Game Design Britomart’s Bedroom: Faerie Queen, Book 3, Canto 1, Stanzas 60-66

Britomart’s Bedroom Scene Game Design Remediation:


Our character goes into the Castle Joyeous and then see’s the Redcrosse Knight and the 6 Malecasta Knights guarding Britomart’s bedroom. Our PC then hears a scream from inside of Britomart’s Bedroom. Our PC and the Knights run into Britomart’s Bedroom where they find Britomart welding sword with her smock on and Malecasta on the ground wounded. Our PC and the Redcross Knight run to Britomart and the Knights run to Malecasta.

After conversation with Britomart, the six Knights attack our PC, Britomart, and Redcrosse Knight. During the fight Malecasta is no where to be found. Our PC and Redcrosse Knight talk about where Malecasta went. PC asks Britomart and she tells the PC about her secret entrance to her room. Britomart, Malecasta, and PC go through the secret entrance and find Malecasta in Malecasta’s Bedroom where upon entrance she attacks the PC. The PC wins and completes the Mini Quest.


Britomart’s Bedroom Entrance:

PC: “What is this room that you are guarding?”

Redcrosse Knight: I am guarding Faire Britomart’s Bed Chamber making sure these “Knights” don’t try anything.

PC: Why would they?

Redcrosse Knight: They are Malecasta’s knights you can’t trust them.

Malecasta screams (Sound Effect)

PC: What was that?

Redcrosse Knight: I don’t know. Let’s go!


Inside Britomart’s Bedroom:

PC: What happened in here?

Britomart: I was sleeping soundly when I heard someone in my room! It was Malecasta and I quickly welded my sword and took care of her.

PC: Oh dear! Are you ok?

Britomart: Of course, I am! But it looks like you and Redcrosse might not be.


Fight with 6 Knights of Malecasta (Britomart and Redcrosse help)

*After success*

Redcrosse: Well we handled them but where did Malecasta go off to?

PC: I don’t know. Seems like she ran away but no one went through the door we came in.

Redcrosse: I don’t know ask Britomart

Britomart: She must have gained access to my secret passage door.

Go through Secret Door, Down the Hall to Malecasta’s Bed Chamber,

Malecasta Attacks, She is defeated. If not the player can respawn and try again.



Redcrosse Knight



Malecasta’s Six Knights


Main Quest- Enter Britomart’s Bedroom/Defeat Malecasta’s Knights:

  • Obtain access to Britomart’s Bedroom
  • Defeat Malecasta’s Knights inside of Britomart’s Bedroom

Objective- Defeat Malecasta’s Knights


  • Experience Points
  • Collect Loot
  • Access to Britomart’s Secret Passage

 Side Quest- Find Malecasta:

  • Obtain access to Secret Passage Door in Britomart’s Bedroom through conversation with Britomart
  • Go to Malecasta’s Bedroom

 Objective- Defeat Malecasta after finding her in her bedroom


  • Experience Points

Youtube Video of NWN2 Britomart Bedroom Game Module:


Amanda T., Nathanial E., and Emily G.

Entrance Hall

Background: Castle Joyeous Entrance Hall

Matt Reynolds and Jeremy Bolin

Book 3, Canto 1, Lines 31-34, 40, 52

Entering Castle Joyeous, the PC finds him/herself in the grand entrance hall. Long and vast, the hall leads the PC to the dining hall and library of Castle Joyeous, as well as to Britomart’s bedchamber.

As the PC works their way through the endless entrance hall, they are exposed to the ornate extravagance of Castle Joyeous’ interior design. Lined with pillars and posts embossed in gold, the hall is also filled with an abundance of royal riches. Handcrafted woodwork and furniture can be seen throughout the hall, filling the room with the scent of rich mahogany (trust me, it’s there). There is a particular seating area containing several luxurious chairs, and various artwork and decor can be found in the entrance hall along with beautiful chandeliers. Armor and weapon racks are also located in the hall, as well as a bar/liquor cabinet area for people to let loose and be merry. There is actually such wealth in Castle Joyeous that there are plies of gold just laying around on a fine rug in the entrance hall as well, though it is guarded my multiple knights.

