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The CRPG Book is a free, non-profit project.
If you would like to have a hardcover version, you can buy one at Bitmap Books.
All the author profits from the hardcover edition
will be donated to Vocação, an education NGO in Brazil.
All games featured are the property of the copyright owners.
Their images have been used respectfully purely for review purposes.
Cover art by Jan Pospíšil
(www.janpospisil.daportfolio.com)
3
Edited by Felipe Pepe
This book is the result of five years of work
and the collaboration of 119 volunteers.
We hope that you enjoy it.
v2.0
April 2019
A Guide to Computer Role-Playing Games
TheCRPGBook:
4
Contents
Contents 4
Introduction 8
About the Project 10
Contributors 11
Articles  Guides 15
Using this book 16
FAQ 17
What is an Old-School RPG? 18
Ports: Far beyond resolution and FPS 20
Unplayable 24
Cartography 26
From Prussia with love - The origin of RPGs 28
The PLATO RPGs 30
The Reviews 35
1975-1979
The beginning of the digital invasion 36
Beneath Apple Manor 38
Dungeon Campaign 40
Dunjonquest: Temple of Apshai 42
Akalabeth:World of Doom 44
1980-1984
The boom, the clones and the crash 46
Eamon 48
Rogue 50
Wizardry: Proving Grounds of the Mad Overlord 52
Ultima 54
Dragon’s Eye 56
Dungeons of Daggorath 57
Telengard 58
Ultima II: Revenge of the Enchantress 59
Moria 60
The Return of Heracles 62
Ultima III: Exodus 64
Questron 66
1985-1989
Here come the new challengers 68
Wizard’s Crown 70
The Bard’s Tale 72
Alternate Reality: The City 74
Phantasie 76
Ultima IV: Quest of the Avatar 78
Autoduel 80
Rings of Zilfin 81
Might and Magic: Book I - Secret of the Inner Sanctum 82
Starflight 84
Alter Ego 86
Alien Fires 2199 A.D. 87
Ys: The Vanished Omens 88
Deathlord 90
Wizardry IV: The Return of Werdna 91
NetHack 92
The Faery Tale Adventure 94
Dungeon Master 96
Zeliard 98
Neuromancer 99
Wasteland 100
Pool of Radiance 102
Star Saga: One - Beyond The Boundary 104
Wizardry V: Heart of the Maelstrom 105
Ultima V: Warriors of Destiny 106
Prophecy I: The Fall of Trinadon 108
Drakkhen 109
The Magic Candle 110
Hillsfar 112
5
Castle of the Winds 113
Quest for Glory: So You Want to Be a Hero 114
Knights of Legend 116
The Dark Heart of Uukrul 118
Windwalker 119
Bloodwych 120
The Immortal 121
1990-1994
The creative and technological explosion 122
Ultima VI: The False Prophet 124
Wizardry VI: Bane of the Cosmic Forge 126
Tunnels  Trolls: Crusaders of Khazan 128
Circuit’s Edge 129
J.R.R. Tolkien’s Lord of the Rings, Vol. I 130
Captive 132
Champions of Krynn 133
MegaTraveller: The Zhodani Conspiracy 134
Spirit of Excalibur 136
Worlds of Ultima: The Savage Empire 138
Escape from Hell 139
Eye of the Beholder 140
Cobra Mission: Panic in Cobra City 142
Knights of Xentar 143
Moraff’s World 144
Fate: Gates of Dawn 145
Disciples of Steel 146
Might and Magic III: Isles of Terra 148
Worlds of Ultima: Martian Dreams 149
The Bard’s Tale Construction Set 150
Gateway to the Savage Frontier 151
Realms of Arkania: Blade of Destiny 152
Ultima Underworld: The Stygian Abyss 154
Might and Magic: Worlds of Xeen 156
Legend 158
The Summoning 159
Ultima VII: The Black Gate 160
Ishar: Legend of the Fortress 162
Wizardry VII: Crusaders of the Dark Savant 164
Star Control 2 166
Darklands 168
Shadowlands 170
Amberstar 172
Ambermoon 173
Quest for Glory: Shadows of Darkness 174
ShadowCaster 176
Perihelion: The Prophecy 177
Princess Maker 2 178
Veil of Darkness 180
BloodNet 181
Betrayal at Krondor 182
The Legacy: Realm of Terror 184
Hired Guns 185
Dark Sun: Shattered Lands 186
Lands of Lore: The Throne of Chaos 188
Dungeon Hack 189
Forgotten Realms: Unlimited Adventures 190
Ultima VIII: Pagan 192
ADOM - Ancient Domains of Mystery 194
Al-Qadim: The Genie’s Curse 196
Superhero League of Hoboken 197
Realmz 198
The Elder Scrolls I: Arena 200
1995-1999
New 3D worlds and new audiences 202
Witchaven 204
CyberMage: Darklight Awakening 205
Ravenloft: Stone Prophet 206
Exile: Escape from the Pit 208
World of Aden: Thunderscape 210
Entomorph: Plague of the Darkfall 211
Mordor: Depths of Dejenol 212
Albion 214
Stonekeep 216
Strife: Quest for the Sigil 217
Anvil of Dawn 218
Dungeons  Dragons: Shadows over Mystara 219
The Elder Scrolls II: Daggerfall 220
Diablo 222
Birthright: The Gorgon’s Alliance 224
An Elder Scrolls Legend: Battlespire 225
Fallout: A Post-Nuclear Role-Playing Game 226
Lands of Lore II: Guardians of Destiny 228
Descent to Undermountain 229
Final Fantasy VII 230
Betrayal in Antara 232
Return to Krondor 233
Rage of Mages 234
Dink Smallwood 236
Hexplore 237
Baldur’s Gate 238
Might and Magic VI: The Mandate of Heaven 240
Fallout 2 242
King’s Quest: Mask of Eternity 244
Septerra Core: Legacy of the Creator 245
Jagged Alliance 2 246
Planescape: Torment 248
Ultima IX: Ascension 250
Might and Magic VII: For Blood and Honor 252
Gorky 17 253
Omikron: The Nomad Soul 254
System Shock 2 256
6
2000-2004
The rise of the modern gaming industry 258
Deus Ex 260
Baldur’s Gate II: Shadows of Amn 262
Siege of Avalon 264
Might and Magic VIII: Day of the Destroyer 265
Diablo II 266
Vampire: The Masquerade - Redemption 268
Soulbringer 270
Grandia II 271
Breath of Fire IV 272
Evil Islands: Curse of the Lost Soul 274
Icewind Dale 276
Summoner 278
Wizards  Warriors 279
Wizardry 8 280
Anachronox 282
Arcanum: Of Steamworks  Magick Obscura 284
Gothic 286
Severance: Blade of Darkness 288
Geneforge 290
Pool of Radiance: Ruins of Myth Drannor 292
ZanZarah: The Hidden Portal 293
Divine Divinity 294
The Elder Scrolls III: Morrowind 296
Arx Fatalis 298
Icewind Dale II 300
Might and Magic IX 301
Neverwinter Nights 302
Neverwinter Nights: Aurora Toolset  Modules 304
Freedom Force 306
Dungeon Siege 308
Gothic II 310
Prince of Qin 312
Star Wars: Knights of the Old Republic 314
The Battle for Wesnoth 316
Lionheart: Legacy of the Crusaders 317
TRON 2.0 318
Temple of Elemental Evil 320
Deus Ex: Invisible War 322
Kult: Heretic Kingdoms 323
Sacred 324
Fable 326
Space Rangers 2: Dominators 328
Sudeki 330
The Bard’s Tale 331
Vampire: The Masquerade - Bloodlines 332
The Legend of Heroes: Trails in the Sky 334
StarWars:KnightsoftheOldRepublicII-TheSithLords 336
2005-2009
Indie, casual, social  multi-platform games338
Super Columbine Massacre RPG! 340
Jade Empire 342
Fate 344
Titan Quest 345
Dwarf Fortress 346
The Elder Scrolls IV: Oblivion 348
Dungeon Crawl: Stone Soup 350
Gothic 3 352
Neverwinter Nights 2 354
Age of Pirates: Caribbean Tales 356
Dark Messiah: Might and Magic 358
Mass Effect 360
Puzzle Quest: Challenge of the Warlords 362
Recettear: An Item Shop’s Tale 363
S.T.A.L.K.E.R.: Shadow of Chernobyl 364
Neverwinter Nights 2: Mask of the Betrayer 366
Agarest: Generations of War 368
Elona 369
The Witcher 370
7.62 High Calibre 372
Eschalon 374
Hellgate: London 376
Barkley, Shut up and Jam: Gaiden 377
The Last Remnant 378
Valkyria Chronicles 379
Fallout 3 380
Drakensang: The Dark Eye 382
Fortune Summoners: Secret of the Elemental Stone 384
Seventh Sense 385
Mount  Blade 386
Neverwinter Nights 2: Storm of Zehir 388
Divinity II: Ego Draconis 389
Dragon Age: Origins 390
Warhammer 40,000: Dawn of War II 392
Venetica 393
Torchlight 394
Yumina the Ethereal 396
Marauder 397
Risen 398
Knights of the Chalice 400
2010-2014
The freedom to play (and create) any game 402
Borderlands 404
Din’s Curse 406
ArcaniA: Gothic 4 407
Two Worlds II 408
Cthulhu Saves the World 410
Faery: Legends of Avalon 411
7
Alpha Protocol: The Espionage RPG 412
Fallout: New Vegas 414
Mass Effect 2 416
Academagia: The Making of Mages 418
Dungeons of Dredmor 419
E.Y.E.: Divine Cybermancy 420
Dark Souls 422
The Witcher 2: Assassins of Kings 424
Way of the Samurai 4 426
The Elder Scrolls V: Skyrim 428
Magical Diary 430
Dragon Age II 431
Deus Ex: Human Revolution 432
Mass Effect 3 434
Tales of Maj’Eyal 436
Legend of Grimrock 438
Kingdoms of Amalur: Reckoning 440
Dragon’s Dogma 442
Of Orcs and Men 444
Defender’s Quest: Valley of the Forgotten 445
Diablo III 446
FTL: Faster Than Light 448
Paper Sorcerer 449
Shadowrun Returns 450
Hyperdimension Neptunia - Re;Birth1 452
Heroine’s Quest: The Herald of Ragnarok 453
Path of Exile 454
Cataclysm: Dark Days Ahead 456
Aaklash: Legacy 457
Card Hunter 458
Bound by Flame 459
Might and Magic X 460
The Banner Saga 461
NEO Scavenger 462
Blackguards 464
Transistor 465
Divinity: Original Sin 466
Lords of Xulima 468
Lords of the Fallen 469
Dragon Age: Inquisition 470
Wasteland 2 472
South Park: The Stick of Truth 474
UnderRail 475
The Witcher III: Wild Hunt 476
Age of Decadence 478
Undertale 480
Mystery Chronicles: One Way Heroics 481
Tale of Wuxia 482
Fallout 4 484
Sunless Sea 486
Hand of Fate 487
Pillars of Eternity 488
Further Adventures 491
1982-1987: The birth of the Japanese RPGs 492
Fan-Translations 496
SD Snatcher 497
Chinese Paladin 498
E.V.O.: The Theory of Evolution 499
The Legend of Cao Cao 500
Labyrinth of Touhou 501
Sword of Moonlight: King’s Field Making Tool 502
Sengoku Rance 503
Kamidori Alchemy Meister 504
Gates of Skeldal 505
Games we’ll (likely) never play 506
Lists  Further Reading 513
Lists 514
Editor’s Picks 517
Further Reading 518
Glossary 522
Index 524
8
Introduction
W
henthinkingaboutwhereabookdedicated
to computer RPGs might come from, one
might consider countries like Germany,
Canada, UK or the US. Maybe France, Russia or Poland.
Surely never Brazil. There’s a good reason for this.
When the first personal computers and games
started to appear in the late 70s, Brazil was under a
military dictatorship which banned all computer
imports. We couldn’t buy an Apple II, C64 or IBM
PC, only the slow and crude national alternatives.
Some, like my father, managed to bypass this by
smuggling a computer into the country. Still, to play
you also needed to find games, and those were a rarity
(especially CRPGs!). You had to know someone who
travelled to the US and brought the floppy disks back
– and then copy those. That’s how Betrayal at Krondor
arrived at my house back in the early 90s.
Even with the computer and the game in hand,
there was still one final barrier: the language. As
much as I enjoyed seeing my father play, I had no
idea of what those costumed people were saying. I
spent months playing Krondor, exploring its large
world, but never even left the first chapter. My biggest
achievement was brute-forcing a riddle chest.
