The 11 Chapter Tiles (GDC 2014) - Examination & Theories [Part One]

The Chapter Concept Art is a set of 11 illustrated panels representing chapters from an early version of the saga created around 1996, when the project was still known as Virtua Fighter RPG (VFRPG).

They were first released publicly in 2014, during Yu Suzuki’s talk on Shenmue’s development at the Game Developers Conference (GDC 2014). Suzuki casually introduced a slide containing the never-before-seen artwork, noting to the enthralled audience:

“This is the first time I’m showing anyone this stuff.”

Created during a formative planning stage, the artwork was intended to visualize the story as a whole, capturing key characters, locations, and major story developments. Elements seen in them would later appear in recognizable form in the three Shenmue games released so far, while others remain unaccounted for at present.

The set of 11 Chapter Tiles (GDC 2014)

Another slide shown during the same GDC presentation clarifies how these illustrations were developed. Suzuki explained that the story had first been organized into an eleven-chapter novel, with a focus on “world feel and drama,” and that one illustration was then created for each chapter. The chapter tiles therefore correspond to this early novelized structure, serving as visual representations of its narrative progression.

While these illustrations may no longer correspond exactly to how Shenmue’s story ultimately unfolds, they remain an important item of reference and speculation for fans. High-resolution versions are currently available for only the first seven illustrations, but the set as a whole offers a window into the project’s original ambitions and planned events. Taken together, the images appear to outline not only a sequence of locations, but also a broader narrative arc that begins with revenge and gradually evolves toward reflection and renewal.

In this post, we’ll take a closer look at all 11 chapter tiles, identifying familiar faces and settings and drawing connections to material already seen in the released games. As we examine each chapter tile, we’ll also note some of the interpretations and theories that have emerged within the Shenmue community over the years.

Note: At the time these chapter tiles were created, the protagonist was to have been Virtua Fighter's Akira Yuki. For simplicity in this post, however, we'll refer to "Ryo".

The Map

In that same presentation, Yu Suzuki also shared a map of China identifying the intended location for each of the eleven chapter tiles.

In later interviews, Suzuki clarified that the story was originally organized into eleven chapters, and that these chapters have since become “base materials” from which the games are assembled. Some chapters were merged or rearranged during development, but the overall structure remained foundational.

I've overlaid the chapter numbers and the names of the locations, which have been identified by the community in the years since:

Yu Suzuki’s development map, identifying the intended locations of each chapter tile

Here is a diagram based on the above, showing the sequence in which the locations are visited, and their positions in relation to each other, more clearly. Note that the 10th location, Beijing, is circled and has the word "END" written next to it, recreating the handwritten note on Yu Suzuki's original slide.

Map of chapter tile locations

This location information will be included in our examination of each individual tile.

Let's get started!

Tile 1 - Departure from Yokosuka

Chapter Tile 1

The first chapter tile appears to align very closely with the events of Shenmue I. It depicts Ryo at New Yokosuka Harbor, moments before boarding the ship to Hong Kong. The industrial cranes, stacked containers, and warehouses firmly anchor the scene in the closing act of that game.

Above Ryo, dominating the sky, is the large profile of Iwao Hazuki, a reminder that Ryo's journey is driven by his desire to avenge his father's death at the hands of Lan Di, who is also pictured in the background along with his two black-suited accomplices. The choppy sea in the foreground, with the red-orange sky and darkened clouds beneath perfectly captures Ryo’s grief and rage. Even his white t-shirt and sneakers are bathed in orange. Ryo gazes forward resolutely, his left hand clenched in a fist.

Behind him on the dock stand the figures of Gui Zhang and Master Chen, bidding him farewell. As an opening image, this tile establishes a clear narrative structure: personal tragedy in the foreground, organized power looming in the background, as Ryo leaves the familiar surroundings of his hometown and prepares to step into the unknown.

Notes and Community Theories:

• Ryo wears a wristband on his right wrist, a trademark of Akira Yuki, and a wristwatch on his left. He also grips the strap of a large duffel bag slung over his right shoulder - a detail also seen in early concept art. This was later revised to a modern backpack in the released game (the duffel bag can be seen in Ryo's room, as an Easter egg).
• The rope tied around the bollard in the foreground subtly implies the presence of the Genpu Maru boat waiting just out of frame.

Tile 2 - Hong Kong

Chapter Tile 2

Tile 2 shows the towering, claustrophobic architecture of Kowloon Walled City in Hong Kong. Ryo appears small in the composition, seen from behind as he walks into the city, as though he is about to be swallowed by its vertical sprawl.

