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Tags: Black Crypt; Bloodwych; Captive; Dungeon Master; Dungeon Master II: The Legend of Skullkeep; Eye of the Beholder; Eye of the Beholder 2: The Legend of Darkmoon; Eye of the Beholder 3: Assault on Myth Drannor; FTL Games; Interplay; Knightmare; Lands of Lore: The Throne of Chaos; Stonekeep; Strategic Simulations, Inc.; The Digital Antiquarian; Westwood Studios
Three years ago, the Digital Antiquarian wrote about Dungeon Master, the game that launched the real-time first-person dungeon crawler genre. Between its release in 1987 and the eventual downfall of the genre in the mid-1990s, Dungeon Master inspired a legion of imitators. The most famous of these were Westwood Studios' AD&D-based Eye of the Beholder games, which they followed up with the appealingly casualized Lands of Lore. But there were others, including 1989's multiplayer-supporting Bloodwych, 1990's procedurally generated sci-fi-themed Captive, 1991's brutally difficult Knightmare (based on the famous British children's TV show), 1992's Black Crypt from Raven Software (yes, that Raven Software), and finally 1995's infamously underwhelming Stonekeep from Interplay. These games are the topic of the Digital Antiquarian's latest article, which he concludes with a reflection on why none of them ever really managed to surpass their progenitor. Here's an excerpt:
Following the success of Eye of the Beholder, the dam well and truly burst in the United States. Before the end of 1991, Westwood had cranked out an Eye of the Beholder II, which is larger and somewhat more difficult than its predecessor, but otherwise shares the same strengths and weaknesses. In 1993, their publisher SSI took over to make an Eye of the Beholder III in-house; it’s generally less well-thought-of than the first two games. Meanwhile Bloodwych and Captive got MS-DOS ports and arrived Stateside. Even FTL, whose attitude toward making new products can most generously be described as “relaxed,” finally managed to complete and release their long-rumored MS-DOS port of Dungeon Master — whereupon its dated graphics were, predictably if a little unfairly, compared unfavorably with the more spectacular audiovisuals of Eye of the Beholder in the American gaming press.
Another, somewhat more obscure title from this peak of the real-time blobber’s popularity was early 1992’s Black Crypt, the very first game from the American studio Raven Software, who would go on to a long and productive life. (As of this writing, they’re still active, having spent the last eight years or so making new entries in the Call of Duty franchise.) Although created by an American developer and published by the American Electronic Arts, one has to assume that Black Crypt was aimed primarily at European players, as it was made available only for the Amiga. Even in Europe, however, it failed to garner much attention in an increasingly saturated market; it looked a little better than Dungeon Master but not as good as Eye of the Beholder, and otherwise failed to stand out from the pack in terms of level design, interface, or mechanics.
With, that is, one exception. For the first time, Black Crypt added an auto-map to the formula. Unfortunately, it was needlessly painful to access, being available only through a mana-draining wizard’s spell. Soon, though, Westwood would take up and perfect Raven’s innovation, as the real-time blobber entered the final phase of its existence as a gaming staple.
Released in late 1993, Westwood’s Lands of Lore: The Throne of Chaos was an attempt to drag the now long-established real-time-blobber format into the multimedia age, while also transforming it into a more streamlined and accessible experience. It comes very, very close to realizing its ambitions, but is let down a bit by some poor design choices as it wears on.
Having gone their separate ways from SSI and from the strictures of the Dungeons & Dragons license, Westwood got to enjoy at last the same freedom which had spawned the easy elegance of Dungeon Master; they were free to, as Westwood’s Louis Castle would later put it, create cleaner rules that “worked within the context of a digital environment,” making extensive use of higher-math functions that could never have been implemented in a tabletop game. These designers, however, took their newfound freedom in a very different direction from the hardcore logistical and tactical challenge that was FTL’s game. “We’re trying to make our games more accessible to everybody,” said Westwood’s Brett Sperry at the time, “and we feel that the game consoles offer a clue as to where we should go in terms of interface. You don’t really have to read a manual for a lot of games, the entertainment and enjoyment is immediate.”