IfoundsolaceinJRPGs.Notonlytheyweremuch
easier to play, but consoles were growing popular in
Brazil, as in 1994 we finally began to emerge from
a long and brutal economical crisis. A friend in my
apartment building had a Super Nintendo with
Chrono Trigger, and that game became my passion.
By then, owning a PC was finally legal, but the CRPG
genre was dead – computers were Doom machines.
Years later, I was reading a games magazine and
something caught my eye: a bizarre game where you
could teach farmers about crop rotation to earn XP –
but only if you had created a smart character.
I had just started playing tabletop RPGs and was
fascinated by a computer game like that. So, in 1998 I
bought Fallout, which I love to this day. Not only is it
an amazing game that breathed new life into CRPGs,
but I finally knew enough English to play it properly.
My younger brother didn’t. He couldn’t do most
quests, so he just walked around and killed everyone.
But that was also allowed, and we had a lot of fun
talking about just how different our experiences were
and all the cool things we kept discovering.
I wanted to do that with more people, to talk
with my friends in school about this game, to hear
their stories, to partake in the joy of a shared hobby.
However, my parents had just divorced and I was
then living in a small town in Brazil’s countryside.
My father gave me his old computer, but no one else
I knew had one. They were still very expensive and
complicated machines. Cyber Cafes began to appear
around this time, but people played Counter-Strike
there, not hundred-hour-long CRPGs.
Other than my brother, I had no one to talk to
about the wise-cracking sword in Baldur’s Gate II,
how I became a vampire in Morrowind or the fact that
you can shoot Anna Navarre in Deus Ex.
In 2004 I moved back to São Paulo, Brazil’s
biggest city, to go to university. A side-effect was that,
for the first time in my life, I had the Internet in my
house. That was when everything changed.
It sounds obvious today, we take it for granted,
but the Internet freed us from all regional barriers.
I could talk to anyone, anywhere, about anything!
Eventually I found the RPG Codex, where not
only I could talk for hours about my favourite games,
but could I learn about RPGs I missed, alternate quest
solutions I never tried, cool mods, funny stories,
powerful builds and much more. I was home.
9
In the 14 years since, I’ve been trying to learn as
much as possible about this amazing genre. I played
Ultima, Wizardry and other classics that I had missed,
tried obscure gems, emulated the hardware I never
had, and much more. I owe a lot to abandonware
sites, emulator developers, wise forum members and
to the great work done recently by GOG.com.
But where does one start? Just what is a C64?
Does Wizardry I still hold up today? Is Albion good?
Should I play the Might and Magic games in order?
Am I playing badly or is this game extremely hard?
Which mods to use in Neverwinter Nights?
I suffered all these questions – and many more –
but finding the answers wasn’t always easy.
Over the years, many guides became outdated,
and when asking around you might find someone who
“is tired of dumb questions”, who gives poor answers
or who simply hates a game that you might love.
Resources such as “Top 10 RPGs” lists help, but they
mostly focus on the recent, popular titles.
As such, this book represents several things.
First, it’s a guide – the one I wish I’d had when
I first began exploring the world of CRPGs. It shows
the most important, popular and interesting titles,
then tells you about what makes them so special. You
can flip the book open, read about a few cool games,
see the screenshots and choose what to play next.
I’ve made sure to add some historical context
too, showing what was happening at the time. To fully
grasp the impact Ultima IV or Dungeon Master had,
you must know what came before and after them.
The book is also a helping hand. It has tips on
how to run games that aren’t compatible with modern
hardware, tells you when there’s a patch to fix critical
bugs and even recommends some mods, so that you
can have the best possible experience.
Finally, it’s a gift to my younger self – and to
anyone who might feel lonely like I did. Here you
have over a hundred people from across the world, all
willing to sit down and tell you about their favourite
RPGs, the great adventures that they had and why you
should try these games.
Creating this book was a long, wild ride. It first
began in early 2014, with the RPG Codex Top 70
CRPGs, a poll where people voted on their favourite
games and then wrote small reviews. From there
came the idea of making an expanded book version,
with longer reviews and adding historically important
titles and curiosities. Having made the Top 70 list in
about two months, I thought that the book would
take around six to ten months, at most. Ha!
It took me four years.
Still, I can’t complain. I learned a lot during this
time, had a blast playing the 300+ games featured
here, got in contact with legendary figures from my
childhood such as Chris Avellone, Warren Spector,
Scorpia and Tim Cain, as well as all the wonderful
people that helped create and promote this project.
It’s surreal now to recall a time when computers
were rare, obtuse artefacts and reading a simple quest
in English was a challenge. A time when a project
like this would’ve been impossible. I’d never talked
to a foreigner until I was 17 years old, yet now I live
in Japan.
Isaac Asimov used to say that the role of science
fiction was to predict change, so that we could better
handle it as a society. Perhaps the role of RPGs (and
games in general) is to help prepare individuals for
challenges and adventures to come.
Felipe Pepe,
Project Editor
10
About the project
T
he CRPG Book Project is a collaborative, non-profit project created to compile the history of Computer
Role-Playing Games into an accessible and educative volume. The book was written by volunteers from
all continents, ages and walks of life: developers, journalists, modders, critics, scholars and fans, but also
parents, couples, grandfathers, doctors, teachers, engineers, businessmen, etc.
The purpose of the project is to spread our passion for this great genre, sharing knowledge that is currently
scattered across countless forums, magazines, websites and minds. The book covers CRPGs from 1975 to 2015,
plus contains several articles, mod recommendations, developer quotes and interesting trivia, in an effort to
create a guide that will have something to offer to old-school veterans and new players alike.
This PDF is based on the hardcover version of the book, published by Bitmap Books in 2019. That was a
limited release, that helped us to get the entire book proofread and revised by a professional. The CRPG Book
Project remains non-profit, and all the author earnings from that version (£12.475) were donated to Vocação, a
Brazilian NGO that helps kids and teenagers from poor areas to get education and employment.
Dedicated to:
Claudia, Célia, Marco, Saphyra, Thais, Vanessa, Thiago, Carol and Caio.
Special thanks to:
TheRPGCodex,RPGWatch,BitmapBooks,HardcoreGaming101,UltimaCodex,TheInternetArchive,MattChat,
MobyGames,TheCRPGAddict,Cyber1,CGWMuseum,DJOldGames,DOSBox,TheDigitalAntiquarian,Unseen64,
Museum of Computer Adventure Game History, The LP Archive, Abandonia, My Abandonware, GOG, Gamasutra,
Nautilus, Shane Plays, Hall of Light, Emuparadise and every unsung hero who contributed to these websites, developed
emulators, ports for modern systems, mods, fan-patches, archived rare games or uploaded footage of them to YouTube.
This book would have been impossible without all of you.
And, of course, a most special thanks to those who created all theses games in the first place, as well as those who
put their best into games that unfortunately never saw the light of day. This book is a tribute to your work.
11
Contributors
Alberto Ourique (AO) is an experienced
copywriter, but a rookie in game industry
and novels. If all goes wrong, he intends to
embrace immortality by becoming a lich.
Andre Stenhouse (AS) didn’t own a single
console game until high school, but played
Quest for Glory with her father and read
stacks of books.
Andrea Marcato (AM) is a long-standing
Abandonian who is amazed to be in the
same credits list as Chris Avellone.
Andreas Inderwildi (AI) is a writer and
freelance game critic with an unhealthy
obsession for Dark Souls and Planescape:
Torment. When he isn't playing games he
likes to read and/or write about history,
folklore, and the occult.
Andrew “Quarex” Huntleigh (QX) is a
family man with a PhD, and spends his days
as a federal officer when not agonising over
proper paper-doll inventory management.
Arkadiusz Makieła (AR) got his first
computer, an Atari 65XE, at the age of 10.
This was the beginning of his quest for an
ultimate RPG. Today, he still doesn’t realise
there’s no such thing.
Árni Víkingur (ÁV) has been sheltering from
the Icelandic frost by a warm computer
since 1986 and therefore knows far too
much about video games.
B. “Mr Novanova” White (BW) is a writer
who remembers when Knights of Legend
would make his floppy drive melt. Inquiries
can be sent to forbwhite@gmail.com
BaronVonChateau (BC) Dreams of making
a surrealist RPG, though he has no idea of
what he exactly means by that. To trump his
despair, he spends years making convoluted
quest mods named after jazz standards.
Benjamin Sanderfer (BE) once helped
develop software for a famous RPG
publisher for their universal pen-and-paper
game system. Too bad that system was such
a failure it helped drive that company out of
business. True story.
Blobert (BL) Started with RPGs with
Phantasie III on the C64. Fell in love Ultima
V, and continues to play CRPGs when his
four kids give him the chance.
Branislav Mikulka (BM) resides in the land
of the leprechauns. Got stuck in the MS-
DOS gaming era, secretly admires trashy
movies from the 50s and thinks Philip K.
Dick was the best writer ever.
Brian Stratton (BS) started playing CRPGs
in third grade and still lives for fighting
minotaurs, dragons, orcs and the undead.
Brian ‘Psychochild’ Green (BG) is an MMO
developer who first played text MUDs and
is a lot more friendly than his pseudonym
might indicate.
Casiel Raegis (CR) is a North Carolina-based
film director whose backlog is larger than
this book.
Casper “Grunker” Gronemann (CG)
dislikes most parties, excepting those
with six characters or more.
Chester Bolingbroke (CHB) continues
to struggle with his addiction.
Chris Avellone (MCA) is reported to be
friendly, non-toxic, and his mother still
doesn’t understand what he does on a
daily basis, but he loves her anyway.
Christian Hviid (CH) started gaming in the
80s and still thinks 3D gaming is something
new-school and dirty.
Christian Hudspeth (CHR) Husband, father,
gamer and really good at all of them, just ask
his mom.
Christopher Ables (CA) has a passion for
gaming history. He and his wife grew up
gaming and love playing both new and
old-school games together.
Crooked Bee (CB) got to be the RPG
Codex’s editor-in-chief after defeating the
previous editor in a game of Wizardry IV.
That should tell you all you need to know
about her.
Daniel D’Agostino (DD) became a software
developer to learn how to create games.
Ironically, he now seldom finds time for
games thanks to software development itself.
Darktoes (D1) is a student, gamer and
self-proclaimed helpful person.
Darth Roxor (DR) likes Betrayal at Krondor,
naked volleyball and putting as many
adverbs into his articles as possible.
David Ballestrino (DB) can’t look at a
chequered floor without imagining how
to position a party and hoping for a good
initiative roll.
David Konkol (DK) is an author and game
designer whose insane ramblings can be
found at www.madoverlordstudios.com
David Walgrave (DW) has three uses for
his deep, booming voice: to organise video
game projects, to sing as the frontman of a
metal band, and to quietly talk to his cute,
fluffy dogs.
David “dhamster” Hamilton (DH) is ready
to form a party like it’s 1999.
12
David “mindx2” B. (M2) spends many
a night perusing his collection of classic
computer game boxes, pining away for
that bygone era.
Deuce Traveler (DT) has many hobbies be-
sides CRPGs. He also likes beer, exercise,
pulp novels, chess, and the occasional screw.
Diggfinger (DF) loves Fallout and everything
Troika-related. Check out his wiki on Jason D.
Anderson if you’re not convinced.
Dorateen (DO) rolled a dwarven fighter over
thirty years ago and has enjoyed this hobby
from tabletop into its computer role-playing
iterations ever since.
Drew Merrithew (DM) became a developer
specialising in cybersecurity when it became
apparent game development doesn’t pay.
Durante (DU) role-plays a scientist by day
and is an RPG gamer at night. He has a
thing for intricate systems and simulations,
even if they are needlessly complex.
Eric Shumaker (ES) is a gamer bad boy who
games for what he believes in. He has worked
on many stupid games you haven’t played.
ERYFKRAD (ER), His Holiness the God-
Emperor of All Mankind, Lord of the Heavens
above and Master of the Hells Below.
Fairfax (FAX) MCA disciple and Civilization
modder, loves game development stories
and daydreaming about making CRPGs.
Felipe Pepe (FE) is the idiot who thought
he could finish making this book in just
six months or so.
Ferhergón (FHG) used to host “Maniacos
del Calabozo” and thinks old gold times
for RPGs are long gone.
Frank “HiddenX” Wecke (HX) The Elder
Spy, Game Curator  Editor at RPG Watch,
RPG Dot veteran and special emissary at
the RPG Codex.
Gabor “J_C” Domjan (JC) grew up in the
90s and got to see the golden age of gaming.
He enjoys most genres, but CRPGs and
flight simulators are his real love.
