Shadow Labyrinth has now been available for one year! As a thank you to our players, we asked for fan’s questions about the game. It was the development team’s pleasure to hear from the fans and to shed some light on the darkest corners of the Shadow Labyrinth. 

The below replies are the personal thoughts directly from Seigo Aizawa (Publishing Producer), Toru Takahashi (Creative Producer), and Hisaharu Tago (World Design); please note there are game spoilers ahead!This heartfelt illustration by Shadow Labyrinth’s character designer, Michi Kasugano, revives memories of a life-or-death journey, featuring those who defy fate and the formidable foes that stand in their way. We invite you to reflect on the adventures we've shared together, and for those yet to embark on this story, we hope you too will immerse yourselves in this world and enjoy every moment! 

Q: “How were the OG concepts for it? were they vastly diff or has the idea stayed kinda same?” — (Stewpitguy, IG)

A: (Toru Takahashi) First and foremost, as someone who has been immersed in gaming since the 1980s, I’ve always harbored a desire to create a 2D action game.

I believe that while 3D has a particular strength in its ability to let players "experience a world," 2D excels as a medium for "playing the rules themselves." Because 2D expression is inherently more abstract, it allows players to more naturally accept ideas that defy reality or even slightly eccentric concepts. Furthermore, I feel that no matter how stunning 3D graphics may be, there are moments where the images players conjure in their own minds while looking at a 2D screen are more beautiful and stay in their memory longer. This is why I chose the 2D action genre.

Building on that foundation, I delved deep into the act of "eating," which is at the core of PAC-MAN. Before I created Shadow Labyrinth, I had the opportunity to ask Toru Iwatani—the creator of PAC-MAN and my former supervisor—about his vision for the next PAC-MAN. At that time, he mentioned the word "singing." I was deeply struck by the fact that the original creator himself wasn’t fixated on the act of "eating," and it gave me the impression that it was perfectly fine to keep evolving PAC-MAN into something new.

From that point, I re-evaluated the concept for Shadow Labyrinth. About six years ago, when I was conceptualizing this game, the entire world was being forced into a period of massive change. The somber atmosphere of that era resonated with the more ruthless, survival-instinct aspect of "eating." That is how I ultimately arrived at the concept of a "Dark PAC-MAN."

Q: “Did the 2D assets and rigged animation keep costs down compared to, let’s say, if it was a hand-drawn game?” — (graystripe2000, X)

A: (Toru Takahashi) I am truly delighted that people have been playing and enjoying the game for so long.

The decision to use 2D assets combined with rig animation was not necessarily a low-cost alternative to traditional hand-drawn animation. In fact, when creating animation with a sense of depth using this method, we had to produce multiple 2D assets while simultaneously coordinating complex rig animations. In some respects, this process is even more labor-intensive than hand-drawn animation, so it didn’t actually lead to significant cost reductions. Beyond that, a substantial amount of development budget and production time was invested into Shadow Labyrinth.

Even so, I have a deep love for that "handcrafted feel." I believe it’s a form of expression where the unique personality of each creator truly shines through. The staff who supported the visuals of this game are veteran creators who have been making 2D action games since the 1980s and 90s. Thanks to their expertise, we were able to maintain high quality while continuously finding creative ways to optimize the production.

Q: “If that’s okay, I’d love to hear some behind-the-scenes stories about the final boss’s design!” — (niitu_san, X)

A: (Hisaharu Tago) Initially, I envisioned the final boss battle against a giant ESP brain, the "GAMP Replica." However, since it was canonically massive, it wasn't practical for the game and lacked a certain excitement. In response, the art director of the development company suggested a humanized, scaled-down version, which was then designed by Arai (known for Klonoa). At first, I was confused by the humanoid form since I had expected a giant brain, but the art director had a profound understanding of Xevious. In fact, in the gamebook version of Xevious, the final boss also projected a human form, so we decided to proceed with this direction.

However, I did request a few specific changes. One was to have the battle take place in another dimension called the "Astral Field." I felt that GAMP’s desires were not limited to achieving human happiness, but also included a hidden, personal wish to become human himself. Such a wish felt like a positive addition to the narrative, especially since the Astral Field is a place where thoughts and desires are materialized.

Furthermore, to express both the hidden desires of the immobile GAMP Replica and its dual nature—as a demon seeking to annihilate humanity and an angel attempting to lead it to happiness—I asked them to add wings to its back. Additionally, while the initial design featured a visible brain, I had them remove it entirely. By leaving the physical brain back in the final stage, I wanted to imply that even if the "astral form" was defeated, the actual brain itself had not been destroyed, leaving the possibility for it to regenerate. This is how the final boss, the GAMP Replica, was ultimately realized.

Q: “Was the idea of Shadow Labyrinth being part of the USGF timeline from the start or further into development?” — (BumpusJr, X)

A: (Hisaharu Tago) Initially, development began as a "Dark PAC-MAN" project to commemorate the 45th anniversary of PAC-MAN. As development progressed, the process of fleshing out game mechanics, enemies, and backgrounds inevitably raised fundamental questions: "What kind of world is this?", "Who is the enemy?", and "Why is PAC-MAN our companion?"

At that stage, I was brought in with a request to "reconstruct this world." From there, I integrated the project with Namco’s 70th anniversary and the UGSF (United Galaxy Space Force) timeline. This connection sparked the various ideas necessary to provide the game with the depth it needed.

Some might look at this and see it as a "retcon" (retroactive continuity). However, at Namco, the mainstream approach has historically been to create the gameplay first, with the world-building and settings following later. In a sense, this project follows the most traditional Namco style of game creation.

Q: “Were PAC-MAN elements always planned to be in the game? Or did it happen later into development?” — (PacApproved, X)

A: (Toru Takahashi) This project was planned from the very beginning as a part of the PAC-MAN 45th-anniversary celebration.

However, in the early stages of development, the protagonist was slightly different from the current version; it was a human character wearing a helmet shaped like PAC-MAN. As we delved deeper into our initial concepts of "Dark PAC-MAN" and the act of "eating," we eventually arrived at the current relationship, where PAC-MAN "consumes" the protagonist and exerts control over them. Using this dynamic as a foundation, I later asked Tago to design the world-building and the story.

Q: “What was the biggest challenge making the game?” — (Harbofields, IG)

A: (Toru Takahashi) The greatest challenge was making three playable characters with completely different sizes and abilities—"The 8th," "PAC-MAN (PUCK)," and "GAIA"—all viable within a single exploration-based action game.

When character sizes differ, everything changes: the terrain they can navigate, their sense of distance from enemies, how hitboxes connect, and even the fundamental gameplay rhythm felt by the player. Because of this, we had to ensure that the level design remained intact no matter which form was being used, that enemy behaviors functioned correctly for each, and that players would intuitively feel, "Now is the time to use this specific form."

We essentially had to perform three times the usual amount of tuning for level design and enemy AI. Navigating that extensive process of consideration and adjustment was by far the biggest hurdle in the entire production.

Q: “What was the trickiest part about translating PAC-MAN into a Metroidvania?"— (sgt_viper000, IG)

A: (Toru Takahashi) The greatest challenge was designing the difficulty and pacing to align with the emotional journey of players as they traverse a vast world.

