Saudi video game creators showcase Arab mythical character Bahamut

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Bahamut, the legendary monster of the deep, has been revived by creators at Starvania Studio, and the game is due for release next year.
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Meaad Aflah, co-founder and chief executive officer of Starvania, said the game was expected to launch on PCs via the Steam platform in early 2023.
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Game designer Rafif Kalantan said that games are a great medium to get people interested in things that they’ve never been introduced to.
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Updated 25 August 2022
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Saudi video game creators showcase Arab mythical character Bahamut

  • Creators aim to revive, show forgotten Arabian mythology through new game
  • Bahamut is set underwater, where the ocean has become dark and corrupted by mysterious magic

JEDDAH: A mythical giant fish portrayed in the “One Thousand and One Nights” collection has taken center stage in a new Saudi-inspired 2-D action-adventure video game.

Known as Bahamut, the legendary monster of the deep has been revived by creators at Starvania Studio, and the game is due for release next year.

“One Thousand and One Nights” is a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age.

The game is set underwater, where the ocean has become dark and corrupted by mysterious magic, and players will be tasked with the job of bringing light back to the ocean with the creature’s help.

Mashael Al-Khalifah, co-founder and art director of Starvania, described the game as a side-scrolling action adventure about an aquatic humanoid boy exploring the underwater world.

She said: “We are talking about myths that have been buried and forgotten, and we want to revive them in a better way and learn valuable lessons from them, especially if they are Arab.”

Meaad Aflah, co-founder and chief executive officer of Starvania, said the game was expected to launch on PCs via the Steam platform in early 2023.

Bosses at Starvania, a Saudi indie game studio based in Riyadh, aim to create unique entertainment experiences by making fantasy universes and characters beyond imagination while being thoughtful and inspiring.

Aflah noted that public interest in mythology was growing, and the time was now right to highlight Arabian folklore.

“It’s not that common, and not everyone knows about it. It was an opportunity for us to make something new and unique to show it to the world by making them live the experience and reflect it in the game.

“The depth that we put into our game’s narrative and content helps us to represent it with diverse entertainment mediums like comics, cinematics, animation, and merchandise to support the game itself,” she added.

General game designer, Rafif Kalantan, told Arab News: “I have always been fascinated with ancient religions and mythologies in general, and I have been wanting to work on a game that incorporates Arabian and Middle Eastern mythology since my undergrad degree.

“I even have a concept that I’ve gone back to times during projects in my undergrad. When I spoke with the founders of Starvania Studio and found out that Arabian mythologies were their angle, I was on board before hearing anything else.”

Bahamut was said to carry the world on his back, and Kalantan pointed out that the myth had been largely accredited to Zakariya Al-Qazwini from his book “Aja’ib Al-Makhluqat wa Ghara’ib Al-Mawjudat” (“The Wonders of Creation”), written in 1203.

“Games are a great medium that can get people interested in things they’ve never been introduced to. I personally had many games that got me interested in topics only after I played them, and I can see ‘Bahamut’ inspiring players to do the same thing,” she added.

Kalantan said the studio had chosen to work with a 2-D instead of 3-D medium because it was more easily accessible to independent developers, especially when considering hardware limitations.

“2-D is also more easily personalized and stylized which would give your game a more unique look amongst competitors. Our main reasons for going with 2-D is a bespoke look and ease of access,” she added.


To infinity and beyond: Grendizer’s 50 years of inspiring Arabs

Updated 27 December 2025
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To infinity and beyond: Grendizer’s 50 years of inspiring Arabs

  • ⁠ ⁠50 years after its creation, the Grendizer anime series continues to capture Arab imagination
  • ⁠ ⁠⁠Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet

LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.

Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.

But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. (Supplied)

The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.

Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.

Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.

While the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East. (Supplied)

The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.

Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. (Supplied)

Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.

Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.

 

Grendizer at 50
The anime that conquered Arab hearts and minds
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