Garfunkel (GA) got a C64 for Christmas,
detoured briefly to Amiga 500 before set-
tling in with a PC in the 90s and has never
strayed elsewhere.
Gary Butterfield (GB) is an author, podcaster
and loving supporter to maligned CRPG
sequels. He’s actually sort of OK with THAC0.
Geo Ashton (GE) is an avid writer who
enjoys playing video games and reading
about gaming culture.
George Weidman (GW) makes videos a few
people enjoy. He has lost years of his life to
the Fallout series, and regrets nothing.
Ghostdog (GD) Has been in RPG Codex
far too long for his sanity’s sake. When
he had trouble replaying his favourite
game, Planescape Torment in widescreen
resolutions, he made a UI mod to fix that.
Grant Torre (GT) Living in the state
of Michigan, he spends his time with
drumming, literature, video games, and
everything else geek culture has to offer.
Guilherme De Sousa (GS) has enjoyed
CRPGs since playing Ultima IV on the
C64 back in the mid 1980s.
Gustavo Zambonin (GZ) is, perhaps, the
youngest among all of the contributors,
slowly learning how to savour the best
CRPGs released since he was born.
Hannah and Joe Williams (HJW) are
a married couple LARPing as computer
game creators and part-time hermits.
Ian Frazier (IF) is a game designer whose
hobbies include painting minis and banishing
unfathomable evils to the outer darkness.
Ivan Mitrović (IM) Proud member of the PC
master race, in 2001 he tried his first RPG,
Planescape:Torment which up to this day
remains his favourite game.
Jack “Highwang” Ragasa (JR) is a YouTube
game reviewer that attributes many years of
video games to his overly verbose nature.
Jaedar (JA) had a great big think about it,
and realised NWN2 is one of the first ‘real’
RPGs he ever played. He’s been playing
catch-up ever since.
Jakub Wichnowski (JW) Story is what he
values the most in games and he hopes that
one day he’ll be able to make a game at least
half as good as Planescape: Torment.
James McDermott (JM) is a musician that
plays too many games. He is still waiting
patiently for Arcanum 2.
James “Blaine” Henderson (JBH) doesn’t like
whatever terrible games you like, unless they’re
games that he also happens to like; but he can
probably find a reason to criticise you anyway.
Jay Barnson (JB) is a writer, game developer,
programmer, and – in an alternate universe
where the C64 never came to be – the Grand
EmperoroftheWesternHemisphereHegemony.
Jedi Master Radek (JMR) from the depth
of his basement is scheming to take over
the world. Hoping to turn all readers into
his mindless puppets.
Joseph Coppola (JO) is a programmer who
enjoys RPGs, novels, and other word-based
activities.
Jörn Grote (JG) had to decide whether to
study for final school examinations or play
Fallout. It worked out for the best.
John Harris (JH) writes for @Play and on retro
games, and also sometimes makes computer
games. He thinks the best game ever made is
Rampart, the fool.
Kenneth Kully (KE) inadvertently created the
biggest hub of Ultima news and fan activity
online, and still finds time for it when he isn’t
on call as a father or Scout leader!
Kurt Kalata (KK) took his first step towards
war and made the end of battle. He also runs
Hardcore Gaming 101.
Lev (LEV) likes RPGs and just wanted to
appear in a book with Chris Avellone.
Ludo Lense (LL) Trades sanity for the ability
to make overly long videos about games.
Luis Magalhães (LM) From doctor to marketer
to writer, Luis keeps changing class in real life,
but his favourite gaming genre is unchanged
since the 90s. Hint: it’s not FPSs.
M. Simard (MS) prefers to stay in the base-
ment during summer, although his German
Shepherd does take him out for a walk every
once in a while
Maciej Miszczyk (MM) Gamer since early
childhood, loves games of all kinds but
prefers either RPGs from mid-to-late 90s or
anything that’s obscure, complex, difficult
or unique.
Marc Hofstee (MHO) is called the weirdest
Ascaron-fan of all time (quote M. Worsley).
He also loves Final Fantasy VII, an Atari ST
and his seven kids.
Marko Vučković (MV) is an old strategy fan
who spent way too much time playing Laser
Squad on his C64, but regrets nothing.
Mathias Haaf (MH) Amateur writer from
Germany and an avid collector and player
of MS-DOS RPGs. Has a YouTube channel
were he posts videos on his beloved hobby.
Max Silbiger (MAS) is a developer who does
translation hacks of old Japanese PC games.
Sometimes, he even gets to play them, too!
Michael Mils (MI) learned to read and write
on a French 8-bit computer and therefore
grew both bitter and nostalgic.
Michel Sabbagh (MIS) is a bug smasher by
day and word wrangler by night who has a
salmon fetish.
13
Neanderthal (NT) Wounded, old and
lecherous.
Nicolas Hennemann (NH) Freelance writer
and translator, took the chance to tell you
about his favourite game and ran with it.
Nicole “Jaz” Schuhmacher (NS) grew
up with Pong and is still a multi-platform
gamer. She gets all teary-eyed when thinking
of the games of the 90s.
Nostaljaded(NJ)canbefoundlurkinginthe
Bearpit.Nootherknownfactsotherthana
quirkyonewhopreferstheveiloverlimelight.
Nyaa (NY) is an avid gamer who took up
Translation LP of unique foreign games as
a hobby to contribute back to the gaming
industry that he loved.
Octavius (OC) aka PetrusOctavianus is
one of the veterans of the RPG Codex.
Oleg “Smiling Spectre” Bobryshev (SS)
is an avid gamer and game collector.
He wants to play them all, but real life
makes its own adjustments.
Outmind (OU) enjoys long walks on the
battlefield and hopes robots won’t take over
before an FF Tactics sequel is released.
Patrick Holleman (PNH) writes books about
the historical development of video game
design. No, he does not know why, either.
www.thegamedesignforum.com
Petr Hanák (PE) is a Dračí Doupě gamemaster
that just had to create his own game system
for the party. Secretly hoping to finish it and
shatter the ADD supremacy.
Prime Junta (PJ) has a thing for systems,
worlds, and stories, and thinks RPGs on
computers and off them are the coolest
way we know to bring all of them together.
Reggie Carolipio (RE) has been trying not to
walk and turn in 90° angles or (A)ttack stray
monsters without armour since the 80s.
Ricardo Regis (RI) learned to love CRPGs as
a child, while he fantasised everything that
happened during tabletop RPG matches
with his friends.
Richard Cobbett (RC) just wants everyone
to stop with the bloody giant spiders already.
Unless there’s an equally giant can of RAID.
Richard Mitchell (RM) got his CRPG start
with Ultima on the C64 in 1988. He would
like to say it’s been all downhill ever since but
Star Wars and comic books would disagree.
Rob Parker (RP) studies interactive fiction
and roguelikes, Managing Editor for First
Person Scholar.
Rob Taylor (RT) has been hanging out in
Waterdeep tavern, enjoying the vibe, since
1991. He was a professional games journalist
in another life.
Robert Bailey (RB) is an RPG Watch member
who still plays C64 RPGs and goes misty eyed
upon reflecting on the games which got him
started on this grand adventure.
Rod “TronFAQ” Rehn (RTR) has a dumb
nickname that he’s now stuck with, and
somehow went from writing FAQs to
making mods for one of his favourite games.
Rogueknight333 (RK) had a hard time
finding the old school RPGs he loved,
so decided to use the Neverwinter Nights
toolset to make his own, resulting in the
ongoing Swordflight series.
Romanus “ZZ” Surt (ZZ) played shooter
games before stumbling upon Akalabeth
and Mordor.
Ryan J. Scott aka “Zombra” (RJS) is neither
zombie nor zebra, but enjoys certain
qualities of both.
Ryan Ridlen (RR) Hooked on RPGs since
Betrayal at Krondor. Loves story-driven games
and turn-based tactical combat.
Scorpia (SC) is still crazy (gaming)
after all these years. Sometimes, she
wishes we were still in the 8-bit era.
Scrooge (SR) got into computer gaming
relatively late, being a part of the console
crowd before. Since then she loves soaking up
everything that’s turn- and party-based.
Shamus Young (SY) is a programmer, an
author, and nearly a composer. He just won’t
shut up about video games.
Shanga@Bearpit (SH) Cuddly fierce bear
who doesn’t like to share his food, but would
gladly starve and let you eat it all if you’re a
nice person.
Silver Girl (SG)
Sitra Achara (SA) spelunking in Temple of
Elemental Evil files since 2006, has yet to be
eaten by a grue.
SniperHF (SD) started playing RPGs on
completely opposite ends of the spectrum
with Fallout and Diablo. He has been addicted
to the genre ever since.
SuicideBunny was due to help with the book,
but the universe had other plans. RIP, bro.
Suzie Ng (SN) CRPG enthusiast since Baldur’s
Gate II, enjoys party-based games with good
NPC interactions, and dreaming of getting
involved in mod development.
‘Tatty’ Waniand (TW) would spend her
perfect Sunday coding, reading books that
aren’t related to work, and daydreaming
about gore and games.
Thiago Fernandes dos Santos (TF) has always
loved RPGs and fighting games.
Thomas Henshell (TH) always read the
manual before playing the game. Always.
Patiently awaiting manuals to make a
comeback.
Thomas Ribault (TR) can’t stop talking with
his hands. He loves CRPGs so much that he
is writing a PhD about them.
Théo“Izual”Dezalay(IZ)wroteawholebook
aboutFallout,whichmeansheobviouslymade
allthewrongchoicesinhislife.
Tilman Hakenberg (TI) has managed to trick
everyone into thinking he’s some kind of
writer, but doesn’t really know what he’s doing.
Tim Cain (TC) has been making video games
since before it was cool. You know, like in
the 80s.
Tonya Bezpalko (TAB) loves stats that turn out
to do nothing when you look them up later,
and other antique design elements.
Trevor “Trooth” Mooth (TM) is a self-
proclaimed authority on roguelikes, and has
been gaming and writing since before you
were born.
Vadim Keilin (VK) is a scholar whose
academic job gives him the perfect excuse
to play games - because, you know, research.
VioletShadow (VS) would like to be a
figure skater in the next life. In this one, she
frequents questionable forums and plays
Bloodlines.
VladimirSumina(VL)grewupplaying
adventuregames.ThenhediscoveredCRPGs,
whichshoweredhimwithanabundanceof
choices,andhesoonrealisedthatblowingup
adoorcanbejustasfunasunlockingit.
Werner Spahl (WS) is an analytical chemist
who never would have thought that fixing a
game is sometimes more fun than playing it.
Wojtek “Mico Selva” Misiurka (WM) is a
failed fan-fiction writer turned world-class
time waster, with an ever-growing backlog
of stuff to do.
Zed Duke of Banville (ZD) has been playing
CRPGs since 1986. Although he now
reluctantly plays games on IBM PCs and
consoles, he spends his spare time building a
time machine so that he can travel back and
establish Amiga world domination.
14
14
15
H
ere we feature a guide to using this book
and an FAQ on how to play older CRPGs,
followed by a selection of articles about older
hardware, game history and CRPG trends.
Several writers contributed here. The first article
is from Jay Barnson, developer at Rampant Games
and prolific writer, full of insights into the RPG genre.
The second comes from Michael Abbott. He’s a
game design professor and used to write for the Brainy
Gamer blog/podcast. He writes about his experiences
teaching about older games to new generations.
Next we have Scorpia, the anonymous legend of
gaming journalism. She was the CRPG expert for the
Computer Gaming World magazine during the 80s
and most of the 90s. Until 2009 she posted at Scorpia’s
Gaming Lair, but has unfortunately retired. Still, she
was kind enough to contribute with an article and a
couple of reviews for this book.
Finally, Craig Stern, creator of the Telepath RPG
series and the Messiah board game, who wrote an
article on the distant origins of RPGs.
Articles
 Guides
The map for Might
and Magic IV: Clouds
of Xeen, by artist
Michael Winterbauer.
15
16
T
he goal of this book is not only to gather,
preserve and share the history of CRPGs,
but also to help people find hidden gems or
experience classic titles for the first time. The games
are listed in chronological order, starting in 1975, but
feel free to start right at the end and slowly come back
if you wish, or jump to your favourite title and explore
what was going on at the time.
The book contains over 400 CRPGs – some of
them legendary classics, others just curiosities – but
even the worst game included here has something
interesting to offer, be it a great concept that was
poorly executed or just some insight into the reasons
behind the game’s shortcomings.