In exploration-based action games, players spend a long time traveling through the world—getting lost, making discoveries, and gradually growing stronger. During that journey, I wanted them to feel both tension and a sense of accomplishment, but without ever becoming truly discouraged.

We initially aimed to provide a "meaty" and challenging experience. However, after receiving feedback from so many players following the release, I had to admit that the game felt even harsher than we had anticipated. At the same time, I was delighted to see how many people were moved by Thebe’s story and the world-building, which is filled with references to classic Namco titles. This is why we added a lower difficulty mode in a post-launch patch—so that as many people as possible could experience the story through to the end.

To this day, I continue to reflect deeply on the balance of game difficulty. That is why the voices of everyone who engaged so seriously with Shadow Labyrinth are incredibly precious to us.

Q: “What exactly are "PERK"s? I would like to know more about the mechanics of equipping, swapping, and transferring skills and enhancement items. I found it particularly interesting that some of these items can be purchased from Bosconians?" — (KiraAloha, X)

A: (Hisaharu Tago) In general gaming terms, "PERK" refers to items or passive effects that provide various power-up benefits. I could go on forever about the detailed lore behind them, so I’ll keep the explanation concise.

Within the game, PERKs are power-up skills developed by the "Professor" who resides in the Bosconian Ruins. As you collect the in-game logbooks, you will discover that the Professor is actually an agent from an organization formed to oppose the final boss. However, because the Professor and their allies are under constant surveillance by the final boss, they are unable to take any direct hostile action themselves.

Instead, they made extensive preparations throughout the Shadow Labyrinth for the arrival of the destined warrior—and that warrior is you. The creation and placement of PERKs are a key part of those preparations.

Q: “Can we please have a Fygar 3D platformer where you can breathe fire, inflate to float & fart to propel?” — (adam.e.wyeth, IG)

A: (Toru Takahashi) I think that is a truly fascinating idea.

Fygar from DIG DUG is such an iconic character, with its dinosaur-like appearance and fire-breathing attacks. If rendered in 3D, I can easily imagine its dynamic action and humorous movements coming to life.

DIG DUG itself is a title with a game system that is both simple and remarkably refined. As someone who works with Bandai Namco’s classic IPs, I am delighted that you have taken such an interest in Fygar.

Q: “Shadow Labyrinth and the Re-PAC series are the best things to happen since original PMW series!” — (adam.e.wyeth, IG)

A: (Seigo Aizawa) We are truly honored by your kind words. To have Shadow Labyrinth and the Re-PAC series mentioned alongside the legacy of the original PAC-MAN WORLD series is the ultimate compliment for us. Thank you for your incredible support!

Q: “What was the inspiration to make the game like a adult game?” — (bru_the_man, IG)

A: (Toru Takahashi) Six years ago, when I first began planning this project, the demand for games during the pandemic meant that multiplayer titles—the kind that look great on livestreams—were the height of popularity. Amidst that trend, the term "Metroidvania," a single-player genre, was starting to gain renewed attention.

Many of these games featured dark, dystopian worlds. I watched players tackling these trials silently and diligently, like ascetic monks playing away from public view. To me, they looked like "solitary warriors." I am personally someone whose confidence was built by games during my youth; they provided a sense of accomplishment that I simply couldn't find in sports or academics. Because of that background, I felt a deep empathy for those solitary players.

The protagonist of Shadow Labyrinth starts out as someone playing a handheld game alone in the middle of a bustling city. However, in the world they are drawn into, they face immense hardships and eventually take on a monumental role. The protagonist (who represents "me" or the player) couldn't find a place in the real world, but through the battle on Planet Xevious, they discover what people fight for and what is truly worth risking a life for. They realize that while they thought they were solitary, they were actually surrounded by love. My goal was to depict the feeling of returning to reality and finally being able to live with confidence, based on my own life experiences.

Even now, the sequence following the final boss brings me to tears. This emotional journey is my core inspiration. I truly want people to play this game—especially those who are striving to become adults, as well as those who, deep down, don't want to grow up at all.

Q: “For a game like Shadow Labyrinth, what made y'all choose the Metroidvania genre over other genres?” — (sonicth4, IG)

A: (Toru Takahashi) The fundamental structure of PAC-MAN involves navigating a maze, being pursued by enemies, occasionally reversing the situation with items to defeat them, and "devouring" all the dots (which represent hardships). I realized this is essentially the same as exploration-based action games, where you explore a labyrinth, gradually gain power, and unlock access to previously unreachable areas. In other words, our greatest source of inspiration is the original PAC-MAN itself.

Furthermore, our development team belongs to the generation that experienced the era from the 1980s through the 90s, when 2D action games evolved to include deeper exploration and growth elements. Being able to share the excitement and tactile "feel" of that era forms the very foundation of this project.

On top of that, seeing the indie game scene embrace exploration-based 2D action with such renewed passion made me incredibly happy, as if "games that truly feel like games" are back in style.

(Seigo Aizawa) "I want to create a PAC-MAN like no one has ever seen before"—and I want to bring its charm to those who haven't had the chance to experience PAC-MAN until now. This project began with that passion. Our goal was a "dark and stylish" world that subverts the traditional image of PAC-MAN.

When we reinterpreted the core fun of PAC-MAN’s "mazes" for a modern audience, it resonated perfectly with the thrill of uncovering unknown territories found in the Metroidvania genre. We challenged ourselves to create a new kind of PAC-MAN that fuses tradition and innovation, where familiar elements like "eating" and "reversing roles" become the keys to conquering a vast, interconnected map.

Q: “how did something like Shadow Labyrinth come about? It's such a deviation from the PAC-MAN franchise but it's done so well, I would have loved to been a fly on the wall when the pitch for this game was given.” — (damientheginger, IG)

A: (Toru Takahashi) I am so happy to hear you say that the game was 'done so well.'

I’ve been involved in many PAC-MAN titles over the years, and there was even a time when the original creator, Toru Iwatani, was my boss. Because of that, I was in a position to supervise the brand and define what the PAC-MAN IP should be. Traditionally, PAC-MAN is a bright, friendly hero of justice. From that perspective, a project like Shadow Labyrinth was initially 'out of the question.' That’s why there was a great deal of internal conflict during the planning stages. Changing PAC-MAN so drastically carries a heavy sense of responsibility.

However, if you feel that the game works as well as it does, I believe it’s because we knew the traditional PAC-MAN inside and out and truly confronted its core essence.

Furthermore, in the game’s lore, the character appearing in Shadow Labyrinth is not PAC-MAN himself, but an entity called 'PUCK.' This distinction was vital—it gave us the freedom to pursue a bold reinterpretation while still inheriting the PAC-MAN DNA.

Q: “How did the idea for Shadow Labyrinth come to light?” — (@CaliopeFritz, X)

A: (Toru Takahashi) The starting point for the idea was the original PAC-MAN.

I’d like you to take another look at the world of the first PAC-MAN. You are trapped in a maze that you cannot exit until you devour every dot, all while being relentlessly hunted by ghosts. When you eat a Power Pellet, it’s not that PAC-MAN himself becomes stronger in a direct, physical sense; instead, for some reason, it is the ghosts who turn blue and weaken. And what exactly is PAC-MAN anyway—a sphere with nothing but a mouth?

