally Aabron must battle Maletoth, which proves very difficult, but with the right combination of human weaponry, beast powers and skill, he is overcome. 12: Return with the Elixir Successful, a new day dawns upon the human civilization. The dark powers of the Beast Lord is finally gone and everything is peaceful. There is certainly a margin of event relocation when you reconstruct a story. It seems like the writers of the original story might not have envisioned more than one game being published. The story from the second game seems like something they dreamed up after the original game became a success. This is even more apparent in the third game, here they introduce a key element to the story telling, Rekann, but the story still comes off as a ramshackle structure built on top of the predecessor. While developing computer game stories I feel like that it is important to establish solid characters early in the story. - Tim Willits id Software Lead Designer8 Using the Hero's Journey is a good way to find the holes in the original story, and rebuild a new one. It is certainly a doable way to remake a story. Maybe even better for a computer game story. Now we have twelve steps to use for later development of the game. Twelve steps that can be used for setting up a storyline, a difficulty curve, an encounter chart and so one and so forth. But that is something for a future design team to handle.

8 The Making of Doom 3 Steven L. Kent with id Software Page 27

Flow
Now with the story in place, we can continue with analyzing how the player interacts with the story. How does the player fare in the world of Shadow of the Beast? How did the player fare in the original games? How does Shadow of the Beast handle it's game flow? The first two games has an open game world, where you learn through trial and error, how to complete the game. Certain actions trigger certain events, if you respond correctly, the game will move forward. While the last one, apart from the option of starting with different missions, is more straight forward and linear.

All three games have an infamous tendency to get you stuck. If certain puzzles are not completed right, you will not necessarily die, you will just not be able to complete the game. However, if completed as intended, the games show a great flow and you get a feel of the accomplishment with every dealt obstacle. There is even a sense of interactivity with the world. The first game has loading screens that explains the atmosphere in the different places you visit; The second game has real interaction with NPC's; and the last puzzles of the last game are superbly entwined in the levels. Social Interaction As an example, you have an encounter with a monster that tries to abduct an unlucky guy. You have several options to handle this situation. You can ignore the encounter, and save some of your precious lives; Help him and gain insight into traps that lie ahead; or kill him outright. There are other places where you talk with the denizens of the world. Inn keepers, giant slugs, dragons, and prison guards to name a few. Having a social aspect is important in the game. Environment Interaction Living in the world of Shadow of the Beast is not easy. The puzzle like terrain is specked with traps, acidic pools, lethal contraptions to say a few. This is especially evident in Shadow of the Beast II and III. The levels here are more or less filled with puzzles, where in the first installment the hostile environment consists mostly of spikes that want to skewer you. When building the story it is important to take note of the extremely hostile environment.

Hostile Interaction Shadow of the Beast is filled with action. It is a game that constantly pit you against new formidable enemies. You will have to beat these enemies with a variety of strikes and weapons. Most interesting is the boss fights that is sprinkled around the game. Boss fights can involve a certain degree of cunning and some of them are more like solving puzzles. They are certainly a big part of the game, and even though the rest of the monsters need special tactics to conquer, the bosses are obstacle to be reckoned with. In conclusion, Shadow of the Beast is a story about revenge. Getting this revenge is achieved by overcoming obstacles such as: enemies, environmental hazards, puzzles, social interaction and boss fights. Which takes us to the next chapter. Gameplay, or, how to overcome obstacles in an interesting way.

Gameplay
Sometimes the story itself creates gameplay. The developers at id Software had a very fluid work flow, because of the great interaction between the different departments, and their small work force, an ideal creative environment was established. Tim Willits explains how the the team worked together to bring a key story element into the gameplay 9. The story demanded a certain artifact to be split into four pieces that the player needed to find. This story element soon gave the designers ideas on how the story might lead to obstacles for the player to handle. Soon they found out that each piece needed a guardian. This would change the power of the artifact and so on and so forth. A whole side quest, apart from the original game story, was developed. When developing a game in this manner, the connection between game story and gameplay becomes apparent. When defining which game style is suitable for the remake of Shadow of the Beast, it is important to look at the way the original story is played. Doing this requires an analysis of the mechanics of the game. When a conclusion is found to the mechanics, we should be able to assert what the interesting way is to overcome the obstacles in Shadow of the Beast.

Mechanics
All games are interactive. It is part of the thing that makes them a game. You have to take actions to participate in the game, hence, interactive. With computer games this is even more apparent. You actually have a machine that is made for interaction. Why not use this to the fullest? The old Shadow of the Beast have tons of interactivity. Well, tons for its time. A current generation Shadow of the Beast should of course match the original games amount of interactivity. It is all about the action you can take as a player. Action that will help guide you through the story. To follow Jesse Schell's example10 I will categories the actions you posses using verbs, and afterwards find corresponding interaction (look above) they help overcome.