If you’re new to the genre or haven’t played many
older RPGs, here are some tips to help you:
SAVE OFTEN!! Auto-saves and checkpoints weren’t
common until the 2000s, so remember to save often
or you might suddenly lose hours of progress. There’s
no shame in saving after every battle – ignore those
who say “save-scumming ruins the challenge”, as really
challenging games will limit your saves when needed.
Start slowly. Games like Wizardy I, Ultima IV and
Pool of Radiance are all-time classics, but going from
modern games to one from the 80s is a shock – there’s
nomousesupport,interfacesareterrible,somefeatures
aged badly and you’re expected to take notes and draw
maps. Starting with them might frustrate you.
Dungeon crawlers are great for beginners. Games
like Eye of the Beholder, Lands of Lore, Anvil of Dawn
and Dungeon Master were designed to be accessible
– they aged very well, have mouse support and a well-
done difficulty curve – they start slowly but become
very challenging by the end.
Suggested starting points:
– 1980s CRPGs: Dungeon Master, Phantasie,
Wasteland and Quest for Glory.
–1990sCRPGs:MightandMagicVI,Fallout,Baldur’s
Gate, Betrayal at Krondor, Star Control II, Diablo,
Quest for Glory: Shadows of Darkness and System
Shock 2.
– 2000s CRPGs: Deus Ex, Morrowind, Wizardry 8,
Diablo II, Gothic, Geneforge, Dragon Age: Origins,
Valkyria Chronicles and Star Wars: Knights of the
Old Republic II - The Sith Lords.
– Roguelikes: Dungeons of Dredmor, Tales of
Maj’Eyal or Stone Soup: Dungeon Crawl.
Above all, remember to have fun. Some games may
take a while to get going, but continuously forcing
yourself to play something you’re not enjoying will
only result in burnout.
Using this book
17
DOS,Apple,C64,Amiga...WhichversionshouldIplay?
The DOS versions are usually the most common;
they are often available on GOG.com and have a
powerful and easy-to-use emulator: DOSBox.
The Commodore Amiga version of some games
released between 1985 and 1990 had much superior
graphics and sound, but getting the Amiga emulators
to run can be slightly more complex.
For titles released before 1985 the Apple II versions
are usually the best alternative, as the AppleWin
emulator is extremely easy to use.
What should I keep at hand while playing?
I strongly advise to always play RPGs with a pencil
and paper nearby for note-taking and map-making.
The manual is important for checking rules, but
some RPGs also use it as a spell book, requiring you
to type the name of each spell when casting.
Also, most 80s RPGs had a Quick Reference Guide,
with all the game’s commands in one handy list. They
are extremely useful and I suggest printing it.
Should I read the manual before playing?
That’s expected for most pre-90s RPGs, as they
provide little to no in-game tutorials and creating a
character requires familiarity with the game’s rules.
Moreover, games like Ultima IV have amazing
manuals explaining the world and its lore, and that
knowledge might be required during play.
Should I take notes?
Quest logs weren’t common until the late 90s and
older RPGs often have keywords, passwords or even
entire magic rituals you need to know to beat the
game – these might be mentioned just once during a
dialog, so be sure to note them down!
Should I draw my own dungeon maps?
That’s part of the intended experience in most
old-school dungeon crawlers. Designers would add
teleporters, spinners, dark areas and other traps to
confuse players and challenge their map-making skills.
If you don’t want to use a pencil and grid paper,
there’s great software such as Grid Cartographer. Some
games also have their own fan-made mapping tools,
such as Eye of the Beholder’s The All Seeing Eye.
Should I re-roll my character’s stats?
In games such as Wizardry, stats determine which
class your character can choose. For example, in
order to become a Thief your character needs at least
11 Agility, so you’ll have to re-roll until you get that.
Others, like Baldur’s Gate allow you to pick a class
regardless, but a poor stat roll can leave you with a
weak character. So, again, carefully read the manual.
I’m afraid my characters will suck. What can I do?
Indeed, creating a bad character in some older
RPGs can make progress extremely difficult – or
sometimes impossible.
If you read the manual but still feel insecure, do an
online search for recommended parties for beginners.
You can copy them entirely or just take hints, and that
will help you avoid hitting a wall hours later.
I can’t get a game to work, what now?
Visit the PC Gaming Wiki, an amazing wiki that
helps players run and optimise all kinds of PC games.
If you can’t find the game or the issue you’re having,
try checking the Vogons forums.
FAQ
18
I
’m going to make a confession. This is a big one,
coming from a designer of an “old-school style”
CRPG, and from a guy who’s constantly harping
on about the joys of old-school gaming.
I don’t know what the hell “old-school” means.
Sure, I was there playing these old classics when
they were new, and I still play some of them today
(Hey, I just re-played Ultima III a few months ago!)
I remember clearly when The Bard’s Tale was the hot
new thing. I was reading “behind the scenes” articles
in magazines and books when the big players
of the era seemed like they’d be pumping out
RPGs until the end of time – yet are now long
shuttered. I’ve chatted with some of these
guys at length at GDC (back when it was
called CGDC, even). But that doesn’t mean I
know what I’m talking about.
Sure, I’ve got my own little pet ideas,
but they apparently conflict with other people’s ideas,
so apparently I don’t really understand what it means.
That, or old-school is in the eye of the beholder.
Take, for example, turn-based vs. real-time.
Action-based, “real-time” RPGs have been with us for
a very, very long time. I like to refer back to Gateway
to Apshai, published in 1983 (yeah, over a decade
before Diablo), which was pure action-arcade-RPG.
You had the trappings of an RPG, gathering loot and
gaining levels as you used the joystick to do action-
based battle against pixelated bad-guys.
We can also go back to Ultima III or Telengard,
two of the earliest CRPGs I ever played. These were
“real-time turn-based” if that makes any sense. You
had time limits to choose your actions. Worse, the
only “pause” command was getting into some input
loop where the games were asking for additional
details or confirmation of your action.
So really, as far as I’m concerned, and as much as
I like to refer to “turn-based” games as “old-school”,
the truth of the matter is that both have been with us
about as long as we’ve had commercial CRPGs.
There’s absolutely nothing inherently new or
improved or better about action-based gaming. And
there were absolutely no technical limitations pre-
venting RPGs from being real-time / action-based –
there were lots of Action RPGs back then.
Variety runs the gamut. Perspective? We had top-
down, first-person, isometric, side-scrolling,
hybrids, and variations like crazy. Even games
that changed perspective when combat started.
Complexity? You’ve got dirt-simple
titles from back in the day that make the
most “dumbed-down” modern offerings
seem like piloting the space shuttle by
comparison.
And then you have some pretty awesomely
over-the-top tactical stuff, like SSI’s Wizard’s Crown.
And humongously detailed systems with tons of
dynamic-generated content and gazillions of factions,
like Daggerfall. And everything in-between. Old-school
games had you exploring a single, open-ended
dungeon. Or an open-ended world. Or led you along
a very constrained path, level-by-level.
We can’t even agree about a time-period for “old-
school”. Maybe it’s my age, but I still have a tough time
thinking of any game published in a year that begins
with a “2” as “old-school”.
It’s like, you take the history of commercial
computer games, which for me begins around 1979,
and mark it at the halfway point between then and
now – which would be about 1996 – and set that as
the “old-school” demarcation.
What is an
Old-School RPG?
by Jay Barnson
I don’t know
what the hell
“old-school”
means.
19
Yeah, I’ll give it a little bit of extra slosh, but I
have a tough time thinking of a game like Oblivion
as old-school. Friggin’ kids. Plus, as I’m still playing
older games for the first time (I just recently finished
Star Wars: KotOR II), I have a tough time thinking of
some of these games as being all that old.
When I talk “old-school”, I tend to talk about
classic games that I personally played, which included
some classics as well as some stinkers. Back then, I
didn’t worry about whether Al-Qadim: The Genie’s
Curse was a “real” RPG or not. Hardly anybody
worried about that until the “boom” of RPGs hit its
peak in the early 90s and then started contracting.
Sure, you occasionally had an article explaining
the difference between the two popular genres, RPG
vs. Adventure. How quaint that seems now. Really – it
was all good. Except when it was bad. When did we
start worrying so hard about what box we fit these
games into, anyway? And how did that happen?
So you wanna know what “old-school” means?
Maybe it means all the amazing variety of game styles
that used to be sold but are no longer “in vogue”
amongst mainstream publishers.
Instead, they’ve narrowed their scope down to
just a tiny handful of crowd-pleasing styles that they
keep trying to perfect. But as the whole “mainstream
publishing” thing is also losing relevance (at least
for PC development), I don’t even understand how
important that really is anymore.
I’m still going to refer to some of the things I
do as “old-school,” but like the word “indie” it’s really
just a poor shorthand to potential players to reset
expectations. But old is the new new. Or something
like that.
But really, I still don’t know what the hell I’m
talking about.
March 18, 2013
Jay Barnson has been playing video games since
Pac-Man and Wizardry were hot stuff, and has been
creating both indie games and top-shelf “AAA” retail
games for over a decade.
Al-Qadim: The Genie’s Curse, RPG or not? No one cared.
The awesomely over-the-top Wizard’s Crown.
Ultima III imposed time limits on your decisions.
Gateway to Apshai: action-based battles back in 1983.
20
P
ortcomparisonsintoday’seraofmulti-platform
releases usually amount to small differences,
such as slightly better visual effects, a slightly
smoother frame rate or slightly higher resolution,
especially when comparing Sony’s and Microsoft’s
consoles. PC ports might have more nuances, such as
4K resolution, additional options like Field of View
and support for mods.
Still, it’s a far cry from the 80s, when dozens
of wildly different platforms were fighting for
consumers’ preference, each with its own hardware
particularities. Even basic elements like colours or
sound were up for grabs – a 1986 Macintosh had a
sound card but could only render black and white
images, while an IBM PC from the same year could
display colours but its only sound was beeps from its
internal speaker.
Even among computers with colour there was a
wide range of colour pallets and limitations. The blue
of a Commodore 64, an Amstrad CPC and a NES had
completely different tones, often making art designed
for one hardware look weird on the other.
Then you had deeper differences: some
computers used cassette tapes, others 5¼-inch or 3½-
inch floppies. Some had mouse support, others didn’t
even have a hard drive. Plus all the variations in speed
and capacity of each hardware.
Another factor was the time difference between
ports. Dungeon Master was released for the Atari ST
in 1987, for the Amiga in 1988 and was only ported to
MS-DOS in 1992. Some companies would update the
ports as time went by, so the original 1985 release of
Phantasie for the Commodore 64 had crude graphics
and clunky UI, while the 1987 Amiga version uses a
new, colourful art and has mouse support.
This style of game porting would continue
until the early 2000s, when several factors such as
the massive popularity of consoles, the economical
struggles of PC developers, the market dominance
of a few giant publishers and the arrival of the Xbox
pushed all games towards multi-platform releases.
For players wondering what’s the best version
of older games, the MS-DOS versions are usually
the easiest to find and run – they are often available
on GOG.com and have a powerful and easy-to-use
emulator: DOSBox (the DOSBox Daum build offers
more options, while DFend has a friendly interface).
The Commodore Amiga version of some games
released between 1985 and 1990 had much superior
graphics and sound, but getting the WinUAE Amiga
emulator to run can be slightly more complex. You
can also try the Amiga Forever emulator – it’s paid,
but comes with pre-configured setups.
For titles released before 1985, the Apple II versions
are usually the best alternative, as the AppleWin
emulator is extremely easy to use and you can also
play online at Virtual Apple II.
The following pages will show some comparison
between several ports of a same game, to give you an
idea of just how different they could be.
Ports:
Far beyond resolution and FPS
by Felipe Pepe
21
EGA (16 colours) VGA (256 colours)
CGA (4 colours)
EyeoftheBeholder
DOS (EGA Mode)
Commodore 64
Apple IIGS Atari ST
Amstrad CPC
Commodore Amiga
DefenderoftheCrown
DOS (CGA Mode)
Macintosh NES
Defender of the Crown (1987) was designed to show the Amiga’s graphical power, and while its 16-bit rivals
– the Apple IIGS and the Atari ST – could display a very similar image, they still lost some of the finer details.
The comparison also show some peculiarities of each machine, such as the C64’s darker colours.
Even playing in the same platform could result in very different experiences. SSI’s Eye of the Beholder (1991)
was released for MS-DOS with gorgeous VGA graphics, but it also supported older graphics cards. While those
playing today on emulators or GOG’s re-release usually default to the superior VGA mode, back then players
with older machines had no choice but to play in EGA or even CGA mode.