Several NPC knights and faire ladies of various shapes and sizes can be found in the hall. They are seen marveling at the opulence of the great hall, and some of them express their astonishment via dialogue with the PC.

The entrance hall also houses many fine tapestries from medieval France, and a series of these tapestries embody the several stages of Venus’ story. A woman staring at these tapestries can be interacted with as she briefly explains what they are illustrating. The first tapestry displays Venus in her search for her lost son, Cupid, the god of love, as city by city she inquires about him only to find that she has just missed him. The second tapestry then illustrates Venus encountering Diana and Phoebe, as Phoebe angrily tells Venus that if she finds Cupid first, she will clip his wings. The next tapestry depicts Venus and Adonis enjoying each other’s company in the beautiful garden filled with flowers and extensive growth. The following tapestry depicts the scene in which Venus cares for Adonis who has been wounded by a wild boar. The PC may actually enter this scene through the tapestry as another zone in the game. The final tapestry portrays Venus as a grandmother, advising Psyche on how to properly care for and raise her daughter.


-Many different but rather insignificant knights

-Various faire ladies 


 (Lady staring at the first of the 5 Venus tapestries)

NPC Faire Lady: “These tapestries were made in Toure. Marvelous, no?”

PC: “Most certainly. What are they of?”

NPC Faire Lady: “Well, this first one depicts the goddess of beauty and love, Venus, as she searches for her missing son. The other four also show Venus in the events following this first one.”

(Knight at entrance door)

NPC Knight: “My, what riches fill these halls!”

PC: “Only the finest adornments and furnishings can be found in Castle Joyeous.”

NPC Knight: “Yes, what an extravagant place this is.”

Team 3 – Castle Busirane

Billy Bunce and Matt Almeida

Canto XI, Stanzas 28, 30; Canto XII, Stanza 33

Castle Busirane:


The player enters Castle Busirane after receiving a preliminary quest (Quest 1) from Scudamore (who is standing outside the castle) to defeat the giant in front of the castle and to pass the flames which guard it.

Immediately after entering the castle, the player views a glorious yet eerily empty entry hall. It is adorned with gigantic, beautiful paintings and tapestries, which are intended to attract the player’s attention. The entry hall is otherwise relatively dark and bare so as to emphasize the effect of the paintings and tapestries. These are actually illuminated, drawing yet more attention to their brilliance. Two enormous, spiral staircases are found relatively far away, on the side; these lead up to the area where the procession will eventually be witnessed. An echo effect is in place (no music is playing), and every single step makes the player feel more alone.

Upon stepping into the castle, the camera pans for a few seconds to a radiant piece of beautiful tapestry lying on the ground.  If the player examines the tapestry, a new quest begins (Quest 2) to find its origin. This is accomplished via more luminescent pieces which form a trail of sorts, leading the way to the original tapestry. This path gives the player an in-depth tour of the more aesthetically impressive and/or striking elements of the castle, while also advancing the storyline by bringing them to the tapestry. During this whole time, however, the player is free to explore the castle on their own if they so choose. When this tapestry is reached (random portions are torn off of it in a manner which would allow the tapestry to still be viewable in its near-entirety), the player is presented with the option to travel to Cupid’s Tapestry, and this is, in fact, the only way that Quest 2 can be finished.

After returning from Cupid’s Tapestry, the time of day is automatically set to night. Pained moaning is heard, and the camera quickly pans to the staircases to indicate where the sounds are heard from, but does not show any actual figures. As soon as the player ascends the stairs and turns slightly, they witness a procession of figures representing various corrupt values (Doubt, Suspicion, etc.). Cupid is also seen here, and a cutscene ensues in which the heart is torn out of a young maiden and placed into a silver basin.

