Game lovers and enthusiasts alike are sure to adore Lexi Bright’s portfolio project: a fully imagined game concept inspired by premodern British literature and the historical conventions of oral story-telling. Lexi’s game mock-up is teeming with creativity and keen observations about a extensive range of literary works, genres, and characters. Lexi showcases her critical understanding of gaming mechanics and conventions, offering a project that is both playable and speaks to the conditions of the current COVID-19 pandemic:
My game’s format draws from The Canterbury Tales, The Decameron, and the current COVID-19 pandemic: A group of people from different walks of life are quarantined at an inn after one guest exposes the rest to a highly contagious virus. Their quarantine is set to last a fortnight, so, as the host/owner of this establishment, you, the player, invent a game to entertain your guests and hopefully avoid a mutiny. Each evening, you choose one guest to tell a story and, at the end of the quarantine, the person who told the best one has a feast thrown in their honor and paid for by the other participants. Since you ultimately decide who wins and your guests are highly competitive, each participant adjusts their story to align with your suggestions and preferences. Functionally, this relationship allows the player to control the characters in the storytellers’ imagined worlds and turns each guest’s story into its own mini-game.
Below we have reproduced Lexi’s project in full. In her submission, she includes “an outline including descriptions of the mini-games and characters as well as some concept art and sprites.” The depth of thought and skill that went into her project should speak for itself, as she walks us through the game’s immersive setting, mechanics, characters, and the unique consequences of players’ choices.
The Plot
New outbreaks of the bubonic plague and yellow fever have started to make people across England anxious. You play as Harry Bailly, an innkeeper, who must quarantine everyone staying at your inn after a guest with troubling symptoms is found dead. During the quarantine you propose a game to the guests, a storytelling contest to keep your minds off the morbid situation you find yourselves in.
The Setting
Southwark, London. The Tabard Inn. A lovely, little inn near the London Bridge. Late Georgian era: after the Treaty of Paris, but before the Abolition of Slavery.
The Characters and the Stories They Tell
The Gamemaster
The player a.k.a. Harry Bailly: A character with a malleable personality depending on the player. He has owned the Tabard Inn for nearly a decade and is quite proud of his establishment. This is not a situation he’s found himself in before but, like Milton’s Satan, he’s putting on a confident face for those counting on him. If he just ignores his fears and anxieties for long enough, they’ll just disappear, right?
The Soldier — Beowulf
Simon Radcliff: The black son of a wealthy gentleman and his former slave. He’s a career soldier and fought in the American Revolution. He was deployed to France a few months ago but is returning home since a near fatal injury has left him unfit for battle. Simon is deeply disillusioned with the world and particularly upset with the government and ruling class. He’s haunted by the many cruel and violent things he was ordered to do over the course of his military career and remains unable to assuage his guilt. Simon’s story is not only a way to explore the emotions he struggles with, but an attempt to show that humans are horrifying creatures, and that war ultimately produces nothing but pain. He urges his peers to consider how their actions affect others and to value all life. If you don’t, you might wake up one day only to realize you’ve become a monster yourself. He tells the story of Beowulf leading up to the infamous battle with Grendel. The Hero arrives at the battle as either Beowulf or Grendel depending on how the player acts. His story relates to the Heiress’s. For more on the Soldier see below.
The Governess — Fantomina
Beatrice Langley: A successful governess actively seeking employment. Much like Eliza Haywood, she is intentionally enigmatic, keeping her personal life as private as possible. Beatrice is fed up with the lack of respect those above her station treat her with (portrayed in-game by the Baronet’s snide and condescending attitude) and wants to understand how people can be so arrogant. She tells the story of Fantomina from the perspective of Beauplaisir turning the story into a mystery where a nobleman tries to figure out why every woman he knows has suddenly vanished. The story mocks those who consider themselves intellectually superior to everyone else simply due to their age, status, or gender. It also doesn’t make light of either party’s abuse with Beatrice admitting that “there is no hero” in this story. Her story relates to the Baronet’s. For more on the Governess see below.
