World Overview
World Map
The City
Dracula's Castle
Game Characters
Adelbert Zsigmond
Ilka Fekete
Adelbert's sweat-heart, although his family and friends are quick to point out that Adelbert doesn't know if she returns the feelings. She recently left her home town for Dracula Manor without much notice, only leaving a short note for Adelbert which he found upon his return. Physically Ilka is a young woman, with black hair and blue eyes, and a good couple inches taller than Adelbert, (pre-transformation). She has a similar build to Adelbert, in her youth she used to explore the countryside with Adelbert, and developed the climbers physique as well, although she also has considerable strength (at least as far as the weakling Adelbert remembers it), as she helped with the harvest and such, although it doesn't really show. Although she grew up working hard on the farm, her features are now quite soft, having spent the last couple of years working the relatively untaxing position as servant to the local noble. She generally dresses in simple work clothes, or a travelers cloak, a practical habit she picked up from Adelbert.
Father Fény
The good hearted churchman that serves as a mentor for Adelbert for the beginning of the game. It is hi wise and caring voice that coaches Adelbert through the tutorial section of the game. The man himself claims to be visiting clergy on his way to the Manor, who offers to help Adelbert to his destination. While Father Fény may be a man of the cloth, he is no fat friar or doubty deacon, the years spent as a traveling priest have kept him fit evidently. Although his white hair and dimming brown eyes indicate that he is of advanced years, he doesn't lean on his ever present walking stick, but rather walks up right, with the pride of a warrior.
Character Customization
Outside of the stylistic changes that come from Adelbert's choosing good or evil there isn't any. Character customization for largely single player games is little more than a novelty in my opinion, (with a possible exception being roleplaying games where making your own character is kind of the point).
Enemies and Monsters
Dracula - The final boss of the game, incredibly fast and strong, and capable of transforming into a monstrous form if pressed. With all these powers he is rather difficult to beat, but even still he is no fool and calls upon any allies that may be around for aid. Very difficult to defeat, it might be in the players best interest to target some of his allies before taking him on. For more information see Enemy Appendix.
Dracula's Three Brides - The sub-bosses of Dracula's Castle, dangerous and deadly in their own right, when working together under Dracula's direction, they are nearly unstoppable. If Dracula is forced into a confrontation he will call upon his Vampire Brides to help him, however outside of Dracula's purview their dislike of one another prevents them from coming to one another rescue. So it would be simpler to face them each individually before attacking Dracula, but if the player has a death wish he may fight them all alongside Dracula in his throne room. For more information see Enemy Appendix.
Undead - Dracula uses these mindless corpses as foot soldiers within his domain, throwing them in waves against his enemies. Dracula has no shortage of raw material, with his victims, the dead Ottoman's from the failed invasions, and not to mention those long buried in the myriad boneyards found around his manor. For more information see Enemy Appendix.
Wolves - Dracula has some foul power over the wild creatures that roam his domain, in order to keep unwelcome guests off of his territory he often sends packs to hunt and kill those who wander where they should not be. For more information see Enemy Appendix.
For the rest of the list see, Enemy Appendix.
User Interface
Controls X - Jump
Square - Attack, (hold down longer for stronger attack)
Triangle - Use Selected Item
Circle - Transform into Monster Form (if Horror Meter is full)
Right Thumb Stick - Camera
Left Thumb Stick - Move
R1 & L1 - Switch Weapon
R2 & L2 - Switch Item
Start - Pause
Select - Map
Health and Other Meters
Health will be displayed in as a red horizontal meter across the top of the screen, that leads into an indicator of which item is currently selected and how much of that item is left, this being the most important meter it is positioned at the top so players know where to look when the situation gets dicey. The Horror Meter is a deep purplish, almost shadowlike color, that fills up the more you character kills things on screen, innocents as well as enemies. When the Horror Meter is full the player can transform into the bestial vampire form.
Pause Menu
A scroll of paper with an option for Map, Display Options, or Sound written on what appears to be old parchment, the current selected item appears to have a drop of blood next as an indication. The players inventory appears below that, and they may scroll down and check their belongings, a little window offering information on the currently selected option appears on the right hand side, so players can easily ignore it if they don't care for the information, but easily find it if they need it.
Map Screen
Rolls down from the scroll if selected from the pause menu, appears to be hand drawn by Adelbert as areas are explored, can cycle through the various areas in the game with the L1 and R1 buttons.