At this point, Quest 3 begins and eerie, otherworldly music begins to quietly play. The camera reveals that the door from whence the figures (whose procession loops until the quest is either completed or failed) are walking is open. The player must stealthily walk through this doorway without being detected by any of the figures. If they are detected, the door closes and all the virtues attack the player, almost certainly leading to death. Amoret is found tied to a pillar; just as the player enters, Busirane slices Amoret’s chest and she loses a significant amount of health. A short monologue by Busirane ensues, after which he attacks the player. The music intensifies at this point, and has a significantly more epic feel to it than before.

Once Busirane is almost dead, Amoret screams from the pillar, begging the player not to kill Busirane. If the player adequately convinces Busirane to set Amoret free (by choosing the “chaste” or “pure” dialogue options, and their chaste faction is high enough), then Amoret is let go and the player can go outside (the fire and tapestries have vanished) to be thanked by Scudamore with plenty of rewards, while victorious, triumphant music plays in the background.

If the player does not convince Busirane to set Amoret free, then Busirane kills Amoret and flees the castle. The fire and tapestries are still present, and the player will burn in the fire upon attempting to leave the castle, effectively ending the story due to the player’s unchaste nature (tragic, somber music accompanies this scene). If the player chooses to finish off Busirane, then dialogue with Amoret ensues, as she chastises the player for not listening and laments about how she will be trapped on the pillar for the rest of her days. As the player goes outside, dialogue is initiated with Scudamore, who is grief-stricken that his love will now have to die in the castle. He attacks the player in a fit of rage, his innocence having disappeared from this incident, and if the player defeats him, the game ends with a dramatic scene of his death. In both of the “bad” endings, the screen fades to depressing music, embodying the tragedy of the unchaste ways.

As this game is an attempt to bring a non-reader into Spenser’s world, colloquial dialogue will be used; characters will not talk at all in the style of Spenser’s writing, since this merely creates an unnecessary barrier of entry.


  1. Enter Castle Busirane

Obtained from: Scudamore

Quest Text: “Scudamore: I appreciate your help thus far, but now you must rescue my love from this castle! Only those of pure soul are allowed entrance, and I am afraid that I do not possess enough righteousness to make it past the fiery gates. Please, enter the castle so you can rescue my beloved.”

Objective: Enter Busirane’s Castle


-Experience Points

-Unlock Quest 2

NOTE: If the player is below a certain level of chaste faction, then they are notified of this upon reaching the fire. The objective then changes to: “Find a way past the flames guarding the castle”. This is accomplished by activating a nearby region next to the castle which allows the player to pray, temporarily increasing their chastity faction.

2. Trail of Tapestries

    Obtained from: Tapestry Fragment

    Quest Text: “You find a small, stunningly beautiful piece of tapestry lying on the ground. Though once significantly more impressive, the tapestry is worn and faded, as if corrupted by some mysterious force. This piece clearly belongs to a larger, stunningly gorgeous picture. Your interest drives you to find this strangely alluring tapestry.”

    Objective: Find the large tapestry



    -Access to Cupid’s Tapestry

    3. Evading Corruption

      Obtained from: Exiting Cupid’s Tapestry and following the noises heard

      Quest Text: “You see a small door open among the eerie, frightening procession of figures, and the maiden could very well be inside. You need to make your way into that room without being noticed if you’ll have any chance of saving Amoret.”

      Objective: Enter the door to Busirane’s chamber without being spotted by the procession



      -Unlock Quest 4

      4. Defeat Desire

        Obtained from: Entering Busirane’s chamber

        Quest Text: “Busirane will clearly not unhand Amoret. You must defeat him in combat before he ends the maiden’s life!”

        Objective: Slay Busirane (Note: Though this is listed as the objective, the quest actually ends when Busirane is near death, at which point the possibilities branch as described in the background)



        -Busirane’s Armor

        NPCs involved:




        -All the figures in the procession

        Team V – Merlin’s Cave

        Matt Thumser & Jake Karlsruher

        Canto 1, Stanza 67. Canto 2, Stanzas 6-8.