The Heiress — The Blazing World
Arabella de Vere: An heiress who finds herself in full possession of her late father’s property. Unmarried, well-educated, and eternally curious, she is free to do as she pleases. Much like Cavendish and Burney, others judge her unorthodox lifestyle and fail to see her independence and intelligence for what they truly are. Most members of high society regard the young Miss de Vere as wanton, foolish, and conceited, though Arabella remains unbothered. She tells Cavendish’s story of The Blazing World as a way to demonstrate her ideals. The world she presents serves as a model for the changes she wants to make to society and the way she thinks others should be treated. Still, she values an individual’s right to differing opinion and encourages her peers to imagine their own worlds should they disagree with her. The game is a roleplaying adaptation of Cavendish’s story with the player taking on the role of the future Empress. There is also some variability in how the Blazing World manifests based on the player’s preferences. This reflects how she wants each individual to design their own, unique world. Her story relates to the Soldier’s. For more on the Heiress see below.
The Criminal — Paradise Lost
Samuel Cadogan: Recently freed from Newgate Prison after being arrested for highway robbery. A devilishly charismatic son of nobility, Samuel feels he was pushed into a life of crime by his family’s dismissiveness and cruelty, though the truth is rather hazy. He was only released from Newgate due to his father’s influence; and not out of love but because his father wouldn’t allow the family name to be tarnished by a public execution. He openly flaunts the scars left on his limbs by the irons and is more than willing to show interested parties the other wounds bestowed by abusive gaolers. Samuel tells the story of Milton’s Satan as a political thriller but with Georgian London’s lower class as those who’ve fallen from grace and now must rebel. He seeks to eradicate the problems plaguing the lower class such as those Hogarth depicted in his engravings. His game is focused on the expert use of guile and reflects his own skills in manipulation. He often uses “carpe diem” logic, inspiring the masses with the same reasoning John Donne uses in “The Flea.”
To demonstrate how there are multiple paths each character’s story can take (depending on how well the game is played), here are the four major fates his story leads to: the worst ending, he is shot in the street like a mad dog a few weeks after leaving and is quickly forgotten by history. The neutral ending, he tries to start a riot but fails and is executed publicly, though he’s remembered by later generations as a luminary. The good ending, the riots are a success, and he accomplishes minor prison reform. The best ending (only triggers if he’s chosen as the ultimate winner), the riots are a great success leading to major prison and social reform, and he also convinces several of the guests to join his cause. His story relates to the Vicar’s.
The Freeman — The Interesting Narrative
Uzoma Ejiofor or Arthur Fletcher: A freeman and abolitionist passing through London on the world’s first book tour. The Ratcatcher has heard of Uzoma before and urges him to read from his recently released memoirs. His story is that of Olaudah Equiano. He tells of his kidnapping, his journey through the Middle Passage, his experiences with slavery, his freedom, and finally his trials faced as a freeman. Most of the gameplay and story takes place on ships with exciting adventures juxtaposed by the heartbreaking reality of the transatlantic slave trade and racism. As Equiano aimed to do with his book tour, Uzoma seeks to motivate the other guests to support the abolitionist movement, appealing to their humanity and inspiring them to take vocal action instead of silently supporting change. His story relates to the Diarist’s and the Ratcatcher.