Several characters in Shenmue II can be recognized here. Ren and Xiuying dominate the foreground: two key but contrasting influences in this part of Ryo’s journey. Ren has a confident street-wise smirk, while Xiuying’s composed expression suggests moral discipline and restraint. Behind Ren at the lower left are members of the Heavens gang (including Wong; one wearing a red bandana - Larry; and one in a white singlet - possibly Sam).

Close-up of the Heavens gang (Tile 2)

Higher up loom members of the Yellow Heads that Ryo will have to confront, with the bulky Dou Niu the most prominent and Yuan next to him with chainsaw raised; there is also a man in sunglasses holding a knife and another character in a yellow cap, both of whose identity is uncertain.

Close-up of the Yellow Heads (Tile 2)

This second tile matches well with the characters and events of the Hong Kong portion of Shenmue II, particularly the Kowloon section (excluding Ryo's subsequent journey to Guilin).

In a 2011 interview with Shenmue Master, Yu Suzuki reflected on this stage of the story in broader terms. He explained that when Ryo leaves Japan and enters a different cultural environment, he begins largely on his own but gradually forms friendships and matures through his interactions with a wide range of people. Suzuki added that this theme is also important in his own life. The prominence of Ren and Xiuying in this tile illustration reflects this. Rather than standing alone in the frame, Ryo is visually surrounded by figures who will influence his development.

A similar idea appears in the closing text of the early Project Berkley promotional video, which includes the line “もうひとりではない　友　愛すべき友” (“I am no longer alone. Friends… beloved friends.”), echoing the theme that Ryo’s journey gradually becomes shaped by the companions he meets along the way.

Project Berkley video screenshot: "I am no longer alone."

Notes and Community Theories:

• The airplane crossing the moonlit sky is a reference to Kai Tak Airport, whose famous low-altitude flight path brought aircraft directly over Kowloon’s rooftops before landing. Shenmue II includes a cut scene depicting a plane flying overhead in this manner as Ryo walks through Wan Chai, reinforcing the authenticity of the Hong Kong setting.

A plane descending toward Kai Tak Airport

• A large kanji character can be seen on a sign to the left of Ren’s head. The character is 門, meaning “gate.” In fact, 門 is also the final character in the Japanese name for the Chi You Men (蚩尤門), but the visible fragment of the adjacent character doesn't match 尤, making a deliberate reference unlikely. This most likely represents atmospheric signage rather than a specific story detail.

Close-up of the character 門, meaning gate (Tile 2)

• There is no hint of any encounter with Lan Di or the rooftop fight like the one that occurs in Shenmue II.

Tile 3 - Train Journey

Chapter Tile 3

Tile 3 depicts a train journey through the Chinese countryside, marking the transition from Hong Kong’s urban underworld to the broader landscape of mainland China. The open rural horizon visible through the carriage window is a sharp contrast to Kowloon’s maze-like cluster of buildings.

Ren and Ryo dominate the composition. Ryo is now dressed in traditional Chinese martial arts attire, likely indicating his growing mastery of Chinese martial arts. At the center of the image sits the Phoenix Mirror, which in the released games is the one Ryo carries with him after Lan Di stole the Dragon Mirror.

Below them stand a group of figures, likely the passengers Ryo meets during the train ride:

• A man in a blue tunic with a red star-shaped badge on his cap (possibly the train conductor), with an open-mouthed shouting expression.
• A middle-aged woman wearing a yellow necklace and earrings, with a man in a suit behind her - her husband?
• An elderly lady with a braided ponytail, cradling a baby in a knitted hat.

Close-up of an elderly woman holding a baby (Tile 3)

• A tall young male in a red coat wearing a distinctive rounded hat and a large bead necklace from which hangs a golden medallion of some kind.
• A man in military uniform.
• A businessman in a grey suit adjusting his mirrored glasses with one hand.

The undercarriage of the train merges with a menacing face with glowing eyes, casting a threat on Ryo and the Phoenix Mirror in his possession.

Notes and Community Theories:

• According to Yu Suzuki’s map, this train journey takes place between Hong Kong and Suzhou / Shanghai.
• Theory: the central placement of the Phoenix Mirror suggests that it will be the focus of this section of the story, with the plot revolving around it being actively targeted by Lan Di or his men. The menacing face in the image may represent the antagonist and even bears some resemblance to Chai.
• Theory: it has been postulated that the middle-aged woman and man in this scene may have been repurposed in Shenmue III as the rich couple staying at Ryo's hotel in Niaowu.