22
PlayStation (1995)
DOS (1992) Windows (1996)
WizardryVII:CrusadersoftheDarkSavant
Not all re-releases and later ports are improvements. Wizardry VII received a Japan-only remake for the
PlayStation, but the fully 3D graphics aged much more poorly than the original’s pixel art. Worst yet was Wizardry
Gold, a re-release of the game for Windows and Mac that added many bugs, blurred pixels, inconsistent art
style and only ran in a window. In this case, just stick to the original release.
TheBard’sTale
The Original Bard’s Tale for the Apple II was an impressive graphical feat since, until then, dungeon
crawlers like Wizardry all used wire-frame graphics. However, the Amiga version, released just a year later,
added mouse support and had a massive leap in graphical quality, overshadowing previous versions. Still, the
high cost of the 16-bit computers meant ports for weaker but cheaper machines like the ZX Spectrum and
Amstrad CPC would still be produced in the following years.
Macintosh (1990) PC-9801 (1988)
DOS (1988)
MightandMagicII:GatestoAnotherWorld
Combat in most versions of Might and Magic II is very similar, using keyboard controls and showing
only one enemy at a time. The Mac version, however, is fully mouse-driven and uses the Mac’s GUI to display
multiple windows at a time. While slick, many players find that managing a party of six characters is much
easier with the keyboard’s hotkeys. The Japanese PC-98 port is also mouse-driven, but instead of multiple
windows it has an entirely different combat screen, which shows the party and the enemies.
Commodore Amiga (1986) ZX Spectrum (1988)
Apple II (1985)
23
The PC Engine
remake was
ambitious, with
character design
by Yoshikazu
Yasuhiko,
a famous
Japanese artist,
and soundtrack
by Joe Hisaishi,
known for its
work on Studio
Ghibli movies.
NES port (1990)
PC-8801 port (1987)
DOS port (1987) Macintosh port (1987)
PC Engine remake (1991)
Apple II original release (1986)
MightandMagicI-CombatComparison
Might and Magic I was first released on the Apple II. The DOS port arrived later and it’s very faithful, just
changing some colours and fonts. The Mac port, however, makes full use of the machine’s mouse support and
high-resolution (albeit monochrome) graphics, introducing a vastly superior interface. The Japanese machines
were much better at handling colours, so their versions have the best visuals among PC releases.
The NES port has some drastic changes – the interface is menu-based, a mini-map was added and graphics
are much better, making it arguably the best version available in English. Finally, the PC Engine version is
actually a remake. Adapted to Japanese audiences, it features a cast of six fixed heroes, a fancy intro sequence,
adds an on-screen mini-map and it’s fully voiced. Sadly, it was only released in Japan.
DOS port (1987) Macintosh port (1987)
Apple II original release (1986)
MightandMagicI-ExplorationComparison
NES port (1990)
PC-8801 port (1987) PC Engine remake (1991)
24
Unplayable
by Michael Abbott
O
ne of my most satisfying moments as a
teacher came two years ago when 15 students
overcame their resistance and disorientation
and embraced the original Fallout. I wrote about that
experience, and since then I’ve continued to challenge
my students with games that fall well outside their
comfort zones: arcade classics (e.g. Defender);
interactive fiction (e.g. Planetfall); and early dungeon
crawlers (e.g. Rogue).
But I’ve noticed a general downward trajectory
forming over the last six years or so. Gradually my
students have grown less and less capable of handling
one particular assignment: Ultima IV.
To be sure, they struggle with a game like
Planetfall, but when they finally learn the game’s
syntax (and heed my advice to map their progress),
it’s mostly a question of puzzle-solving. Defender
knocks them down initially, but they soon apply the
quick reflexes they’ve developed playing modern
games, and they’re fine.
Ultima IV is another story. Here’s a sampling of
posts from the forum I set up to facilitate out-of-class
discussion of the game:
“I’ve been very confused throughout the entire
experience. I’ve honestly sat here for hours trying
to figure out what to do and it just isn’t making
much sense to me right now.”
“When I start a game I like to do it all on my
own, but it’s been impossible to do so with Ultima.
I’ve asked friends for help, looked up FAQs/
walkthroughs, and even searched for Let’s Play
Ultima 4 on Youtube and I am still uncertain as to
how to get further in this game.”
“Yeah, I still have no idea what the main goal is. I
suppose it’s to basically find out what the purpose
of the Ankh is. But I see no way of furthering that
goal.”
“I tried for a while without any walkthroughs to get
the full gamer experience sort of thing and within
the hour I gave up because of a combination of
bad controls and a hard-to-get-into story for me at
least. It reminded me of a bad RuneScape.”
“I don’t quite understand the concept of the game.
I believe my main confusion is the controls and
how it displays what you have done and how you
moved. I’m not used to RPGs and I don’t like them
too much. I hope to find out how to move forward,
but so far no luck.”
“How the hell do I get out of here after I die?”
They had five days to play U4, and I asked
them to make as much progress as they could in
that time. When we gathered to debrief in class, a
few students explained how they’d overcome some
of their difficulties, but the vast majority was utterly
flummoxed by the game. As one of them put it, “I’d say
for gamers of our generation, an RPG like Ultima IV
is boring and pretty much unplayable.” After removing
the arrow from my chest, I asked them to explain why.
It mostly came down to issues of user interface,
navigation, combat, and a general lack of clarity about
what to do and how to do it. I had supplied them
with the Book of Mystic Wisdom and the History of
Britannia, both in PDF form, but not a single student
bothered to read them. “I thought that was just stuff
they put in the box with the game,” said one student.
25
“Yes,” I replied. “They put it in there because they
expected you to read it.” “Wow,” he responded.
Some of their difficulties must be chalked up
to poor teaching. I should have done a better job of
preparing them for the assignment. I resisted holding
their hands because in the past I’ve found it useful to
plop them down in Britannia and let them struggle.
Figure out the systems, grasp the mechanics, and go
forth. Ultima IV may be a high mountain to climb for
a 19-year-old Call of Duty player, but it’s well worth
the effort.
At least that’s what I used to think. Now it seems
to me we’re facing basic literacy issues. These eager
players are willing to try something new but, in the
case of a game like Ultima IV, the required skill set
and the basic assumptions the game makes are so
foreign to them that the game has indeed become
virtually unplayable.
And as much as I hate to say it - even after they
learn to craft potions, speak to every villager, and take
notes on what they say – it isn’t much fun for them.
They want a radar in the corner of the screen. They
want mission logs. They want fun combat. They want
an in-game tutorial. They want a game that doesn’t
feel like so much work.
I’m pretty sure I’ll continue to teach Ultima IV.
The series is simply too foundational to overlook, and I
can develop new teaching strategies. But I believe we’ve
finally reached the point where the gap separating
today’s generation of gamers from those of us who
once drew maps on grid paper is nearly unbridgeable.
These wonderful old games are still valuable, of
course, and I don’t mean to suggest we should toss
them in the dustbin.
But if we’re interested in preserving our history
and teaching students about why these games matter,
a “play this game and sink-or-swim” approach won’t
work anymore. The question for me at this point is how
to balance the process of learning and discovery I want
them to have inside the game with their need for basic
remedial help.
I love great old games like Ultima IV, but I can
no longer assume the game will make its case for
greatness all by itself.
September 22, 2010
Michael Abbott writes and hosts the Brainy Gamer
blog and podcast, devoted to video games
and the community of gamers.
Two pages
from Ultima IV’s
‘History of Britannia’
booklet that came
with every copy
of the game.
26
M
any gamers today take auto-mapping for
granted. Very likely, they couldn’t imagine a
product without it. We of the (cough) “elder
generation”, however, know otherwise. Those who go
back to the “golden era of gaming” remember well,
perhaps all too well, the joys of manual cartography.
I learned my lesson fairly early. It wasn’t long, as
I wandered in the mazes of Colossal Cave and Zork,
before I realised that random scraps of paper or sheets
stolen from the printer just weren’t going to do the job.
It was time to get professional about this. I bought a
stack of graph paper, a package of pencils, and that
most important item, a blister pack of erasers.
Actually, mapping out the adventure games
usually wasn’t too bad. Aside from an occasional nasty
trick or mean maze, they were pretty straightforward
and, most importantly, nothing was out there waiting
for lunch. RPGs, however, were quite another matter.
Despite being on mere 8-bit machines, the RPGs
were big, and seemed all the larger because mapping
was a very slow process. There you were (or I was),
carefully pencilling in one step at a time, and there
all the critters were, ready to pounce and rip out your
heart, lungs, and assorted other organs for appetizers.
In no time at all, you were turned around, and
only twenty minutes later (if you were lucky), did
you realise your careful cartography was somewhat
inaccurate. It’s amazing how many erasers you could
go through mapping out just one game.
The prime example for huge was the first Might
and Magic. I still have my 50+ maps from that one. Yep,
that many. It seems incredible now, to look at those old
sheets, and ponder the time and effort needed to draw
the maps, one step at a time.
There was one saving grace, though: the dungeons
were all standardised, being the same size and shape.
Naturally, size was different in different games, but
if you were doing MM, you could count on each
outdoor area, each town, each dungeon level, being
the same 16×16 square.
Of course, that meant 256 happy little steps
per section, each one carefully mapped. With notes,
naturally, on where things were found, where traps
were, where messages appeared (and what they said),
and so on. And fighting off monsters galore almost
every step of the way (it’s odd how Monsters Galore
showed up in every RPG; busy little critter!).
While Might and Magic was the most excessive
in terms of mapping, other games weren’t far behind.
The Bard’s Tale, for instance, required a fair amount
of cartographical effort, though it featured a mere
one town and no outdoors. Seventeen maps for that
one, each a generous 22×22 in size, and our friend,
Monsters, waiting for us everywhere.
I don’t know if it’s possible to adequately convey
what it meant to map-as-you-go. This was work, real
work. OK, you knew the size of the dungeon, drew it
on the graph paper, numbered the sides, and usually
knew your starting point. Say it was X3, Y5; here were
the stairs out. Everything else was unknown.
Cartography
by Scorpia
Some companies,
such as Sir-Tech
and New World
Computing, would
even include graph
paper sheets in
their games’ boxes.
27
So you started off, taking a step, drawing lines on
your map, and hoping against hope that you hadn’t
just stepped on a spinner that turned your merry
band in another direction, or worse, an undetectable
teleporter that just sent you halfway across the
dungeon without you realising it.
Beyond that, there were nasty little places where
everyone took damage as they walked through,
where magic was suppressed, where it was totally
dark, where you could walk into pits or chutes, or any
combination of the foregoing. And remember, our pal
Monsters was there, too, practically every other step.
Yet we persevered. We mapped. We fought.
We erased. We screamed and cursed and muttered
(maybe louder than muttered) imprecations against
the evil designers. Then we mapped and fought and
erased and screamed some more.
We could take it. We were tough. We were
dedicated. We were hardcore gamers. We were
masochists. Nothing else could explain why, the
moment a game was finished, we put aside the old
maps, reached for a fresh sheet of paper, and started
on the next RPG.
It’s a pity there was no Game Scouts of America
to hand out merit badges for Cartography. Not one
of us earned one, and we still have the calluses to
prove it.
Ah yes, the golden age of gaming. It many ways,
it was a good time. But y’know, there are some things
about it I don’t miss at all…
Copyright © 2006 Scorpia. Reprinted by permission.
Scorpia is one of the most fondly remembered
game journalists. From the 80s through to April ’99, she
was a lead reviewer of, and hint giver for, adventure
and role-playing games at Computer Gaming World
magazine. Scorpia also ran game-related areas on
Compuserve (the original GameSIG), Delphi (GameSIG),
AOL (Scorpia’s Lair), and GEnie (Games RoundTable).
A map from
Bard’s Tale, filled
with spinners
and dark areas.
Be glad it isn’t a
teleporter maze.
28
From Prussia with love
The origin of RPGs
by Craig Stern
C
omputer RPGs began to appear in the 1970s,
more or less contemporaneously with the
arrival and popularisation of pen-and-paper
role-playing games – which are themselves the
children of historical wargames. Thus, the CRPG has
only been around for a few decades – but its history
reaches all the way back to the 1800s.
Baron von Reisswitz is credited with creating the
first true wargame – that is, a game meant to simulate
battles with a certain degree of fidelity, and not merely
a chess derivative. Created in the early 1810s, this
game went by the name Kriegsspiel (meaning “War
Game” in German). It featured units actually in use
by the military of the day, and was meant to simulate
battles. Character creation was a matter of faithfully
emulating the real-world characteristics of the units
those pieces represented, then using die rolls to
simulate unforeseen factors in resolving combat.