Move (Run, jump, crawl ladder, fly) Hostile and environment. Fight (Punch, jump kick, shoot, shoot, throw grenades, throw returnable weapon) Hostile and environment. Interact (Use key in door, activate lever, buy items, talk) Social and environment.

9 The Making of Doom 3 Steven L. Kent with id Software Page 69 10 Jesse Schell The Art of Game Design: A Book of Lenses Page 142

It is obvious that overcoming the environmental interaction is a big part of the game since you have to use all your actions to overcome this obstacle. So logical a game mechanic for a new version should correspond with this assertion. A game where you use all actions given to you to survive the most inhospitable environment imaginable. The two other action categories are still very important, and should not be ignored either. Solving puzzles is a big part of Shadow of the Beast I and II, but killing monsters is still what all three games does best, or at least, most.

Object of the Game

Games have a lot of rules how to move and what you can and cannot do but there is one rule at the foundation of all the others: The Object of the Game. 11 -Jesse Schell We have already established what obstacles we have in the game; we know what the players goals and motivation are; and now we know which actions they can choose to play the game. But what is the objective of the game? Jesse Schell argues that there are three important qualities to all games that must be in order for them to be good. The game must be concrete, in that, it must be clear to the player what they have to achieve. The game must be achievable, which means, even though it look difficult, the player must always think that they have a chance of achieving the goal of the game. Lastly, the game must be rewarding in such a way that it corresponds with the challenge. Since reading the manual in the original game is not necessary, as already noted earlier in my analysis, the object of the game is simple. Kill, dodge, solve puzzles or be killed. When understanding the whole story better, the object of the game becomes different. Free the world from the evil of Maletoth. When Shadow of the Beast was made, the way to tell a story and play a game was very limited. The developers might have had marvelous and grand visions for their games, but the limits of the Amiga computer could only cater to certain genres of games. Many games were made as 2D platform games, likewise was Shadow of the Beast. 2D platform games are still a bustling genre with blockbuster hits. But is Shadow of the Beast really best suited for such a genre? Is there perhaps another genre that helps achieving the goals in a rewarding manner?

Genre
Even when taking the things I have learned from my analysis into account, the genre options for a new Shadow of the Beast are still numerous. There are a few things that really narrows down our options. We have a game story that evolves around a hero. A hero that evolves, and conquers monsters, solve puzzles and overcomes hazardous environments. He does this mainly with using his skill of movement, secondary he is a fierce warrior that uses a great arsenal of weapons to beat his opponents, and last he is an intelligent being that interacts with the world around him. The flow of the game goes from adrenaline pumping hack 'n' slash to slow puzzle solving, with a hint of social interaction relief.

11 Jesse Schell The Art of Game Design: A Book of Lenses Page 148

10

Two things that I see as a turning point in the choosing of a genre for Shadow of the Beast, is the necessity for interacting with the environment, both physically and mentally. Physically I mean the actual sense of interacting with the world through your character. Mentally I mean overcoming the environmental puzzles that are sprinkled through out the game. Shadow of the Beast movement is crucial to survive, jump at the wrong time, and the game ends, jump at the right time and you can make sure the monster boss dies. Since this is such a big part of the game, the new genre should correspond with that. Looking at Prince of Persia, we see a game that uses movement as a crucial part of the game. Prince of Persia's genre, third person action adventure, also corresponds perfectly with the rest of the aspects that make Shadow of the Beast the game it is. Another thing that narrows down the genre selection is the necessity for close combat fighting. Shadow of the Beast has elements of a shooter game, but they are largely overshadowed by numerous hand to hand weapons the game goes through. Even the shurikens seems like nothing more than a large whip, or an evolved version of the yo-yo flail/morning star from the second game. Third person action adventure games, such as God of War, use ranged weapons to a certain degree, so going for this category doesn't rule out this mechanic at all. Third person action genre just caters so well with the fighting system Shadow of the Beast requires, that it seems like the most obvious choice.

Aesthetics
Now with the story and game play in place, all we need is skinning it. Doing this we need to figure out what world Shadow of the Beast is. There are many aspects of this we have already discussed. Obstacles, encounters and puzzles. We have even learned a little about the characters in the story. But what kind of world do they live in, and how do these obstacles look?

World
Shadow of the Beast is a fantasy world first and foremost. It is a land with unworldly climate and marvelous creatures. It has magic, dragons, ghosts, castles, swords and axes. But Shadow of the Beast is more than this. It bears a hint of something out of place that you don't see in your regular fantasy genre. The technological level in this world is very strange. It doesnt correspond with what we usually call fantasy. Maybe this is one of the reasons why Shadow of the Beast seems so unique.

Zeppelins and airplanes.