Of course, the original is beloved by many as a colorful and charming game. However, the more I looked at its structure with 'higher resolution' and deeper thought, the more I felt a terrifying world hidden beneath the surface.

In the past, when I asked the creator, Toru Iwatani, about the original setting, he told me something to the effect of: 'There is no setting. And precisely because there isn't one, you are free to imagine it yourself.' Shadow Labyrinth may appear to be a completely different work from the original. However, at its root, the idea is based on the fear I felt as an elementary school student when I first encountered PAC-MAN in an arcade.

Q: “How did the prequel and the game end up being so different in art style and tone?” — (the_bigger_fish, IG)

A: (Hisaharu Tago) The difference in art style and tone between the prequel and the main game is actually a hallmark of the UGSF series, which serves as our background setting. If you look at the UGSF timeline, it’s easy to see that the titles within this universe span a vast range—cartoonish, pixel art, photorealistic, anime-style, and stylized. Each possesses its own distinct aesthetic.

From a creative standpoint, this reflects a classic Namco trait: our absolute priority is ensuring the game is fun, followed by respecting the creator’s artistic vision to maximize that enjoyment. For instance, if Mr. Driller were created with photorealistic graphics, it would lose its unique identity.

After Blur Studio heard our concept and story for the 'dark PAC-MAN' in Shadow Labyrinth, they crafted the prequel based on their own interpretation. Of course, we were involved in the supervision process every step of the way to ensure continuity with our game and to make sure the defining characteristics of the UGSF remained intact. In short, this outcome is the result of us following and honoring Namco's traditions to the fullest.

Q: “I LOVED playing this game! What were your thoughts making it so different but PAC-MAN themed??” — (pacman.pastime, IG)

A: (Toru Takahashi) Thank you so much for loving Shadow Labyrinth. Hearing you say that makes me happier than anything else.

In the past, I have worked on PAC-MAN titles where he was portrayed as a 'hero of justice,' and back then, most of the feedback we received came from elementary and middle school students. Those same fans have now grown up—they may be in high school or college, or perhaps they’ve already entered the workforce.

If those fans can look at Shadow Labyrinth and think it’s 'COOL!', then PAC-MAN becomes more than just a childhood memory; he becomes a powerful, lasting presence in their lives. That was our core intention behind choosing a more mature style. Furthermore, to make it easier for adult players—who hold such diverse perspectives—to empathize with the story, we deliberately designed the protagonist to be non-individualistic and mouthless. We wanted the character to be a vessel that players could truly project themselves onto.

Q: “I, like many other fans, love GAIA. It looks so cool!!! What was the inspiration behind it?” — (@NamedCotton17, X)

A: (Hisaharu Tago) As mentioned in Trivia #15: The Motif of G.A.I.A. (https://shadowlabyrinth.pacman.com/news/?p=295), the motif was actually the Jersey Devil.

Japanese mecha often draw inspiration from European monsters—especially dragons. However, since this is a PAC-MAN project, I felt strongly about using a motif related to North America, where the franchise is most popular. While searching for a cool North American monster, I came across the Jersey Devil.

Using this as a base, I commissioned Yoshihiko Arai (the character designer for Klonoa) to create the design. My specific requests were for a 'UGSF-style' aesthetic, a 'Beast Mode' (quadrupedal mode), and for the final weapon, PAC-MAN, to be held in the center of the chest as if it were being squeezed.

The initial sketches had some areas that looked like they would hinder joint movement, so I made corrections directly on the design drawings to reach the final version. Converting it into game graphics was also a challenge. We used a method where we first modeled it in a tool and posed it, then deconstructed that image into separate parts to be reconstructed within the game. It was quite a struggle; prioritizing movement in the modeling would ruin the balance of the original design, but prioritizing the design meant we couldn't maintain the Beast Mode.

Q: “Making a dark and abstract PAC-MAN game must've been challenging. Was the team concerned with how fans and the general public would react to such a dramatic creative choice?” — (diogo.alex2003, IG)

A: (Toru Takahashi) We definitely had our concerns. I understand that PAC-MAN has an incredibly diverse fan base. There are those who cherish the original game system, those who love PAC-MAN as a hero of justice, those who enjoy the competitive and addictive nature of PAC-MAN Championship Edition, and those who appreciate its iconic design. Everyone has their own 'PAC-MAN' that they hold dear.

Because of this, we couldn't create Shadow Labyrinth simply with the mindset that 'making it dark equals making it new.' We approached the reconstruction carefully yet boldly, and whenever we found ourselves lost, returning to 'Devouring' as our core focus helped everything fall into place in a mysterious way. Additionally, the maze stages in this game were actually designed by the director of PAC-MAN Championship Edition.

(Seigo Aizawa) Shadow Labyrinth was an unprecedented challenge for our development team.

At the time of planning, PAC-MAN had celebrated its 40th anniversary. While he is loved across generations, we noticed an increasing number of young people who had never actually played a PAC-MAN game before. Our goal was simple: 'We want PAC-MAN to continue being loved 10 or even 100 years into the future.'

This strong desire led us to explore a new frontier—a 'cool and dark' PAC-MAN that subverts its traditional image. However, even with a new look, there are things that must never be lost: the 'authentic' soul of PAC-MAN. Precisely because the form was entirely new, it was essential to infuse its core with a more concentrated 'PAC-MAN DNA' than ever before.

Because this project was fueled by the passion of veterans like Toru Takahashi and other legends who have shaped PAC-MAN’s history for years, we were able to send this work out into the world with total confidence.

Q: “Where did the concept stem from? Also, what was the start point of the story? Was it always going to be a Castlevania type game with PAC-MAN aesthetics, or did one or the other part of that come down the line?” — (8bitplague, IG)

A: (Toru Takahashi) Thank you so much for your questions. Since others have asked similar things, I’m grateful for the opportunity to answer from various perspectives.

The project for Shadow Labyrinth began six years ago, during a time when a sense of anxiety loomed over the entire world. The concept of 'Dark PAC-MAN' was born out of that atmosphere. Initially, I envisioned a bleak, hopeless dystopia, but as a brighter outlook began to return to the world over the course of the development period, the story evolved as well.

The catalyst for making Namco's classic IPs a core pillar of the game was my desire to feature characters from titles like Xevious, Bosconian, and Galaga. However, this was a daunting idea that required a lot of courage. PAC-MAN isn't inherently a sci-fi franchise, and I worried that if we mishandled it, the game would become an incoherent jumble of conflicting directions.

I sought advice from Tago-san, who is the internal authority on Namco’s heritage titles. He immediately replied, 'It should be set on Planet Xevious.' In that single moment, everything clicked for me. It meant that by tackling the crossover head-on, the project would become 'the real deal.' It also signaled Tago-san's personal commitment to ensuring that authenticity. This was the defining moment for the core direction of Shadow Labyrinth.

Regarding the 'PAC-MAN aesthetics,' I always intended for this to be an 'exploration-based action game (Metroidvania) that incorporates PAC-MAN’s core philosophy.' The aesthetics of 'Run, Reverse, and Devour' are traditionally embodied by the Power Pellet. In Shadow Labyrinth, we entrusted this role to the humanoid weapon, G.A.I.A. That is why, just like the effect of a Power Pellet, the robot can only exert its maximum strength for a limited amount of time.

This is footage of a prototype from the early stages of development.