Close-up of a middle-aged man and woman in Tile 3 (left) and the rich couple in Shenmue III (right)

• The Project Berkley CG trailer (1998) also shows Ryo/Akira jumping onto the side of a moving train, wearing casual clothes rather than martial arts clothing. However, this element may not have been intended for inclusion in the VFRPG story as Ren and Ryo are shown traveling together.
  
  Suzuki has stated that the Project Berkley trailer also functioned as a prototype of sorts, meaning some of the scenes shown likely represent early concepts rather than finalized story elements.



Screenshots of Ryo jumping onto the side of a train in the Project Berkley video




• In a 2015 video interview with Niconico, Suzuki stated that the original Chapter Three was set aboard a train and had not yet been depicted in the released games.

Tile 4 - Suzhou & Shanghai

Chapter Tile 4

According to Yu Suzuki’s development-era map, this chapter is set in Shanghai and Suzhou (a canal city which lies about 100km to the west). In the chapter art, a formal martial arts arena is shown, with a raised circular platform. Its yin-yang symbol, dragon motifs, and surrounding crowd suggest a structured tournament setting, and flaming torches light the interior.

Ryo is shown in multiple dynamic fighting poses, likely representing matches against successive opponents rather than a single duel.

At the center of the image sits Zhu Yuan Da in a wheelchair, flanked by three red-clad attendants, as if presiding over the proceedings. The group is outlined with a yellow "aura".

Close-up of Zhu Yuan Da and three attendants (Tile 4)

These three female attendants are the Triplets, seen in the auction artworks that were obtained by members of the Shenmue Dojo and generously shared with the community. They act as Zhu's personal assistants and bodyguards.

CG artwork of the triplets

In Shenmue Master's 2013 video interview, Suzuki offered insight into Zhu Yuan Da’s character. The following quotation has been retranslated directly from the original Japanese for clarity:

“To say that he ‘lies’ would be too simplistic. He sometimes provides alternative information in order to protect his companions. He may communicate in code or deliberately supply altered information. His aim is to protect his allies. That is the kind of person he is.”

This suggests that Zhu is not simply a passive scholar, but someone capable of deliberately shaping information in order to protect those around him. Viewed in this light, his calm and central placement within this chapter tile may indicate authority or quiet control rather than captivity.

The four over-sized faces are also recognizable:

• Lan Di, as seen in the first chapter tile illustration.

Close-ups of Lan Di from Tile 4 (left) and Tile 1 (right)

• Virtua Fighter's Lau Chan, with his distinctive mustache and ponytail.

Close-up of figure in Tile 4 (left) and Lau Chan in Virtua Fighter II (right)

• The over-confident white-haired bodyguard guarding Lan Di in the castle at Niaowu near the end of Shenmue III. 

Close-up of figure in Tile 4 (left) and the white-haired bodyguard in Shenmue III (right)

• Yanlang, the Mongolian wrestler and thug who terrorizes the stone masons in Bailu Village in Shenmue III.

Close-up of figure in Tile 4 (left) and Yanlang in Shenmue III (right)

Notes and Community Theories:

• Ryo still wears his Chinese martial arts attire in this image, with the sleeves rolled up for the fight. He wears a red-striped wristband on each arm.

Close-up of Ryo in Tile 4

• As seen, some of the characters were later incorporated into Shenmue III. While their character models were repurposed, based on this illustration their individual roles in the story were changed significantly from what had been originally planned.
• The official background profile for the Triplets specifies that they are 10 years old, although other art shows them at 12 and 14 years old, and that they make an appearance in "Chapter 2 and later in the Shanghai scene (the chapter where Zhu Yuan Da appears)".
• A partial map of the planned layout of Suzhou was published in the brown art book that was available at the Shenmue Premiere in 1998. See this post for our analysis.
  
  

Map of Suzhou from the Shenmue Premiere art booklet

• In this section of the story, Ryo faces a different kind of challenge, one that tests his skill and endurance. To whom is he trying to prove himself?
• Theory: given the presence of Lau Chan, and the original concept of a "Virtua Fighter RPG", perhaps other characters from the world of Virtua Fighter were originally to have made an appearance in the story.
• Theory: the four faces surrounding Zhu may depict the fighters Ryo must overcome as part of this trial or tournament. This raises the interesting prospect of whether Ryo would fight Lan Di at this point, or whether Lan Di is merely observing.
• Theory: Zhu Yuan Da is being held hostage in this location by the Chi You Men and must be freed. Alternatively, he may have once trained or fought here, hence his connection.
• In a 2024 Shenmue Dojo & Phantom River Stone interview, Suzuki confirmed that in the original script order, Suzhou preceded Guilin, but this progression was reversed in the released games. He also revealed that Suzhou is intended to appear in Shenmue IV as the next destination visited.

