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I. Overview
Title
The title for the game, The Sword of Justice, corresponds to the
prevailing sense of justice that pushes the protagonist forward, the figurative
title Themis bestows on him, and the sword she provides to carry out her
edicts.
Focus
On the surface, The Sword of Justice is a gory, violent action game
eperienced through the delusional perspective of a schi!ophrenic cubicle
wor"er. #espite the brutal violence the player inflicts, the game$s aesthetics
encourage the player to view the violence as dar" humor. %hile the action&
oriented missions demand a literal application of retributive justice, the
player actually has two additional choices' show compassion by meting out
a lighter (or no) punishment, or eact an etreme punishment worse the
alleged offense. *or each choice there is a conse+uence. ,s the game
progresses, missions become morally ambiguous, with violent epectations
possibly beyond what a player may be willing to perform. #epending on how
closely the player has followed the mission parameters, the game will
eventually reach the point in which it begins to actively wor" against the
player, such as leading the player into a trap, misleading onscreen tips,
limiting perception, and fourth&wall brea"ing tactics. The player must learn
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not to trust the reality presented within the game$s world and recogni!e that
they are within a simulation. -ventually the player must face a
manifestation of the simulation before brea"ing free. .ut what future awaits
depends on how thoroughly the game missions have dulled the player$s
sense of compassion and reshaped his views on morality.
Target Platforms
The target platforms for The Sword of Justice are the /bo 012
console and 3icrosoft %indows. This allows the game to ta"e advantage of
high&definition graphics and processing power of current generation consoles
and mid to high end personal computers.
Target Audience
.ecause of the depiction of graphic violence, The Sword of Justice
will aim to be 3 rated. This limits the audience to older teens and adults.
The action&oriented game play should appeal to fans of the action genre, but
the cerebral approach to game play challenges should attract gamers that
might shy away from a pure hac" and slash title.
II. Gameplay Mechanics
Overview
The mechanics of The Sword of Justice resemble a combination of
those found in 4hronicles of 5iddic"' -scape *rom .utcher .ay, 6rand
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Theft ,uto and 3anhunt. The player is in an epansive city with many
places to eplore and people to "ill. The core mechanics can be divided into
three parts' combat, stealth, and mission approach.
4ombat in the game is split between two distinct styles' melee and
eecutions. 3elee attac"s are most often eecuted with the Sword of
Justice, a weapon the 7rotagonist receives early in the game from Themis.
8ot only can he attac" with it, but he can also bloc" to reduce the damage of
firearms and eliminate the damage of melee attac"s. ,ny item pic"ed up
can be used as a melee weapon, though it can only be crudely swung or
thrown and disallows use of other weapons while e+uipped. These ma"eshift
weapons, while not as effective, are crucial to eecuting the more creative
"ills, "nown as gruesome eecutions. Only one item can be carried at any
one time.
9n order to complete his missions without alerting the local authorities,
the 7rotagonist must rely on stealth. .y stic"ing to the shadows and
toggling off sprint, the 7rotagonist can move freely without being seen
assuming no one comes within arm$s reach or shines a light at him. 9f the
7rotagonist manages to snea" behind an unaware target, he will perform an
instant "ill with his melee attac". 9f an area is too bright, the 7rotagonist
can shoot out lights, though he must be careful that the noise does not alert
any passersby.
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The third core game play mechanic is more nebulous than the other
two. -ach mission assigned by Themis comes with instructions, sometimes
even specifying how to "ill the target. 9t is up to the player to figure out
how to reach the target and punish them appropriately. ,s the game
progresses, players become aware that they can complete missions
differently than instructed. *or instance, they could rush in and "ill anything
that moves whether innocent or not. Or they could "ill the target$s family
and leave the target untouched as a cruel, ecessive punishment. Or they
could even approach the target but choose not to punish by giving in to the
target$s pleas for mercy.
%ith the completion of each mission, points are awarded based on how
closely the player followed Themis$ orders with a bonus for creative poetic
"ills such as stabbing a pencil pusher with her own pencil. %hen the player
deviates from mission instructions the story changes, as described in a later
section. *re+uently disobeying Themis$ orders, however, has an uni+ue
effect on game play. %hen this occurs the player must use the s"ills he has
learned as well as his own cleverness to outsmart the game.
On-creen Guides
*or each mission, players are assisted by on&screen guides that pop up
whenever the player seems lost, unsure of where to go or what to do net.
%hen the player repeatedly disobeys the mission parameters as assigned by
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Themis, the on&screen guides change. 7reviously helpful on&screen guides,
such as which buttons to press, arrows to guide the player to a target, and
others offer incorrect information in an attempt to tric" the player into
following orders. ,t times, these on&screen guides can even lure the player
into the waiting embrace of law enforcement or a previously&targeted gang.
,t specific points in the game:and as specified in later sections:the
7rotagonist will lose the Themis statuette and thus the on&screen guides will
not be accessible in these sections. Other mechanics will be in place to
guide the player as necessary.
!amera
The player controls the 7rotagonist throughout the game. The camera
provides a first&person perspective, showing the world through the eyes of
the protagonist. This helps the player step into the role of the schi!ophrenic
"iller and also allows for effects such as blood spatter when a nearby enemy
is "illed as well as creeping tunnel vision whenever the 7rotagonist receives
damage. The blood spatter effect only lasts a few seconds to prevent
obscuring the player$s vision. #uring reversals, the camera switches to a
third&person perspective so that the player can appreciate the cinematic
"ills, in an effect similar to the 4hronicles of 5iddic" series.
aving
;pon completion of each mission, the game will automatically save the
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player$s progress. There will be only one save slot allowed for each play&
through. This creates a sense of permanence to the player$s actions. *or
eample, if the player "ills an 874 then later regrets it, he cannot simply
reset the system or load an earlier save. <i"e reality, death is permanent'
there is no going bac". The one eception to this rule is the %or"er. ,lmost
as if defying the laws of nature, the %or"er returns to life and awa"ens in his
apartment as if the last save was just loaded, as is the case when continuing
the game. This further helps to set the player apart from the 874s within
the game, to instill a sense of otherness and even superiority. 9f desired,
the player can also save manually by returning to the %or"er$s apartment
and resting on the bed, though auto&saves are fre+uent enough that this
would rarely be necessary.
Movement
3ovement in The Sword of Justice emphasi!es smoothness over
realism, so there will be no bounce to indicate steps being ta"en, though
footsteps can still be heard. Strafing right or left can be just as important,
as it helps the player avoid gunfire and other ranged weaponry. %hile
strafing, guns can still be fired and melee weapons can be used. The player
can bloc" while strafing, but if an attac" is bloc"ed, the player is forced to
stop. %hen the player is near death, movement becomes sluggish and
slightly slower, but otherwise there is no change.
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tealth
%hen the player moves into an area obscured by shadow and toggles
off sprint, and assuming he is not already being watched, he automatically
enters stealth mode. ;pon first entering stealth mode, a short, low&pitched
sound plays. The screen remains blue&tinted as long as stealth mode is
active. #uring stealth, friends and foes ali"e are incapable of detecting the
player unless the player physically touches them or he is revealed by light,
either from the room lights being turned on or by a roaming flashlight.
Stealth mode automatically deactivates whenever the player moves into
light, has light shined upon him, attac"s with any weapon, or begins to
sprint. The player can shoot out many of the lights within the game,
plunging the area into dar"ness. <ights reinforced with translucent hard
plastic covers can only be etinguished by finding the light switch or circuit
brea"er. %hen the player approaches a target and attac"s with a melee
weapon while in stealth, he automatically enters eecution mode.
print
Sprint mode does not differ from general movement in any way aside
from an increase in speed of two times normal. There are no limits to how
long the player can be in sprint mode, although stealth is not possible while
sprinting. The volume of footsteps increase when sprinting.
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In"uries
There is no health meter in The Sword of Justice. The player
recogni!es injuries sustained based on visual cues in first&person view.
%hen struc" by bludgeoning attac"s, such as fists and clubs, the screen
sha"es and vision blurs slightly. This blurry affect increases with each
subse+uent bludgeoning attac". %hen struc" by edged weaponry, such as
"nives and swords, as well as gunfire, the screen ta"es on a reddish hue and
the edges of the screen begin to dar"en to mimic the affects of tunnel vision.
,s the player sustains more damage from edged weaponry or gunfire, the
tunnel vision creeps inward to obscure more of the player$s field of vision.
Once the player nears death, the 7rotagonist$ breathing grows heavier and
begins to drown out all other sounds. This is a cue that the player needs to
find cover and heal or else ris" death. -ach weapon type has an unseen
modifier that influences these visual affects. *or instance, an assault rifle
burst will cause much more damage:and thus more pronounced visual
affects:than a bare&"nuc"le punch. These affects will completely dissipate
within twenty seconds if the player does not sustain further injuries.
#lood patter
%henever the player "ills a target, or chops off a limb, blood spatters
outwardly. The amount of blood varies dependent on the brutality of the
attac". 9f the player is close to the target when this occurs, he will get
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splashed with blood. The more blood that covers the 7rotagonist, the more
li"ely his presence is to cause panic among citi!ens and police. The player
can clean his clothing by jumping in a pool, wal"ing through a car wash, or
busting open a fire hydrant and standing in the spraying water. %ashing out
the blood becomes less effective each time, and after ten washes, the player
must see" out clean clothing. 4lean clothes can always be found at the
7rotagonist$s apartment, but there are hidden stashes of clean clothes
scattered throughout the city.
$eath
Once the player$s injuries become too severe to overcome, the screen
goes blac" and, after a few seconds, the 7rotagonist awa"ens in the bed in
his apartment. ,ny mission attempted but not completed prior to death will
need to be reac+uired. This will allow players to attempt other missions
before returning to the mission that overwhelmed them. There is no penalty
for death aside from mission failure and the loss of any e+uipment ac+uired
between the last save and death.
Targeting %eticule
, small circle with a dot in the middle helps players aim their attac"s.
This targeting reticule moves with the player$s view, remaining centered on
screen at all times. =iew can be altered to loo" up or down or to one side or
the other. This is accomplished with the mouse on the 74 or with the right
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analog stic" on consoles.
!om&at
,side from a few distinct portions of the game, the 7rotagonist will use
a sword in his right hand while "eeping his left hand free for grabs and other
manipulations of targets.
word of 'ustice
>eld in his right hand, the 7rotagonist$s Sword of Justice is his
constant companion. 4ontrary to most action games, the 7rotagonist does
not swing the Sword of Justice with grace and precision. Swings are
deliberate yet effective. %hen the sword button is tapped, the player
slashes. 9f the player holds the bloc" button while tapping the sword button,
the player performs a thrust instead. .y alternating between slashes and
thrusts, the player performs combination stri"es. 9f the sword button is held
for two seconds, the 7rotagonist will attempt a powerful vertical chop.