The Undertaker — “The Ruin” and “The Wanderer”
Ralph: A taciturn Irishman passing through London for reasons he refuses to elaborate upon. Ralph admits to being an undertaker though provides little insight into his life. This combined with his erratic behavior leads the other guests to make wild assumptions about his identity. He tells the stories of the “Ruin” and “Wanderer” elegies as a surreal puzzle game that also takes inspiration from the “Dream of the Rood.” The player wakes up in a ruin with no memory. As they meander through the destroyed city, they find scraps of parchment with the charred remains of “The Ruin” scrawled across them. These excerpts transport the player to a time when this ruin was still wondrous, teeming with life and love. The player must piece together a tale of happiness, arrogance, and violence. The story is further expounded upon by the specter of a warrior warning the player about the consequences of rash action and asking them to find where the former residents are now. At the end, they find that the once joyous residents are now only a pile of gnawed bones left in the wake of a brutal war. The player then wakes up revealing the entire experience was a dream meant to inspire them to change and draw new meaning from their life. His story mostly stands alone but can relate to the Chemist’s.
The Rat-Catcher — The Rape of the Lock
Phillip Hamelin: A hunchbacked, German man who not only catches rats but breeds them. Despite what one may assume from his station and profession, he speaks eloquently and has a curiously elegant aura. He claims his profession has allowed him to observe every side of life and humanity and, as a result, he far prefers the world of fantasy to reality. He tells the story of The Rape of the Lock from the perspective of the mythical creatures that populate that world. Most of the game is from the perspectives of Ariel and Umbriel, either striving to protect Belinda or thwart the plans they’ve just laid. Umbriel’s descent into the Cave of Spleen provides an insight into dehumanization and the triviality of the material world while Ariel’s betrayal of Belinda is framed to mirror how people may claim to have grand moral values but fail to act and support them when the moment comes (like Cowper’s “Pity for Poor African’s”). Like Phillip himself, both of the main characters are existing in and trying to make sense of a world they don’t technically belong to allowing them to see the situation more clearly due to their detachment. Phillip’s personality and ideals are partially inspired by Pope, Johnson, and Cowper. He is a supporter of progressive stances, vocally backing other characters when they are demeaned by those whom he considers shallow and close-minded. He is notably an abolitionist ally and a fan of the Freeman’s work long before the events of the game. He also supports the burgeoning relationship between the Soldier and the Heiress. His education and existence in general do not make perfect sense, leaving some to wonder if he is secretly as fantastical as the characters in his tale. His story relates to the Perfumer’s.
The Diarist — The Book of Margery Kempe
Judith Byrd: An extroverted socialite who decides the best story she could possibly tell is her own. Her story and personality are primarily inspired by Margery Kempe and The Wife of Bath. The game follows her life and her experiences with both the physical and spiritual world. She does not hide any part of her life from her listeners adopting Samuel Johnson’s approach to biography and life writing. She is shown to be as inspiring as she is controversial but ultimately the audience is left to form their own opinion on her life and actions; she is merely relaying how she has lived. Her travels to different parts of the world and experiences with other religions also demonstrate how the English experience was not an isolated, homogeneous one. Her story relates to the Freeman’s.
The Chemist — The Life of Merlin
Daniel Ashbrook: A Muslim chemist and entrepreneur who is visiting London to source new ingredients for his pharmacy. Though he is a businessman, he chose the path of a chemist in order to serve those who can’t afford the services of a physician or apothecary. His brother was a soldier who died during the American revolution. He tells the story of Merlin as portrayed in the Vita Merlini. The story depicts an honest image of PTSD and trauma’s devastating effects on a person’s mental health. The player acts as the prophet Merlin suffering from hallucinations and unable to distinguish reality from fantasy. It also highlights the hardships Merlin’s family faces as a result of their loved one’s depression. Ultimately, Merlin is cured and not by magic, but by medicinal treatments. The story portrays the original Monmouth versions of Merlin and Morgen and shows that logic is not a modern invention. The Chemist only offers to tell his tale if hysteria threatens to break out among the other guests because he wants to show them the power of medicine and assuage their fears. His story can relate to the Undertaker’s.