Von Reisswitz’s son created a revised version of
the game in 1824. The revised Kriegsspiel paid such
close attention to accuracy that the Chief of Prussian
General Staff recommended it as a military exercise;
the King of Prussia, in turn, actually ordered that
every regiment of the army be supplied with a copy.
In 1876, Colonel Julius Adrian Friedrich
Wilhelm von Verdy du Vernois produced a third
version of Kriegsspiel. Vernois was suspicious of the
idea that military outcomes could be predetermined
according to fixed rules, and replaced die rolls with
the mediation of impartial “umpires” who would
determine the outcomes of various engagements
based on their knowledge and experience (yes, the
first Dungeon Masters were Prussian military men
from the 1800s).
The American military began putting out its
own wargames around this time, with Jane’s Fighting
Ships following suit across the Atlantic in 1898.
Like Kriegsspiel, Jane’s Fighting Ships spelled out
the characteristics of the game’s numerous units in
astonishing detail. (Google Books has a digitised copy
of the rulebook online, so you can see for yourself just
how intricate this got.)
Even H.G. Wells, the renowned writer, got in on
the action, producing Little Wars in 1913. The rules
of Little Wars were far simpler than those of other
wargames, but it generally followed the practice of
simulating large-scale battles, with the characteristics
of different unit types decided rigidly according to the
type of troops each unit represented.
It wasn’t until the early 1970s that wargames
started delving into the idea of individual men and
women as units. The games that did this eventually
became known as “man-to-man wargames” (not
to be confused with Steve Jackson’s ruleset of the
same name). It may seem obvious to us now, but
this focus on individual men and women was such
a radical departure from wargaming tradition that it
wouldn’t be mentioned in the rules for Gary Gygax’s
Chainmail until 1971, three years after Chainmail’s
initial publication.
In 1811, a special
table full of drawers
was made so that
King Wilhelm III could
play Kriegsspiel.
The table is still
around, kept at
the Charlottenburg
Palace in Berlin.
29
Even then, it seems the man-to-man rules in
Chainmail were largely an afterthought, relegated to a
mere two pages out of the entire 44-page book. There,
too, character creation remained a matter of looking
up prefabricated unit values in a table.
Things changed dramatically with the publication
of Dungeons  Dragons in 1974. It retained many of
Chainmail’s rules, centring character creation around
selecting from three main classes of characters:
Fighting Men, Magic-Users and Clerics.
However, before selecting a class, DD first
had players roll three six-sided dice to determine
abilities: Strength, Intelligence, Wisdom, Constitution,
Dexterity, and Charisma. These would, in turn, impact
how well-suited the character was to a given class,
imposing bonuses (or penalties!) based on their
chosen class’s primary statistic.
This wholly upended the method of character
creation that had prevailed up until that point.
Statistics were no longer determined by class: instead,
characters got statistics, and only then chose a class
based on which roles the statistics made available
to them. This approach would form the basis of
numerous classic computer RPGs.
RPGs continued to diverge from wargames as
the genre developed, and so too did their character
creation systems. With increased focus on unique,
individual characters came an increased focus on the
abilities and limitations of each individual character.
At their peak, these considerations would come to
supplant the notion of character class entirely.
Published in 1986, Steve Jackson’s GURPS
represented a coming of age for skill-based RPG
systems. GURPS characters have no classes at all –
rather, they have four primary attributes and a huge
variety of skills that can be levelled independently of
one another.
In a way, this represented the zenith of the
individual-focused approach to character creation.
All vestiges of the old system were gone: in the skill-
based paradigm, characters became unique, fully
realised individuals rather than mere instances of a
uniform military unit to be used in battle simulations.
This approach became quite popular among
pen-and-paper role-players, not just with GURPS,
but later with the RPGs published by White Wolf,
such as Mage: The Ascension and Vampire: The
Masquerade. GURPS would strongly influence the
SPECIAL. ruleset eventually used in the Fallout
series; and Vampire: The Masquerade’s rules would
form the basis for Vampire: Bloodlines.
But we’re getting ahead of ourselves here –
although pen-and-paper role-playing games would
directly influence CRPGs for many years, CRPGs
have a history all their own, beginning humbly with
the tinkerings of bored university students in the
mid-1970s.
Craig Stern is the founder of Sinister Design;
creator of Telepath Tactics and True Messiah:
www.truemessiahgame.com
Illustrated
London News
picture from
1913, showing
H. G. Wells at his
house, measuring
unit movement
with a string.
30
W
ith home computers being so omnipresent
in our daily lives, it’s odd to realise just
how recent a technology they are. It was
only in the mid-70s when home computers began to
appear – before that, all we had were giant machines
that would weigh tons and occupy entire floors.
Yet some of these computers were way ahead
of their time. The legendary “Mother of All Demos”
presentation, made by Douglas Engelbart in 1968,
shows him using a mouse and window-based GUI,
clicking on hyperlinks and chatting with a colleague
via video conference while co-editing an online text.
One of such avant-garde computer systems
was the PLATO (Programmed Logic for Automatic
Teaching Operations). Created in 1960, it was a giant
mainframe with user-friendly terminals designed to
teach university students via a series of virtual lessons.
The PLATO IV system, introduced in 1972, went
as far as to offer vector-based graphics, a touch-screen
interface and an Internet-like network, connected to
thousands of other terminals across the globe.
Students soon found that all this could be used to
create games as well, and titles like Empire (1973) and
Spasim (1974) began to appear. Empire is particularly
impressive: it is a game where up to 30 players battle
in a top-down space arena, shooting each other’s ships
and fighting to control the galaxy – all this in 1973!
When Dungeons  Dragons came out in 1974,
it unleashed the perfect storm: powerful computers,
bored programming students and a statistic-driven
game that was begging for automation. The result was
the birth of Computer Role-Playing Games.
Sadly, not all of them survived. PLATO was still
an educational system, so its administrators would
delete unauthorised games. As such, we lost all records
of m119h, the first CRPG ever made, created in 1974.
But its successors escaped – hidden under nondescript
names like pedit5 or saved by students, they were
played by thousands and influenced many later titles.
Thanks to the effort of Cyber1, a community
created to preserve the PLATO legacy, these early
CRPGs are still available and can be freely played.
However, keep in mind that some of them have been
updated since the 70s – Oubliette’s title screen even has
an ad for its iPhone remake – so they aren’t the exact
version people were playing back in the day, but they
still give us a good idea of how things were.
If you want to learn more about PLATO, I full-
heartedly recommend The Friendly Orange Glow: The
Untold Story of the PLATO System and the Dawn of
Cyberculture by Brian Dear (2017). While somewhat
light on the gaming side of things, the book is the best
resource available on PLATO and its influence.
The PLATO RPGs
A PLATO terminal,
with its distinct
orange plasma
display. By 1976
there were 950 of
these terminals
across the globe.
by Felipe Pepe
31
Created by Reginald “Rusty” Rutherford at the
University of Illinois, this the oldest playable CRPG.
Officially called The Dungeon, it was hidden among
the PLATO files under the name pedit5 to avoid being
found and deleted by the system administrators.
Despite its age, the game holds up quite well.
You start by typing a name. The game then rolls your
attributes – Strength, Dexterity, Constitution and
Intelligence – and you’re off to the dungeon.
Visually the game resembles a roguelike, although
it predates Rogue (1980). You explore a maze-like top-
down dungeon, searching for treasure and battling
monsters – if you die, your character is erased. Your
goal is to collect 20,000 XP and return to the entrance.
Succeed and your score is added to the Hall of Fame.
Thedungeonlayoutisfixedandhasonlyonefloor,
but it’s quite large and also features secret passages.
Random encounters will occur as you explore, with
the game prompting you to fight, cast a spell or flee.
There’s a surprising amount of depth here, with
16 spells available. These are a selection of classic
DD spells, such as Magic Missile (deals damage),
Invisibility (escapes combat), Cure (heals you) and
Charm (ends combat). Enemies even have different
spell resistances: you can’t use Sleep on an Undead.
As such, pedit5 is not only an important historical
artefact, it’s also a good game – especially for the time.
It’s a short dungeon romp with enough variety in
enemies and spells to sustain repeated runs in search of
high scores. It would take years until home computer
CRPGs could match this level of sophistication.
TheDungeon/pedit5(1975)
Despite trying to cleverly hide itself, pedit5 was
eventually deleted from the PLATO system (luckily, a
copy was saved by a student). In its wake came dnd,
created by Ray Wood and Gary Whisenhunt.
Since Wood was one of the administrators of
the PLATO system, his game was openly hosted
and enjoyed a long-lasting popularity, with constant
updates based on player feedback.
At its core, the game is very similar to pedit5,
but with more detailed character artwork, additional
monsters and spells, as well as a few extra features –
such as being able to re-roll your initial stats.
Initially the game only had one dungeon floor,
but the creators kept expanding it. Inspired by pinball
machines, they decided to add a high-score system.
Since players then began to just race to collect gold
and exit the dungeon, they decided to add an end goal:
to retrieve the Orb, which was guarded by the Dragon
– the first boss fight in a video game.
The creators later handed the reins to Dirk
Pellet, who kept on improving the game. He added
new magical items, potions, a bag for holding and
even an auto-fight feature when encountering weak
monsters. The most iconic item was the Genie Lamp,
which could be used to make a wish: you would
literally write a request to the game administrators,
who would read it and, hopefully, grant your wish.
All this additional content makes dnd much
more complex than pedit5, but also harder and longer.
Later versions of dnd had as many as 15 floors, with
any sense of balance thrown out of the window.
dnd(1975)
In 2012,
The RPG
Fanatic made
an extensive
video interview
with the dnd’s
creators. You
can watch it
here.
32
If dnd was the follow-up to pedit5, then Oubliette
is the follow up to Moria. Still a multiplayer game, it
expands upon it predecessor in almost every way.
Moria had four character classes by means of
the four guilds in town, but Oubliette expands that
to 15 races and 15 classes, each with its own stats
requirements! You have the usual Tolkien and DD
options, a few exotic ones like Ninja and Courtesan,
plus some taken from Lord Foul’s Bane, a high fantasy
novel written by Stephen R. Donaldson in 1977.
Oubliette begins at a large castle town on top of a
10-level dungeon, featuring several equipment shops,
a casino with gambling mini-games, a temple where
fallen characters can be resurrected (if their bodies
are retrieved by other players) and even a place where
you can purchase charmed monsters to take into the
dungeon and help you in combat.
Spellcasting was also expanded and now uses a
system of magic words. For example, in order to cast
the “Light” spell you have to type DUMAPIC.
By now, Wizardry veterans may be thinking that a
lot of that sounds familiar. Indeed, Andrew Greenberg
and Robert Woodhead were PLATO users and clearly
tookalotfromOubliette,whichledtomanycomplaints
of plagiarism from other PLATO users.
Oubliette would also greatly influence Mordor:
Depths of Dejenol (1995) and Demise: Rise of the Ku’tan
(1999). Very few games can claim to still be inspiring
successors more than 20 years after its release. For
those curious to try it, Oubliette had an iPhone and
Android version released in 2010.
Oubliette(1977)
Moria(1975)
Both pedit5 and dnd followed a similar structure,
but Moria was a radical departure. Possibly inspired
by Maze War (1973), Moria used wire-frame graphics
to display the dungeon in a first-person view.
Also, despite its name, the authors weren’t familiar
with DD or Lord of the Rings; they just played dnd
and decided to make something like it. As such, it
abandons DD’s traditional stats, enemies and spells.
Moria’s four stats – Cunning, Piety, Valour and
Wizardry – are based on a 0-100 scale and increase
with use. Each stat is also tied to a guild, such as Valor
being used by the Knights’ Guild. Instead of levelling
up by earning XP, you must join a guild and pay to
increase in rank, earning special bonuses as you rise.
All stats are useful in battle – Valour influences
your attacks and Wizardry is used to cast spells, but
Cunning is used to trick enemies into a critical attack
and Piety can destroy some enemy types. Money now
has a use, as stores offer dozens of weapons for sale
(you can even haggle). Just don’t forget to purchase
water and food rations, or you’ll die of starvation.
More importantly, Moria is actually an online
multiplayer RPG. The world is shared with up to
ten players, who can band together to form a party!
Moria’s world is absolutely massive, with a large city
and over 200 areas. The downside is that the game has
no real end goal and its areas are just empty mazes
filled with increasingly challenging enemies.
Extremely innovative, Moria is basically a giant
sandbox for players to meet, explore and grow in
power. Every MMORPG out there owes it a nod.
33
PLATO had a lot more than just fantasy RPGs.
Games like Empire showed that students had a passion
for spaceships, sci-fi tabletop RPGs like Traveller were
starting to appear and Star Wars (1977) had just come
out. Futurewar then was PLATO’s first sci-fi RPG.