The sword interacts with targets with a grotes+ue realism never
eperienced in video games to this date. 9nstead of removing tic"s of health
from a health bar, or slicing the opponent limb from limb, the Sword of
Justice reacts li"e a real sword, and one that needs sharpening at that.
%hen the sword connects with a target$s chest, it rends flesh and muscle,
but gets stuc" and needs to be pulled out by the player. Sword stri"es to
the limbs only have a chance to stic", but even when a limb is lopped off in
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one swing, the attac" is with a slow, almost sawing momentum, to
demonstrate the strain inherent in the act. Stri"es to the nec" and head
produce the most blood but can still result in the blade getting stuc". The
vertical chop has more power and thus is less li"ely to get stuc" in the
target. There is also a chance the 7rotagonist will lose his grip on the sword
when it gets stuc" in a target, and will have to catch up to the target and
wrench it free, or wait for him to collapse from blood loss, to get it bac".
%hen the blade is stuc" in the target, the player must +uic"ly tap the sword
button to saw the blade bac" and forth in an attempt to push it out the
other side or pull it out of the target.
>ow targets react to attac"s is randomly generated. Some will panic,
while others will fly into a fit of rage. Sometimes if the sword gets stuc" in a
target, the target will pull it out himself and charge at the 7rotagonist with it
momentarily, before his wounds catch up to him. Targets do not have health
bars nor do they ta"e damage in any traditional way. 9nstead, they bleed
out li"e any real person would, and this is rarely a +uic" and clean process.
Sometimes a wounded target is more of a threat than a healthy target
because they have nothing to lose. The player must rely on visual and
auditory cues to determine whether or not a target has died.
.ecause of the realistic way in which targets react to injury, and
because of the stic"ing mechanics of sword swings, combat becomes an
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unpredictable, at times even terrifying ordeal, but one that always provides
a ghastly realism.
#loc(ing
%ith the Sword of Justice, the player can bloc" incoming attac"s, but
only one at a time. .y holding the bloc" button, the player will automatically
bloc" the net incoming attac". .ullets can also be bloc"ed, and if the bloc"
button is held during a rain of gunfire, the player will bloc" each bullet.
>owever, attac"s cannot be bloc"ed from any direction other than the front
and movement stops during bloc"ing.
%eversals
9f the player successfully bloc"s just before a bullet stri"es him, he
reflects the bullet bac" to the attac"er, or rather where the attac"er was
upon first firing the bullet. 9f the player successfully bloc"s a melee attac"
just before it stri"es him, he also throws his attac"er off balance and enters
eecution mode.
Grappling
9nstead of cutting the target with the Sword of Justice, the player can
opt to perform a variety of grappling moves on the target by using the right
analog stic". %hen the target is within close range, the player can simply
flic" the right analog stic" in a direction to initiate a grappling maneuver.
6rappling is an effective means of damaging a target and inflicting status
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effects, as well as forcing the target to drop his weapon. , grappling
maneuver is sic"ening in its own way, but does not result in death.
6rappling maneuvers are as follows'
1. 596>T' Demon Crusher. The 7rotagonist catches the target$s arm
between his own and the blunt, reverse edge of his sword, then
wrenches it down until it snaps, bro"en. 9nflicts panic and no-grip.
5e+uires the Sword of Justice.
2. <-*T' Throat Strike. The 7rotagonist performs a +uic" throat stri"e
with his fingers, momentarily cho"ing the target and sending him into
a panic. 9nflicts panic. 4an be performed unarmed.
3. ;7' Shoulder Tackle. The 7rotagonist lowers his shoulder and charges
forward, colliding with the target and "noc"ing him off his feet. 9nflicts
daze. 4an be performed unarmed.
4. #O%8' Dragon's Tail. The 7rotagonist swings the blunt, reverse edge
of his sword at the target$s nearest "neecap, shattering it, causing the
target to collapse in pain. 9nflicts crippled. 5e+uires the Sword of
Justice.
)narmed
,t times, the player loses his sword and must defend himself unarmed.
;narmed stri"es are wea" and mostly ineffective, but even unarmed the
player can "ill. ;narmed stri"es mimic the movement of the Sword of
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Justice. Tapping the sword button now causes the 7rotagonist to throw
hoo"s, while holding the bloc" button and tapping the sword button causes
the 7rotagonist to jab and cross. ,lternating between hoo"s and
jabs?crosses rapidly will rain punch combinations onto the target.
.y holding the sword button for two seconds, the 7rotagonist unleashes a
devastating uppercut. @illing with unarmed stri"es is challenging, but
possible. ,fter an opponent is dazed, holding the sword button for two
seconds will cause the 7rotagonist to reach out and grip the target around
the nec" in a crude cho"e hold. The target struggles for air as the
7rotagonist gradually drains the life from him. This is considered a brutal
"ill. 4ertain grappling techni+ues re+uire the Sword of Justice, and thus can
not be performed unarmed.
*+ecution Mode
There are two ways to enter eecution mode' after a successful
reversal, and by attac"ing a target with a melee weapon while in stealth
mode. 9n this mode, the camera switches to a third&person view as the
player delivers an instant "ill to the target. The eecution changes based on
contet, such as' the player$s position relative to the target, the weapon the
player is using, and any weapon the target might be holding. -ecutions are
particularly brutal and tend to leave the screen spattered with blood after
the view returns to first&person perspective. -ecutions with held objects
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instead of weapons, such as pencils, staplers, pillows, rope, and others, all
have uni+ue animations. Sometimes these are especially brutal, but others
are more comical. ,fter the player successfully pulls off an eecution, an
encouraging message flashes on the screen that reflects the severity of the
eecution.
Interactive O&"ects
,ny object that can be pic"ed up by the player can be used as a crude
melee weapon. Often these objects do not do much damage and are prone
to brea"ing after use. >owever, in order to pull off the uni+ue eecutions,
these relatively harmless objects are a necessity. %hen the player holds an
object, he cannot bloc", nor can he switch weapons unless the object is
dropped. *or this reason, it can be a challenge to use many of these objects
in stealth eecutions, though ultimately more rewarding.
%ange
4ombat range is measured as the distance between the 7rotagonist
and the target the player is loc"ed on to at the time. -ach range has its own
contet sensitive options.
A. 4lose' 7rotagonist can use grappling moves and unarmed stri"es only
within this range. Sword swings and thrusts from this range tend to
get stuc" in targets more often, and do less damage. 3ost interactive
objects only wor" within this range. 3elee attac"s can be reversed
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and bloc"ed from this range, but firearms cannot.
B. 3edium' This is the optimal range for sword swings and thrusts.
3elee attac"s and firearms can be reversed and bloc"ed from this
range.
0. <ong' 9nteractive objects that can be thrown will be when the target is
at this range. *irearms are easier to reverse and bloc" from this
range. 8either the player nor targets can connect with melee attac"s.
C. Out of 5ange' There are no attac"s from the player that will connect
from this range. *irearms are easiest to reverse and bloc" from this
range.
pecial Techni,ues
,t certain story nodes in the game, the player will learn techni+ues
that are crucial to helping him both survive and avoid capture.
tealth
,s described in detail in the 3ovement subsection, this techni+ue
allows the player to enter stealth mode, and also allows for stealth "ills.
-uman hield
%hen a target is flagged with the da!e or crippled status effects,
the 7rotagonist can use them as a human shield. .y using his free hand, the
7rotagonist holds the target in front of him in a rear headloc". ,s the target
struggles to escape, reflected in both his screams for mercy and force
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feedbac" on the gamepad, the target ta"es damage from incoming bullets or
melee stri"es until deceased, at which point the 7rotagonist pushes the
target forwards or simply drops him.
Gra&
9f a target is unaware of the 7rotagonist$s presence, or is in the da!e
or panic status effects, the target can be grabbed. Once grabbed, the
player can use the left analog stic" to drag the target towards any
interactive object, which will trigger a contet sensitive eecution. These
eecutions are oftentimes especially brutal, grotes+ue, and may even disturb
the player. *or eample, a target dragged over a curb would be thrown to
the ground with his face down on the side of the curb, and the 7rotagonist
would then stomp on the bac" of his head repeatedly until the writhing
target stops moving. ,nother particularly disturbing eample involves
pushing a target$s nec" into an open paper&cutter and slowly forcing the
cutter down until the target is decapitated. Some of these eecutions are
easier to stomach, however. *or eample, when inside a building, a target
dragged to a window would simply be tossed out of it, where he would
plummet to his death:the cinematic camera switching momentarily to the
fall se+uence and accompanying scream of terror. 9n "eeping with the
theme of grotes+ue realism in the "illings, grab eecutions are subject to
struggling from the target, reflected in force feedbac" on the gamepads, as
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well as cruelly slow deaths. 9t is important that the target seems to be in
pain during these se+uences. Similar to eecutions using held objects, these
eecutions switch to a third&person perspective so that the player can best
eperience the brutality of the scene.
-ilt tri(e
%hen behind a target, the 7rotagonist stri"es with the hilt of his sword
to the bac" of the target$s head, rendering them unconscious for a short
time. The hilt stri"e only wor"s from stealth. -ven though the purpose of
the techni+ue is to provide the opportunity to avoid "illing, the player can
opt to eecute an unconscious target. This is always considered an
especially brutal act.
Mental #rea(down
,s the player interacts with targets, both the targets themselves and
surrounding non&player characters may eperience a mental brea"down
and become affected by any of the following status effects. This is
somewhat randomi!ed, though each type of 874 has a certain propensity for
each of these effects.
Panic. The 874 reacts irrationally and unpredictably. >e might rush
towards the 7rotagonist in a wild rage, or he might flee, or he might
even just stand there and stare at the 7rotagonist as if fro!en in terror.
This is the most common status effect possible on a wounded target,
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but can even be inflicted on crowds not involved in combat at all.
$a/e. The 874 eperiences a momentary lapse in attention. This
effect lasts only for a short period and can only be triggered by
attac"s.
!rippled. Only possible by attac"s targeting the legs, this effect
hinders the target$s movement to the point of immobility. This is a
permanent effect, at least until death.
0o-grip. Only possible by attac"s targeting the arms or hands, this
effect prevents the target from holding any weapon or shield.
!onversation
The 7rotagonist is a man of few words, and as such he rarely engages
in conversation. 9nstead, he remains silent, reacting to others through
actions, not words. 9n this way, the player can more easily step into the role
of the silent protagonist.
Themis
Throughout most of the game, the 7rotagonist carries the Themis
statuette in his poc"et at all times. The player can spea" to Themis
whenever desired, visually represented by showing the 7rotagonist$s hand
holding the statuette and concealing much of the screen. 8aturally Themis
is the only one that does any actual tal"ing. #uring missions, Themis will
offer advice on how to proceed. ,fter mission completion, Themis will offer
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a new mission. ,t times Themis will offer "ey bits of information. 9f the
player does not spea" with her, her voice will be heard as"ing for his
attention. Themis becomes more hostile to the player as he deviates more
from mission parameters.