11

Mixed Technology Level While the land offers you regular gothic castles, forests and monsters from the beginning of the first game, it is hinted upon that the technological level is very varying. A great zeppelin is flying in the background hinting that we are actually somewhere in the early 20th century. In the third game this becomes even more evident with contraptions, levers and conveyer belts sprawled over the levels. What is even more weird is, later in the first game, there is actually a part of the game where you shoot with a plasma machine gun. Even later yet, you even strap on a jet pack and experience a whole level, where you fly around in zero gravity and shoot aliens. Elements of sci-fi genre

The second game is more on point with the world. It is more regular fantasy, sprinkled with a little gothic here and there. Monsters, low tech weapons such as spears and swords, castles and magic. Nowhere in this installment do you find clues that the age of the world is more than early middle age.

Well, maybe this guy who shoots slime out of a gun mounted in his stomach, but that is about it.

The world in the third game is a little odd as well. Even though it talks of wizardry from the beginning, the whole intro sequence with the flying machine (look above) seems very off. However, I guess it does fit pretty well with the whole zeppelin thing they have going. Aabron in this installment looks like Indiana Jones, and while he doesn't exactly swing a whip and wield a gun, he does throw shuriken and hand grenades, which again could fit very well with a period in the early 20th century.

12

Asian Inspiration Apart from the first game, there have been a slight hint of Asian inspiration throughout Shadow of the Beast. The obvious shurikens in the third game are a dead giveaway, but it is also obvious in the architectural style of the second game. The backdrops, the intro pictures, and the Karamoon Oasis all look inspired by Asian architecture. Notice how the roofs resemble a temple in Nara, Japan. Even the round building on the cliff side, in the picture in the middle, seems to be inspired by an old Japanese temple pagoda. You even see bonsai looking trees dotted around the terrain in the third game. It is an interesting idea to incorporate in the already mixed style of the game.

Left: Karamoon Oasis, Middle: Intro Screen, Right: Karamoon backdrop.

Japanese Shinto Temple in Nara

13

Arches Another aspect of Shadow of the Beast architecture that makes it so unique is the arches. Arches in the mountains, arches in the bridges, arches in buildings and arches in the concept art.

Arches, arches everywhere. Also, see screenshots above these for more arches. Fauna The fauna in Shadow of the Beast ranges from normal looking oak trees, bonsai trees, alien looking mushrooms to actual alien environment. However, what makes it unique is definitely the elements that stand out like the bonsai trees and the abundance of giant mushrooms. It is also important to note, when we are talking about the fauna, that a lot of the obstacles in the game, the hostile environment, is also part of the aesthetic fauna of the world. As seen below, in the far right bottom corner, is an example of fauna that is also used as an obstacle.

Fauna of Shadow of the Beast

14

Fauna as an environmental hazard

Characters
When designing a character there is a lot more to it than just aesthetics. Like story and gameplay it too must correspond with the other elements of the game. So if we look how the characters in this game correspond with what Jesse Schell 12 argues is good game character design, we can pinpoint the elements of the characters that really works. After those elements have been established we can remake the design so it will correspond with what current character design demands.

Before defining the traits in each of the characters in the game, it is a good idea to look at their relationship. An easy way to do this is using the relationship diagram as proposed by Jesse Schell13. With an established relationship, we will have an easier time pinpointing the important traits in each of the characters.

Relationship Diagram (left Star Wars14, right Shadow of the Beast)

12 Better Game Characters by Design - A Psychological Approach; Katherine Isbister, Morgan Kaufmann, 2006 13 Jesse Schell The Art of Game Design: A Book of Lenses Page 319 14 Jesse Schell The Art of Game Design: A Book of Lenses Page 319

15

If we compare the diagram Jesse Schell uses in his book, with the one I have made, we will see that it corresponds very well with his Star Wars example. This is interesting since Star Wars is a perfect example of Hero's Journey storytelling. Maletoth might as well be Darth Vader, Zelek could be Boba Fett (even though he is not represented), Rekann corresponds to Ben Kenobi (a little more dominant), Aabron would serve as Han Solo and Aabron's Sister would be largely fit the role as C3PO. One important character that is missing is Luke Skywalker, and one could argue that the Aabron and him should share the same spot. However, Aabron is a wild beast, he is not submissive at all, and he has a tendency to kill some of the people he meets. Also, Aabron is a problem solver, he does get some advise, but mostly he is a master of his own fortune. Just like Han Solo. Aabron The hero of the story. Aabron is both man and beast. He is driven by a hunger for revenge. He is proud, dominant, strong, resourceful. Few other things than revenge stir in his heart, but occasional he might ally with the denizens of world if it helps him achieve his goal. Aabron's only weakness is himself and his younger sister. His inner beast is something he gradually learns to master, but Zelek abducts his sister, he is powerless, and only more slaughtering can solve that problem. Aabron's is agile and athletic. He was the beast messenger of Zelek, and his speed is unmatched by most of the other stronger beasts. Playing Aabron is an experience where you get to be the monster. Aabron's movements and personality reflect this. Playing Aabron is also playing a heroic man. When in this form Aabron knows that he is weaker, and his movements and personality reflect this.