        You are riding your noble steed at a slow, comfortable pace through Castle Joyeous plain. It is 3 o’clock on a sunny day. A long journey lies ahead. Your companion, The Redcrosse Knight, rides by your side. Redcrosse strikes up a conversation. “What uncouth wind, brought you into these parts?” And so, as is such for all good road trips, a story is told of a time long past. Tell Redcrosse your reasons for being here. OR Tell Redcrosse to mindeth thou business. You grow pensive. The memory plays in your head. *Transport to Entrance of Merlin’s Cave*

        You walk into the cave, and the smell of sea water is pungent.  You hear the waves crashing on the water and the screeching of large sea birds. The ground is damp but as you get further in it gets less damp, and becomes a rocky, unsettled floor. Visibility in the cave is about 10 feet.  You walk further in and stumble over a low stalagmite.  From then on you are careful with your steps.  Unable to see, you warily run your hand along the cave wall.  It is cold to the touch, yet oddly smooth.  Too smooth.  Some magickal Science is at work.  You glance right, and suddenly become very nervous.  On the ground you see a cyclops skeleton.  Behind him is a large boulder and 3 heavy spears.

        You’re overcome by fear.  Nearly shaking now, you step further in.  The eerie silence chills your bones.  Suddenly from the rear of the cave you hear a banshee-like scream.  From your left you see a single pathetic creature, a feende, limping towards you, slowly.  He appears to be injured.  He clutches his right leg.  This feende, is helpless, almost cute. You extend your hand, you want to help him.  With cheetah-like reflexes he snatches your wrist and tries to bite you. You draw your sword and strike down the feende.  A horde of feendes consumed by anger appears from all sides screaming with ear-splitting ferocity.  You were prepared for battle and proceed to slay all of them.  With the feendes slain, you continue to wander into the impenetrable darkness. You hear the screeching of bats and the flapping of wings. Occasionally, a streak of black flies in front of your face.  Luckily, the bats aren’t hostile.

        After a few paces the ground begins to shake.  Suddenly, everything is illuminated.  The source of the light is unknown. Stalactites begin to fall from the cave roof.  You must dodge the falling stalactites to survive. Out of breath, you stumble into a well furninshed den.  The surrealism of it all makes you question your sanity . A warm fire burns in the fireplace. Merlin’s mirror is the centerpiece of the room. It is gilded, and hangs from the ceiling on the back wall. You’re not crazy. You’re in Merlin’s cave.

        The sight of the wrinkled old man is in sharp contrast to the dangers you faced before. Startled into a loss for words, you forget the very reason you entered the cave.

        You’re in Merlin’s Cave to discover the identity of your true love. Are you up to the challenge?


        1. Enter the cave.

        2. You are attacked by feendes. You must fight each of them of, killing them all.

        3. Follow the cave into a narrow tunnel. Stalactites fall from the ceiling, dodge each of them.

        4. Speak with Merlin. You must convince him to show you your true love. Your love’s face will appear in the mirror.

        5. Upon completion of this quest, you will be transported back into the Castle Joyeous Plain, from which you came.


        Merlin: Very old, kindly man. If he were a human, he’d look to be in his eighties. Very long white beard, drapes down him in a two pronged fashion. He controls his mirror, and holds the secret to your true love.

        Merlin looks like this, but with a blue robe.

        Feendes: Wretched looking creatures. Like, mutated humans. They look to kill you upon seeing you.

        Feendes look similar to this.


        The player nervously enters Merlin’s study…

        M: Sit, Sit, please sit. I’ve been expecting you.

        P: Facial expression grows obviously nervous: You have?

        M: Of course, of course, how may I be of service?

        P: It’s… I feel as if my heart is empty.

        M: Ah, so it’s love you seek. A common affliction, but not so commonly healed.

        P: This, I’ve come to realize… is there anyone out there for me?