At this time, the concept of "Planet Xevious" did not yet exist, and the Galaga enemies felt out of place. By pursuing a more "believable sense of reality" and fleshing out the detailed lore, Planet Xevious eventually became the definitive setting.

Q: “Does the orange G-host still like Clyde? like acting and having the same personality??” — (cassidy_fotos, IG)

A: (Hisaharu Tago) It depends on what point in time you mean by 'still,' but Bragza—the original entity behind G-HOST Orange—was fundamentally innocent. It didn’t really have 'likes' or 'dislikes' and simply followed the directives of the final boss.

In Shadow Labyrinth, G-HOST Orange is the result of Clyde’s consciousness merging with that entity. Looking at the timeline, Bragza and Clyde’s consciousness have been together for a very long time... at least 10,000 years. Because of this, G-HOST Orange is now essentially recognized as Clyde himself.

His personality and behavior are very similar to the original Clyde. For instance, in Shadow Labyrinth, he is quite the laid-back character—so much so that after being the very first to encounter the player (as Garbage Talos), he doesn't appear again until the final stage at Startend Guileness. This is a clear reflection of Clyde’s easygoing nature.

Q: “OK first off shout out to Hisaharu-san and the rest of the staff for the great game and worldbuilding! Was New Space Order's events always part of the story and would there be a chance of more games following after the events of the game? Also pls GAIA model kit/figure!?” — (@soltreev, X)

A: (Hisaharu Tago) Thank you so much for playing! On behalf of the entire Shadow Labyrinth team, we are truly touched by your kind words.

Regarding the connection to New Space Order, it was actually one of the two possibilities I had in mind from the very moment we decided to build this game within the UGSF universe. In either case, both of those possibilities were always envisioned as 'Post-New Space Order' on the timeline.

As for the possibility of a sequel, as well as G.A.I.A. model kits or figures—thank you so much for your interest! In our view, these projects aren't just something we decide on our own; they begin with the voices and passion of our fans. We would be absolutely delighted if you could continue to share your enthusiasm and let your voices be heard. Thank you for your incredible support!

Q: “This game’s main story focus is on Thebe learning to overcome her inferiority complex in the story and in turn, the Swordsman overcomes challenges in the gameplay. Since Thebe is the core of the story, why include the Swordsman instead of making Thebe the main playable character??” — (d_Gamemaster, X)

A: (Hisaharu Tago) Broadly speaking, there are two types of narrative structures in games. In the first, the protagonist is a distinct character with their own personality, and the player controls them to experience someone else's story. In the second, the player themselves is the protagonist, experiencing the story firsthand as if it were their own.

Traditional PAC-MAN titles follow the former style, where the player controls the character of PAC-MAN. However, we deliberately chose to flip this dynamic. By putting the player in the position of helping PAC-MAN instead, we established this project as an 'Alternative PAC-MAN'.

Q: “What happened to the Swordsman after the ending?” — (that_one.fnfdude, IG)

A: (Hisaharu Tago) Do you remember the final scene? The camera slowly closing in on the expressionless Number 8, and then, after the staff credits, the game machine left sitting on a bench in the real world.

What happens after that depends entirely on your own feelings as the protagonist.

If you, the player, felt a sense of closure and thought, 'It’s time to say goodbye,' then Number 8 returns to its own world.

If you thought, 'Your journey is still going to continue,' then Number 8 becomes independent as a character and follows Bugles and Thebe.

And if you thought, 'I want to keep traveling with you,' then Number 8 remains one with you, walking alongside Bugles and Thebe.

As you can see, the outcome changes based on where you choose to leave your heart.

Q: “Would there be a topography of Xevious before and after GAIA Sheyenne's assault? Also, since New Space Order has been mentioned throughout the game, will there be a revival of New Space Order in any capacity?” — (@ElitekidMu0, X)

A: (Hisaharu Tago) Regarding the map of Planet Xevious before Operation Cheyenne G.A.I.A., a specific illustration does not exist. However, the change is not that difficult to visualize.

If you look at the map featured in Trivia #9: Planet Xevious (https://shadowlabyrinth.pacman.com/news/?p=282), you will see an island with a massive ring-shaped feature in an area roughly equivalent to the central Pacific Ocean on Earth. That ring-shaped island and its inland sea were formed by the impact of the G.A.I.A. landing during Operation Cheyenne. Therefore, if you imagine that inland sea as solid land, you have the topography exactly as it was before the assault.

As for New Space Order, a wealth of information has already been revealed, given that the prequel to Shadow Labyrinth essentially serves as a New Space Order story in its own right.

Q: “Will there ever be an official release of this game's complete OST?” — (ZampaTeste20, X)

A: (Seigo Aizawa) In response to your enthusiastic requests, the Shadow Labyrinth soundtrack is now officially available for streaming and download!

We have carefully selected a total of 80 tracks, including the 32 songs originally featured in the Digital Artbook & Soundtrack DLC.

You can access the various distribution platforms via the link below:

Link

The story of Shadow Labyrinth lives on through its music. Whether you have already played the game or are about to begin your journey, we invite you to immerse yourself in these sounds.

Experience these incredibly powerful and legendary tracks for yourself!

Q: “If you were to do this kind of spin on another Bandai Namco IP, what would it be?” — (dpx_solo, IG)

A: (Toru Takahashi) It would be a spin-off of Xevious.

Recently, I saw a news report about how AI-driven research led to the discovery of many new Nazca Lines. This immediately brought to mind the Condor geoglyph in Xevious and the existence of the enemy AI, 'GAMP.'

Thinking back, one of the reasons Xevious made such a massive impact was its ability to capture the absolute cutting edge of technology at that time. It combined stark, inorganic sci-fi visuals, a techno-inspired soundtrack, enemy behaviors that felt as if they possessed a will of their own, and a sci-fi mystery world-building that hinted at unknown ancient civilizations. These elements together gave players the sensation that they were touching a world they had never seen before.

If I were to conceive a Xevious spin-off for the modern era, I wouldn't want to simply recreate nostalgic elements. I feel there is immense potential in linking the project to the theme of AI—the pinnacle of cutting-edge technology in our present day.

Q: “What other classic Namco titles were considered to appear in this game, but didn't make the cut?” — (sgt_viper000, IG)

A: (Hisaharu Tago) Among the classic titles, we considered PHOZON, Libble Rabble, the bonus stage from GAPLUS, Metro-Cross, and motos.

From the UGSF series, we looked at NEMO from Ace Combat 3: Electrosphere; vehicles from CYBER SLED / CYBER COMMAND; Hiromi Tengenji from BURNING FORCE; the Dragoon from the GALAXIAN3 series; the mercenary group from BOUNTY HOUNDS; KISSY (Masuyo Tobi) and TAKKY from BARADUKE; Taiyo Tobi from Mr. Driller / STAR BLADE Operation Blue Planet; the Heinick clan from STAR LUSTER / STAR IXIOM; the protagonist, the 'Nameless One,' from Shingun Destroy!; Mizuiro from Mizuiro Blood; and the Refous warriors from New Space Order. Additionally, IRIS from DEN-ON-BU was also considered.

While the setting team evaluated all of these, they were ultimately omitted during the ideation phase.