Lands of Lore places you in control of just two or three characters at a time, who come in and out of your party as the fairly linear story line dictates. The magic system is similarly condensed down to just seven spells. In place of the tactical maneuvering and environmental exploitation that marks combat within the more interactive dungeons of Dungeon Master is a simple but satisfying rock-paper-scissors approach: monsters are more or less vulnerable to different sorts of attacks, requiring you adjust your spells and equipment accordingly. And, most tellingly of all, an auto-map is always at your fingertips, even automatically annotating hidden switches and secret doors you might have overlooked in the first-person view.
Whether all of this results in a game that’s better than Dungeon Master is very much — if you’ll excuse the pun! — in the eye of the beholder. The auto-map alone changes the personality of the game almost enough to make it feel like the beginning of a different sub-genre entirely. Yet Lands of Lore has an undeniable charm all its own as a less taxing, more light-hearted sort of fantasy romp.
One thing thing at least is certain: at the time of its release, Lands of Lore was by far the most attractive blobber the world had yet seen. Abandoning the stilted medieval conceits of most CRPGs, its atmosphere is more fairy tale than Tolkien, full of bright cartoon-like tableaux rendered by veteran Hanna-Barbara and Disney animators. The music and voice acting in the CD-ROM version are superb, with none other than Patrick Stewart of Star Trek: The Next Generation fame acting as narrator.
Sadly, though, the charm does begin to evaporate somewhat as the game wears on. There’s an infamous one-level difficulty spike in the mid-game that’s all but guaranteed to run off the very newbies and casual players Westwood was trying to attract. Worse, the last 25 percent or so is clearly unfinished, a tedious slog through empty corridors with nothing of interest beyond hordes of overpowered monsters. When you get near the end and the game suddenly takes away the auto-map you’ve been relying on, you’re left wondering how the designers could have so completely lost all sense of the game they started out making. More so than any of the other games I’ve written about today, Lands of Lore: The Throne of Chaos, despite enjoying considerable commercial success which would lead to two sequels, feels like a missed opportunity to make something truly great.
Real-time blobbers would continue to appear for a couple more years after Lands of Lore. The last remotely notable examples are two 1995 releases: FTL’s ridiculously belated and rather unimaginative Dungeon Master II, which was widely and justifiably panned by reviewers; and Interplay’s years-in-the-making Stonekeep, which briefly dazzled some reviewers with such extraneous bells and whistles as an introductory cinematic that by at least one employee’s account cost ten times as much as the underwhelming game behind it. (If any other anecdote more cogently illustrates the sheer madness of the industry’s drunk-on-CD-ROM “interactive movie” period, I don’t know what it is.) Needless to say, neither game outdoes the original Dungeon Master where it counts.
At this point, then, we have to confront the place where the example I used in opening this article — that of interactive fiction and its urtext of Adventure — begins to break down when applied to the real-time blobber. Adventure, whatever its own merits, really was the launching pad for a whole universe of possibilities involving parsers and text. But the real-time blobber never did manage to transcend its own urtext, as is illustrated by the long shadow the latter has cast over this very article. None of the real-time blobbers that came after Dungeon Master was clearly better than it; arguably, none was ever quite as good. Why should this be?
Any answer to that question must, first of all, pay due homage to just how fully-realized Dungeon Master was as a game system, as well as to how tight its level designs were. It presented everyone who tried to follow it with one heck of a high bar to clear. Beyond that obvious fact, though, we must also consider the nature of the comparison with the text adventure, which at the end of the day is something of an apples-and-oranges proposition. The real-time blobber is a more strictly demarcated category than the text adventure; this is why we tend to talk about real-time blobbers as a sub-genre and text adventures as a genre. Perhaps there’s only so much you can do with wandering through grid-based dungeons, making maps, solving mechanical puzzles, and killing monsters. And perhaps Dungeon Master had already done it all about as well as it could be done, making everything that came after superfluous to all but the fanatics and the completists.
