As Emma and her dog, Koo, set out on an adventure across Japan, Beast of Reincarnation may seem like familiar territory for Pokemon developer Game Freak at first blush. In some ways, as a story of “plants, animals, and nature,” it is. Until you notice, well, the post-apocalypse, and the absurdly slick battle combos Emma is able to pull off as she synergizes explosive skills with Koo to battle massive beasts and legions of deadly robots.
Set in 4026, Japan has been overrun by the blight in Beast of Reincarnation – cities are overgrown and dense forests hiding human ruins. “The blight parasitizes all forms of life, transforming them into malefacts (‘corrupted beings’), which in turn have brought about this ruined world,” says game director Kota Furushima. As a “blighted one” herself – something to do with her ivy-like hair, perhaps – Emma is one of few who can do something about the spreading corruption.
Into the forest
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“The world Emma and Koo travel through was always imagined as harsh and unforgiving. We wanted the world itself to stand as an enemy before them, constantly obstructing their path,” says Furushima. “To convey the severity of their journey, a stylized or cartoonish world felt inappropriate. We believed that a decayed environment depicted in a more realistic manner was necessary.” Japan itself is the backdrop for Emma’s journey because Game Freak’s developers can draw on their own experiences to help create the right atmosphere.
It’s a pretty different approach visually and tonally to Pokemon, even if Beast of Reincarnation has some familiar themes. I have to ask about the move to developing for consoles like the Xbox Series X, PS5, and PC. “To convey the realistic sense of both ‘harshness and beauty’ in the world that Emma and Koo travel through, we wanted to depict the setting in a striking way,” says Furushima.
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The Blighted Forest right, which has spread across the land thanks to the Malefacts and a huge creature called Nushi, has been important for the team to get right when it comes to crafting Beast of Reincarnation’s visual identity. “In this world, massive trees can grow in an instant, transforming open plains into dense forests before your eyes. Through this, we made it clear that the world itself is an enemy – and something the player must overcome,” says Furushima. “Rather than focusing only on static visual beauty, we wanted to capture the dynamic moments of transition: the world shifting, changing, and moving. Those fleeting transformations allowed us to express its living, threatening presence.”
Described as a “one-person, one-dog action RPG”, Beast of Reincarnation won’t be a lonely journey, as harsh as the world may be. Emma is joined by Koo, her canine companion who is just as much a part of the action.
“Koo has been part of the project from the very beginning of development. When we first thought about the kinds of emotions we wanted players to experience, the idea of a game where you travel together with a companion naturally came to mind,” says Furushima. “Because of that, the game design, story, and even the world itself were all created on the premise that Koo is there.”
While Emma fights in real-time using sword-based skills, commanding Kook means that the action slows down to a crawl, giving Beast of Reincarnation a turn-based flavor. It’s a combination not unlike Final Fantasy 7 Remake, allowing for fast-paced battles to still feel under player control, enabling a strategic element.
But, rather than simply being two modes of play, however, Emma and Koo’s actions feed back into one another. “When Emma performs parry against enemy attacks, she earns points that can be used to activate Koo’s abilities,” explains Furushima. “The command menu for Koo can be opened at any time, allowing players to move seamlessly between action and command-based combat.”
There’s an element of poignancy here. It’s clear that Beast of Reincarnation isn’t just about one character’s journey, but how Emma and Koo’s intertwine. “Through this flow, Koo’s presence is constantly felt by your side,” Furushima summarizes. Now, don’t you dare make me reach for the tissues.
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