        M: The path to truth, requires abilites many would deem unnatural. If it is knowledge you seek, be forewarned: the truth may be not what you desire. Answering one query may only lead to another.

        OPTIONS: ask for the truth OR bid Merlin adieu

        P: Please, Merlin, I truly desire to know the truth.

        M: Then come my dear, to the Mirror of Merlin. Your future awaits…

        Merlin conducts a spell, a beautiful face appears in the mirror. The player becomes awestruck.

        P: Gasps Why… who is this man?

        M: It is Arthegall, the gallant knight.

        P: I must know more. Who is he? Where can I find him?

        M: I can tell you no more. Your quest is yours, and your alone.

        Character is transported to Castle Joyeous Plain

        Another Language

        Okay, so you’re an IT professional, right? That means you’re pretty good with computers and computer programming. I, for one, could never deal with computer programming. To me, even the simplest HTML code is completely and utterly unintelligible, but for an IT professional, code can be an intuitive way to send richly detailed messages. Here’s an example:


        Sample HTML Code



        There is no way I could translate this code into standard English; maybe a professional can, but I am certainly not one. I can, however, understand bits and pieces of it though, and gather a few bits of information from it. I can guess that the </html> symbols at the beginning and end symbolize the start and finish of the code. By seeing “blueborder.jpg” in the text, I can deduce that this code will display something on a computer screen, and it’s probably something blue. Furthermore, I know a little bit about color hex codes, and a quick Google search of “#FF0000” tells me that some text will be written in red. Finally, I can also see that the text will be written in the font “Brush Script MT.” So you see, I can understand parts of the code, and gather some information, but I cannot visualize completely what this code is trying to tell me.

        Likewise, the same can be said about Edmund Spenser’s Faerie Queene. Although it is written in English, it can look like a foreign language to some. For example, modern English doesn’t tell us to include “bounti-hed” in our vocabulary, but Spenser tells us that it means “cherished.” Sure, we can take bits and pieces from the text, and get a general understanding of it, but unless someone is very well trained in Medieval English, they will have a lot of trouble while reading Faerie Queene.

        Both Faerie Queene and HTML code are similar in that they are written in “almost” another language. While they are both technically in English, they are very difficult to understand for the untrained. This is where the value of reading becomes obvious. To an IT professional, and to the common reader, new languages allow us to understand more of our surroundings, of our history, and of our future.

        -Matt Thumser

        That is soooo 489 years ago.

        Ah, the digital age. I have almost every conceivable medium of entertainment available from the comfort of my laptop. I could download a 70-hour long RPG, if I choose. A movie, maybe? Weeks worth of music might suit my mood, instead. And, of course, I could also read a book online, provided that it’s been uploaded. An IT professional like Prof. Hall is, of course, familiar with this flexibility of engaging media. So, then, what value could the most antiquated of all these experiences possibly hold? In a time when we are greeted by immediacy in the form of audiovisual engagement, can a poem over 450 years old still enrapture us as it did audiences of the Renaissance period? Spenser’s The Faerie Queene provides a strong case for the affirmative.

        The Faerie Queene is a tough read, make no mistake. However, this primarily arises from the nonstandardized spelling of Spenser’s time which can easily throw off modern readers. But, if a reader delves deep enough into the work, they will find that it contains infinitely more meaning and significance than even the most complex games and movies. Allegories abound, and the poem overflows with symbolism. Whereas a movie or video game can be breezed through without interruption, a reader quickly glancing over a stanza of The Faerie Queene could easily lose every bit of meaning jam-packed in that passage. References to the Bible, Dante’s Inferno, and other classic works would be marred by a patience-desensitized mindset.