The hadow
9n 4hapter 0, the player loses the ability to spea" with Themis and
comes under the temporary tutelage of the enigmatic Shadow. The Shadow
fulfills Themis$ role as the player$s helper during missions, as well as giving
"ey advice on how to fulfill his role as an arbiter of justice, albeit with
different methods than Themis. %hen the player disobeys The Shadow, he
gets scolded, even told by the Shadow that he is very disappointed in him.
This further pushes the notion that The Shadow is a fatherly figure, as well
as the 7rotagonist$s conscience.
)nidentified 1oices
9n 4hapter C, as well as near the ending se+uence, the 7rotagonist can
hear other voices in his head. These are muffled and unclear, and do not
spea" directly to the 7rotagonist but rather about him. These voices are
really the scientists and military personnel that monitor the 7rotagonist$s
real body outside of the simulation.
torytelling
The 7rotagonist$s journey from disgruntled, though reluctant, "iller to
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avenging agent of Justice drives the game forward. #uring gameplay, the
story will unfold through the following methods.
!ut-scenes
The Sword of Justice uses limited cut&scenes so that the player
remains in control at almost all times. %hen a non&player character is
tal"ing to the 7rotagonist, or assigning a mission, the player still has control
and can often simply wal" away if desired. -ven in the rare instances in
which the player is unable to move, there is an eplanation in game, such as
that the 7rotagonist is tied up or otherwise restrained. ,ll cut&scenes use in&
game graphics and presentation so that the visual style remains consistent.
*nvironments
-ach area within The Sword of Justice reinforces the tone and helps
the player understand the story and perspective of the 7rotagonist. The
office, the bus, the prison, and each district of the city have a distinct feel
yet also match the overall structure of the story presented in the game, as
well as the mood of that chapter. #istinctions are eplained in a later
section.
Mission Givers
.ecause the story is structured through the missions, each mission
giver helps move the story along. Themis offers much of the direction, and
instruction, provided to the player throughout the game, but there are times
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when Themis is unavailable and the Shadow, or even the 7rotagonist
himself, decides on the mission parameters. Optional missions have no
mission giver but rather are procedurally generated events that the player
can choose to participate in or ignore. 9n a way, the mission giver is the
conscience of the player, ultimately deciding whether the incident is worth
involvement or not.
%adio
%hile riding the bus, or in the 7rotagonist$s apartment, the player can
hear the city$s reaction to his latest eploits over a popular radio station.
%hen the player ta"es down gang members and other lawbrea"ers, the
people applaud his actions, but should the player eact justice upon the
presumably law&abiding citi!enry, the people will +uic"ly turn against him.
Through the radio the player can also judge just how fiercely the police are
after him, and any details they might have of his appearance or his actions.
Missions
There are two types of missions in The Sword of Justice&&story
missions and optional missions. Story missions are divided into separate
chapters and help build the story$s structure, while optional missions are
randomly generated and not necessarily tied to any particular chapter
though may be influenced by actions the player has committed throughout
the game. ,ll missions can be completed in multiple ways, from showing
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etreme brutality to ultimate mercy, and everything in between. >owever,
mission givers may suggest there is only one way to complete a mission in
order to tric" the player into acting according to their own desires. ,
completed mission does not interfere with the gameplay. 9nstead, the player
merely receives on&screen notification of mission success and then
seamlessly continues play from that location. 3issions are eplained in
detail in a later section.
!ompletion Parameters
8early all missions can be completed in different ways, which often
impacts which mission will be available net. 3issions can be completed by
showing compassion, which would be any time the player approaches a
target but doesn$t "ill him. 3issions can also be completed by showing
brutality, which would be any time the player slaughters a target mercilessly.
Themis will be most pleased if the player adheres to the specific instructions
she gives for mission completion, which might side more towards
compassion at times, while towards brutality at others, depending on how
the player has been performing. Themis attempts to "eep the player
performing eactly as she instructs, not caring if the player is compassionate
or brutal. Other mission givers prefer that the player show compassion or
eert brutality. The Shadow, the representation of the 7rotagonist$s
conscience, rewards compassion, while the victim$s in optional missions are
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often most pleased with a brutal punishment of their assailant. .ut for
every action there is a conse+uence.
$istrict Order
.ecause the 7rotagonist must ride the bus to travel between each of
the city$s districts, the order in which he gains access to each district plays a
"ey role in the story. 4ertain districts are more dangerous and may be too
much for a newbie player to handle. Other districts trigger events upon
entering. #istricts are detailed in a later section. .elow is a city map
labeling each district.
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Optional Missions
Optional missions are procedurally generated encounters within each
chapter that offer the player the opportunity to mold the 7rotagonist$s
personal sense of justice both by choosing whether or not to get involved
and how harshly to punish a target. These missions have no mission giver,
aside from the player$s conscience. 5ather, these missions are identified by
noticing a crime or any other injustice committed in the player$s presence.
Some eamples include muggings, the bus getting robbed, jaywal"ing,
smo"ing in a non&smo"ing !one, corporal punishment of a child in public,
and cutting in front of someone in line. Once the player witnesses an
injustice, the perpetrator becomes flagged as a target. 8ow the player is
free to attac" the target or to attac" any person lin"ed to that target, such
as their lover and family members. >ow harshly the player punishes the
target, if at all, is entirely optional and does influence the outcome of the
game.
III. Technology Mechanics
9n order to shorten development time and assist development, The
Sword of Justice will use the 5oc"star ,dvanced 6ame -ngine (5,6-), a 4D
D based 0# engine developed by 5oc"star San #iego that supports
Weaver 26
%indows, /bo 012 and 7S0. The 5,6- engine has a number of
advantages, such as the -uphoria character animation engine and the open
source .ullet physics engine. The 5,6- engine also offers a rendering
framewor", audio engine, and scripting language (6rand Theft ,uto 9=
7review). 0# modeling will be handled within ,utodes" 3aya B22E,
because not only has 3aya remained on the cutting edge of 0# modeling
software, it also offers a fully customi!able user interface due to the 3aya
-mbedded scripting <anguage (#oyle), while animators can use the tools
provided by the 5,6- engine, such as the -uphoria system, which is a
dynamic animation system that renders character$s actions and reactions
within real&time (-uphoria). The 5,6- engine is a perfect fit for a high&
definition action game and could be adjusted to fit a first person perspective.
*nemy Artificial Intelligence
-ach type of enemy that the player will face during the game has a
different ability to detect stealth, to properly aim their firearm or swing a
melee weapon, to tan" damage, and willingness to collaborate with others.
Security guards, for instance, offer little challenge, but they carry flashlights
so can use them to find a stealthy player. Thugs carry an assortment of
firearms, but have mediocre aim and tend to give up +uic"ly when trac"ing a
stealthy player. The player must learn the best method for slaughtering
each type of enemy.
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tealth $etection
,lthough the player is essentially invisible while in stealth mode, the
enemy can employ various methods in an attempt to find him. 9f the enemy
has a flashlight, he can shine it in dar" areas, and if the player is caught by
the light, he will be forced out of stealth mode. 9f the lights have been shut
off, the enemy can simply turn them bac" on. 9f the player fires a gun,
starts to sprint, or otherwise ma"es a momentary noise, the enemy will
react by firing his gun in that direction or rushing off to alert his
companions, or even find a phone to call the police. The enemy will only
attempt to find a player in stealth mode if they have already been alerted to
his presence, such as by finding a companion$s dead body.
Ta(ing $amage
Just as the player does not have a health bar, neither do enemies.
9nstead, the player must judge how injured the enemy has become through
visual cues, such as gaping wounds, bullet holes, and severed limbs. 9f an
enemy is damaged enough, there is a chance he will have a mental
brea"down. ,n enemy that has eperienced a mental brea"down will be
effected by one or more of the several status effects eplained in a later
section. This may cause the enemy to flee from the player with rec"less
abandon, attac" wildly and relentlessly, cower in the fetal position, and
others. -ach enemy type has a different threshold that determines how
Weaver 28
much damage, and of what sort, they can ta"e before entering a state of
mental brea"down.
%ange and Positioning
-ach type of enemy will use their current weapon, or lac" thereof, to
determine the optimal position and range from which to attac" the player.
*or ranged weapons, the farthest possible range will be preferred. ,ttac"ing
from behind is preferred to attac"ing from the side, which in turn is
preferred to attac"ing from the front. 4ertain status effects will impact the
enemy$s ability to effectively choose the optimal range and position, which is
to the player$s advantage.
!om&at Attac(s
-nemies can use almost all of the same weapons that the player can,
as well as many weapons that he cannot. The one eception is the Sword of
Justice, but there are a few enemies that use swords. 4ommon weapons are
bats, "nives, "nuc"le dusters, pistols, and submachine guns, but some
enemies use heavier firearms and more etravagant melee weapons such as
swords. *ortunately for the player, the 7rotagonist cannot have his limbs
sliced off or suffer other permanent injuries. The player also tan"s three
times the damage of his enemies. .ecause the player can devastate foes
while suffering comparatively less damage, it encourages the player to feel
disconnected from, and even superior to, all others within the game world.
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!olla&oration
3any enemies are willing to wor" together to attac" or trac" the
player. The player must be careful to dispatch an enemy +uic"ly and +uietly,
lest he alert nearby allies. Once enemies are alerted to his presence, some
will swarm to the player$s last "nown position, while others will try to flan"
around. %illingness to collaborate varies with enemy type.
0on-Targets
,lthough non&targets cannot be attac"ed, that doesn$t mean they
should be ignored. 9f a non&target notices the player commit an act of
violence, they may call the police or simply run away screaming, warning
everyone of the player$s actions. *or this reason, it is best to avoid non&
targets. %hen the player bumps into a non&target, he will shove them out of
his way. This often garners no reaction other than a snide remar", but some
non&targets can become violent. ,t this point, the player can defend himself
by any means he deems necessary.
-elpful 0on-Player !haracters
#uring the game, the player will meet some non&targets that offer
missions, advice, and sometimes help hide him from the police. These 874s
enhance the atmosphere of the game as well as the provide the player with
more eperience. Some of these 874s have only a chance to appear in
certain locations throughout the city, so that each time playing through the
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game offers a different eperience. ;nli"e optional missions which occur
without any introduction, 874 missions begin with a re+uest, though none
are re+uired. ,n eample of this would be a woman complaining of drug
peddlers near her son$s school. >ow the player reacts to these re+uests
influences how he is perceived by the public, as reflected by both radio
reports and how crowds cheer or boo the 7rotagonist$s actions, as well as
the willingness of crowd$s to flee and report his actions to the police, or to
instead hide him from them.
I1. Game *lements
!haracters
Protagonist
The main character of the game, the unnamed protagonist is a
mil+uetoast accountant with a big chip on his shoulder and a growing hatred
of both his job and his cowor"ers. -ver since childhood he has been
obsessed with fairness and has a firm belief in divine punishment.