The game sends players through time to the “far
future” year of 2020, where nuclear war destroyed
Earth and created an army of mutants. You start by
choosing a team – Americans, Guerrillas, Barbarians,
Martians or Cyborgs – each with its starting location
and bonuses. Then, you roll your stats and can choose
one of eight classes, such as Soldier, Medic, Spy and
Holy Man.
Futurewar is another multiplayer RPG based on
exploring dungeons, but it adds several twists such as
environmental hazards: you might step on a mine, or
be poisoned by a radioactive waste. It also includes a
radar, which can detect nearby players and enemies.
While still based on stats, with various different
weapons available, it’s also a sort of early FPS. When
combat begins, your gun appears on screen and you
must aim and shoot to hit. There’s a short time limit
for each turn, effectively making combat feel real-time.
Thus, in a sense, Futurewar was the first FPS/RPG
hybrid. Another novelty is having a soldier shooting
demons in real time (ish) inside a maze, which would
later appear in one of the biggest games of all time.
Of course, none of Doom’s creators had access to
PLATO, and even back in the 70s Futurewar wasn’t
a very popular game. But it’s interesting to see how
shooting demons always had a special appeal.
Futurewar(1977)
Avatar would be the last of the big PLATO games,
intentionally designed to surpass all previous RPGs on
the platform, drawing the best they each had to offer.
The game features 10 races and 11 classes, also
tied to guilds in town. Like Oubliette, you start at a
castle on top of a huge 15-level dungeon, but, instead
of having to walk around, the town is presented as a
menu (as Wizardry later did). Another similarity is
the many new hazards inside the dungeon, such as
pits, zones of darkness, spinners and anti-magic areas.
Enemies are also much more deadly, and able to cause
status effects, such as Poison, Sleep or Paralysis.
According to Richard Bartle, Avatar soon became
“the most successful PLATO game ever – it accounted
for 6% of all the hours spent on the system between
September 1978 and May 1985”. It was so complex it
had a staff of volunteers that helped run everything,
much like GMs in modern MMORPGs. This also
allowed for custom quests that required players to hunt
down certain monsters on a certain floor.
There are even reports of players bribing admins
to get powerful in-game items or resurrect their
characters after a failed spell teleported them into a
stone wall, as well as graduating players selling their
characters before losing access to PLATO.
Avatar was constantly updated over the years and
still lives on the Cyber1 servers. The latest version is
from 1995 and still enjoys some popularity.
Avatar(1979)
34
34
T
his is the meat of the book. Over the next 450
pages you’ll find information on over 400
RPGs, all written by fans, modders, developers
and journalists, listed in chronological order and
full of screenshots, quotes from its developers and
even mod suggestions. The idea is to serve both as a
timeline of the genre and a guide to help players get
the most out of their games.
This section is divided into several chapters,
each featuring a span of 5 years. These showcase the
events that happened during those years, plus add a
brief overview of the changes in the gaming world
during that period, giving context to the games and
the technological revolution that empowered them.
The Reviews
Lord British and the
Gargoyles read the
Codex of Ultimate
Wisdom, in Ultima VI:
The False Prophet.
35
36
1975-1979
The beginning
of the digital invasion
It’s no easy task to pinpoint the birth of video games. Tennis for Two,
created in 1958, is an often-cited starting point, while others name 1962’s
Spacewar! or 1950’s Bertie the Brain. All have their own merit.
Since the first surviving CRPGs were developed in 1975 for PLATO,
that will be the starting point of this book. Which is convenient, since the
second half of the 70s was when the video game revolution really took
off, spreading across home computers, video game consoles and arcades.
Consoles began to appear in 1972, led by the Magnavox Odyssey.
These were very crude machines, mostly only capable of running Pong
and other very similar games pre-built into the hardware.
The second generation of consoles introduced the concept of ROM
cartridges, allowing for companies to continuously develop new games
for their machines, much like today’s consoles. While it had a slow start,
the Atari 2600 would become a massive hit thanks to the arrival of classic
games like Enduro, River Raid, Pitfall and Space Invaders.
Computers, on the other hand, were still huge mainframes kept in
universities, large companies and research centers. Some smaller models
existed, but they were either prohibitively expensive or too slow to even
handle BASIC. This began to change with the Altair 8800.
Small, cheap (for a computer) and with enough power to be actually
useful, it sold thousands of units and was the first commercially successful
home computer. On its heels came the Apple II, Commodore PET and
TRS-80 – the famous “1977 trinity” of home computers.
While the Altair 8800 was made for hobbyists, these three machines
were built for mass production, aimed at nontechnical users. However,
althoughtheymuchmoreversatilethanagamesconsole,homecomputers
were expensive, extremely complicated to use and still struggled to offer
their users something other than very simple applications and games.
They were highly profitable, but still sold mostly to business, gamers
or hobbyists, and their popularity was relative – while the TRS-80 sold
200,000 units, the Atari 2600 sold 30 million units.
Computer games themselves were also little more than curiosities.
A few, rare commercial titles were sold inside ziplock bags, but most
came from technical magazines – they contained pages filled with BASIC
code that people would type in their computers, recreating the games.
Arcades were also still a small business, less popular than pinball
machines. They would grow steadily over the next few years, then explode
with Space Invaders in 1979, ushering in a golden age for arcades.
In five years, video games went from Pong to a rich ecosystem with
multiple genres, platforms and audiences. And this was just the start.
36
37
1975 1976 1977 1978 1979
Colossal Cave Adventure
(also know as ADVENT
or Adventure) is created by
Will Crowther on a PDP-10
mainframe. The first adventure
game ever, it also influenced
RPGs and roguelikes.
PLATO Games: Home computers were just appearing, but American universities had
large educational mainframes since the 60s. The most famous was the PLATO network,
which came to host several games made by students (hidden from system administrators).
Due to the mainframe’s power, these games often had innovative features far beyond
what an Atari 2600 or Apple II could offer. Empire, for example, allowed students from
campuses all over the US to join in online multiplayer battles way back in 1973!
Atari vs Activision: Atari was rigid with its employees – they weren’t paid much and
got no credit for the games they designed. Noticing how much money their games made,
a group of developers left the company and started their own, Activision, in 1979. Atari
sued them for developing games for the Atari 2600, but the court decided people could play
whatever they wanted on their consoles. Activision became the first third-party publisher
and opened the doors for others to do the same, setting the stage for the crash in 1983.
Trends:
BBS: Private systems like the PLATO network already allowed users to post messages
online, and the advent of home computers and modems soon brought that experience to
households as well. The first public BBS (Bulletin Board System) went online in 1978, hosting
discussions between computer hobbyists from Chicago. Over the years BBSs would grow to
offer all sorts of services, from online games to paid file hosting. They peaked in popularity
during the mid-90s, when they began to be replaced by the Internet.
Empire is a
multiplayer
turn-based
space game
made by John
Daleske in 1973.
Boxing, released
in 1980 for the
Atari 2600,
was one of the
first games by
Activision.
BBSs like ExecPC
were very popular
during the 90s and
allowed the sharing
of freeware and
shareware games
like Doom.
The TRS-80 computer arrives.
Created by Tandy, owner of
the widely available Radio
Shack electronic stores, it
outsold the Apple II for years.
The Apple II is the first mass-
market home computer. The
only among its early rivals
to have colours, it became a
popular games device.
The Altair 8800 is released.
An early pioneer, it was the
first commercially successful
home computer, proving that
there was a market for them.
The VHS (Video Home System)
began to be sold in the US,
competing against the Betamax
and the LaserDisc for the
emerging home video market.
VHS would win and remain
dominant until the early 00s.
Space Invaders is released.
A seminal classic, it greatly
popularised arcades and
video games in general.
Its Atari 2600 port was also a
hit, becoming the first game
to sell over a million copies.
The Atari 2600 is released.
By far the most successful
early games console, it sold
over 30 million units and
popularised the use of ROM
cartridges, allowing for an
extensive game library.
The Commodore PET is
released. The first model
was criticised for its small
keyboard, but subsequent
models were very successful.
The Intellivision arrives.
Created by toy giant Mattel,
it brought in better graphics,
licensed games and even a
voice module. It was the
Atari 2600’s biggest rival,
selling 3 million units.
The Atari 8-bit family begins.
A low-cost home computer,
it also had a cartridge slot for
games, making it a popular
gateway into computers.
38
T
here are old games, and there are ancient
games. Beneath Apple Manor is ancient.
Arriving in 1978, it was the first, or one of the
very first, RPG-like games for home computers. Yes,
personal computing goes back that far.
It could run in as little as 16K RAM (tape version)
or in 32K+ (disk version, which I had). Levels were
created on the fly as you went deeper in the dungeon.
Monsters were limited to five: green slime, ghost,
troll, purple worm, and red dragon. However, they
increased in power the further down you went.
Each had its own type of nastiness. Slimes could
dissolve armour. Trolls regenerated. Ghosts reduced
your Strength permanently. Worms could kill you in
one hit, as could Dragons, who had tough hides.
BAM could be customised, too. You chose
the number of rooms per level (4-7, depending on
RAM), the difficulty factor, and whether you wanted
black-and-white or colour graphics. With colour,
everything was a different coloured block.
I much preferred the ASCII black-and-white,
wherethemonsters(andplayer,too)wererepresented
by letters and treasure by $.
You had four stats: Strength, Dexterity, Body
and Intelligence. Fighting depleted Strength, so a
breather after combat was necessary to restore it.
Likewise, movement reduced Dexterity and spell-
casting lowered Intelligence. Resting brought those
back up, but only a Heal spell could restore hit points.
This was not a game of fast movement and rapid-fire
combat – caution was needed.
Experience was earned by killing monsters and
bringing treasure back to the main staircase – the
starting point of each level (it wasn’t marked on the
map, either, so you’d better remember its location).
There you traded points at 10 XP for 1 stat
point, increasing it permanently. Gold could buy
upgrades to weapons and armour. Most important of
all, there you could purchase a “brain scan”. It was
your character save.
*BAM was
re-released in a
Special Edition
in 1982, with
fancier graphics,
multiple ports
and the ability to
save the game to
play in multiple
sessions.
Beneath
Apple
Manor
Don Worth, 1978
Apple II (PC Booter, Atari 8-bit)*
My character (Y) found a treasure chest ($) while
trying to run from a slime (S). It was cursed.
Commands were all over the keyboard, and
each action depleted one of your attributes.
39
Playing a huge
dungeon floor
in colour mode.
We (the blue
square) listen
behind a door,
where apparently
a troll lurks inside.
“It was released two years
before Rogue came out. I was not
influenced by Rogue (didn’t see it
until something like 1983) and, so
far as I know, the Rogue guys up
at UC Berkeley hadn’t seen BAM
either. We probably both came up
with the same idea independently.
But at least I can say Rogue is
“Beneath Apple Manor-like”
– Don Worth,
Beneath Apple Manor’s creator
Should you die – sooner or later, bound to
happen – the scan restored you to life at the staircase.
Of course, any money you had at the time was
dropped. However, you were alive again as of the
last scan. And you’d want a new scan as soon as you
could afford it. Each use reduced the stats of your
next “reload” by 10%. Ouch! Too many restores of the
same scan would leave you a wimp.
So you proceeded carefully along the level,
listening at doors, inspecting walls for secret
doors, bashing stuck doors open, running when
overmatched, and hoping you wouldn’t run into too
many wandering monsters.
All this had a goal: to find the fabled Golden
Apple, rumoured to be in a dragon hoard far below
the surface. Naturally, it exists, and there it is! Or is it?
You know the saying: there can be only one (though
not a ring this time).
But each hoard had a supposed Apple; grab a
fake, and you were soon reloading. How could you tell
real from fake? Only – haha – by taking it. You don’t
always need heavy combat to induce sweaty palms.
BAM had to be played entirely in one session. The
brain scans were good only for the current game. Quit,
and you’d have to start a new game next time. Still, it
was meant as a “quick” play. At 5 rooms/levels, you
could usually get through it in about four hours or so.
Thus BAM was a prototype for Rogue and its
many variants. Sadly, it seems to have been overlooked
in the history of this sub-genre, even though it arrived
two years before Rogue itself showed up in 1980.
In its time, Beneath Apple Manor was a fun – if
occasionally frustrating – diversion. While simple,
the game required thought and strategy. And it shows
what could be done with limited RAM and tight, well-
designed code. SC
BAM allowed you to customise the size of the levels,
choose between display modes and 10 difficulty settings.
Beneath Apple Manor: Special Edition added so-called
“hi-res graphics”, but you could still play in ASCII mode.