Q: “Will we get an anniversary discount?” — (gildedgoblinn, IG)

A: (PAC-MAN US Team) Yes! Shadow Labyrinth’s digital editions will be discounted at the same time this article goes live! Please check out https://www.bandainamcoent.com/deals to learn more about Shadow Labyrinth’s active digital discounts!

Q: “Is the next level episode of PAC-MAN based on this video game! Thank you and that episode made me want to purchase the game and I’m glad I did.” — (@ReceWeinberg, X)

A: (Seigo Aizawa) Thank you for your kind words and for sharing your excitement! We are so glad to hear that the Secret Level episode resonated with you and led you to discover our game.

It is incredibly rewarding for us to see players enjoying the new direction we've taken with the PAC-MAN franchise. We truly appreciate your support and your shout-out to the community. We hope you have an amazing experience diving deeper into the game!

Q: “Is the Secret Level episode, Circle, still canon to the game, and the UGSF universe?” — (Jamesloveland23, X)

A: (Hisaharu Tago) To answer this, I first need to explain the nature of UGSF. The UGSF series is a multiverse where all sorts of possibilities branch out and exist as parallel worlds simultaneously. Circle is 'one of those branches.'

People might assume that being a 'branch' means it isn’t part of the official canon (orthodox history), but that is not the case. The very essence of the UGSF series lies in the way these numerous parallel worlds interfere with, integrate into, and branch away from one another. Therefore, 'one of those branches' is just as much a part of the official history as any other.

Furthermore, the world of the game Shadow Labyrinth that you all played is also a story born from the interference and integration of elements that branched off from other parallel worlds.

Q: “Any chance we will see more of the United Galaxy Space Force timeline any time soon?” — (tehparalyzer, IG)

A: (Hisaharu Tago) The UGSF is not a game series defined by its title, but rather a collection of works connected by a shared world—calling it a 'universe' is perhaps more accurate.

Since the Namco era, our approach to development has always been to first conceive a game that is genuinely fun to play, and then build the setting and story that best enhance that experience. Following this philosophy, if a development team emerges and feels that 'integrating this project with the UGSF would make it even more exciting!', then the UGSF timeline—and the UGSF universe, including its parallel worlds—will continue to expand.

Even I cannot predict where or when the next piece of the puzzle might suddenly surface. I hope you look forward to and enjoy these surprises!

Q: “Are there any plans to localize or reissue UGSF Series games in the future? It would be exciting to be able to see how Mizuiro Blood or Galaxian³ lead into Shadow Labyrinth!” — (@OhPoorPup, X)

A: (Seigo Aizawa) The UGSF series is a grand saga that brings together a vast and diverse range of content. At Bandai Namco, we remain deeply committed to this universe and will continue to explore its many possibilities through a variety of future endeavors. We truly appreciate your passion for the interconnected history of this world.

Q: “Will there be other PAC-MAN games that change the genre?” — (a_person0210, IG)

A: (Seigo Aizawa) PAC-MAN will continue to evolve for the next 50, 100 years and beyond, as we keep taking on challenges that will truly amaze everyone. Please stay tuned and look forward to what the future holds for PAC-MAN!

Q: “More like a request than a question, but I'd love to see a story about Aegina and "Nameless." Is there any chance of expanding Dr. Taguchi's trivia into multiple languages or e-books in the future?” — (@wingeddeath, X)

A: (Hisaharu Tago) It makes us truly happy to hear you voice such wishes and hopes. As the universe expands, the scope of what you can imagine grows along with it, and it is through that process that the depth of the world continues to increase.

As a special bonus fruit for our fans, please enjoy this 1-Year Anniversary Edition of Dr. Tagocchi’s Shadow Labyrinth Trivia.

Dr. Tagocchi’s Shadow Labyrinth Trivia (1st Anniversary Edition) #1

Shadow Labyrinth Zero ① 

It’s been a while. I am Tago, in charge of world-building, settings, and story supervision. On the occasion of the 1st anniversary of Shadow Labyrinth, I’ve been given the opportunity to share some trivia once again.

Just before the release of Shadow Labyrinth, we released three promotional short movies. For this trivia series, I would like to share the original Scene Outlines that served as the basis for those movies.

Due to the limited production time before the launch, it was extremely difficult to create such long demos. However, thanks to the hard work of the promotion team, they were able to create short movies by extracting parts of these outlines. I would like to take this opportunity to thank the promotion team once again.

Please note that I have made some minor corrections for this publication, but there may still be some discrepancies with the final game settings. In such cases, please consider the game version to be the correct one.

Episode 1 features the scene of the atmospheric entry into Planet Xevious during Operation Cheyenne.

https://x.com/officialpacman/status/1948775389049811118

F/I (Fade In)

Black screen. The sound of a crackling campfire.
PUCK and the protagonist "Number 8" sit facing the fire.
They are staring blankly into the flames.

PUCK: "Loneliness… yes, you have been fighting alone all this time."

"Number 8" moves their head slightly. (However, they cannot answer as they have no mouth.)

PUCK: "I’ve waited… 120 years…"

F/O (Fade Out)

F/I

Black screen. Text appears in the center:
"Galactic Union Standard Time (UGST)"
"April 6, 3210"
"Galactic Longitude 0°12' / Galactic Latitude -89°46'"

F/O

F/I

Warp space. Streaks of light racing by.
From stage left, a fleet consisting of seven battleships appears, passing through the warp space. They gradually move toward stage right.
After the seven ships have appeared, an even more massive, rocket-like vessel emerges from stage left and heads toward stage right.

CUT

A radar console panel sits in front of Thebe. We see it from the front.
In the center of the panel, the silhouette of the massive vessel is displayed with the text "O.C.G.A.I.A. (Operation Cheyenne G.A.I.A.)".
Ahead of it, six battleship silhouettes are shown deployed in a horizontal line.
One of the battleship silhouettes flashes, and a radio transmission comes in.

Admiral Meyer: "This is Admiral Meyer."
Admiral Meyer: "Confirmed incoming D-communication. The diversionary maneuver, [Operation Ragnarok], is not going well."
Admiral Meyer: "The attrition rate of the four-nation allied forces against codename [Planet Force] has reached 43%."

Another battleship silhouette flashes, and a radio transmission comes in.

Admiral Jaeger: "This is Admiral Jaeger."
Admiral Jaeger: "The attrition rate of the diversionary fleet is faster than expected. Based on assault doctrine, I propose an [F.T.L. Assault]."

A battleship silhouette flashes.

Admiral Meyer: "This is Admiral Meyer."
Admiral Meyer: "I concur. However, execution requires the decision of the Operation Commander."
Admiral Meyer: "Operation Commander, what are your orders?"

CUT

A dark cockpit where monitor panels glow here and there in the background.
A bust shot of Thebe; only the lower half of the face is visible, with the eyes shrouded in darkness.

Thebe: "This is Operation Cheyenne G.A.I.A."
Thebe: "Proposal approved. Escort Fleet A will drive out from hyperdrive, then break through the [Planet Force] defense perimeter via F.T.L. Assault. Following that, this vessel will commence atmospheric entry."

An information chime rings, followed by a machine voice reporting the status.

Machine Voice: "10 seconds to drive out."

CUT

In front of Thebe's seat is a massive monitor. It shows the view looking straight ahead through the tunnel of light streaks during warp.
The machine voice continues the countdown.