Tile 5 - Guilin

Chapter Tile 5

Tile 5 is set in the forests of Guilin. Dense foliage and filtered sunlight frame a quiet scene in which Ryo sits on a tree stump, his travel bag resting beside him. Shenhua offers him buns of some kind wrapped in paper.

Above them in the illustration, however, is the profile of Niao Sun, identifiable by her jeweled forehead ornament, and flowing hair. She appears to be tracking their progress, introducing a note of tension.

This chapter tile clearly evokes the Guilin section at the end of Shenmue II, although Niao Sun did not make an appearance until the following game. Yu Suzuki has commented in later interviews that he did indeed take parts of this chapter to form Shenmue II.

That extended mountain section is notable for its slower pace and emphasis on atmosphere. When asked in a 2011 interview with Shenmue Master about this portion of the game, Suzuki explained that Ryo spending a prolonged period alone was intentional. He noted that experiencing such solitary time was important so that, when Ryo’s circle of companions expands later in the story, he would come to value them more deeply.

Notes and Community Theories:

• Shenhua is portrayed as a guide, both literally as well as a spiritual companion.
• Shenhua's outfit is similar to the one she wears in Shenmue II, although the game model has simplified some elements like her sleeves and belt. She also wears a satchel diagonally over her shoulder in this image, which is not present in the game.

Close-up of Shenhua in Tile 5 (left) and Shenhua in Shenmue II (right)

Tile 6 - Xi'an

Chapter Tile 6

As per Yu Suzuki’s development-era map, Tile 6 is set in Xi’an. It depicts Ryo in a training stance, superimposed above a sprawling traditional Chinese city. A bright glow at the horizon suggests sunrise, casting light across the rooftops.

Behind him, a large orange disc frames three profile portraits: Shenhua on the right, and Ren with the face of a second female figure behind him whose possible identity we will comment on further below.

Close-up of the figures behind Ryo (Tile 6)

An elderly martial artist descends from above, placing a hand on Ryo’s head in a gesture that suggests instruction or transmission rather than attack. His clothes are worn and patched, and his hair untrimmed, suggesting a master who is homeless or lives a hermit-like life.

Close-up of the old man above Ryo (Tile 6)

Flanking Ryo are two imposing and familiar figures: Yanlang again on the left, with Niao Sun on the right, her arms folded and composed. 

Close-ups of Yanlang and Niao Sun (Tile 6)

Notes and Community Theories:

• Theory: the cityscape at the bottom of the image, with its angled rooves and distant pagoda, is very similar in appearance to the city of Pingyao, which was the financial center of the Qing Dynasty. Pingyao is located approximately 500km northeast of Xi'an.

Close-up of the city in Tile 6 (top) vs the ancient city of Pingyao (bottom)

• Theory: Ryo appears to be in a horse stance, a foundational training posture in Chinese martial arts as later seen in Shenmue III. Combined with the elderly master placing a hand on his head, this chapter may represent a concentrated training phase.
• The female face placed closely behind Ren indicates that they may be connected in some way. This ties in with the theory that this character is Mao, a character pictured with Ren in one of the images found within the set of artworks in the online archive of former Shenmue developer Hideki Kawabata.

CG image of Ren and Mao (inset: close-up of characters in Tile 6)

• Whereas previously, Ryo rolled up the sleeves of his martial arts uniform, the sleeves are now missing completely. The fabric at the shoulders is uneven as though he has deliberately torn them away, emphasizing his disciplined focus and increased skills.
• Theory: the illustration above suggests that Mao has a close relationship with Ren, being from the same Mongolian cultural background. Might she be his sister?
• Theory: Real-life Xi'an is the location of the famous Terracotta Army, which consists of thousands of life-sized soldiers that were buried to guard the founding emperor of the Qin Dynasty, Qin Shi Huang. Might the story take an unexpected twist involving a Chi You Men objective of resurrection of this army?

Terracotta Army in Xi'an

• In the Project Berkley CG trailer, there is a glimpse of an old man performing a martial arts move in a snowy location. The image is very indistinct, but perhaps this is the old man depicted in this chapter tile.

The old man in Tile 6 (left) vs screenshots from Project Berkley (right)

Tile 7 - Hanging Temple (Luoyang)

Chapter Tile 7

Tile 7 is set in the city of Luoyang. The tile depicts a confrontation set at a cliffside temple, its golden-roofed structures built directly into a sheer mountainside. Elevated walkways connect the buildings along the cliff face, and mist swirls around the supporting pillars.