#issatisfied with his lac"luster life, 7rotagonist finds solace in a mysterious
statuette of Themis, the ancient 6ree" goddess of justice, that he receives
as a gag gift from one of his colleagues at wor". ,s the game begins,
7rotagonist has been passed over for promotion, again, in favor of a
sycophantic cowor"er. The statuette of Themis begins calling to him to right
Weaver 31
this injustice, which is where the game truly begins. Throughout the game,
7rotagonist remains a mute and is never given a name so that the player
can more easily put themselves into his loafers.
Themis
Themis, also called <ady Justice, appears to be an inanimate statuette
that 7rotagonist carries with him at all times. Though no one else can hear
her, to 7rotagonist Themis offers advice, encouragement, and drives the
story by doling out the main missions. ,lthough initially she spea"s only in
dulcet tones, should 7rotagonist deviate from mission parameters Themis$
tone becomes more commanding and even threatening. To the player, it
must seem that Themis$ voice is only an hallucination, though her true
purpose becomes clearer as the storyline progresses.
Pat 2the Fat3
7at the *at, aptly named by the 7rotagonist because the majority of
her body consists of adipose tissue, is his comically large cowor"er. ;nli"e
the 7rotagonist, 7at is loved by almost everyone in the office because she is
helpful and complimentary, though the 7rotagonist sees her as a suc" up
and grows to despise her for it. 7at is the most accessible target for the
player$s first murder, though "illing her is not re+uired.
The hadow
This shadowy figure appears ha!y, unfocused, and so dar" as to be
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nearly invisible. <i"ewise, the player "nows net to nothing about him, only
that he warns of Themis and claims to want to help. ,s the story
progresses, the players learns that the Shadow is actually a manifestation of
7rotagonist$ conscience, fighting to restore his humanity and ward against
Themis$ attempts at corruption.
Gang Mem&ers
The various gangs in the city have established a stranglehold in the
poorer districts. ,t times the 7rotagonist must either combat or elude them
to survive.
Police $epartment
The 7olice #epartment tries its best to maintain order though often
falls short. Some officers unfortunately use their authority to bully civilians
and ta"e bribes from criminals.
Others
Other characters in the game eist only as targets or crowds. Targets
are interactive and attac"able persons that may or may not be a part of a
formal mission. ,t first, targets are portrayed only as deserving of
punishment, but later targets have a variety of both positive and negative
traits that might ma"e the player thin" twice about harming them. The
crowd refers to the throngs of citi!ens that do not stand out as deserving of
punishment to the 7rotagonist, and thus cannot be conversed with or
Weaver 33
attac"ed, though they can be shoved out of the way. ,ll the non&mission
people in the game have their own personal routines that they carry out
each day. ,t times, they converse with other people. These conversations
are similar each day, yet there are slight variations built in to show that the
people are trapped in a routine eistence:similar to 7rotagonist at the very
start of the game before he brea"s free. 9n this way, the player can follow
any of these people on their daily routines, or simply "eep mental note of
where they are at what time if he ever needs to trac" them down. ,t times
throughout the game, some of these people may in some way perform an
unjust action that may flag them as a target, anything from a crime such
as theft, assault, or murder, to crimes of courtesy such as smo"ing on the
smo"e&free bus or refusing to give up their bus seat to an elder. The player
can react violently once these people become flagged, not before. >e does
not have to do anything. %hen the player "ills one of these people, it
brea"s their routine and they no longer carry it out on the net day. The
player should +uic"ly catch on that his actions have real conse+uences on
the game world. 9f he "ills .ob the street vendor, .ob no longer sells his
wares from then onward, and the people that would typically buy from .ob
each day can no longer do so.
Types of *nemies
There are numerous enemies that the player can confront throughout
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the game. These enemies can be grouped within distinct categories, and
within each category enemies roughly share artificial intelligence.
!ra/y -o&o
4ra!y hobos are dangerous not because of their armaments, they only
carry melee weapons, nor because of their paltry fighting s"ills, but because
instead of panic they fly into a blind rage when injured. 4ra!y hobos will
"eep pressing forward and attac"ing until they are dead.
-ired Gun
The most dangerous of all enemy types, the hired gun has the heaviest
arsenal and "nows how to best use it. >ired guns are not above setting
traps, and they don$t panic.
Gang #oss
6ang bosses are less prone to panic and most dangerous than the
typical thug. They also ecel at gathering thugs to help them and can even
calm panic"ed thugs.
Police Officer
8ot all police officers are bad, but virtually none of them condone the
player$s actions. -ach one is a threat as they are trained mar"sman and
often carry other weapons li"e batons, tasers, and even flashlights.
ecurity Guard
3ore an annoyance than a threat, security guards can be found
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protecting wealthy citi!ens and public locations such as the mall. They carry
flashlights so can find a stealthy player more easily.
inful !iti/en
The average citi!en has poor fighting s"ills and panics +uic"ly when
injured. @illing them is li"e shooting fish in a barrel.
Thug
The most common target, thugs are the classic bullies' tough when
confident, but cowardly when faced with a situation they can$t handle.
Thugs can carry just about any weapon.
$ay40ight !ycle
The game features a day?night cycle in which five minutes that pass in
the real world represent one hour in the game. 8early all of the
7rotagonist$s missions ta"e place at night, and so the player has twelve in&
game hours, or one hour of real time, in which to operate. ,s day starts to
brea", the player must return to his apartment to rest. ,t a few "ey points
in the game, the player can operate during the day, and if stuc" out at night
with no way bac" home, the passage of time is slowed to a crawl.
5ey 6ocations
The Office
The stifling confines of this typical corporate office are where the
player spends the first chapter of the game. , further description can be
Weaver 36
found in the Setting section.
The #us
.ecause the 7rotagonist$s sense of justice does not allow him to steal
from his targets, and because he has never owned a car, he must ride the
bus around the city. ;pon entering the bus, a city map opens and the player
is prompted to select his destination by moving the cursor over the stop he
wishes to travel to. 3ore stops become available as the story progresses.
Travel time never lasts more than ten minutes, though the bus ride can be
s"ipped if desired. 9f the player chooses to s"ip the bus ride, he will
instantly arrive at his destination.
Apartment
7layers can use the bed to rest, which allows for immediate saves.
7layers can also chec" their tac" board to see a list of completed feats, such
as eecutions performed and "ill count. There are also clean clothes in the
7rotagonist$s closet, important for when blood spatter becomes too
noticeable and starts to arouse suspicion from citi!ens and police.
Items
Interactive O&"ects
,ny object that can be pic"ed up can be used to perform eecutions
while in stealth mode. -amples of possible eecutions are as follows.
%ope or !hain. %rap around the throat and decapitate.
Weaver 37
Pencil7 Pen or 6etter Opener. Stab in the nec", causing
blood to gush profusely.
Frying Pan or -ardcover #oo(. .ash the face
repeatedly until pulp.
-air $ryer. %hen near a body of water, "ic" the target
into the water with the hair dryer to electrocute them.
$rawstring -oodie. Throw over target, then constrict
the drawstring to strangle.
)m&rella. Shove down the throat, then open it to shred
internal organs.
#ats or Pipes. Smash the target in the head with such
force that head swivels completely around and the nec" snaps.
Pot of hot coffee. Throw in the face causing severe
burns and a slow death.
Interactive *nvironmental *lements
Similar to interactive objects, these environmental "illing stations are
too big to pic" up, but when the player drags the target to them, a contet&
sensitive mini&game will begin. Through repeatedly pressing the prompted
button combinations, players brutali!e targets. -amples of possible
interactive environmental elements are as follows.
!ur&. =iolently slam the target$s face onto the curb, and then
Weaver 38
"ic" the bac" of their head against it repeatedly.
8indow. Slam the target into the window a few times to
crac" the glass, then throw him through the window.
!opy Machine. Open the copy machine, place the target$s
head on the copy part, then slam the top repeatedly.
Paper !utter. >old the target$s nec" in place with one hand
while slowly pushing down the paper cutter with the other
until the target is decapitated.
$umpster. .ash the target$s face against the dumpster over
and over again, then toss him inside.
$oor Frame. >old the target$s hand in the door frame and
then slam the door onto it, crushing it. ,s the target howls in
pain, the same process is repeated for his head.
1. Art 9 1ideo
Overview
The art style of The Sword of Justice will aim towards three&
dimensional realism in terms of character models and the landscape, but
with color and lighting to emphasi!e the feelings the main character
eperiences in each area. ,t his office, everything has a whitish gray glow
due to the fluorescent lighting, though it is overemphasi!ed. ,ll the colors
Weaver 39
seem washed in that glow. The color palette, not just of the landscape but
of the wor"ers, remains drab, particularly dull grays, yellowish browns, light
olive, and "ha"i. The office lights are bright to give it a feel similar to a
sterili!ed doctor$s office. Overall the mood is of rigid conformity, a place in
which all creativity and independent thought is stifled.
4onversely, outside of the office the world is more varied in color,
though the palette is moderately desaturated ecept for reds, which
emphasi!es blood and can also be used as a signal to the player that the
main character$s urge to "ill is rising. The world also uses dramatic
chiaroscuro lighting both to eude a noir feel and to visually reference the
conflict between the good and bad natures of the protagonist. %hen a
mission is completed with more brutality than assigned, more of the world
fades into shadow temporarily to symboli!e the dar"ness ta"ing over. ,nd
when a mission is completed with a lesser punishment than assigned, light
reveals more of the world to symboli!e the opposite.
=iolence is portrayed with grotes+ue realism. 7rotagonist$s sword
might cut deep into a target$s shoulder, get stuc", and the player now must
wrench it free, or perhaps the target becomes hysterical and tries to run off,
sword still embedded in him, until finally collapsing from blood loss. This
presentation of violence contrasts with the on&screen and spo"en
encouragement from Themis and at times crowds of 874s, as well as the
Weaver 40
music.
Tone
The Sword of Justice will ta"e place in a modern&day, unnamed
sprawling urban metropolis with a psycho&noir tone, as this best fits the
story. 7sycho&noir not only has the dar" cynicism and fatalism of noir but
also with elements of a psychological thriller. The best film parallels of this
style that are American Psycho, Natural orn !illers, "ight Clu#, and
$emento. The surreal portrayal of graphic violence contributes to the story,
since 7rotagonist is actually trapped within a simulation by handlers that
see" to desensiti!e him to violence.
!inematics
The Sword of Justice strives to provide an immersive eperience, and
as such avoids cut&scenes as much as possible. -ven the introduction
se+uence features limited control for the player. The eceptions to this
include the short scene of the 7rotagonist tuc"ing the Themis statuette in his
des" in the 9ntroduction, the 7rotagonist running bac" home after the
tutorial mission in 4hapter 9, and each of the si distinct -nding se+uences.
These should use the in&game engine to not detract from the player$s
eperience.
1ideo
8o full motion video se+uences will be needed.