Machine Voice: "5 seconds to drive out."
Machine Voice: "4"
Machine Voice: "3"
Machine Voice: "2"
Machine Voice: "1"
Machine Voice: "Drive out."

The view bursts out of the warp tunnel on the massive monitor. Target [Planet Force (Xevious)] is visible directly ahead.

CUT

Return to the bust shot of Thebe (lower face only).

Thebe: "Commencing operation."
Thebe: "Booster unit separation."

CUT

On the console panel, an animation shows the rear section of the massive "O.C.G.A.I.A." silhouette detaching.
The machine voice reports the status.

Machine Voice: "Booster unit separation."
(Ideally, a cut would show the exterior view of the separation here)

CUT

Return to the bust shot of Thebe.

Thebe: "Ignite DFD. Commencing full-power operation. Maintain F.T.L. speed."
Machine Voice: "DFD at full power. 20 seconds until breakthrough of [Planet Force] defense perimeter."
Machine Voice: "High-energy reaction ahead."

Suddenly, a violent crashing sound and vibration. The entire screen shakes.

CUT

The text "Damaged" is overlaid on the silhouette of "O.C.G.A.I.A." on the console panel.

CUT

Return to the bust shot of Thebe.
A warning alarm blares. The cockpit lighting switches to red.

Machine Voice: "ESP detected from [Planet Force]. ESP Barrier."
Admiral Jaeger: "This is Admiral Jaeger!"
Admiral Jaeger: "There are no longer any friendly forces in this sector! The diversionary operation has failed—"

An enemy attack hits. White light streaks across the cockpit. For a split second, Thebe's face is visible.

CUT

Bird's-eye view of the fleet. One of the battleships explodes violently.

CUT

Return to the bust shot of Thebe.

Machine Voice: "Admiral Jaeger destroyed."
Admiral Meyer: "This is Admiral Meyer!"
Admiral Meyer: "Escort fleet down to 5 ships. Operation Commander, shall we continue or retreat?!"

CUT

Close-up of Thebe's mouth. The lips are bitten tight and trembling.

Thebe: "…Continue the mission. The future of the Galactic Union… of humanity… depends on this operation. Retreat is not an option."
Admiral Meyer: "This is Admiral Meyer."
Admiral Meyer: "Understood! All ships, deploy in spindle formation in front of the G.A.I.A.!"
Admiral Meyer: "Attacking the ESP is useless. Divert 80% of energy to the END Shields! Maintain 20% propulsion!"
Admiral Meyer: "Layer pattern N-D deployment! 84 layers of N. 6 layers of D. Concentrate deployment to the front! Forget about the rear!"
Thebe: "I’m sorry… Admiral."

Another explosion echoes, and the screen shakes slightly. White light hits Thebe's face.

Machine Voice: "Admiral Noda destroyed. Escort fleet down to 4 ships."
Admiral Meyer: "Don't worry about it. If we can buy even a little time, it's worth it."

Another explosion, light shaking. White light on Thebe's face.

Machine Voice: "Admiral Hazeward destroyed. Escort fleet down to 3 ships. 15 seconds to arrival at [Planet Force]."

CUT

A view from behind Thebe, showing the console and the massive monitor in the background.
Thebe stands up, staring at Planet Force (Xevious) as it grows larger on the monitor.
ESP energy attacks fire from the planet shown on the screen. The three remaining battleships sacrifice themselves to protect the G.A.I.A.

Thebe: "Just a little further… we’re almost there…"

On the monitor, the ship on the left is hit and explodes.

Machine Voice: "Admiral Heinick destroyed. Escort fleet down to 2 ships. 12 seconds to arrival at [Planet Force]."
Thebe: "…If it were Big Sister, in a moment like this…"

On the monitor, the ship in the center is hit and explodes.

Machine Voice: "Admiral Steinway destroyed. Admiral Meyer is the only escort remaining. 8 seconds to arrival at [Planet Force]."
Admiral Meyer: "Move this ship in front of the G.A.I.A.! We only need to hold for 8 more seconds! Hurry!"

The last remaining ship on the right moves to the center to shield the Operation Cheyenne G.A.I.A.

CUT

A diagonal bird's-eye view of the battleship.
It takes the full brunt of the enemy's ESP attacks. While the frontal shields neutralize them to an extent (they don't deflect; they neutralize), the damage steadily accumulates.

Admiral Meyer: "Commander, it seems this is where we part ways. It was a short time, but an honor to serve. We entrust destiny to you. Good luck…!"

CUT

The battleship on the monitor bursts into flames and exits to the left. The light of an explosion follows. The planet now fills the entire monitor.

Machine Voice: "Admiral Meyer destroyed. This vessel is the only one remaining."
Thebe: "Thank you… thank you…!"
Machine Voice: "Arrival at [Planet Force]. Commencing atmospheric entry sequence."

CUT

Extreme close-up of the Operation Cheyenne G.A.I.A. exterior.

Thebe: "Commence full DFD braking! Concentrate END Shields to the front!"

The G.A.I.A.'s engine section (DFD) glows, and particles flow forward. Multiple layers of thin, transparent energy membranes (END Shields) deploy in front of the G.A.I.A.

CUT

Showing the front section of the Operation Cheyenne G.A.I.A.
This time, a massive barrage of ESP energy from the planet’s surface hits. All END Shields shatter, and the attacks strike the front of the G.A.I.A. Explosions and vibrations.

Machine Voice: "All END Shields lost. Landing reversers inoperable. 5 seconds to atmospheric entry."

CUT

Showing Thebe. Thebe slams commands into the console. Explosion lights flash and the camera shakes violently from the vibrations.

Thebe: "Cease DFD. Abort soft landing. Switch to hard landing. Inertia Canceller at full power!"

The planet is right in front of them now. The continent of the entry point is clearly visible.

Machine Voice: "Inertia Canceller at full power. Calculated shock absorption: impossible."
Thebe: "I don't care. As long as we reach it. Continue entry."

Atmospheric entry. The monitor view turns deep red. The ship rattles violently from the heat-induced vibrations.

CUT

The sky. From the distance, the G.A.I.A. falls toward the camera, growing from a speck to a full-screen view.

CUT

Damage alerts pop up one after another on the "O.C.G.A.I.A." silhouette on the console.
The altimeter counts down at terrifying speed.
A continuous emergency alarm blares: Beep! Beep!

Warning Voice: "Reverse thrust! Reverse thrust!"
Machine Voice: "Damage rate: 52%. Currently in freefall. Mission success probability dropping."
Warning Voice: "Reverse thrust! Reverse thrust!"

CUT

Bust shot of Thebe (lower face). Unable to bear the terror and the weight of the mission, Thebe bites their lip as a tear rolls down their cheek.

Warning Voice: "Reverse thrust! Reverse thrust!"

In a very, very small, trembling voice:

Thebe: "…Help me… Big Sister…"

Warning Voice: "Reverse thrust! Reverse thrust!"
Machine Voice: "Entering Operation Commander Protection Mode. Administering sedatives."

CUT

The ground rushing toward the cockpit's massive monitor. Impact is imminent. It looks impossible to avoid.

Warning Voice: "Reverse thrust! Reverse thrust!"

CUT

Screen goes black as a massive roar echoes.