The Baronet — Walter and Griselda (The Clerk’s Tale)
Edmund Huxley: A pompous nobleman who claims to have deep spiritual attachments but decides anything he does is morally sound. A vocal disparager of the Governess who doesn’t respect her occupation or her radical intellectual positions. He has a deep-rooted superiority complex and is biased to assume anyone unlike himself is inferior and thus doesn’t need to be treated with decency. His story is only made available once the Governess has told her story and is a direct response to the issues that he has with her tale (that stories must have a hero and a villain). He tells the Clerk’s tale of Walter and Griselda. He portrays Griselda as the hero, but the Governess is able to destroy his own argument when he refuses to concede that Walter is an antagonist, unintentionally admitting that his story has no clear villain. His story relates to the Governess.
The Vicar — Abraham and Isaac
Father Erasmus: A conservative church official who spends most of his time trying to vilify the Criminal and his opinions. Erasmus wants to show the guests that they should trust in the government and status quo because anyone in a position of power must have been put there for a reason. You must trust that God knows what he is doing and allow his plan to reveal itself instead of rebelling. He tells the story of Abraham and Isaac to show that you must have faith in authorities and doubting their intentions is to doubt God and His plan. If the Criminal is chosen as the winner of the contest, Erasmus explodes condemning all the guests to Hell and warning them that they’re complicit in any evil which results from his actions. His story relates to the Criminal.
The Perfumer — Pamela, or Virtue Rewarded
Benjamin Howard: A wealthy man who doesn’t need to work but enjoys perfumery. He is a calm individual who doesn’t care to quibble over politics, religion, et cetera. Ben only wants to improve the world by making it smell better. His story serves as contrast to the Rat-Catcher’s tale since Pamela glorifies the very world that the Rat-Catcher is mocking. He doesn’t care when people point out that his story is a little shallow. Ben argues that people need simple stories just as much as they need deep treatises on morality. “It’s like perfume, sometimes you just want to cover up what stinks instead of addressing the problem directly. There’s nothing wrong with that.” His story relates to the Rat-Catcher’s.
The Bride — Culhwch and Olwen
Penelope Fitzgerald: A young woman engaged to a man from a wealthy family. She’s traveling with her chaperone to meet her husband for the first time. Penelope tells the surreal and sometimes silly tale of Culhwch and Olwen to show how far people are willing to go for love. Her story relates to the Companion’s.
The Companion — The Fair Maiden of Ascolat
Theodosia Wood. An older woman who’s seen much of the world and doubts the intentions of most men. She tells the story of “The Fair Maiden of Ascolat” in order to show the Bride that love can be dangerous, that relationships are rarely ever balanced, and that it is foolish to glorify sacrifice in the name of true love. Her story relates to the Bride’s.
The Fishmonger — Moll Flanders
Aaron: A simple man interested in the Maid romantically and if you play his game successfully, he has a chance of catching her eye. His story is a game where you role-play as Moll Flanders. It’s a light commentary on her morality but mostly on the excitement of life. His story relates to the Maid’s.
The Maid — Jack Sheppard
Wilhelmina: An excitable woman whose story is a grittier true crime saga than the Fishmonger’s almost glorifying the thief’s life and actions. You play as Jack Sheppard and if you successfully complete her story and the Criminal’s he is likely to sway her with his talk of “carpe diem.” However, if you fail his story and succeed at the Fishmonger’s she shows interest in him instead. Her story relates to the Fishmonger’s and Criminal.
The Spinster — The Mysteries of Udolpho
Eliza Young: A spinster who, unlike the Heiress, is not in possession of any land or inherited wealth. She spends most of her time working as a basket weaver. Eliza’s story is a dark platformer game based on Radcliffe’s The Mysteries of Udolpho. The piece emphasizes the feminine version of gothic literature where everything supernatural has a rational explanation. Her story relates to the Author’s and Widow’s.
The Spinster — The Mysteries of Udolpho
Marianne Reeves: A young recently widowed lady who now possesses a decent fortune. Her first marriage was not for love and she wants to find a genuine romantic connection based on intellectual understanding and mutual respect. She spends most of her time reading and actually does a bit of writing herself. Her story is a mystery game following the plot of Northanger Abbey. This game also showcases the feminine gothic trends and serves as a defense of young women and literature. Her story relates to the Author’s and Spinster’s.
