"[2] Edmondson and Beast III's programmer Paul Howarth outline their ideals of a 'good action game', stating that "The most important thing is the feel.

If the game is very bulky to control, things stick when they hit walls and the collision detection is a bit naff, it's very annoying to play, no matter how addictive the gameplay might be.

"[2] In Beast III's development, graphics were prioritized, with Edmondson stating that planning began with "we say what we want the background to look like - whether we need a hazy skyscape, mountains [etc.]

Edmondson states that "We must be the only people left who don't use SNASM - we just find it too slow" and expresses that he personally considers specially designed editors and utilities 'a waste of time.

They had to be very spaced out and nowhere near interesting parts of the map ... [For Beast II] we fixed it so that we could have monsters around ladders and bits of buildings, but the background suffered and basically just a silhouette.

[citation needed] A Sega Genesis version was considered and even developed at some point,[3] with Matt Furniss tasked as the composer.

Beast 3 contained a total of 24 tracks again featuring ethnic instrumentation, but this time dabbling with the addition of some more synthetic sounds.

The magazine called the graphics "very good" and music "excellent" but criticized the difficult puzzles, lack of a save game feature, and slow load times (and copy protection that prevented the use of a hard drive), stating "I have grown tired of arcade games that punish the player rather than reward them for their efforts".