Aabron (left: Shadow of the Beast 1, middle: Shadow of the Beast 2, right: Shadow of the Beast 3)

16

Rekann Rekann is old and wise. He has lived longer than the rule of Maletoth. But even though he is wise, he is a little naive. A naivety that gave Maletoth a chance to overthrow the old king. He is kind, charismatic and trustworthy, but he has a strong sense of persona, and his words bear power. Rekann is a mentor, and he teaches Aabron about himself, and the world. In the end, it is his plan that gives Aabron the tools he needs to kill Maletoth.

Rekann Aabron's Sister Weak and cute. Aabron's sister is a baby in the original installment of Shadow of the Beast. But since her character function is the hostage15, and she needs to be one of the only weakness of Aabron, she needs to be very appealing. The player must want to save her more than anything. To add more character to her, she needs more personality. To have more personality, she has to be a little older. I propose her to be a tween. This will put her in an age category where she is developed enough to have a strong personality, but under developed enough to not be a sexual being. We wouldn't want her to be confused for Aabron's girlfriend.

Zelek Zelek is the creator of Aabron, and all the other beasts. It is hinted in the original story that he is the direct subordinate of Maletoth, and that there are other mages that could take his place as The Beast Mage, if he didn't find a suitable substitute for Aabron. A powerful position, a powerful being, evil being, but still not as dominant as Maletoth himself. Zelek is a vengeful soul, when beaten by Aabron he doesn't just take a new child as the Beast Messenger in spite, he deliberately goes out of his way to steal Aabron's sister. Zelek's power is that of transformation, fire and lighting. In the first game he is portrayed as a giant beast, and you can only see his grotesque foot. But after he is beaten, he is more of a beastly ghost-like being, with the ability to take the form of a black dragon. Since Zelek is the master of the castle in the first game, it is only reasonable to suspect he is also a master of the technologies presented there. His magical power of lighting could just as well be electricity.

15 Jesse Schell The Art of Game Design: A Book of Lenses Page 315

17

Zelek Maletoth Maletoth is the supreme antagonist. Even though very little is said about him, we can expect him to be overly badass since he controls Zelek through fear. He is ultimately dominant, powerful and clever, tricking an entire Kingdom, and then conquering it. In the third game you finally encounter the mysterious super villain. You had pictured something immensely powerful, evil looking and dark. However, it seems Maletoth is nothing but a flying head and two hands. With all the amazing monsters in the game, this is a shame. The battle against him is easy since you have gotten your ultimate weapon so not even here is Maletoth especially imposing. In a new version I would take a lot of effort into remaking Maletoth into the ultimate antagonist, he is.

Maletoth

18

Creatures
Since the original Doom feel was mostly about slaughtering monsters, id Software knew they had to bring back to most favorite opponents in the game. However, in Shadow of the Beast we are not limited to a handful of creatures. The first game alone have over 80 creatures, and this is without counting in all the environmental hazards. So naturally remaking all 80 creatures would be a feat taking up way too much time. Instead, one should rather focus on some of the more iconic creatures. The most memorable include bosses, and some of the creatures that are recurring and interesting to fight. Some of the most interesting creatures to fight in the first game is the big brutes that try to hit you with their sword. Not the most interesting mechanic, but comparing it with the numerous of other creatures, that just storm at you with no regard for their life, it is cool. Likewise, one of the more interesting bosses you fight is a gargoyle that breathes fire at you, while you try to beat its crystal ball. Some of the later bosses are very interesting as well, but this encounter is probably the most played one, since it is the first one, and the game is so damn difficult. Players will most likely remember this guy.

Creatures and boss creatures from the first game In the second game, you fight tons of creatures again. One of the more interesting types of opponents you face, is the giants. These big brutes can only be beaten by aggressiveness that pushes them over a ledge. This is an interesting mechanic that could easily be remade to something incredible. As for bosses, Zelek is definitely the most memorable.

Creature in the second game In the third game, you meat a tribe of cave men like creatures. Although fairly easy to kill, the death animation is great. They literally gib when you strike them with your shuriken. A great feedback that makes them a memorable encounter. As for bosses, this game has a handful, however Maletoth deserves the most attention. Maletoth is both a character of the game, and an encounter, and therefore he deserves more development time than most of the other creatures in the game.