Weaver 41
Art tyle #y !hapter
Introduction 9 !hapter I. The Office
%ithin the office, the color palette uses drab tones, such as grays and
browns, coupled with bright fluorescent lighting. This, along with all the
wor"ers dressing the same, pushes the mood of rigid conformity. Outside of
the office the color is more varied, but regardless of location throughout this
chapter, the colors are heavily desaturated nearly to the point of
monochrome with slight hints of color here and there. The lighting in the
office will remain bright, and help flatten the space to further push the mood
of confinement or even claustrophobia. #uring each encounter that provides
the player with the opportunity to get his first "ill, the saturation of the color
red will be "ic"ed up so that it stands out. This is of course representative of
the 7rotagonist$s growing anger and urge to "ill, as well as visually
referencing blood. %hen the player attains the Sword of Justice, the color
palette dramatically shifts from the near monochrome loo" to a
comparatively vibrant color palette, but viewed through a dirty greenish
orangey brown filter, a"in to Somalia scenes in .lac" >aw" #own. This
shift will be so dramatic as to har"en bac" to the shift from blac"&and&white
to color in The %i!ard of O!.
!hapter II. Trials
The green&orange&brown filter used at the end of 4hapter 9 will carry
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over to 4hapter 99. <ighting will now feature the dramatic use of chiaroscuro
discussed previously. The intensity of the shadows, and thus the effect of
the chiaroscuro sculpting the space, varies based on how the player
completes each story mission and optional mission. Showing brutality will
intensify the shadows, the dar"er colors will get dar"er, the contrast between
light and dar" more pronounced. The player sees the world as good as evil,
right and wrong, and that distinction seems to be getting clearer and clearer
with each "ill. On the other hand, when the player shows mercy the dar"er
colors will get lighter and the shadows will lighten so as to not be as intense.
The player is not as sure about good and evil, and the distinction between
them is not as pronounced. #uring the return to the office, the drab color
palette and confining lighting, as discussed in the previous section, returns.
The player should not feel comfortable here, and is encouraged both visually
and verbally by Themis, to slay the people here as almost an act of mercy.
,fter all, they are just as trapped as he was, but for them there is no out
save death, or at least this is what the game is pushing the player to
believe.
!hapter III. The hadow
The color palette becomes washed out and slightly desaturated while
the filter shifts to a sic"ly yellow ha!e. The player is encouraged to see the
city as diseased, dying, in need of a symbol of hope, not one of death. The
Weaver 43
lighting and shadows are more evenly distributed, which is to say
everywhere seems to be somewhat in shadow, and yet conversely also
somewhat in light. The player should reali!e that good and evil, and his
response to them, are not as clear cut as Themis wants him to believe. 9t is
in this chapter that the player eplores the truly diseased sections of the
city, where the people are suffering the most:4hinatown, S"id 5ow, and the
5ed <ight #istrict. ,s the player completes missions with mercy, the yellow
ha!e becomes less noticeable, but if the player disobeys the Shadow and still
acts with brutality, the yellow ha!e grows more pronounced, almost stifling.
%hen Themis is returned, the colors and lighting returns to that seen in
4hapter 99.
!hapter I1. $ivine Punishment
The color scheme and lighting of the prison mimic that of the office.
This encourages the player to feel he has been abandoned by Themis and
sent bac" to the stifling confines of his previous life.
!hapter 1. The !hoice
Ta"ing place entirely in The 3a!e, the district is heavily desaturated
with a grayish filter. #ar"ness is most pronounced here, with no area
untouched by the shadows. The player should feel unsure of his mission and
the choice he will inevitably be forced to ma"e. The dar"ness can be
interpreted as both a threat and a sort of security blan"et, as the player can
Weaver 44
use it to his advantage to stealthily prowl through the alleyways unnoticed.
*ndings
Should the player side with Themis, the visual scheme in the military
base mirrors that of the office. The player reali!es he was tric"ed. Themis
was not his liberator but rather his jailor. Should the player side with the
Shadow but not with enough mercy to completely brea" the grasp of his
handlers, the visual scheme mirrors that of 4hapter 99. The 7rotagonist$s
perception of the world has been forever altered. Should the player side
with the Shadow and with enough mercy to brea" the grasp of his handlers,
the world seems to be shown as it is for the first time. The player should
wonder if he is finally free. Should the player slay both Themis and the
Shadow, the color palette is heavily saturated, to enforce the manic cra!e of
the 7rotagonist. >is mind is shattered. >e can never see the world as it
truly is.
Miscellaneous Areas
Apartment
The cool blue tone of the apartment room encourages the player to
feel safe and comforted here, and yet the poor lighting and encompassing
dar"ness suggest that nowhere is the player completely safe.
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1I. ound 9 Music
Overview
The sounds of the game are mostly realistic, ambient noise such as
cars hon"ing on the streets or clac"ing "eyboards in the office. 9n the office,
the ambient noises echo slightly to further enhance its confining mood. On
the bus, elevator music softly plays to highlight the mundane eperience.
%hen 7rotagonist nears a target, the ambient noises grow louder and more
pronounced and the player can also hear 7rotagonist$s heart beating rapidly.
This effect increases the tension of these segments and contributes to the
suspense. ,fter 7rotagonist "ills a target, an instrumental fanfare plays,
ma"ing what should be a somber eperience more surreal. This is the only
time a score is used. 3usic is also heard playing in the homes or on the
streets of some targets. Televisions and radios throughout the city report on
the 7rotagonists "illings, often portraying him as a force for good, save for
when he is guided by the Shadow.
ound F:
Sound effects, such as swinging the Sword of Justice or getting shot at
by an automatic pistol, should be pronounced with the focus on intensity
over realism. ,n eample of this is seen in 3isery when 7aul is lying in the
bed practicing how he will draw the "nife to use on ,nnie. The "nife ma"es
a sharp, crisp sound each time he draws it, and yet he$s only moving it in
Weaver 46
the air and thus it should ma"e no sound at all.
!haracters
Themis. She spea"s in soft, dulcet tones, almost with an angelic
+uality. %hen angered her voice becomes a sinister scolding tone, similar to
@athy .ates in 3isery.
The hadow. >e spea"s with a rich, deep gruffness perhaps
brought on by a lifetime of too much smo"ing, similar to 3arv in Sin 4ity.
>is tone towards the player remains patient and instructive, and when the
player disobeys him, the Shadow sounds disappointed, not angry.
The Protagonist. 9n the few times the 7rotagonist$s voice is
heard, it resembles a cleaner, younger version of The Shadow. This is to
encourage the player to thin" that The Shadow either is the 7rotagonist or is
in someway related to him.
Pat 2the Fat3. She has an obnoious, screeching voice that
grates on the nerves of anyone within earshot.
Others. %hile characters should be distinguishable, voices
should not be particularly interesting either.
Music
Overview
3usic in the game is limited to dar" ambient music that reinforces the
psycho&noir atmosphere and "eeps the player ill at ease. ,n eample of
Weaver 47
such music is the Stal"er album by 5obert 5ich and ..<ustmord. The
eception to this is the office:where upbeat elevator music is played:and
the prison:where eerily enough, no music is played to reinforce the sense of
abandonment.
*vent 'ingles
%hen the player successfully completely a mission, a victory fanfare
will play. This creates a contrast between the act of murder and the game$s
acceptance of the act.
ituations
!om&at. The frenetic pace of the ambient music should set the player
on edge and want to finish off his opponent as +uic"ly as possible.
tealth. , whoosing sound plays when the player enters stealth, and
it reverses when he comes out of stealth. The pace of the ambient music
slows while in stealth, to an even more haunting foreboding +uality.
1II. tory Overview
The story is a branching narrative with fied story nodes because it
branches out depending on how the player approaches each mission, how
brutal he is in eacting punishment, and if he spends time on optional side
missions, yet each branch will always eventually converge into a
predetermined story node, though elements of the story will vary depending
Weaver 48
on actions ta"en by the player. 4ertain sections of the game are disjointed
narratives, such as much of the Office chapter and the 7rison chapter, which
the player must live through over and over again until he finds a way to
brea" the cycle and advance to the net story node.
The player can eplore the city, or at least as much of it as he has
unloc"ed, or return to his apartment for a clean set of clothes. %hen a story
mission is completed as instructed the story continues down one path, but
the missions assigned change if 7rotagonist deviates from mission
parameters. Should 7rotagonist continue to deviate from mission
parameters, Themis begins to actively wor" against the player, using
misleading on&screen guides to tric" the player into "illing the targets, or
later, assigns more difficult missions. -ither way, story missions become
increasing violent while targets become gradually less deserving.
The Sword of Justice also has optional side missions, though these
are never formally eplained. 9nstead, the player can choose to dole out
justice while traveling to a story mission. *or instance, 7rotagonist might
see a mother harshly span"ing a child while traveling on the bus. >e can
ignore her and stay focused on his mission, or he can intervene. This could
mean verbally scolding her, or even bending her over your "nee and
span"ing her to show her how it feels to be embarrassed in public. The most
etreme option in side missions is murder.
Weaver 49
#espite the branching narrative structure, there are si possible
endings. The ending the player receives is based on how much brutality and
compassion showed on each mission, including optional missions.
1III. Game Progression
etting
The Sword of Justice ta"es place in in a modern&day, unnamed
sprawling urban metropolis with a psycho&noir tone a"in to a more modern
version of #ar" 4ity. 9n truth, the game is nothing but a virtual reality
training simulation held within a secret military base miles below ground.
The city is divided into several districts. The bus is the only way to travel
between them. The art style, particularly the color palette, lighting, and use
of shadows, varies somewhat in each chapter, and as such is described in
more detail in the ,rt F =ideo section.
The Office
The 7rotagonist$s place of employment early in the game, the several
story tall #owntown office consists of floor after floor of large rooms
separated by cubicle walls. The higher floors, where the eecutives wor",
are mostly large, plush offices. *illed with busy wor"ers, the office is
actually one of the most densely populated regions of the game. 9nitially,
the 7rotagonist can only access a few floors, though when he returns to the
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office later in the game, he has full run of it.
4hapters available' 9ntro, 9, 99 (for specific mission)
The #us
This filthy hell on wheels is pac"ed to the brim with degenerates,
lowlifes, and poor fellows just hoping to get to their destination with their
belongings intact. , variety of optional missions can begin on the bus.
4hapters available' 9, 99, 999, =
Apartment
<ocated in the 3idtown district, the 7rotagonist$s ,partment serves as
a home base for players.
4hapters available' 9ntro, 9, 99, 999, =
$owntown
The heart of the city features many high&rise office towers including
that of the 7rotagonist. 4iti!ens here go about their business, remaining
oblivious to the crimes that happen just bloc"s away. , police precinct is
also located here.
4hapters available' 9, 99, 999, =
Midtown
3idtown is a pedestrian&oriented district that borders #owntown and
features an array of local shops with a pseudo small town style that seems
out of place with the rest of the city. The 7rotagonist maintains an
Weaver 51
apartment here.