Machine Voice: "Forced landing complete. Commander unconscious; mission continuation impossible. Commencing automatic execution."
Machine Voice: "SBD (Super Blaster Drill) activated. Commencing penetration."

The roaring sound gradually fades. A lingering silence.
A periodic electronic beep... beep... beep... beep... continues for a while.

Machine Voice: "Anomaly detected. SBD halted. Operation aborted."
Machine Voice: "This vessel will now enter dormancy mode."

The beep... beep... beep... sound gradually grows weaker.

F/O

F/I

Title Insertion:
"Shadow Labyrinth"

Dr. Tagocchi’s Shadow Labyrinth Trivia (1st Anniversary Edition) #2

Shadow Labyrinth Zero ② 

This time, I’m sharing the Scene Outline for the second short movie.

The scene depicts Thebe, who was left behind on Planet Xevious after the failure of Operation Cheyenne. While she was working to reboot Operation Cheyenne, she learns that a new operation to destroy the GAMP, "Operation Panzer," has been launched and is approaching Planet Xevious.

In the actual short movie, the order of cuts was rearranged from this outline to compress the long narrative effectively (in this trivia, I have kept the cuts in the order of the original outline). The final scene where the fireballs fall connects directly to the opening demo of Shadow Labyrinth.

https://x.com/officialpacman/status/1949137761895579765

F/I (Fade In)

Black screen. The sound of a crackling campfire.

PUCK and the protagonist "Number 8" sit facing the fire.

They are staring blankly into the flames.

PUCK: "One day… suddenly, I began to hear transmissions from the friendly forces…"

"Number 8" is still, as if listening intently (or perhaps asleep).

PUCK: "That was it… my light of hope had arrived. It was a light more beautiful than anything else."

CUT

Zoom in on the fire from PUCK's perspective.

Zoom out from the fire.

There, we see Thebe, hunched over alone by the campfire.

Suddenly, her back straightens with a jolt, and she fumbles at her eyes.

CUT

A cut from Thebe's perspective. (Data is being projected directly into her eyes.)

Static flickers, and information scrolls from bottom to top—a massive sequence of irregular letters and numbers.

Thebe: "UGSF Standard Cipher No. 2014457…!"

Thebe: "It’s almost in plain text! Decryption key: EE201. I can decode this…!"

As Thebe decodes the cipher, the strings of text are converted into sentences, and the scrolling slows. Finally, a simple message remains.

Thebe: "From: UGSF General Headquarters. To: All UGSF combat personnel surviving on [Planet Force]."

As Thebe reads aloud, the next sentence is decrypted.

Thebe: "Operation Panzer initiated. Arrival at [Planet Force] scheduled for August 6, 3300, Galactic Union Standard Time (UGST)."

She reads further, and the next sentence appears, flashing in red for emphasis.

Thebe: "G.A.I.A. to be deployed in this operation…"

CUT

Thebe stands up abruptly.

Thebe: "No! During my mission, they predicted our every move! They must not come straight in like this!"

Thebe: "Today is…"

She closes her eyes, concentrating her mind.

CUT

Display inside her eyes:

"August 6, 3300, Galactic Union Standard Time (UGST)"

CUT

Thebe standing.

Thebe: "Today…! That means they must have already driven out of hyperdrive nearby!"

CUT

Close-up of Thebe's head. She touches her hat with her hand. The hat begins to glow.

Thebe: "Dimension Warp Drive (DWD) activation…"

(She uses the Zero-Lag Remote Imaging function, one of the DWD's features.)

CUT

Bust shot of Thebe.

A magic-circle-like pattern appears near her head. In the space before her, a holographic image of deep space—somewhere far away—floats into view.

She squeezes one eye shut and concentrates, her face showing signs of strain.

Thebe: "I can't maintain the DWD for long…!"

Thebe: "Where…? Where are you…!"

CUT

The view of space projected before her eyes. She scans in various directions.
Suddenly, near the Pac-Man-shaped moon (simply a moon where the dark crater makes it look that way) among the four moons of Planet Xevious, several flashes of explosions appear.
Zoom in on the combat sector.

Thebe: "Twelve Borealis #2-class ships… that’s the escort fleet."
Thebe: "To carry the G.A.I.A., it would take a Special Duty ship to provide enough protection… Is it in the rear?"
Thebe: "Where…? Where is it…?"

The perspective shifts rapidly.
Beyond the escort fleet, she sees a Goose-class Special Duty ship being attacked by a [Commander of Commander].

Thebe: "Found it…! Goose-class! Analyzing coordinates…"
Thebe: "From here: 25 degrees left, 43 degrees up. Distance: 400,000 kilometers… It’s right in front of us. DWD cut-off!"

CUT

Thebe collapses to her knees from the overexertion of using the DWD.

Thebe: "(That just shortened my lifespan again…)"

CUT

Thebe shifts her body and looks up at the night sky. The camera scrolls up to the sky.

Thebe: "Azimuth confirmed. Angle confirmed. Distance adjustment… complete."
Thebe: "Force transmission."

In Thebe's eyes, the display reads: "Radio silence in effect. Access denied."

Thebe: "Anything… as long as I can get their data, I can make a move… That’s it…!"
Thebe: "Modify access permissions. Exercise Commander Authority. Forced intrusion."

The display in Thebe's eyes changes to: "Access granted."
Visuals from the ship's internal cameras appear.
Multiple views of the ship's interior are displayed in a multi-screen format. Several remain as static, showing "Access Denied."

Thebe: "This is it. The new G.A.I.A.… it’s so small this time… an unmanned unit?"

(Because the information that the Operation Panzer G.A.I.A. refers to an aerospace craft hasn't been communicated, an outer frame is being used.)

The camera zooms into one of the interior views: a hangar where a weapon sits. It could be seen as either a massive fighter or a space combat craft (significantly smaller than the Cheyenne G.A.I.A.).
Suddenly, an explosion echoes, the camera vibrates, and the lighting switches to red.
The camera feed displays: "Currently Engaged. Condition Red."

Zoom out. Return to the multi-screen display.
With every vibration, several of the feeds behind the hangar camera go black one by one, illustrating the mounting damage.

Thebe: "Wait… wait…! If that gets destroyed now…"
Thebe: "At least… at least let the G.A.I.A. reach this planet…!"

CUT

Thebe looks up at the night sky again. The camera scrolls up.
With the Pac-Man-like moon in the background, the lights of the battle are much closer now—visible even to the naked eye.
She closes her eyes once more and concentrates on the hangar camera.

CUT

Return to the hangar camera. The hangar is already engulfed in flames.

Thebe: "No… not that… Huh?"

The screen zooms in on a dome located in the center of the space fighter.
Thud! Thud! The sound of something pounding echoes, and the vibration of the screen grows stronger.
With a particularly loud CLANG! and a massive jolt, a mechanical hand with claws bursts out from the central dome of the fighter.

Thebe: "What? What is that? A hand?"

With another CLANG!, a second clawed hand bursts out.
The two hands begin to tear through the dome's armor with a grinding screech.
The camera gradually zooms out.
From the opening, the Operation Panzer G.A.I.A. (in its Outer Frame state) emerges sluggishly. It stands there with its arms dangling, exuding an eerie presence.

Thebe: "D… demon? An enemy?"