Creatures in the third game

19

Appendix
a) Terms b) Shadow of the Beast I, II and III Summarized Story c) The Original Story of Shadow of the Beast I, II and III d) Addictive Game Play Design - Mathias Severin 2010 ________________________________________________________________________________

A) Terms
Game Game refers to the game at hand. It might be this game, or that game. A game is a game. A good game usually include terms such as good gameplay, good gamestory or good aesthetics. Gameplay Gameplay, simply put, is the actions you take, to overcome an obstacle. You can call it the rules of the game but this is not completely right, since gameplay is a term the encompasses a little more. However, if you succeed in designing a good gameplay, you game will be fun, challenging and entertaining, and so on. In theory, gameplay is distinct from story, audio and graphics. Story/Storyline/Storyboard A story is a story. When using the term story in a game it refers to the narrative element. Sometimes you can call it gamestory, and when you do, it just refers to a story that happens in a game. However, storyline is a term used when you look at the steps you character takes throughout the game. Sometimes a storyline is exactly what it is, a visual line that tells the rough part of the story. It is a skeleton that gives an overview of the entire story. This might seem like a storyboard, but a story board is an even more visual element of a computer game. The storyboard is small thumb nails that explains in great detail the layout of the scene in the game. Game Style/Game Genre Game style refers to the style of the game. Like with movies, a film noir, is a certain type of movie. It is visually unique and it story is typically unique as well. Game style is the same concept. You can even say: this game's style is kinda film noir'ish... a game noir if you will. It is not only narrative, it can border the aesthetic approach to the media as well. However, the term genre (game genre) is different from how we use that word in the movie. The genre of a game refers directly to gameplay. Is the game a puzzle game? A third person shooter game? Or is it a real time strategy? Puzzle genre, third person shooter genre, real time strategy genre.

________________________________________________________________________________________________

20

B) Shadow of the Beast I, II and III Summarized Story:

Shadow of the Beast 1 Aabron comes to realization that he was betrayed by his masters. He finds out that his father is dead because of the evil he has helped spread. Aabron seeks revenge upon all others like him and especially his dark master Maletoth and his pawn Zelek. After slaughtering a horde of monsters Aabron confronts Zelek and destroys him... or so he thinks. Shadow of the Beast 2 After supposedly destroying Zelek, the land is ridden of some of the dark power of Maletoth. Aabron reclaims some of his humanity. Zelek, not being truly dead, seeks revenge upon Aabron. Zelek, fearing of his Maletoth's wrath, must find a suitable replacement for Aabron. Zelek abducts Aabron's younger sister, in the intent to turn her into a beast like Aabron was. In a vision, Aabron oversees the abduction of his sister, while Zelek mocks him. Aabron journeys to Kara-moon to find and rescue his sister, and kill Zelek once and for all. After slaughtering hordes of monsters, fighting tough bosses and solving difficult puzzles, Aabron finally finds Zelek and kills him. Shadow of the Beast 3 With Zelek truly dead, the land is nearly cleared of the dark powers of Maletoth. Rekann, an old wise wizard imprisoned in the Cage of Constraint, contacts Aabron mentally. He tells him this is only possible because of Maletoth's diminishing power. Rekann encourages Aabron to end the darkness completely by destroying Maletoth now that he has the chance. To kill Maletoth, Aabron has to collect four artifacts of power. The Skull Of Louq-Garou, The Quintessence Of Being, Pendek's Mace and the Crystals Of Hodag. Rekann summons a vessel for Aabron to travel in. Aabron journeys north to the four final strongholds of Maletoth in search of the artifacts. After slaughtering hordes of monsters, solving tons of puzzles, fighting tough bosses and collecting the four artifacts, Aabron finds Maletoth and kills him.

________________________________________________________________________________

21

C) The Original Story of Shadow of the Beast I, II and III

Below is the stories taken directly from the manuals you receive with the game. Shadow of the Beast I The grounds of Necropolis were silent. The moon, low and large on the horizon, cast a cool blue light across the stony ground causing ancient statues to cast long and dark shadows into the corners. One statue in particular, a giant griffin, accounted for most of the darkness. Its wings folded behind it, arms spread wide and stretched heavenwards. In the griffin's arms sat a lone creature, as still and cold as its host. Scaly skin glistening in the thin light, it clutched a Globe of Seeing which it moved slowly from side to side examining its reflected features. As it did so it recalled the events of that day, the frightened humans being herded into the central courtyard, the pathetic pleas for help as they were dragged one by one to the sacrificial stone, and the final air rending screams each time the knife came down in one swift arc and the life blood ran. He remembered a tired, resigned face being pushed towards the stone, a face that seemed of some importance to him. Yet how could that be when the lives of these people meant nothing to him? And, as the gleaming blade struck home, he recognized the agonized face. It was his father. Then he remembered. He remembered being younger. Being freer. Being human. Suddenly the painful memories of all he had been came flooding back to him. The temple masters had done this to him. They had been responsible for all that he was, and the loss of all he had been. A feeling of shock rose, fighting with anger for dominance. Now he would stop serving the temple masters. He would stop killing for them. He would kill them. He scrambled to a standing posture, and lifted the globe high above his head. He held it tightly in his gnarled claws, and, issuing a bellowing roar, crushed it. It shattered, and thousands of tiny shards arced downwards, making the ground around the statue look cold and frosty. Nothing would stop him now. He would crush them as he had crushed their globe, and wouldn't stop until the blood of each of them, and the creatures they had created soaked the earth. Once this was done, he would combat the Beast himself. Flame red eyes stared out across the sun-scorched plain, scanning the distant forests. Just for a moment he enjoyed the stillness. A respite before he once again set mind and body against the unnatural creatures his masters had spawned. He knew that somewhere within the giant forest lay several Beast Mage buildings, and, hidden even deeper, the Beast himself. Drawing in breath sharply, he flexed his hardened muscles, feeling the blood pulsing through his arteries, the double heart pounding furiously in his chest. His power and speed were all that ensured his survival. He knew that the minute he was weakened, and his reflexes dimmed, that minute would be his last. Setting off at a run he made for the trees, stirring up a trail of grey dust behind him. To have remained on the plain