4hapters available' 9, 99, 999
The -eights
,n affluent section of the city, this area is also home to many
politicians and other wealthy citi!ens, along with a sprawling country club
complete with full&si!e golf course. 9n star" contrast to other districts,
houses are large and situated on sprawling, well&"ept lawns. 7olice presence
is the highest in this section.
4hapters available' 99, 999
The Par(
, massive, lush par" sits just outside of downtown. *ull of fitness
enthusiasts, sports jun"ies, and college "ids, the 7ar" is a hotbed of activity
during the day, and insulated from the dangers of the city by consistent
police patrol. ,t night, however, the 7ar" is nearly abandoned, and all who
venture in ris" having the very shirts on their bac"s stolen.
4hapters available' 99, 999
!hinatown
, 4hinese&themed district home to the many 4hinese immigrants to
the city. 3any signs are in both -nglish and 4hinese, and the architecture
reflects the culture of residents. This district is reasonably safe to residents
due to 4hinese gangs protecting their own. Outsiders are tolerated but
Weaver 52
never welcome.
4hapters available' 999
(id %ow
Once a thriving center of commerce, the district went down hill when
businesses abandoned the area to develop in greener pastures. 8ow a slum
full of desperate, impoverished citi!ens, few come here by choice. 4rime
runs rampant:typically robbery, prostitution, and drug running:as the
residents will do anything to survive.
4hapters available' 999
%ed 6ight $istrict
,n area dominated by strip joints, brothels, dive bars, and other seedy
establishments. The district features la patrol by the police so illegal
activities can go unnoticed, but this also means the criminal element is
particularly strong here.
4hapters available' 999
tate Prison
The state prison, full to the brim with thieves, "illers, and other
lowlifes, is the last place anyone wants to end up. The layout of the cells
mirrors the layout of cubicles in the office, and the overall layout also bears
a resemblance to the office building. This, coupled with a return to the
visual style of the office, encourages the player to see the parallels between
Weaver 53
office life and prison. The player spends chapter four in the prison before
ma"ing his escape.
4hapters available' 9=
The Ma/e
Seemingly nothing but bac" alleys that lead into even dar"er bac"
alleys, The 3a!e, as it is called by locals, is the most dangerous section of
the city. The streets are laid out in a tangled mess of winding alleys
punctuated by rundown tenements, many of which are actually gang
hideouts or drug dens. The sheer si!e of the buildings and how closely they
are pac"ed together actually serves to bloc" out the light, ma"ing the 3a!e
the dar"est area of the city. 7olice do not tread here, even some criminals
avoid it, and strangers are certainly not welcome.
4hapters available' =
Military #ase
The military base is only seen during the ending cut&scene of the
game. There are slight variations to the setting depending on the ending the
player achieves, which are eplained in the -ndings section.
4hapters available' -nding Se+uence
0arrative #ac(ground
The bac"ground of the life of the 7rotagonist is never eplicitly
eplained to the reader, but rather it is implied through conversations with
Weaver 54
office wor"ers, especially in the introductory chapter, by comments made by
both Themis and the Shadow, and by careful eamination of the
7rotagonist$s apartment by the more curious players.
The unnamed 7rotagonist is a bitter corporate accountant who has a
lifelong obsession with fairness and a deeply held belief in divine
punishment, though he does not adhere to any mainstream religion. >e is
confident that every bad incident in his life must be punishment for some
wrongdoing, even if he can$t remember what. .ut his boring job and lonely
life begin to challenge this belief. 7rotagonist "eeps to himself, wor"s hard,
yet never seems to be rewarded by his boss. 9nstead, he is passed over for
promotion after promotion, with favor instead heaped upon the la!y
sycophants, such as 7at the fat, more hippopotamus than woman, who
would rather brown&nose than do her wor".
7rotagonist lost his mother as a child and lost his father as a young
adult. The Shadow$s familiar and authoritative attitude towards the
7rotagonist suggests he represents not just the player$s conscience but also
his father, from whom his sense of ethics and justice derives. , photograph
of his mother in his apartment reveals her as a radiant, blonde&haired,
woman that bears a passing resemblance to Themis. This is not a
coincidence. The scientists behind the simulation specifically modeled
Themis$ appearance after the 7rotagonist$s mother so as to foster trust and
Weaver 55
obedience.
Introduction
The game opens in a modest, clean apartment. 7rotagonist awa"ens
in his bed to the sound of his bedside alarm cloc" blaring the morning news
report. 7rotagonist wal"s out the door to the bus stop, rides the bus to
wor", and wal"s into his office. #uring these se+uence, the player has
minimal control. 7rotagonist "eeps wal"ing towards his destination, but
player can loo" around and strafe slightly from one side to the other. ,long
the way, various embarrassing misfortunes before him, which the player may
attempt to avoid but can never +uite manage to do so successfully. These
include stepping in a mud puddle, having smo"e blown in his face, being
accosted by office security, and being forced to listen to a terribly unfunny
attempt at a jo"e from a cowor"er. ,s the player reaches the stifling
confines of his office cubicle in a towering corporate office, it is 7rotagonist$
birthday. Thin"ing his cowor"ers have forgotten, again, 7rotagonist was
prepared to close up for the day and head home to celebrate in solitude with
a bottle of whis"ey when he notices a small wrapped bo at the entrance to
his cubicle. 9nside he finds a statuette of Themis, the ancient 6ree" goddess
of Justice. 3uffled laughter from surrounding cubicles suggests the gift is
meant as a jo"e, but 7rotagonist finds the statuette strangely appealing. >e
tuc"s it into his des" and leaves for the day.
Weaver 56
!hapter One. Office 6ife
On the long bus ride home, 7rotagonist notices an old woman standing
beside him while a young man lounges comfortably in a nearby seat.
*amiliar words echo in his head, This isn$t right, but for the first time the
voice isn$t his. The more he ignores the voice the more insistent it grows.
This becomes the tutorial mission' get the young pun" to give up his bus
seat. This encounter cannot be resolved without some violence, although
how far 7rotagonist goes is up to the player. ,t this point, the protagonist
has no weapons and can only stri"e with his bare hands. >e can maim the
target, but not "ill. >is clothing spattered with the pun"$s blood, the
onloo"ers begin to cheer him on, increasing the morbidity of the scene.
%hen the player stops attac"ing, the bus lurches to a sudden stop and he is
jostled forward, causing the Themis statuette to fall from his poc"et, even
though he clearly put it in his des" bac" in the office. 4onfused, 7rotagonist
pic"s it up and holds it close to his face. Slight facial shifts occur, such as a
win" or a smile, to increase confusion and suggest the statue is alive,
though these last only for a split second and are easily dismissed. 9n a da!e,
7rotagonist ecitably rushes off the bus, and doesn$t stop running until he
gets home.
The net day, and the days that follow, the same cycle plays out as in
the introductory chapter, again with limited interaction possible from the
Weaver 57
player ecept for in instances where the female voice in his head, Themis,
calls him to act. %hen 7rotagonist reaches his cubicle everything seems
normal. 4ould the previous day have been a dreamG ,t this point it falls to
the player to determine when the story continues. -ach day 7rotagonist
follows the cycle, and is harassed with an ever&increasing wor" load by 7at
the fat while she can be clearly heard gabbing annoyingly in a nearby
corner office. Other cowor"ers might accost him with inane instructions, or
he may even be assaulted on the bus ride home. Throughout this se+uence,
Themis will at times call the player to punish, violently, an injustice
committed either against himself or someone nearby. The player can decide
to attac" bare handed, but if he does not "ill the cycle will continue, and the
net day no one in the office or elsewhere will ac"nowledge that the beating
ever occurred. %ithout a weapon, the player must rely on interactive
objects to perform contet sensitive "ills. The tric" of this section of story is
to push the player to the brea"ing point, and to find the situation in which
they are willing to "ill. This also puts the player in control of the refusal of
the call. Should the player refuse to "ill for a long enough period of time,
encounters become more aggressive, including self&defense situations in
which he must fight for his survival.
Once the player ta"es the plunge and "ills a target, the 7rotagonist
recoils in disgust, his vision blurs, and at the prodding of the voice in his
Weaver 58
head, he rushes outdoors. #uc"ing in a nearby alley, he throws up.
Suddenly, a vision of Themis, goddess of Justice, appears. Themis eplains
that he is not cra!y and that his actions were justified. 7rotagonist has been
chosen as her representative, an agent of divine justice, to punish the
deserving according to the tenets of talion justice:an eye for an eye. ,t her
prodding, 7rotagonist pulls a piece of dingy lead pipe out from behind a
dumpster, and it changes before his eyes into a pristine long sword:the
Sword of Justice.
!hapter Two. The Trials
9n the dirty alley, the player is now essentially cut loose. >e no longer
has to return to wor", nor can he even enter the building. 9nstead the
player is encouraged by Themis to see" out injustice in the city and dole
punishment accordingly. 9n addition, Themis begins to offer missions to the
player. Themis guides the player to wal" a fine line between compassion and
unnecessary brutality. >er first mission is simple' correct an injustice. The
player has a choice between any of the multitudes of dynamic events. *or
instance, the player might notice a woman being mugged. Should he stop
the mugging with minimal violence, this is considered compassionate. 9f the
player instead "ills the mugger through eecution mode, this is considered
brutal. 9f the player merely "ills the mugger +uic"ly and efficiently, Themis
is most pleased. The 7rotagonist no longer vomits or frea"s out over the
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"illings, instead breathing a sigh of relief to the congratulations of Themis.
>e has been reborn as the avatar of justice.
;pon mission completion, Themis reveals that he can become a god of
justice, if he proves himself worthy. ,nd so begins a series of trials to test
his resolve. The number of missions in this chapter varies based on the
player$s actions. Showing compassion can lengthen this section and even
offend Themis, causing her to begin misleading the player in attempts to
tric" him into "illing. 7layer is also encouraged to dispatch justice poetically
with interactive objects as well as the sword.
,fter completing at least three missions, either as Themis instructs or
through showing mercy, 7rotagonist is rewarded with a new ability' stealth.
This ability is important for the net mission' to brea" up a drug&running
operation in a warehouse. There are too many gangsters for a direct fight,
so the player must use stealth to dispatch targets +uietly. ;pon completion
of the mission, the player is informed that the drug&runners are financially
supported by a prominent city councilman. The player now must play the
role of an assassin, brea"ing into the councilman$s home to ma"e him face
justice. To this end, he gains another ability' to use an injured or da!ed
opponent as a human shield. The player is encouraged by Themis to finish
off the entire political family as they have been corrupted by their patriarch.
>is final mission in this chapter, and touted as his final test before
Weaver 60
godhood, is to return to his office during the day and slaughter anyone and
everyone inside for the injustices presumably committed against him during
his tenure there. This mission is meant to be particularly disturbing because
none of the wor"ers fight bac" and security is minimal. To potentially
increase the brutality in this mission, the player gains the ability to grab
people and move them towards interactive scenes, i.e. smashing their head
onto the copy machine, throw them out a window, bash their head against a
door frame, etc. based on the contet. #uring mission, the 7rotagonist
begins to overhear male voices and foreshadowing of the troublema"er,
which is introduced in the net chapter. Technically, the player does not
have to "ill anyone, but as usual this is never stated. Themis insists that
this is the only way to complete the mission, which encourages the player to
assume that is the only way to advance the game$s story.
