When viewed separately from all of these external pressures, as just a game to be played and hopefully enjoyed, it revealed itself to be a nobly earnest attempt to improve on SSI’s most recent efforts in the realm of CRPGs, even if it wasn’t an entirely unblemished one. On the technological side, SSI’s next-generation engine largely delivered where it needed to: it was indeed vastly slicker, prettier, easier, and more modern than the Gold Box engine, feeling like a true product of the 1990s rather than a holdover from the last decade. It was an engine that could even stand next to the likes of an Ultima VII without undue embarrassment. Indeed, SSI seemed to have learned from their rival’s mistakes and done Origin one better in some places. For example, in place of the real-time, well-nigh uncontrollable frenzy that was combat in Ultima VII, SSI’s engine lapsed seamlessly into a turn-based mode as soon as a fight began; this allowed combat in Shattered Lands to retain most of the tactical complexity and interest that had marked its implementation in the Gold Box games, with the additional advantages of increased audiovisual interest and a less cryptic interface.

At the same time that they endeavored to keep combat interesting, however, SSI’s design team had clearly made a concerted effort to move beyond the exercises in incessant combat and very little else which the Gold Box games had become by the end. Shattered Lands offered much better-developed characters to talk to, along with heaps of real choices to make and alternative pathways to discover. The new approach was enough to impress even so committed an SSI skeptic as Scorpia, Computer Gaming World magazine’s longtime adventure columnist, who had been roundly criticizing the Gold Box games in print for their “incessant, fight-after-fight” nature for half a decade by this point. Now, she could write that “SSI is taking their role-paying line in a new direction, which is good to see”: “the solution to every problem is not kill, kill, kill.” Shay Addams, another prominent adventure pundit, had a similar take: “It’s no secret that I never liked the Gold Box games. Dark Sun, however, kept me coming back to the dungeon for more: more combat, more exploring, more story.”

Still, the game had its fair share of niggles — more than enough of them, in fact, to prevent its achieving a classic status to rival Pool of Radiance and Curse of the Azure Bonds. While SSI was to be commended for attempting to give the setting and plot more nuance and texture, that just wasn’t the sort of thing they did best, and they were still receiving little to no help from TSR on that front. The writing and plotting were derivative in several different directions at once, hackneyed even by the usual standards of the genre. Mind you, the writing wasn’t actually worse than most of that which had accompanied the Gold Box games — but here, moved as it was from a paragraph book onto the screen and expected as it was to do a lot more heavy lifting, its weaknesses were magnified.

Shattered Lands was also damaged as a computer game by its need to conform to TSR’s tabletop rules. The boxed set which presented the Dark Sun setting for the tabletop included a whole range of new rules complications and variations to distinguish it from the already convoluted Dungeon & Dragons base game, and most of these SSI was expected to implement faithfully as part of their licensing agreement. And so Shattered Lands came complete with a bunch of races and classes unfamiliar even to most Gold Box and tabletop Dungeons & Dragons veterans, along with a veritable baseline expectation that every character would be double- or triple-classed. Clerics suddenly had to choose an “element” to worship, which limited their selection of spells — and now everyone had access to a whole parallel sphere of magic known as psionics, and had to choose a specialty there as well. No game designer starting a CRPG from scratch would ever have inserted so much cruft of such marginal utility to the ultimate goal of fun; it was the sort of thing that could only arise from a company like TSR throwing rule after rule at the wall over the course of years in order to sell more supplements. Certainly none of it made much sense in a game explicitly envisioned as a new beginning for Dungeons & Dragons on computers, a place for fresh players to jump aboard. Nor, for that matter, did the choice of the oddball world of Dark Sun as a setting; for all that critics like me have long railed against the tendency, gamers for time immemorial have been demonstrating their preference for CRPGs set in generic high-fantasy worlds — such as that of TSR’s own Forgotten Realms, home of the most commercially successful of the Gold Box games — over more unique settings like this one.

But whatever its intrinsic strengths and weaknesses, Shattered Lands suffered most of all from one undeniable external failing: it was deeply, thoroughly unfashionable in the context of 1993. At a time when the whole industry was moving toward multimedia “talkies,” its many conversations and descriptions were still implemented via screenful after screenful of boring old text. And in addition to the old-fashioned implementation, there also remained the fact that the Dungeons & Dragons name just wasn’t the force it once had been. A measure of the industry’s attitude toward the game and its commercial prospects can be gleaned from its placement in the magazines. Even as they were giving it reasonably positive reviews, Computer Gaming World buried it on page 124 of 276, Shay Addams’s Questbusters newsletter on page 8 of 16. (The lead review of that issue, evidently judged to be more immediately interesting to the newsletter’s readers than a review of Shattered Lands, was of Legend Entertainment’s Gateway 2, a fine game in its own right but one which still had a parser, for God’s sake.)

So, you’ve probably guessed where this is going: Dark Sun: Shattered Lands proved a devastating disappointment to TSR and especially to SSI. After costing more than $1 million and eighteen months to make, with the additional opportunity cost of preventing SSI’s internal developers from doing much of anything else over the course of that period, it sold just 45,917 copies. To put this figure into perspective, consider that it’s barely 5000 more copies than the last tired release of the old Gold Box line, or that it’s about one-sixth of the sales of Pool of Radiance — this in spite of an expanded marketplace in which the number of copies which a hit game could hope to sell was actually far greater than it had been five years before.

When SSI and TSR met again early in 1994, after it had become all too clear that Shattered Lands wasn’t to be the next Pool of Radiance, TSR stated matter-of-factly that they no longer wished to remain in the marriage. Some tense negotiation followed, during which TSR did make some concessions to a frantic SSI, who were facing down the apocalyptic prospect of a license due to expire in less than six months while they still had a lot more Dungeons & Dragons product from third-party developers in the pipeline. TSR agreed to extend the exclusive license for six more months, to January 1, 1995, and to allow SSI to continue to release new games under a non-exclusive license until July 1, 1995. After that, though, the marriage was through. TSR emphasized that there would be no further settlement agreements.
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