22

while the sun was high would have been fatal, and the trees would provide a respite. Even so he knew that their shade would not prove entirely safe, and were likely to be providing shelter for other beasts than himself. As the warrior reached the edge of the forest his instincts told him that he was unlikely to be alone for long. His eyes narrowed, darting from side to side watching for the tiniest movement that would betray a predator. When it came it did so with speed, rushing at him full on. It provided a warning, as its black wings crashed through the foliage, and from its mouth came a piercing scream as it sighted its kill. The warrior had barely enough time to turn as the giant bat-like creature flew directly at his head. Crouching, he brought his bone-covered fist up hard into the creatures soft underbelly, using its own momentum to direct it into the trunk of a tree. It screamed in pain, hitting the tree with its spine curved back-words before falling to the ground, its spine smashed and skull broken. It made no noise but for the treacly blood bubbling from its mouth and ear. The warrior ignored the body. Behind him had come another screech, this time even closer. As he turned and dived for cover another winged demon flew at him, claws extended for the kill. The warrior struck out again, but too late this time, and he felt its talons tearing into his flesh as he rolled away into the undergrowth, dragging the creature with him, rolling onto it and breaking its neck in one movement. He lay there panting, momentarily dazed. He could feel a warm wetness across his side and stomach, and with it a sharpening pain. He stood slowly, fighting the waves of pain that passed through him, feeling his hearts pounding faster. He had to keep moving. Other creatures would smell the blood soon and he could not ward off another attack. As he stumbled between the trees he noticed something out of place against a distant trunk. Coming closer he realized that it was a doorway, and recognized that it was a Beast-Mage construction. Thinking only of the things that would soon be trailing him, the warrior took a chance and dropped through into the darkness. There was a cool breeze coming from somewhere beneath him, and, now that the creature was out of the forest, a menacing silence fell, a silence disturbed only by the slow dripping of water deeper within the cavern. As the warriors eyes became accustomed to the poor light he made out a worn stairway curving away from him into the darkness. So, his suspicions were confirmed. He had stumbled upon one of his ex-master's outposts. An outpost that would definitely be inhabited by bizarre creatures, but that could also possibly host the Beast. There was only one way to find out... Padding slowly down the stairway, the warrior readied himself for whatever abominations lay in wait at the bottom. Soon the stairway straightened out and the warrior found himself on a narrow ledge. The phosphorescence from the cavern walls was enough to reveal that he was in a huge chamber that extended away into pitch darkness. Now the silence was interrupted by distant sounds of angry growling. Whatever inhabited this place had obviously picked up his scent. The ledge that he was on appeared to be deserted, so he advanced slowly. Without warning there was a sizzling sound

23

behind him. Instinctively the warrior jumped, and felt his feet burn as a white hot fireball shot beneath him and explode violently against the cavern wall. So, his former masters were aware of his presence, and realized his intent. He would have to be twice as alert now. They would use every means in their power to stop him. Ahead of him now he could make out a rough wooden ladder staked into the side of the ledge. He swung himself onto it and began his descent, dropping silently the rest of the way when he saw another ledge beneath him. No sooner had his feet hit the ground than a scaled abomination rushed forward, his large teeth glinting as he roared ferociously. The warrior turned calmly and dispatched it with a single blow. And so the ordeal went on as he worked his way deeper into the cavern. Unnatural creatures beset him at every step, but each was destroyed with determination as the warrior remembered his promise to himself to continue until every last one was dead. He had just dropped onto another ledge when he caught a glimpse of something shining in the distance. Moving closer his keen vision made out a key sitting on a shelf on the other side of a broad chasm. He started to move swiftly towards it when he was halted by an almighty roar. Suddenly he was confronted by a huge guard. His opponent took a short moment to size him up and then made a charge, swinging his double headed battle axe at the warrior's head. Without losing a moment the warrior sidestepped the blow and slammed his fist into the guards throat. There was a sickening crunch as the neck snapped, and the warrior stepped back quickly as the huge body tumbled forward over the ledge. There was no time for recovery before another hulking figure was rushing headlong at him. But this time the warrior was ready, and his flying kick sent the guard plummeting backward to join his accomplice. Now a clear way lay ahead of him to the key. He sprinted along the remainder of the ledge and, just as the edge of the abyss met him, he leapt forward, hands flailing, reaching to grasp the edge of the shelf. He made it in a shower of dirt and stones, and caught his breath as he hung swinging above a seemingly bottomless chasm. He could feel his sweaty hands begin to lose their grip. Now the warriors true destiny would be decided....