The temple in the tile art is a close reproduction of a real temple in China, known as the Hanging Temple or Hanging Monastery. Its proper name is Xuankong Temple. In real life, the Hanging Temple is located not in Luoyang itself, but about 700km to the north.

Xuankong Temple

At the center, Ryo clashes with a fighting monk in a moment of direct impact.

Further down, Shenhua is depicted mid-shout with her fists clenched, standing in what appears to be a wooden corridor.

Close-up of Shenhua (Tile 7)

Several other figures are shown at the bottom of the image:

Close-up of the characters at the bottom of the image (Tile 7)

• A yellow-haired figure in a white tunic.
• A bald-headed figure holding prayer beads and wearing a red beaded necklace.
• On either side of Shenhua: Lan Di and Niao Sun
• Fighting monks holding wooden staffs, their appearance similar to the monk fighting with Ryo but with black belts.

Notes and Community Theories:

• Ryo's muscular arms are apparent here, reflecting the effectiveness of his training to this point.
• The monk is outlined in red, while Ryo is edged in blue, a deliberate color contrast that heightens their opposition.
• The monk is depicted bare-headed, with six incense burn marks visible on his scalp, a detail commonly associated with Shaolin and Buddhist monastic tradition. His forearms and lower legs are wrapped in white cloth bindings, historically worn for support and protection during martial training.
• Yu Suzuki's story map shows that this chapter tile is set in Luoyang. Luoyang was the location in which Yu Suzuki's early prototype for VFRPG, called The Old Man and the Peach Tree, was set, and this was retained as a location of importance.
• Luoyang is depicted on an embroidered tapestry hanging in Shenhua's house in Shenmue II. If asked about it, she explains that Luoyang is an old city that flourished during the Tang Dynasty and that it gives her a "nostalgic feeling" when she closes her eyes.
• The tapestry of Luoyang is no longer present in Shenhua's house in Shenmue III, but Yu Suzuki has explained that this should not be taken as a point of significance and that Luoyang remains of importance to the story.

The tapestry of Luoyang in Shenmue II (left) was replaced in Shenmue III (right)

• Yu Suzuki has confirmed that Luoyang is the location that features in the Shenmue II flashback of Shenhua as a baby, with her parents watching over her.

Screenshot of the flashback scene in Shenmue II of Shenhua as a baby with her parents

• CG models of this temple were even produced during early development, such as this one from the Shenmue Dojo auction artworks:

CG artwork of a cliffside temple: a close reproduction of the real Hanging Temple

• The temple has yet to appear in a published game, but there are apparent references in Shenmue III: Ryo and Shenhua find an illustration of a "mountain cliff" on the hidden scroll, and Elder Yeh explains that imperial treasure has been hidden in these mountains. They later learn from Shenhua's father that the Dragon and Phoenix mirrors were originally kept at a cliff temple; and that it has now been taken over by the Chi You Men and is where Lan Di has headed. Ryo deduces that this is the same location that was depicted on the scroll. (See this post for our analysis of the English translations, in particular clarifying some phrases that are misleading).

Picture of a mountain cliff on the scroll found by Ryo in Shenmue III (top) which is referred to by Shenhua's father (bottom)

• Theory: the four figures at the bottom represent the Four Leaders of the Chi You Men. In a 2014 interview by David Deville from the Shenmue community, Yu Suzuki described the leaders and their names as follows:

"Lan Di (Rantei 藍帝 / Souryu 蒼龍) is the east leader. His name also means Blue Dragon. About Niao Sun, she also has another name: 炎帝 (Entei), and rules over the South part and is represented by a Phoenix.

Now, regarding the last 2 bosses, no one has seen them yet. One of them is Koutei (昊帝) and leads the West part and is represented by a Tiger. The last one is Gentei (玄帝), covers the North part and is represented by a Turtle

• Based on his similar depiction (hairstyle, dressed in white clothing) in the Shenmue Side Story comic and the silhouette graphic of the leaders that was released by AM2, it is reasonable to conclude that the figure in white is Ziming.

Close-up of a figure in white in Tile 7 (left), the character in the Shenmue Side Story comic (middle), and his silhouette in the Chi You Men silhouette graphic released by AM2 (right)

• While this may represent the intention at the time these chapter tiles were made, in the same interview Yu Suzuki denied that Ziming is a Chi You Men leader, leaving this aspect a mystery for the story still to come:

"Ziming Hong is not one of the 4th leaders."

To Be Continued in Part Two

That wraps up our coverage of the first seven chapter tiles. We will cover the remaining tiles in the second part.

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