!hapter Three. The hadow
,s Themis congratulates the player on a job well done, her voice
begins to dim and becomes static"y, as though brea"ing up over a radio
signal. #ar"ness surrounds the area and a shadowy figure appears from the
growing mists. @nown only as the Shadow, this mysterious man begins to
plant the seeds of doubt in the player$s mind:perhaps Themis is not what
she seems. The Shadow offers answers, but only if the player agrees to
meet him in a nearby alley. Then he disappears into the mists. Themis$
Weaver 61
voice again becomes clear as she dismisses the Shadow as a figment of
7rotagonist$s imagination. The player can go on optional side missions at
this point, but when he decides to enter the alley, a large group of thugs
ambush him. The player can resist as he sees fit, but eventually the
numbers are too great and he is "noc"ed out.
%hen he comes to, Themis is silent and he reali!es her statuette is
missing, ta"en in the ensuing chaos of the assault. The Shadow$s voice
resonates in his head instead, now calling him to action under his banner at
the promise of answers and return of the statuette. ,t this point, the
Shadow switches to temporary mission giver. 4ontrary to missions provided
by Themis, the Shadow encourages mercy, although justice is still to be
meted out. Towards this end, the player learns a new techni+ue:how to
stri"e with the hilt of his sword to "noc" out a target +uic"ly, without
brutality, and without death. ,fter each mission, the Shadow offers a few
words to reinforce the player$s sense of justice, attempting to draw him
away from the corrupting influence of Themis. #uring this chapter of the
game, the televisions still report on the player$s actions, but they are now
portrayed negatively, with the newer merciful actions treated as a welcome
change. The Shadow$s voice starts to cut in and out after the final mission,
with other voices occasionally heard though soft enough to be difficult to
discern. The player should feel that his connection with the Shadow is
Weaver 62
wea"ening, and that Themis will soon regain control.
Once the Shadow finally returns the Themis statue, Themis at first
seems grateful. She sends the player on a mission right away to cleanse the
taint of the betrayer, which leads him straight into a trap. Surrounded by
police officers in full body armor, the player has no choice but to surrender.
Should he choose to fight against these insurmountable odds, he will
eventually be "noc"ed unconscious.
!hapter Four. $ivine Punishment
,fter blac"ing out at the end of the previous chapter, the player
awa"ens in a prison cell, presumably somewhere in the city, and without the
Sword of Justice. , police officer outside the cell boasts that the player was
out of control, cryptically adding that he needs a time out. The prison
mirrors the office in art style, lighting, and tone, with even the layout of the
cells mimic"ing that of the office cubicles. ,s in the introductory chapter,
the player must follow a strict, monotonous routine each day. This routine
begins in the cell, then a wal" to the cafeteria for a meal, bac" to the cell,
and finally out to the yard (a large, open room with eercise e+uipment).
To ma"e matters worse, Themis refuses to spea" and all on&screen guides
disappear. The player should feel completely alone.
Stripped of weapons, the player only has his bare hands as protection
from other inmates and the vindictive guards. ,gain to mimic the
Weaver 63
introductory chapter, the player is accosted throughout his routine, but this
time he cannot resist, because each time he attempts to fight bac", he gets
beat down by guards, blac"s out, and reawa"ens in his cell so that the
routine can repeat itself from the start. Should the player attempt to brea"
the routine by not following the warden$s call over the intercom, he will be
attac"ed by the guards, beat down, blac" out, and reawa"en in his cell. The
player should feel frustrated and ready to lash out, yet feel powerless to do
so.
*ortunately, when the player does not resist and follows the routine
long enough to reach the yard, an alarm begins to sound as though someone
is ma"ing their escape. Soon afterward, the lights shut off, replaced by the
dim red glow of emergency lights. 9n the ensuing chaos, the player must
use stealth to ma"e his way through the prison, using both fists and any
interactive objects he may find to dispatch anyone that stands in his way.
,s the player dispatches inmates or guards, he will find progressively more
brutal interactive objects. , player that wishes to avoid "illing in the prison
will have a difficult time, but it is possible. The prison can be fully eplored
during this time, although caution is warranted. Should the player wish it,
they can ma"e their way to the warden$s office and slay him. -ventually, the
player will ma"e his escape.
Weaver 64
!hapter Five. The !hoice
,fter escaping, a static"y voice cuts in and out. The voice is that of
the Shadow, and he instructs the player to meet him in an alley deep in the
3a!e. ;pon arriving at the 3a!e, the 7rotagonist finds the Sword of Justice
and, even more curious, his clothing returns to his traditional white trench&
coat loo". The player must now navigate through the alley, wor"ing his way
through potentially violent encounters either through stealth or combat, until
he reaches the alley where The Shadow awaits him.
The Shadow manifests, his form less tangible and slouched if the
player has a high brutality score, but more tangible and erect if the player
has a high mercy score. >e reveals that Themis is a corrupting influence, a
temptress to drive the player away from his sense of justice and towards her
own. >e refers to Themis as the false god and at best a goddess of
deception. Shadow also drops hints that he is the player$s conscience,
although metaphorically. The Shadow returns the Sword of Justice to the
player, and uses some of his remaining power to charge it to its maimum
potential. 8ow the Sword has the power to harm Themis and cut through
the simulation, though this isn$t implicitly stated. The Shadow tells the
player that now the choice is yoursH you have the power, and now must
decide what to do with it.
%ea"ened from empowering the Sword of Justice, the Shadow can no
Weaver 65
longer hold bac" Themis$ influence, and soon the player starts to hear her
voice again, this time encouraging him to finish off the wea"ened Shadow
and finally become the god of justice. The Shadow cautions against trusting
Themis, encouraging the player to stand against her.
The player must choose who to side with' Themis or The Shadow, by
destroying the other. ,lthough his options are somewhat limited based on
his brutality?compassion score. The ending varies based on this score as
well.
The battle with Themis will feature misleading on&screen guides and at
times the controller will respond differently to input. Just as the player is
about to finish Themis off, the 6ame Over message appears followed by a
transparent bo with a fatal error has occurred, please reset the system.
.ut the fight continues in the bac"ground. This is just one last tric" by
Themis.
On the other hand, the battle with the Shadow will feature assistance
from Themis in the form of on&screen guides as well as spo"en tips. The
Shadow$s power and resilience will increased in correlation to the player$s
compassion score. >e will also transform into the people throughout the
game that the player showed mercy, and they once again beg for him to
stop.
Weaver 66
*ndings
Should the player fight the Shadow and closely follow the tenets of
talion justice as instructed by Themis, which means his brutality?compassion
meter is neither too high or too low, he awa"ens from the simulation
strapped into a chair in a laboratory with computers and lab techs
surrounding him. 7raise is heaped upon him by those in attendance. , man
in a military uniform places his hand on the 7rotagonists shoulder and says
%ell done, soldier. Iou ready for deploymentG The camera !ooms bac" to
the 7rotagonist$s face, his eyes glossed over, as he says 9 am a servant of
justice.
Should the player fight the Shadow but has a high compassion score,
Themis manifests before 7rotagonist and he "neels before her. Themis
congratulates 7rotagonist, but then says unfortunately this subject is still a
failure. Themis suc"ers punches him, vision blurred, and screen goes blac".
>eart monitor sounds, then dies with the long droning sound.
Should the player fight the Shadow but revel in the brutality of his
missions and ta"e punishments to the etreme, Themis manifests before
7rotagonist and he "neels before her. Themis congratulates 7rotagonist, but
then says unfortunately this subject is still a failure. 7rotagonist attac"s
Themis, but she is in a wea"ened state and is +uic"ly dispatched. There is a
glassy, far away loo" in her eyes as you fight her, as if attention is divided.
Weaver 67
7rotagonist snaps out of simulation with alarms bla!ing, machines
overheating, and scientists running in a panic. Screams of it wor"ed too
wellJ are heard. 7rotagonist brea"s the restraints and a scene of scientists
being slaughtered in cra!ed, psychotic fashion plays. 7rotagonist escapes
into the city, convinced that it truly is his fate to judge humanity for their
crimes, no matter how small. , voice&over narration states >e plunges into
the night with only a shattered mind as guidance. Oddly, the voice sounds
similar to one of the voices that the player overheard in the prison.
Should the player fight Themis but revel in the brutality of his missions
and ta"e punishments to the etreme, a very wea"ened Shadow manifests
and 7rotagonist throws Themis$ head at his feet. The Shadow manages to
mee"ly utter it was too late for redemption after all. 7rotagonist attac"s
the Shadow, but he is in a wea"ened state and is +uic"ly dispatched. ,s he
dies, the Shadow lets out a yell the same as the one the 7rotagonist ma"es
when he is severely injured or "illed throughout the game, to further
emphasi!e that the Shadow is the 7rotagonist$s conscience. 7rotagonist
snaps out of simulation with alarms bla!ing, machines overheating, and
scientists running in a panic. Screams of it wor"ed too wellJ are heard.
7rotagonist brea"s the restraints and a scene of scientists being slaughtered
in cra!ed, psychotic fashion plays. 7rotagonist escapes into the city,
convinced that it truly is his fate to judge humanity for their crimes, no
Weaver 68
matter how small. , voice&over narration states >e plunges into the night
with only a shattered mind as guidance. Oddly, the voice sounds similar to
one of the voices that the player overheard in the prison.
Should the player fight Themis with a high, but not maimum,
compassion score, a stronger Shadow manifests and you throw Themis$ head
at his feet. The Shadow reveals that 7rotagonist has the will to escape this
reality, but how you cope in the other is up to you. The Shadow says you
already have the power. 7rotagonist uses the Sword of Justice to cut a
hole in the air and step through. 7rotagonist snaps out of simulation with
alarms bla!ing, machines overheating, and scientists running in a panic.
7rotagonist brea"s the restraints but brea"s past the scientists without
"illing them. , blinding light engulfs the screen as the 7rotagonist escapes.
=oices, the same from the prison, can be heard that say, This was a failure,
followed by 8o, there may be hope for him yet...
Should the player fight Themis and has maed his compassion score
by refusing all unavoidable "illings in game, a stronger Shadow manifests
and you throw Themis$ head at his feet. The Shadow reveals that
7rotagonist has the will to escape this reality, but how you cope in the other
is up to you. The Shadow says you already have the power. 7rotagonist
uses the Sword of Justice to cut a hole in the air and step through.
7rotagonist snaps out of simulation with alarms bla!ing, machines
Weaver 69
overheating, and scientists running in a panic. 7rotagonist brea"s the
restraints but brea"s past the scientists without "illing them. , blinding light
engulfs the screen as the 7rotagonist escapes. =oices, the same from the
prison, can be heard that say, >ow disappointing. ,h well, pull the plug.