Shadow of the Beast II The story so far

Shadow of the Beast I You were once the pawn of Maletoth, the Beast Lord, your humanoid body changed and your will sapped by years of subjection to the dark arts of his evil mages. Then one fateful day you looked upon the face of your father as he was dragged forward for execution, seeing his image opened your clouded mind to the truth about your past. As the sacrificial blade tore into his body and he screamed his last breath you vowed to take revenge on your masters for his slaughter and for what they'd done to you.

24

Using your beast-like powers you scoured the land in search of the Beast Lord and vengeance. Fighting your way through a seemingly endless barrage of adversaries you struggled valiantly towards a confrontation with Zelek, the Beast Mage. A terrific battle ensued from which you eventually emerged the victor. Your prize was the return of your humanoid body in which you now stand proud and free, elated to be rid of the evil dominance of the Beast Lord ... but your elation doesn't last long! Dire news reaches you of the capture of your sister by the Beast Mage. She's been taken to Kara-Moon, a far-off hostile place where she is to be subjected to years of forced cultivation until eventually taking your place as warrior messenger to the Beast Lord. This must not happen. Following a journey fraught with peril, you eventually reach Kara-Moon and, armed only with a mace, prepare for battle. But ironically, without the benefit of the beast powers you fought so hard to shed, will you be strong enough to succeed? Shadow of the Beast II: The Shadow Deepens The blanket of pitch black that drapes over the land blending shapes into a mass of indefinable darkness is only intruded upon by the occasional shaft of brilliant lightning. In the brief but manic dancing of the diamond-white tongues of energy, one shape stands out from the rest: A tower; so tall its pinnacle seems to look down on the very source of the storm. The single window near its top is almost as black as the surroundings, but closer study reveals a faint glow from within... Darkness is Zelek's ally, the only place in which he finds solace, yet the increasingly frequent bolts of dazzling lightning do nothing more than fleetingly interrupt his lonely musings. As he sits, deep in thought, his chair seems less comfortable with the burden he now has to bear: His recent clash with the warrior messenger was, at the time, more an annoyance than painful. If the messenger hadn't had incredible luck on his side Zelek feels sure he would have emerged victorious from the conflict. Unfortunately, his master, Maletoth the Beast Lord, takes a very different view. He's disappointed in him and has let it be known that should Zelek be unable to put right the wrongs of his defeat there are many other mages waiting to take the place of honor at his side. Knowing to what extent Maletoth dislikes failures - and how he deals with them - Zelek must quickly make amends for losing his master's prize warrior messenger or feel his dreadful wrath. Any humanoid child would suffice to provide the mages of darkness with another puppet on which to perform their macabre arts to mould it into another warrior messenger. But Zelek's recent defeat at the hands of the now-free warrior messenger sticks in his craw and he craves revenge, he NEEDS revenge. His lackies are even now searching the land in an effort to find a suitable candidate but time marches on and Maletoth is not renowned for his patience. As he contemplates entering the search himself, one of Zelek's many underlings crawls into his presence and, grovelling on the floor in a pathetic attempt at homage, tells him of the birth of a child many leagues to the north... "On the outskirts of Deadwood Forest there's a small cottage nestling beneath a ridge of granite, she lies within". Doubting the suitability of a female for the role of warrior messenger, Zelek enters a shallow trance of peregrination and sends his thoughts to the areas described by the whimpering subordinate. Transporting his mind into the cottage via the narrow chimney he looks down on the baby from the darkness of his storm-torn tower. A burst of knowing suddenly hits him as he examines the child and with a speed greater than that of the lightning exploding about his lair he reunites his thoughts and physical self.