        Of course, this last bit more or less summarizes the underlying cause behind the relative unpopularity of literature in modern culture. While the newer forms of media require less effort to fully understand, classic literature still remains open to interpretation. Simply put, many people (IT professionals included) have been, in a sense, pampered by the relative “easiness” of movies, video games, and music. Of course, Professor Hall is on the more intelligent end of this spectrum; he is not a good case study for the average IT professional. I personally have known many IT workers (as I have, in fact, almost worked in an IT department myself as a part-time job), and I can tell you that many of them far prefer a great game to The Great Gatsby. This obviously does not mean that tech-savvy people are not as intelligent as literature junkies; it merely comes down to a learned preference.

        In The Faerie Queene, Professor Hall will find a much less immediately accessible experience than that of, say, Lord of the Rings Online. However, coming from someone with the same basic preference of media, I believe that there is just as much, if not more, value in this excellent work of classic literature. While it may require more effort to properly interpret than modern culture has taught us to use on almost anything (we live in an age of convenience and instant gratification, directly brought about by technology), there is easily much more to be gained from it than most other forms of media. The journey is arduous, but the destination is a treasure trove of depth and meaning.

        -Billy Bunce

        I’ll Take a Stab at It

        Professor Hall!  How could you have missed this!  This exciting time!  This week of weeks!  For this week was no ordinary week; nay this week was the week I called off my War on Poetry.

        I’m not an art guy.  I’m the guy that scoffs at the abstract stuff hanging on the walls of people’s homes. My friends who are into that sort of stuff tell me I have to find a specific art form and try to “feel” it.  I in turn tell them to put down the hippie lettuce and come back from the 60’s.  Then they tell me I’m not sophisticated.  Eh, so be it.

        I tell you this because you need to know my reasons of originally going to battle.  I haven’t enjoyed a poem since Shel Silverstein’s masterpiece Where the Sidewalk Ends. So, assigning me Faerie Queene is like teaching my grandmother how to play middle linebacker.   Yeah, you could try.  Heck, she might even learn something.  But what would she do with that information?  How is it relevant?  I originally declared my War on Poetry because poetry, as a form of writing and an art, is one of the least efficient ways of expressing an idea.

        Then, after our Tuesday class, I learned a little bit about Edmund Spenser.  I learned about his inspirations: the great thinkers of our past.  Me and Ed, we share the same literary heroes.  Maybe this guy ain’t so bad after all.  I gave it a try, but found I was shamefully incompetent.  Translating Spencer into modern English after years of not practicing was dreadful.  So I developed a fool-proof method of reading, and understanding his work. Oh, and I wrote it in Spenserian stanza.

        First grab a drink, maybe something of strength

        Chill, grab your snuggie, prepare for a ride

        A poem of virtues, but above all: length

        It’s free fr’all spelling, where u equals y

        Britomart is Chaste, and a knight she lies

        But her Beauty pales to Lady Florimell

        Una is good, Duessa is the bad guy

        A religious piece, it’s virtues or Hell

        And if none of it makes sense, read again. Oh well.

        Wow, that’s in the right meter and everything.  That wasn’t even that hard. Spenser isn’t so impressive after all.  The War is back on.


        -Jake Karlsruher

        Team 3- Castle Busirane Forest

        By: Sam Fisher and Max Mam


        Our section of the Faerie Queene was the forest near Castle Busirane. The starting point is in the southeast corner of a large area section. Trees are scattered throughout the forest of various types. The outer area of the map is densely covered in trees and is difficult to traverse. To enhance the borders, there are difficult enemies on the outer parts of the map that are off the path to be traveled.


        A river runs through the center of the forest and provides the path for the character to travel towards Sir Scudamore. The main goal is to find Scudamore, and early on there is a woodsman. When the player talks to him, there is a conversation where he instructs the player to follow the river to the fountain. There are various bushes, reeds, and rocks along the river’s path for realism and the ground is scattered with trees. This makes the forest more realistic.