>eart monitor sounds, then ends with the long droning sound of patient
dying as screen fades to blac".
Mission $iagram
.ecause the story is a branching narrative with fied story nodes,
regardless of how the player completes each story mission, the player will
inevitably reach a set plot point. >owever, these plot points might be
somewhat different depending on how the player completed previous
missions in each chapter. %hat follows is a diagram for the story missions.
Weaver 70
Tutorial Mission
Chapter I: Office Life
Event 1
Event 2
Event 4
Event 3 Event 5
Event 6
Receive !or"
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Chapter II: The Trials
#ill Opp$ 1
#ill Opp$ 2
#ill Opp$ 4
#ill Opp$ 3
#ill Opp$ 5
Etc$ Infinit%
Trials &e'in
1a 1& 1c
2a 2& 2c
3a 3& 3c
tealth op$
(ssassin op$
Office lau'hter
2"
3"
)erc%
)erc%
)erc%
&rutal
&rutal
&rutal
neutral
neutral
neutral
&rutal
)erc%
neutral
neutral
&rutal
)erc%
&rutal
)erc%
neutral
neutral
&rutal
)erc%
)erc% neutral
&rutal
Weaver 72
Chapter III: The ha"o!
Chinato!n
*i" Ro! (
)erc% &rutal neutral
*i" Ro! + *i" Ro! C
Re" Li'ht ( Re" Li'ht + Re" Li'ht C
The)is returne"
Trap
)erc%
neutral
&rutal
)erc%
neutral
&rutal
)erc%
neutral
&rutal
Weaver 73
(!a*en in Cell
Chapter I,: -ivine .unish)ent
Event 1
Event 2
Event 3
Event 4
Event 5
ho!
(''ressio
n
(lar) oun"s
/unt 0ar"en
Escape
Weaver 74
Enter The Ma1e
Chapter ,: The Choice
2in" ha"o!
Choose si"es
2i'ht The)is 2i'ht ha"o!
En" 1
En" 2
En" 3 En" 4
En" 5
En" 6
)erc%
neutral
&rutal
&rutal
)erc%
neutral
Weaver 75
I:. Interface
In-Game G)I
.ecause the game uses first&person perspective, the only parts of the
7rotagonist that can usually be seen are his hands, his sword, and any
firearm he is using. The game uses a translucent >;# in the bottom left
corner of the screen to indicate remaining bullets. There is no health meter.
,s the 7rotagonist gets injured the screen ta"es on a red ha!e, starting on
the edges but wor"ing inward as injuries worsen to mimic tunnel vision.
%hen the screen is filled with red, the player dies. There is also a blood
spatter indicator in the bottom right corner of the screen that indicates how
thoroughly the player is covered in blood. The greater the indicator fills, the
greater reaction the player receives from non&player characters.
Weaver 76
!ontrols
*or the %indows version, movement is the standard %S,# format
with mouse movement controlling the camera and aiming the targeting
reticule. S7,4- causes the 7rotagonist to jump, 4T5< causes him to
crouch, and S>9*T toggles between sprint and wal". The left mouse
button is the primary attac" while the right mouse button swings the Sword
of Justice. The middle mouse scrolls between weapons, and pressing it
opens a menu to switch out the primary weapon or drop a weapon if
possible. K is used to bloc" incoming attac"s and if pressed right before
contact, begins a reversal. - is used to perform an action such as pic" up
an item or begin conversation. 5 reloads the e+uipped weapon if
applicable. -S4,7- opens the menu. T starts conversation with Themis.
*or the /bo 012 version, the left analog stic" controls movement
while the right analog stic" controls the camera and aims the targeting
reticule. The left trigger is the primary attac" while the right trigger swings
the Sword of Justice. , is used to jump. I is used to perform an action
such as pic" up an item or open doors. / toggles between sprint and wal".
. reloads the e+uipped weapon. 7ressing the top right button bloc"s
incoming attac"s and can begin a reversal. 7ressing the top left button
causes the player to crouch. 7ressing up or down on the directional pad
scrolls between weapons, while pressing right or left on the pad drops the
Weaver 77
selected weapon if possible. ST,5T opens the menu. .,4@ starts
conversation with Themis.
Menu
%hen the player opens the menu screen, he is given the option to +uit
or resume play, as well as to adjust the brightness if needed for his
television or monitor. %hen the menu screen is opened, the game
automatically pauses. %hen the player is in the 7rotagonist$s apartment, he
will also see the option to save the game. The player does not have the
option to load a saved game. This is automatic upon starting up the game
or after death. The player cannot save in more than one spot, nor can he go
bac" to fi something he regrets doing after the fact.
:. Mar(eting
3ar"eting will focus on two "ey strategies' viral and controversy. The
viral campaign will begin with a website and Ioutube videos that seem to
hype a new comedy, in the vein of LOffice Space.L ,s it gets closer to
release, the content starts to show hints of dar"ness. Then, at the end of
the official trailer, the cubicle wor"er suddenly stabs his boss in the nec"
with a pencil. .lood spurts everywhere. #ead silence echos in the room and
the other actors loo" on with a mi of confusion and terror, as if the attac"
was not in the script. , lin" will then be provided to the real website of the
Weaver 78
game. The controversy strategy relies on the media$s personal vendetta
against violent games. 9t won$t ta"e much more than a few hints to send
the media into a tailspin. ,s the pundits harp on how LThe Sword of JusticeL
will ravage children$s souls and usher in the downfall of %estern civili!ation,
the game receives free advertising and hype.
:I. $evelopment Team
The development team that would be ideal for The Sword of Justice
is 5oc"star, because not only would 5oc"star support the game in spite of
the impending controversy surrounding it, but they would li"ely relish in any
media bac"lash. 5oc"star also developed the 5,6- engine which could wor"
within the scope of this game, and which would reduce development costs.
5oc"star is also an award winning development team that brings with it a
dedicated fan base.
:II. chedule
The complete game design document for The Sword of Justice will be
completed by within thirty days. ,fter funding is secured, programmers can
begin laying the framewor" for the game$s levels in the 5,6- engine,
starting with rough, simplistic graphics. ,rtists begin to produce concept
s"etches of game assets. 5esearchers compile data on >ouston so that
Weaver 79
artists can build a realistic simulation of the city. Si months after funding,
concept art has been refined enough to begin modeling the characters and
assets in 0#. Twelve months after funding, game mechanics have been
implemented and level designers wor" with programmers to complete the
design of the first mission, including the office and the bus. This is the first
wor"ing prototype of the game. Testers begin to play through it. %ith the
completion of the first level, development becomes more efficient. The city
has been gradually built up and two years after funding it has been
completed. 3issions are programmed as each section of the city is roughed
out, and so the game is roughly complete at this time and enters the alpha
stage. 3ore testers are brought in, including a return to previously tested
sections to ensure they still function properly. 4hanges are made as
problems are identified by testers. Two years and si months after funding,
the game enters beta after etensive debugging. Testers continue to play
through the game and identify more problems to be corrected. *inally, two
years and eight months after funding, the game is officially completed and is
ready for release.
:III. #udget
The average cost to develop a video game for modern consoles and
personal computers ranges from MB2 million to MN2 million ;S# (3artine!).
Weaver 80
.ecause The Sword of Justice ta"es advantage of middleware, the 5,6-
engine, and thus does not have to build an engine from scratch, this should
shorten development time (The 5ise of 3iddleware B.2). <icensing fees for
the 5,6- engine are unnecessary because 5oc"star will be developing the
game.
9n B22O, the average yearly salary for a programmer was MP0,0P0.
The average salary for an artist was M11,NEC. The average salary for a
game designer was M10,1CE. The average salary for a producer was
MOP,OA1. The average salary for audio and sound designers was MO0,C2E.
The average salary for +uality assurance testers was M0E,210, while the
+uality assurance lead earned MO2,1NP. 4ommunity managers earned as an
average yearly salary MN2,BEC, supervisors earned MA2A,PCP, and eecutives
earned MA0B,02N (6ame #eveloper #ebuts B22O Salary Survey). .ecause
these are two year old figures, the wages have been increased by ten
percent for each year to represent projected costs in B22E.
This project will need five programmers, forty artists, seven designers
including myself, three audio and sound designers, ten +uality assurance
testers, the +uality assurance lead, and one producer. *or these sity&five
wor"ers, the project will re+uire thirteen community managers, two
supervisors, and one eecutive. #evelopment costs are detailed below.
Weaver 81
7rogrammers (N) MCA1,EAN.22
,rtists (C2) MB,110,O12.22
6ame #esigners (O) MCCN,NC0.22
,udio F Sound MBB2,BBO.22
Kuality ,ssurance Testers (A2) M0E2,102.22
Kuality ,ssurance <ead (A) MO2,1NP.22
7roducer (A) MOP,OA1.22
3anagers (A0) M1N0,PBB.22
Supervisors (B) MB20,1E1.22
-ecutives (A) MA0B,02N.22
Total per year (B22O) MN,BO1,BOB
Total per year (B22E) M1,0PC,BPE.AB
Grand Total ;< years7 = months> MAO,2BC,OO2.EE
Weaver 82
%or"s 4ited
#oyle, ,udrey. 3aya 3eets 8eeds of 8et&6en 6ame #evelopment.
,utodes" 3edia F -ntertainment 5esource 4enter. B221. ,utodes". B0
Oct. B22E
Qhttp'??www.resources.autodes".com?files?med?docs?naughtyRdogRst
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-uphoria. 8atural 3otion.com. B2AA. 8atural 3otion. AE ,pr. B2AA
Qhttp'??naturalmotion.com?euphoriaS.
6ame #eveloper #ebuts B22O Salary Survey. 6amasutra.com. B22O.
6amasutra. AN ,pr. B22P. 02 8ov. B22E
Qhttp'??www.gamasutra.com?php&bin?newsRinde.phpG
storyTAPBABS.
L6rand Theft ,uto 9=.L 5oc"stargames.com. B22E. 5oc"star 8orth <td. BB
Oct. B22E Qhttp'??www.roc"stargames.com?9=?S.
L6rand Theft ,uto 9= 7review.L Aup.com. B22P. Aup. AE ,pr. B2AA
Qhttp'??www.Aup.com?previews?grand&theft&auto&ivR0S.
L3anhunt.L 5oc"stargames.com. B22O. 5oc"star 8orth <td. BB Oct. B22E
Qhttp'??www.roc"stargames.com?manhunt?main.htmlS.
3artine!, Jennifer. -ra of -clusive =ideo 6ame #eals -nding.
5euters.com. BO ,ug. B22P. 5euters. BC Oct. B22E
Qhttp'??www.reuters.com?article?reuters-dge?id;S8B10OE1OPB22P2P
BOS.
The 5ise of 3iddleware B.2. #evelop&online.net. 1 July B22O. #evelop. BC
Oct. B22E Qhttp'??www.develop&online.net?features?A0?5ise&of&
3iddleware&B2S.