The Author — The Monk
James White: An accomplished author who has actually been following the Criminal seeking the chance to pen his biography much like Defoe did with Jack Sheppard. His adaptation of The Monk manifests as a gritty horror game filled with jump scares and suspense. This story shows the masculine side of gothic literature with the presence of genuinely supernatural entities. Depending on what transpires, he might be allowed to write the story of the Criminal’s life and also has the ability to strike up a conversation with the Widow leading to a (Frances Burney inspired) relationship blossoming between the two of them. His story relates to the Widow’s and Spinster’s.
The Prostitute — William Hogarth’s Engravings
Lucy Grace: A working girl suffering from multiple STDs and trying desperately to raise her son. She tells a story based on William Hogarth’s engravings which visually displays the issues facing the working class. Her story contains multiple depictions of members of the Georgian lower class presented through a game of “I Spy.” This shows how she tries to temper reality so her son doesn’t end up having his childhood stolen from him like hers was. She is deeply religious, much to the Vicar’s shock, and though she comes to view and treat the Novice like her own child, she wants her to be more serious about the prospect of taking monastic vows. Her story relates to the Boy’s and the Novice.
The Novice — Wonders of the East
Sister Cecilia: A teenage girl whose parents died and hopes to escape her abusive guardians by becoming a nun. She is greatly inspired by Julian of Norwich and wishes to become an anchorite herself. At the same time, she is fascinated with monsters and tales from faraway lands. When the quarantine is instated, she decides to help the Boy by keeping him preoccupied so he won’t focus on or realize the morbidity of their situation. The stories she tells are from the Beowulf manuscript, the “Wonders of the East,” and depict the fabulous monsters found within. Her story relates to the Prostitute’s and the Boy’s.
The Boy — Robinson Crusoe
Nathan Grace: A child with a beautiful, active imagination. He loves his mom, The Prostitute, very much and becomes quick friends with the Novice after she shows an interest in the stories he likes. He tells the swashbuckling adventure tale of Robinson Crusoe. In his game the guests around him become the characters in the story, i.e., Nathan is Crusoe, his mom is the Widow, the Novice is Friday, etc. His story largely sticks to the original with any violent moments completely eliminated and replaced with something fantastical (showing how his mom has told him a different version of the story in order to protect his innocence). His story relates to the Prostitute’s and the Novice’s.
The Bartender — “Lanval”
Alice Clarke: Harry Bailly’s niece and sole employee. She is a spirited girl who tells the original Marie de France version of Lanval highlighting the feminist undertones and notably unromantic ending. Whether she is asked to speak first or the Valet, the two of them both share their story on the same day automatically. Her story relates to the Valet’s.
The Valet — “Sir Launfal”
Miles Stanley: The Baronet’s attendant and only a casual supporter of his master’s beliefs. Like the Bartender, he tells the story of Lanval, but he tells Chestre’s version “Sir Launfal,” which is notably more action-packed and traditional in terms of gender roles. His story relates to the Bartender’s.
The Midwife — “Wulf and Eadwacer”
Emma: A midwife and mother of three herself. She tells an interpretation of “Wulf and Eadwacer” focusing on a relationship between a woman, her lover, and their child. Like the Lanval stories, her story is told in conjunction with the Hunter’s to highlight the many ways you can read the story. Her story relates to the Hunter’s.
The Hunter — “Wulf and Eadwacer”
Charles: A bit of a lone wolf, the hunter is a grim man who isn’t used to others asking for his opinion or thoughts. He tells a notably different interpretation of “Wulf and Eadwacer” focusing on brothers and a relationship between two warring clans. Like with the Lanval stories, his story is told in conjunction with the Midwife’s. His story relates to the Midwife’s.