        As the player walks through the forest, one may encounter various forest creatures such as boars, wolves, and bears.  After journeying upstream one will have been in 6 or more interactions with these enemies. At the end of the river, there is a fountain, which was made by lowering the terrain and filling with water. There are reeds and rocks surrounding the fountain and an armor-less next to the fountain. The character can then click on Scudamore for a conversation to occur. Sir Scudamore describes his heartbreak and that Amoret is being held captive in Castle Busirane. There is a bag containing Scudamore’s Arms sitting next to him, which can be picked up but not used and can be examined.  As far as Scudamore’s image, he has very little clothing on and not metal armor. He has a beard and brown hair and is not very menacing in appearance. 

        TEAM 5: Maske of Cupid

        By: Dan and Amir

        Here is where we will give you the insight into our creative genius (and yes we are very full of ourselves)

        Before we speak about our area we will discuss our NPC creation, Glauce. Glauce is Britomart’s squire. My first thought when I heard squire was the guys with the coconuts in the Monty Python movies. So we started with that and tweaked it to make it more appropriate (i.e. Glauce doesn’t carry coconuts). Most of Glauce’s design was left up to imagination so we wanted to give him a grandfatherly/protective image over Britomart, almost like a care-taker but at the same time he is just a commonly squire. So his apparel is very common brown tunic, cloak and pants and he has an older face with white/grey hair. Our only disappointment with him is that our original image of him was a slightly hunched over man carrying a bag on his back. Unfortunately the NWN2 Toolset doesn’t have the image of a bag anywhere and it seems none of their NPCs ever have back problems so we were forced to omit these design characteristics.

        Our area was the Maske of Cupid which was ironic for two reasons. One, it’s not actually an area: the Maske was the parade of characters that walked through the tapestry room and since another group already had that room we just made the NPCs to fill their space. Two, although our name is the Maske of Cupid we were unable to create him since he is present in another groups area and it would be odd to have two different images of cupid. So to remedy that the other group has generously agreed to place their blueprint of Cupid behind our Maske as it is described in the Cantos.

        The Maske of Cupid is fourteen characters in pairs in the following order: Fancy, Desire, Doubt, Danger, Fear, Hope, Dissemblance, Suspect, Grief, Fury, Displeasure, Pleasance, Despight, Cruelty. Additionally, there were supposed to be minstrels in front of the Maske but since that may have been confusing to people we decided it would be simpler to just put a music sound effect in the room.

        All of the characters were made as they are for one of two reasons – either they were described that way by Spenser or they were our image of their quality (often times a little of both). Each character had a description in the Cantos, however, some were more detailed than others. This left us with a lot of creative freedom. We kept true to the descriptions as much as possible and some of the creations are exact (Danger for example is spot on) but others we took a lot of liberties with and effects were especially very subjective. Cruelty for example had almost no details given so we used our imagination and created the image of someone we thought was very cruel. We are highly satisfied with the outcome of all of the characters. GO US.

        Team 1:Adonis Tapestry

        By: Derek Schatz and Lee Jones

        Below is a copy of our initial brainstorming session on our assignment of the Adonis Tapestry. Our first decision was to make the Adonis Tapestry a type of fetch quest. Specifically, Cupid would run out of arrows and ask the player to go get them back from the various Gods he had used them on. We also made character behavioral decisions such as how each god would react to the player. Cupid is a boastful, egotistical character that has fun messing with the God’s hearts. All the other NPC’s would seem to be in a daze when the player finds the god, almost as if they were “distracted” by love. Then after the arrow was removed the God would “come to” and believe all he had experienced was a dream. In this brainstorming session, we also came up with the layout of the land. We decided on the orientation of the gods in relation to Cupid and determined how the area would be structured. We quickly realized that even though players would only be able to travel between areas where we wanted them to, the player could see beyond the borders of the playing area. That lead us to design an area that is directly linked to the next one. For example, between the area where Zeus and Apollo are found (To the east of Cupid on the map), and the area where Saturn is found (To the north of Cupid) a hill is going to continue through those two areas. Even though the players cannot travel across this hill, they will be able to see it extend off into the distance and get a feeling of how the two areas are connected to each other.

        Tapestry Brainstorming