25

Standing, he pushes the servant aside, strides to the window and falls through to plummet down to the river far below... Long before he hits the broiling, dark waters Zelek effortlessly metamorphoses into his beast persona. Beating huge leathery wings against the howling wind, he quickly gains height to be amidst the thunder and lightning that spurs him north. Landing on a high ridge he resumes his more humanoid form to look down on the cottage, confirming his thoughts on the child and feeling very good about the pain he's going to inflict on a certain ex warrior messenger. An angry bolt of lightning hails another transformation to his beast form and wings spread wide, he glides down to the roof of the cottage, screaming against the thunder. Pausing for but a brief moment in glorious feelings of retribution, he smashes a clenched talon through the fragile roof, reaches past the terrified mother into the crib and grabs the baby. The mother can only scream in terror and beg for him not to take her child, she may as well plead mercy from the raging storm. Holding the baby roughly in his talons, Zelek launches himself into the night. Reverse tasting very sweet on his flickering tongue... ________________________________________________________________________________________________

D) Shadow of the Beast III

The story so far.. Shadow Of The Beast: As a small child, Aarbron was enslaved by the Priests of the Beast Lord. He was tormented for years and subjected to an evil program of will-sapping drugs. He eventually had no purpose of his own and totally belonged to Maletoth, The Beast Lord. He became the Beast Messenger, a creature possessing great strength and agility, and he soon forgot his human ancestry. Time passed and Aarbron performed his duties well, he was a good slave. Then, one fateful day, he was passing time watching ritual sacrifices when the man shackled to the alter woke dim and distant memories. Perplexed, Aarbron moved closer and looked long and hard at the face of the man about to be slaughtered... The sacrificial knife plunged down and Aarbron remembered with horror that the man he now looked on was his father! As he watched the life blood flow from his body to splash red on the cold floor of the temple, the memories of his short childhood and the truth of who he really was became clear to him. He looked around him at the priests of the Beast Lord and felt hatred. He swore vengeance on Maletoth and his aid Zelek. Running away from the temple, cold tears stinging his anguished face, Aarbron vowed to avenge the death of his father and make them pay for his own years of torment... He knew he had a long and difficult battle ahead of him... Shadow Of The Beast II: Aarbron fought bravely and battled hard but failed to destroy either Zelek or Maletoth. However, he had destroyed many armies of Beast followers and was rewarded by having some of his humanity returned.

26

The power of the Beast was diminished... but Maletoth remained a dark threat. Aarbron drank from a pool of cool clear water. As the refreshing liquid passed his lips, the pool darkened and grew cloudy. A dull light from its depths illuminated a vision that transfixed Aarbron's gaze: He saw a small ramshackle house, lonely and vulnerable in the storm that raged around it. High on a craggy cliff overlooking the house stood Maletoth commanding the storm. Lifting his arms to the rolling sky he began to metamorphose into his beast form... a horrific winged demon. With a cry of triumph he lept off the cliff and glided effortlessly through the maelstrom to land with dark grace on the roof of the little house. Inside, a frightened mother moved to protect her baby as the clawed hand of Maletoth smashed its way through the flimsy roof and reached down. A baby's cry, a mother's scream and Maletoth flew from the roof and into the darkness... the frightened child in his talons. A faint whisper escaped from Aarbron's lips... 'Sister!' He heard Maletoth speak to him above the storm: 'She is perfect to take your place by my side... on Kara-Moon' His evil laughter mingled with the thunder as the menacing vision slowly disappeared to be replaced by a bright rind of ripples. Was Aarbron to be haunted forever by Maletoth? He knew he must journey to Kara-Moon and face unknown terrors in order to rescue his sister. Shadow Of The Beast III: Zelek was dead... Aarbron collapsed to the ground and slept. As he dreamed, an apparition appeared before him in the form of a wizened man. The man smiled. "You have done well, Aarbron. Zelek was indeed a powerful enemy, to defeat him took great courage and strength. The world is now a safer place, thanks to your valor. But your battle is not yet over. Maletoth, although abated is still a power to be reckoned with. To be free of his curse forever he must be destroyed. I am Rekann. Once magician to the King, I maintained the balance between light and dark, good and evil. Sadly, I was lapse. I should have seen Maletoth's power growing and sensed his presence, but he was clever... very clever. I had no hope, his attack was swift. Before I could retaliate he had imprisoned me in this Cage of Constraint. But now, your defeat of Zelek has weakened Maletoth sufficiently to allow me to contact you. His dark hold on the world is loosening. We must strike while we can. To banish Maletoth forever you must seek out these four items: The Skull Of Louq-Garou, The Quintessence Of Being, Pendek's Mace and the Crystals Of Hodag. Only when you have these four entities will you be strong enough to face Maletoth. Awake now, Aarbron. Awake to face your greatest challenge yet... but fear not for i shall be with you to guide you along the way. Awake Aarbron... your transport awaits." Aarbron stirred. He lay quietly on the ground, contemplating his dream. He felt different, he felt good. Looking down he saw that his body had changed, he had regained his human form. Maletoth's curse had left him, he was free!

27

From the distance, Aarbron heard the throbbing hum of aircraft engines. He watched, fascinated, as an old plane flew into view and landed close by. Aarbron waited... Nothing happened. He approached the now silent aircraft and, as he neared it, the door opened. Aarbron jumped back, but again nothing happened. He looked inside... no-one was aboard. He climbed in and the door slammed shut. The engine fired up and the plane took off. Aarbron made himself comfortable. The plane was heading north,... towards Maletoth. ________________________________________________________________________________________________

28