A Gallery of Concepts for Specific Games
These are concept drawings for the Heiress’s adaptation of the Blazing World. The slight variation is to show how a simple change can be quickly implemented to reflect the player’s preference.
To the left is a logo for the Beowulf game and below [. . .] are some of the Hero’s character sprites[1] with different expressions.
On the right is a quick sketch of a background for the Beowulf game. So, altogether, [the image below] is what the game might look like.
The Relationships in Action
The Governess’s version of Fantomina goes like this:
A young gentleman is astonished to discover that all of the women in his life have mysteriously disappeared. He begins to fear that one of his many former lovers has enacted vengeance upon the others or that there is some sort of curse that has been placed on him, either way he has to figure it out.
No – not to protect the women he’s slept with – because he fears he is in danger.
Luckily, he’s highly intelligent, so he goes back through all of his lovers, from the oldest to the newest looking for clues and along stoking the fear that the last woman he slept with, a Masked seductress, is some all-powerful antagonist seeking to destroy him and everyone she thinks he loves. (Naturally, she’s the one to suspect since she’s the only woman he didn’t know anything about.)
The gameplay is inspired by mystery puzzle games with a distinct Sherlock Holmes influence.
His disdain for the Masked Woman grows as it reaches a climax, he finally finds an address where he thinks the Masked Woman lives. He goes to confront her and finds that this is the home of another woman entirely, a woman from his past whom he barely remembers. The woman at the door was instructed to give a man a letter should he ever arrive looking for a Masked Lady.
He opens the letter to find a detailed description of how the Lady has managed to fool him for years. In that moment, he finally realizes this woman has been every woman he’s slept with. She’s tricked him and made a mockery of his seemingly superior intelligence.
His world is falling apart, his sense of self crumbling. He lost a masterful game of chess he never realized was being played. He feels like a fool. He asks if he can at least speak with this woman who abused him so, but apparently, she died two weeks ago during childbirth.
Beauplaisir is turned away and thus ends his tale.
In the end the two characters were almost perfectly matched narcissists, with the Lady delusional enough to claim that she wins by dying in her letter.
After she’s finished telling her tale this encounter takes place:
Baronet: “Ah ha ha! Disqualified!”
Governess: “Excuse me?”
B: “You heard me, lady. You’re disqualified!”
G: “Number one, don’t you ever raise your voice to me, boy. Number two, you don’t have the power to disqualify me. Only Mr. Bailly does. Finally, you can’t demand to have me disqualified simply because you don’t like me. You have to have a legitimate reason.”
B: “Ah, but I do have reason! Tell me, Teach. Which of your characters was the hero?”
G: “Neither of them. There is no hero.”
B: “See! No hero. If there’s no hero, then it doesn’t count. Disqualified!”
G: “What? We never agreed that these had to be heroic stories.”
B: “Bah, all stories need heroes! There always has to be a good character and a bad character. That’s how it works! It’s how it has to be. Come on, Harry, why are we still arguing this? Disqualify her already!”
G: “Stories are meant to reflect our world, no? Well, reality is not populated solely by immaculate heroes and irredeemable villains. You might have to dumb morality down to two well-defined categories, but the rest of us realize that the world is not so simple. Human beings are complex. We’re all deeply flawed so why should I avoid characters who are similarly flawed? They’re interesting because they’re realistic and challenge our moral values. There is a place for heroic tales, and I enjoy them as much as the next person, but they’re not the only type of story. This isn’t about my story not fitting the game, because it does, and I honestly think you realize that. This is about you being personally uncomfortable with my story’s subject matter and why should I alter my tale to protect your fragile sensibilities and juvenile perceptions?”
Demonstration of Choice and Consequence
The Beowulf story starts off setting up the Grendel battle, providing a brief very hazy introduction to the end.