However, according to the Antiquarian, the primary reason why Dungeon Master was never surpassed is that the genre became obsolete when developers finally had the means to take dungeon crawling off the grid, starting from a little game called Ultima Underworld. That's the topic of next week's article.
Three years ago, the Digital Antiquarian wrote about Dungeon Master, the game that launched the real-time first-person dungeon crawler genre. Between its release in 1987 and the eventual downfall of the genre in the mid-1990s, Dungeon Master inspired a legion of imitators. The most famous of these were Westwood Studios' AD&D-based Eye of the Beholder games, which they followed up with the appealingly casualized Lands of Lore. But there were others, including 1989's multiplayer-supporting Bloodwych, 1990's procedurally generated sci-fi-themed Captive, 1991's brutally difficult Knightmare (based on the famous British children's TV show), 1992's Black Crypt from Raven Software (yes, that Raven Software), and finally 1995's infamously underwhelming Stonekeep from Interplay. These games are the topic of the Digital Antiquarian's latest article, which he concludes with a reflection on why none of them ever really managed to surpass their progenitor. Here's an excerpt:
Following the success of Eye of the Beholder, the dam well and truly burst in the United States. Before the end of 1991, Westwood had cranked out an Eye of the Beholder II, which is larger and somewhat more difficult than its predecessor, but otherwise shares the same strengths and weaknesses. In 1993, their publisher SSI took over to make an Eye of the Beholder III in-house; it’s generally less well-thought-of than the first two games. Meanwhile Bloodwych and Captive got MS-DOS ports and arrived Stateside. Even FTL, whose attitude toward making new products can most generously be described as “relaxed,” finally managed to complete and release their long-rumored MS-DOS port of Dungeon Master — whereupon its dated graphics were, predictably if a little unfairly, compared unfavorably with the more spectacular audiovisuals of Eye of the Beholder in the American gaming press.
Another, somewhat more obscure title from this peak of the real-time blobber’s popularity was early 1992’s Black Crypt, the very first game from the American studio Raven Software, who would go on to a long and productive life. (As of this writing, they’re still active, having spent the last eight years or so making new entries in the Call of Duty franchise.) Although created by an American developer and published by the American Electronic Arts, one has to assume that Black Crypt was aimed primarily at European players, as it was made available only for the Amiga. Even in Europe, however, it failed to garner much attention in an increasingly saturated market; it looked a little better than Dungeon Master but not as good as Eye of the Beholder, and otherwise failed to stand out from the pack in terms of level design, interface, or mechanics.
With, that is, one exception. For the first time, Black Crypt added an auto-map to the formula. Unfortunately, it was needlessly painful to access, being available only through a mana-draining wizard’s spell. Soon, though, Westwood would take up and perfect Raven’s innovation, as the real-time blobber entered the final phase of its existence as a gaming staple.
Released in late 1993, Westwood’s Lands of Lore: The Throne of Chaos was an attempt to drag the now long-established real-time-blobber format into the multimedia age, while also transforming it into a more streamlined and accessible experience. It comes very, very close to realizing its ambitions, but is let down a bit by some poor design choices as it wears on.
Having gone their separate ways from SSI and from the strictures of the Dungeons & Dragons license, Westwood got to enjoy at last the same freedom which had spawned the easy elegance of Dungeon Master; they were free to, as Westwood’s Louis Castle would later put it, create cleaner rules that “worked within the context of a digital environment,” making extensive use of higher-math functions that could never have been implemented in a tabletop game. These designers, however, took their newfound freedom in a very different direction from the hardcore logistical and tactical challenge that was FTL’s game. “We’re trying to make our games more accessible to everybody,” said Westwood’s Brett Sperry at the time, “and we feel that the game consoles offer a clue as to where we should go in terms of interface. You don’t really have to read a manual for a lot of games, the entertainment and enjoyment is immediate.”