Weapons
Dragon's Hammer - A holy hammer given to Adelbert early in the game by Father Fény, the basic weapon used by the Order of the Dragon to drive stakes into the hearts of Vampires, also doubles as an absolutely brutal war hammer. For more information see Equipment Appendix.
Claws - Who needs the weapons of mortals when you can just manifest bestial claws. The curse of the vampire may leave it's victims damned, but it certainly doesn't leave them defenseless. These rending claws are the primary offensive weapon for the vampires who tread the path of evil. For more information see Equipment Appendix.
For a complete list of Weapons and Equipment see the Equipment Appendix
Musical Score
The score should be heavily instrumental, with lots of deep bass and wistful flute melodies. Sad cello's should remind the player he's all alone in this world, and boss battle themes should sink start out hopeful, then sink into something similar to Bach's Toccato and Fugue, until finally emerging out the other side with a few triumphant chords at the end to bring the player up, before realizing he still has a job to do and he'd better get to it. Some brief thoughts on the themes for the various areas:
The Southern Road
The music should start out low and forlorn, a slow beat with few notes driving home how far away from life the player is. As they get closer to the city the tempo climbs a bit, more note are added to music and the player no longer feels quite so alone, however the music starts to take on a greater and greater aspect of anxiety. So the player must chose, face the isolation in the wilderness, or walk into the dangerous walls of the city. If the player wanders down one of the side paths, the melody gets discordant and alien, really hammering home that they aren't in a natural wilderness environment at all.
The Western Mountains
The mountains should be full of the sounds of struggle, with a hint of danger running throughout. At the beginning of the climb upward, the music should start off with a lot of energy, going in loud and up-tempo. As the player climbs and hits more and more difficult areas to platform across, the music starts to lose it's confidence, slowly parts of the orchestra start to fade out, leaving only a simple tune to comfort the player as the reach the highest parts of the mountain, and even that struggles against the fantastically high altitudes, and dangerous terrain. Finally, when the player reaches the top the music returns full force, although Dracula's will prevents the player from moving any farther beyond, they get the feeling that once they defeat Dracula, and move beyond the mountain pass, better things lie in that direction.
The Northern River
Not many people venture to the lands of the North, so the music should sound a little different than the music elsewhere. Although the music will still have the same themes of danger and isolation present in the other areas of the game it will also have an unnatural flow to it, like the river itself characterizes the music. The music will also lead to a false sense of security, it doesn't change tempo when danger is afoot, leaving the player feeling vulnerable and paranoid.
Southern Marsh
The music starts out down-tempo, and only gets gloomier from there. It's like the Marsh was trying to warn you to stay away from it just by the ambient sound. As you reach the center of the marsh, the music seems interspersed with what sound like the dying gasps of a drowning victim.
Dracula's Manor - Town
The score seems more natural and familiar, but that doesn't necessarily make it welcoming. The tempo increases as the player approaches other villagers, letting the player know of the increasing tension between the towns people and this outsider. The score may be on more of an even keel in the town, but that doesn't mean it's soothing or up-beat, the music in the city is more harmonious than outside the city, but there is little relief inside the walls of civilization.
Dracula's Manor - Castle
The score inside is a lot more ordered, like a military march, the music should convey the power that Dracula commands. The notes should be loud and almost over-powering, the aura of power Dracula likes to cultivate is less reassuring, and more intimidating, with hints of dark menace in the refrain.
Sound Effects
Combat sound effects shouldn't really be too graphic for the standard attacks against the various enemies, the player shouldn't come to be sick of the constant squish and rip of bodies. However the sound design should turned up a bit when an enemy lands a killing blow on the player, really make the death sound gory and painful, although not too over the top.
The sound effects for picking up power-ups should be a brief up-beat chord, as power-ups should feel like short reprieves from the dangers of the dark world surrounding the player. Although players regaining health by sucking blood from villagers and the like aren't treated to the dulcet tones of the power up sound, but rather the helpless wails of their victims.
Ambient sounds should be harsh and guttural, with wolves howling out in the wilderness, and plodding footsteps following unseen in the city. If a gate needs to be raised the mechanism should scrape, scratch and clank as it is put into motion. Nothing is in proper working order, so doors should squeal on their hinges and floorboards creak underfoot.
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