It then throws the player back into the formative years of your Hero’s life. You are bullied by your fellows who refer to you as lazy and cowardly. They gloat that you are destined to amount to nothing. The only family you have to rely upon (at the moment) is your mother. Your mom lectures you on the importance of life, how you needs to ignore those who belittle you, and remember to lead with your head not your fists.
The game truly starts when a monster begins to attack your village. You are the only one brave (or perhaps foolish) enough to face the threat and head off after it.
How you behave with your fellow villagers and the way you go about completing the quest determines your character’s identity.
The gameplay includes either tiered waves of enemies and constant fighting for the Grendel paths vs. a series of puzzles and diplomatic trials for the Beowulf paths.
Now there are four endings to the game:
The Grendel Ending
You use the skills of a conqueror during this story. You attack blindly and instead of even looking for peaceful options you take the easy way out of killing anything in sight. Resembles a raiding Viking. As the game goes on your reality becomes warped and you begin to see the people of your village as monsters. You best the final boss of the game (the human man that directed the monster which originally attacked your village) but cannot stop slaughtering after that. In this ending your identity is revealed as your mother cries out for you to stop, shouting “Grendel, my boy, please!” But you terrorize the village charging the longhouse revealed to be Heorot. Eventually, Beowulf shows up and smites you down. In this path your mother only supports you because of her maternal bond. She openly does not approve of your actions or what you’ve become.
With this story, Simon is demonstrating the very worst kind of human being. He asks you why you chose this. You can say it is out of curiosity, but he even remonstrates you for this saying you must always consider the human cost of your actions. The Hero of this version is the monster Simon fears he himself has become. If you get this ending, Simon falls into a deep depression from which he never recovers…
The Beowulf Ending
The classic good ending, what a player would expect from the game. Here, the player listens to their mother’s advice and only has to kill the final boss. They are able to beat complicated puzzles and convince the villain’s own ranks to turn on him allying with you against him instead. You kill the man at the end, the village rejoices, and you become the Beowulf the world knows. You eventually make your way to Denmark where you free Heorot from a monster, a creature who looks suspiciously similar to yourself…
This ending is not perfect though since at the end, his actions as a peace-weaver and the efficacy of his path are questioned when he dies leaving his kingdom defenseless to the Grendels of the world. Here, the Soldier faces the existential dilemma of the efficacy and longevity of peace. Still, this counts as one of his good endings and allows him to enter into a relationship with the Heiress if her good ending is triggered as well.
The Hybrid Ending / Scyld Ending
In this hidden ending you primarily follow the Beowulf path but kill the allies of the boss instead of annexing them. This leads to a bloodthirsty but wise ruler who is identified as Beowulf but more closely resembles Scyld.
Simon comments on this ending saying that he fears it’s the most effective in the long run and that violence will always be necessary despite his wishes.
The Antihero Ending
This ending triggers by taking the Grendel path yet failing the tasks, choosing kind actions, or trying to back out of the path once you’ve begun. At the end of the story, you, Grendel, are unfairly vilified after saving your village from the boss. Word has gotten out about the attacks on your village, but the information has been skewed and greatly exaggerated. Beowulf arrives asking if this has been going on for twelve years. The main bully from earlier in the game, revealed to be Unferth, lies confirming Beowulf’s impression and directing him to the monster. You. Beowulf fights you and mortally kills you. You trudge your way back to your mother’s hearth. You are dying in her arms as she cries over you. She tells you that she’s proud of you, that you did all you could, and that you will always be her little boy. She asks why you fought Beowulf and you admit it’s because you thought the others might have been right. Perhaps you are a monster and deserved to die. Your mother promises to avenge you despite your protests since you know Beowulf will kill her. She realizes this too but simply can’t bear the thought of being separated from you. She wishes to die a hero’s death too so that she can meet you in Valhalla.
This ending messes with Simon, making him depressed but the show of empathetic emotion draws out the strongest affection from the Heiress, ultimately making any relationship formed between them stronger.
[1] 2D computer graphics.
A bio for Lexi Bright is on its way!