Lands of Lore places you in control of just two or three characters at a time, who come in and out of your party as the fairly linear story line dictates. The magic system is similarly condensed down to just seven spells. In place of the tactical maneuvering and environmental exploitation that marks combat within the more interactive dungeons of Dungeon Master is a simple but satisfying rock-paper-scissors approach: monsters are more or less vulnerable to different sorts of attacks, requiring you adjust your spells and equipment accordingly. And, most tellingly of all, an auto-map is always at your fingertips, even automatically annotating hidden switches and secret doors you might have overlooked in the first-person view.
Whether all of this results in a game that’s better than Dungeon Master is very much — if you’ll excuse the pun! — in the eye of the beholder. The auto-map alone changes the personality of the game almost enough to make it feel like the beginning of a different sub-genre entirely. Yet Lands of Lore has an undeniable charm all its own as a less taxing, more light-hearted sort of fantasy romp.
One thing thing at least is certain: at the time of its release, Lands of Lore was by far the most attractive blobber the world had yet seen. Abandoning the stilted medieval conceits of most CRPGs, its atmosphere is more fairy tale than Tolkien, full of bright cartoon-like tableaux rendered by veteran Hanna-Barbara and Disney animators. The music and voice acting in the CD-ROM version are superb, with none other than Patrick Stewart of Star Trek: The Next Generation fame acting as narrator.
Sadly, though, the charm does begin to evaporate somewhat as the game wears on. There’s an infamous one-level difficulty spike in the mid-game that’s all but guaranteed to run off the very newbies and casual players Westwood was trying to attract. Worse, the last 25 percent or so is clearly unfinished, a tedious slog through empty corridors with nothing of interest beyond hordes of overpowered monsters. When you get near the end and the game suddenly takes away the auto-map you’ve been relying on, you’re left wondering how the designers could have so completely lost all sense of the game they started out making. More so than any of the other games I’ve written about today, Lands of Lore: The Throne of Chaos, despite enjoying considerable commercial success which would lead to two sequels, feels like a missed opportunity to make something truly great.
Real-time blobbers would continue to appear for a couple more years after Lands of Lore. The last remotely notable examples are two 1995 releases: FTL’s ridiculously belated and rather unimaginative Dungeon Master II, which was widely and justifiably panned by reviewers; and Interplay’s years-in-the-making Stonekeep, which briefly dazzled some reviewers with such extraneous bells and whistles as an introductory cinematic that by at least one employee’s account cost ten times as much as the underwhelming game behind it. (If any other anecdote more cogently illustrates the sheer madness of the industry’s drunk-on-CD-ROM “interactive movie” period, I don’t know what it is.) Needless to say, neither game outdoes the original Dungeon Master where it counts.
At this point, then, we have to confront the place where the example I used in opening this article — that of interactive fiction and its urtext of Adventure — begins to break down when applied to the real-time blobber. Adventure, whatever its own merits, really was the launching pad for a whole universe of possibilities involving parsers and text. But the real-time blobber never did manage to transcend its own urtext, as is illustrated by the long shadow the latter has cast over this very article. None of the real-time blobbers that came after Dungeon Master was clearly better than it; arguably, none was ever quite as good. Why should this be?
Any answer to that question must, first of all, pay due homage to just how fully-realized Dungeon Master was as a game system, as well as to how tight its level designs were. It presented everyone who tried to follow it with one heck of a high bar to clear. Beyond that obvious fact, though, we must also consider the nature of the comparison with the text adventure, which at the end of the day is something of an apples-and-oranges proposition. The real-time blobber is a more strictly demarcated category than the text adventure; this is why we tend to talk about real-time blobbers as a sub-genre and text adventures as a genre. Perhaps there’s only so much you can do with wandering through grid-based dungeons, making maps, solving mechanical puzzles, and killing monsters. And perhaps Dungeon Master had already done it all about as well as it could be done, making everything that came after superfluous to all but the fanatics and the completists.
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