The camera zooms out further to show the entire hangar.
The Operation Panzer G.A.I.A. looks around the burning hangar.
When an explosion occurs to its right, it turns toward it.

CUT

A camera looking at the Operation Panzer G.A.I.A.
The chest of the Outer Frame creaks and groans as it opens, revealing a yellow sphere in the center.

CUT

Front view of the yellow sphere.
Suddenly, it snaps open like a mouth.
The camera slowly zooms into the "mouth."
The interior is an abyss of darkness so deep you can't see where it leads.
Gradually, red light gathers and grows.

CUT

A camera looking at the Operation Panzer G.A.I.A.
With a guttural roar, it fires a red beam (D-Field Cannon).

CUT

Return to the hangar camera.
Time rewinds slightly to show the D-Field Cannon firing again. It obliterates the hangar door on the right.
After the blast, the G.A.I.A. dashes to the right and exits the frame. (This leads into the G.A.I.A. launch scene at the start of the game.)

After it leaves the frame, the hangar camera remains. Sounds of combat with the UIMS and explosions are heard. The camera shakes with each blast, and fires spread within the hangar.
Zoom out back to the multi-screen view.
The camera feeds black out one after another until almost none are left.
Finally, the hangar camera also goes black, and the UI displays "Disconnected."

Thebe: "That… is the new G.A.I.A."
Thebe: "Operation Panzer G.A.I.A.…"

CUT

Camera on Thebe.
Thebe stands up while looking at the night sky.

CUT

In the sky, a massive fireball appears—the destroyed Goose-class Special Duty ship (the G.A.I.A.'s mothership, which serves as the battleship stage in the game) as it enters the atmosphere.
Following behind it is a smaller fireball (the Operation Panzer G.A.I.A., which burns up here, leaving only the G.A.I.A. Core seen in the game to fall).
The camera gradually pulls back to show Thebe from behind as she stands there. (The same composition as the game’s opening.)

Thebe: "It's still… that thing… the Operation Panzer G.A.I.A. is still intact. I've locked onto its telemetry."
Thebe: "Wait for me…"

CUT

Screen fades to black.
Thebe speaks in a whisper, yet with great strength.

Thebe: "That thing… is my light of hope…!"

F/O

F/I

Title Insertion:
"Shadow Labyrinth"

Dr. Tagocchi’s Shadow Labyrinth Trivia (1st Anniversary Edition) #3

Shadow Labyrinth Zero ③

For the final installment of our 1st Anniversary trivia, I am sharing the Scene Outline for the third short movie.

Thebe was searching for the Operation Panzer G.A.I.A., but she was trapped in a remote area by G-Hosts, the minions of GAMP. This scene depicts her attempting to escape and recover the G.A.I.A. by using the Dimension Warp Drive (DWD)—a device she had avoided using—and literally sacrificing her own body to create companions.

This outline includes scenes mentioned in the "Pac-Man: The Circle" episode of the Amazon Prime Video series Secret Level, as well as text-only information from "Thebe's Journal" in Shadow Labyrinth. Secret Level shows another possibility for PUCK, where disappointment leads to a darker path. However, in both paths, the fate of "Number 7" remains the same. While the outline focuses on emotions, the short movie emphasizes the historical facts of the past.

https://x.com/officialpacman/status/1949500131037917654

F/I

Black screen. The sound of a crackling campfire.
PUCK and the protagonist "Number 8" face the fire.
They are staring blankly into the flames.

PUCK: "It was a long time after that… I knew where 'it' had fallen."

"Number 8" listens intently.

PUCK: "But I was cornered by those... G-Hosts. They kept me from leaving this area."
PUCK: "They didn't kill me, but they didn't set me free either."
PUCK: "At first, I tried to escape on my own. But every time I was caught and brought back."
PUCK: "I don't understand how they think. But I didn't give up."
PUCK: "I began to look for a way for even someone as powerless as me to escape this prison."
PUCK: "Finally, I realized I needed someone's help."
PUCK: "In this lonely land, I tried to gain companions..."

F/O

CUT

Switch to Thebe's perspective. Logs and monitor graphics are moving.

Thebe: "Standalone Invitation."

The information scrolls rapidly in Thebe's eyes.
The Dimension Warp Drive (DWD) activates with a high-pitched sound.
A green pattern (Invitation animation) expands in the space before her.
With a flash of light, an ordinary Cherry is summoned and drops to the ground.
Analysis display: "Cherry."
Thebe's hand picks it up.

Thebe: "Is this all I can do? What am I supposed to do with this...?"

F/O

CUT

Another day. A second attempt.

Thebe: "Standalone Invitation."

DWD activates. Green pattern expands. A Strawberry is summoned and drops to the ground.

F/O

CUT

Another day. Third attempt.

Thebe: "Standalone Invitation."

DWD activates. Green pattern expands. Two Oranges are summoned and drop to the ground.

F/O

CUT

Fourth attempt.

Thebe: "Standalone Invitation."

DWD activates. Green pattern expands. Three Apples are summoned and drop to the ground.

F/O

CUT

Fifth attempt.

Thebe: "Standalone Invitation."

DWD activates. Green pattern expands. A Melon is summoned and drops to the ground.
As Thebe picks it up, her hand is starting to become transparent because she is using her own Nano-byte Materials.

Thebe: "What... what is happening to me...?"

F/O

F/I

Sixth attempt.

Thebe: "I will change the method slightly this time."
Thebe: "I have been giving parts of my body, but I will increase the ratio. This should result in a more intelligent creature."
Thebe: "Standalone Invitation."

DWD activates. A pink pattern expands. With a flash, a Galaga is summoned and drops to the ground.
The Galaga glares at her. It seems to submit for a moment, but then screeches and attacks.

CUT

Screen turns black.

F/I

The Galaga is twitching.
Beside it stands Thebe in her PAC form (a yellow Pac-Man wearing armor similar to NICK).
(Note: From this point, Thebe is referred to as PUCK.)

PUCK: "Ha... ha... why a Galaga? Damn it!"
PUCK: "I'm throwing this thing away."

F/O

F/I

Seventh attempt. "Number 7" has already been created.

PUCK: "Finally... finally... I’ve managed to give it a form."

PUCK carries "Number 7" on a floating bed.

PUCK: "Vitals are unstable. I’ll grow the rest inside a medical capsule."

F/O

F/I

Some time later. "Number 7" lies covered in blood.
Beside it is Thebe (PUCK form), now just a simple yellow sphere with no armor or equipment left.

CUT

Close-up of PUCK's mouth. An electronic light flickers, but her expression is unreadable.

PUCK: "Even after all this... is this my reward?"
PUCK: "Am I... just going to fade away like this?"

F/O

CUT

Eighth attempt. Before her is the capsule from the start of the game.
PUCK's voice is laced with madness.

PUCK: "Heh... Hahaha...! Finally... finally, I understand."
PUCK: "I should create the body first, then 'Invite' the spirit into it!"
PUCK: "With this... with this... I can finally escape this prison!"
PUCK: "Here we go...!"

CUT

Screen turns black.
PUCK whispers in an eerie voice.

PUCK: "Standalone Invitation."

The DWD activates with a high-pitched sound.

F/I

Title Insertion:
"Shadow Labyrinth"

From the entire team, Thank you for playing Shadow Labyrinth!