Some historians
claim that BAM
was the very
first commercial
computer game,
sold in speciality
stores inside
a ziplock bag.
40
W
hen talking about the first computer
games of the 70s, people often overlook
the important role played by tech demos,
guides and tech magazines. The Apple II, for example,
came with a reference manual which explained how
the entire computer worked and contained the BASIC
source code of a few simple games to teach its users.
One of these games was Dragon Maze (1978), by
Gary J. Shannon, which randomly generated a simple
top-down maze. The player had to navigate the maze
by pressing U(p), D(own), L(eft) or R(ight), trying to
escape before a dragon could catch them.
A series of codes that could be used to generate
countless dungeons ready for exploration – this was a
gold mine for any RPG fan, and Robert Clardy was one
of such fans. Inspired by Dragon Maze, he made his
own dungeon-exploring game: Dungeon Campaign.
The game starts by generating four dungeon
levels – a process that could take several minutes on
the Apple II, giving time for players to try to map it
down with pen and paper, if they so desired. Once it
was finished, you’re sent out to explore it.
There’s no character generation; your party
always starts with 15 nameless members, including
one Elf and one Dwarf. This may sound weird today,
but Dungeons  Dragons was a very different game
back in 1978 – Elves and Dwarves didn’t have classes,
and there was a focus on larger parties.
Each type of party member has a function. The
Elf warns of immediate danger, such as a nearby trap
or enemy, while the Dwarf maps the dungeon – if he
dies, the map in the screen will no longer update as
you explore. The rest of the party members serve as
both your hit points and your strength – the game
ends if they all die, but at each victory they increase
their strength. This means your 15 warriors will have
a strength of 15 at first, go to 30 after the first battle,
to 45 after the second, but decrease to 42 if one party
member dies. And die they will.
Combat is simplistic, you just roll your attack,
which is added to your strength to see if you hit the
enemy. Every enemy in the game dies with two hits;
they just become harder to hit as you delve deeper.
You also have to roll the enemy’s attack, and if they hit
you’ll lose 1-3 party members.
The dungeon offers a few other perils, such as
traps that will randomly send you to other levels, and
rooms filled with toxic gas. Each of the four levels
also has a guardian monster, which will run after the
player and kill 1-2 party members if it reaches them.
These have different behaviours – the giant snake on
Level 3 moves in real time across the maze, while the
spectre on Level 4 can pass through walls.
Regardless, Dungeon Campaign is an easy game.
It’s also short. The goal is not to simply complete it, but
to get a high score, collecting as much gold as possible
before finishing the dungeon – a score-driven design
that mirrors the popular arcade games of the era.
My party is the
pink square,
treasures are
yellow, enemies
are dark green,
stairs are white and
the pits are grey.
Dungeon
Campaign
Synergistic Software, Inc., 1978
Apple II and Atari 8-bit
Synergistic
Software was
founded in
1978 by Robert
Clardy and Ann
Dickens Clardy.
They would
create several
other games in
the 80s and 90s,
including Spirit
of Excalibur and
Diablo’s Hellfire
expansion.
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crpg_book_2.0-1.pdf

  • 1. 1
  • 2. 2 The CRPG Book is a free, non-profit project. If you would like to have a hardcover version, you can buy one at Bitmap Books. All the author profits from the hardcover edition will be donated to Vocação, an education NGO in Brazil. All games featured are the property of the copyright owners. Their images have been used respectfully purely for review purposes. Cover art by Jan Pospíšil (www.janpospisil.daportfolio.com)
  • 3. 3 Edited by Felipe Pepe This book is the result of five years of work and the collaboration of 119 volunteers. We hope that you enjoy it. v2.0 April 2019 A Guide to Computer Role-Playing Games TheCRPGBook:
  • 4. 4 Contents Contents 4 Introduction 8 About the Project 10 Contributors 11 Articles Guides 15 Using this book 16 FAQ 17 What is an Old-School RPG? 18 Ports: Far beyond resolution and FPS 20 Unplayable 24 Cartography 26 From Prussia with love - The origin of RPGs 28 The PLATO RPGs 30 The Reviews 35 1975-1979 The beginning of the digital invasion 36 Beneath Apple Manor 38 Dungeon Campaign 40 Dunjonquest: Temple of Apshai 42 Akalabeth:World of Doom 44 1980-1984 The boom, the clones and the crash 46 Eamon 48 Rogue 50 Wizardry: Proving Grounds of the Mad Overlord 52 Ultima 54 Dragon’s Eye 56 Dungeons of Daggorath 57 Telengard 58 Ultima II: Revenge of the Enchantress 59 Moria 60 The Return of Heracles 62 Ultima III: Exodus 64 Questron 66 1985-1989 Here come the new challengers 68 Wizard’s Crown 70 The Bard’s Tale 72 Alternate Reality: The City 74 Phantasie 76 Ultima IV: Quest of the Avatar 78 Autoduel 80 Rings of Zilfin 81 Might and Magic: Book I - Secret of the Inner Sanctum 82 Starflight 84 Alter Ego 86 Alien Fires 2199 A.D. 87 Ys: The Vanished Omens 88 Deathlord 90 Wizardry IV: The Return of Werdna 91 NetHack 92 The Faery Tale Adventure 94 Dungeon Master 96 Zeliard 98 Neuromancer 99 Wasteland 100 Pool of Radiance 102 Star Saga: One - Beyond The Boundary 104 Wizardry V: Heart of the Maelstrom 105 Ultima V: Warriors of Destiny 106 Prophecy I: The Fall of Trinadon 108 Drakkhen 109 The Magic Candle 110 Hillsfar 112
  • 5. 5 Castle of the Winds 113 Quest for Glory: So You Want to Be a Hero 114 Knights of Legend 116 The Dark Heart of Uukrul 118 Windwalker 119 Bloodwych 120 The Immortal 121 1990-1994 The creative and technological explosion 122 Ultima VI: The False Prophet 124 Wizardry VI: Bane of the Cosmic Forge 126 Tunnels Trolls: Crusaders of Khazan 128 Circuit’s Edge 129 J.R.R. Tolkien’s Lord of the Rings, Vol. I 130 Captive 132 Champions of Krynn 133 MegaTraveller: The Zhodani Conspiracy 134 Spirit of Excalibur 136 Worlds of Ultima: The Savage Empire 138 Escape from Hell 139 Eye of the Beholder 140 Cobra Mission: Panic in Cobra City 142 Knights of Xentar 143 Moraff’s World 144 Fate: Gates of Dawn 145 Disciples of Steel 146 Might and Magic III: Isles of Terra 148 Worlds of Ultima: Martian Dreams 149 The Bard’s Tale Construction Set 150 Gateway to the Savage Frontier 151 Realms of Arkania: Blade of Destiny 152 Ultima Underworld: The Stygian Abyss 154 Might and Magic: Worlds of Xeen 156 Legend 158 The Summoning 159 Ultima VII: The Black Gate 160 Ishar: Legend of the Fortress 162 Wizardry VII: Crusaders of the Dark Savant 164 Star Control 2 166 Darklands 168 Shadowlands 170 Amberstar 172 Ambermoon 173 Quest for Glory: Shadows of Darkness 174 ShadowCaster 176 Perihelion: The Prophecy 177 Princess Maker 2 178 Veil of Darkness 180 BloodNet 181 Betrayal at Krondor 182 The Legacy: Realm of Terror 184 Hired Guns 185 Dark Sun: Shattered Lands 186 Lands of Lore: The Throne of Chaos 188 Dungeon Hack 189 Forgotten Realms: Unlimited Adventures 190 Ultima VIII: Pagan 192 ADOM - Ancient Domains of Mystery 194 Al-Qadim: The Genie’s Curse 196 Superhero League of Hoboken 197 Realmz 198 The Elder Scrolls I: Arena 200 1995-1999 New 3D worlds and new audiences 202 Witchaven 204 CyberMage: Darklight Awakening 205 Ravenloft: Stone Prophet 206 Exile: Escape from the Pit 208 World of Aden: Thunderscape 210 Entomorph: Plague of the Darkfall 211 Mordor: Depths of Dejenol 212 Albion 214 Stonekeep 216 Strife: Quest for the Sigil 217 Anvil of Dawn 218 Dungeons Dragons: Shadows over Mystara 219 The Elder Scrolls II: Daggerfall 220 Diablo 222 Birthright: The Gorgon’s Alliance 224 An Elder Scrolls Legend: Battlespire 225 Fallout: A Post-Nuclear Role-Playing Game 226 Lands of Lore II: Guardians of Destiny 228 Descent to Undermountain 229 Final Fantasy VII 230 Betrayal in Antara 232 Return to Krondor 233 Rage of Mages 234 Dink Smallwood 236 Hexplore 237 Baldur’s Gate 238 Might and Magic VI: The Mandate of Heaven 240 Fallout 2 242 King’s Quest: Mask of Eternity 244 Septerra Core: Legacy of the Creator 245 Jagged Alliance 2 246 Planescape: Torment 248 Ultima IX: Ascension 250 Might and Magic VII: For Blood and Honor 252 Gorky 17 253 Omikron: The Nomad Soul 254 System Shock 2 256
  • 6. 6 2000-2004 The rise of the modern gaming industry 258 Deus Ex 260 Baldur’s Gate II: Shadows of Amn 262 Siege of Avalon 264 Might and Magic VIII: Day of the Destroyer 265 Diablo II 266 Vampire: The Masquerade - Redemption 268 Soulbringer 270 Grandia II 271 Breath of Fire IV 272 Evil Islands: Curse of the Lost Soul 274 Icewind Dale 276 Summoner 278 Wizards Warriors 279 Wizardry 8 280 Anachronox 282 Arcanum: Of Steamworks Magick Obscura 284 Gothic 286 Severance: Blade of Darkness 288 Geneforge 290 Pool of Radiance: Ruins of Myth Drannor 292 ZanZarah: The Hidden Portal 293 Divine Divinity 294 The Elder Scrolls III: Morrowind 296 Arx Fatalis 298 Icewind Dale II 300 Might and Magic IX 301 Neverwinter Nights 302 Neverwinter Nights: Aurora Toolset Modules 304 Freedom Force 306 Dungeon Siege 308 Gothic II 310 Prince of Qin 312 Star Wars: Knights of the Old Republic 314 The Battle for Wesnoth 316 Lionheart: Legacy of the Crusaders 317 TRON 2.0 318 Temple of Elemental Evil 320 Deus Ex: Invisible War 322 Kult: Heretic Kingdoms 323 Sacred 324 Fable 326 Space Rangers 2: Dominators 328 Sudeki 330 The Bard’s Tale 331 Vampire: The Masquerade - Bloodlines 332 The Legend of Heroes: Trails in the Sky 334 StarWars:KnightsoftheOldRepublicII-TheSithLords 336 2005-2009 Indie, casual, social multi-platform games338 Super Columbine Massacre RPG! 340 Jade Empire 342 Fate 344 Titan Quest 345 Dwarf Fortress 346 The Elder Scrolls IV: Oblivion 348 Dungeon Crawl: Stone Soup 350 Gothic 3 352 Neverwinter Nights 2 354 Age of Pirates: Caribbean Tales 356 Dark Messiah: Might and Magic 358 Mass Effect 360 Puzzle Quest: Challenge of the Warlords 362 Recettear: An Item Shop’s Tale 363 S.T.A.L.K.E.R.: Shadow of Chernobyl 364 Neverwinter Nights 2: Mask of the Betrayer 366 Agarest: Generations of War 368 Elona 369 The Witcher 370 7.62 High Calibre 372 Eschalon 374 Hellgate: London 376 Barkley, Shut up and Jam: Gaiden 377 The Last Remnant 378 Valkyria Chronicles 379 Fallout 3 380 Drakensang: The Dark Eye 382 Fortune Summoners: Secret of the Elemental Stone 384 Seventh Sense 385 Mount Blade 386 Neverwinter Nights 2: Storm of Zehir 388 Divinity II: Ego Draconis 389 Dragon Age: Origins 390 Warhammer 40,000: Dawn of War II 392 Venetica 393 Torchlight 394 Yumina the Ethereal 396 Marauder 397 Risen 398 Knights of the Chalice 400 2010-2014 The freedom to play (and create) any game 402 Borderlands 404 Din’s Curse 406 ArcaniA: Gothic 4 407 Two Worlds II 408 Cthulhu Saves the World 410 Faery: Legends of Avalon 411
  • 7. 7 Alpha Protocol: The Espionage RPG 412 Fallout: New Vegas 414 Mass Effect 2 416 Academagia: The Making of Mages 418 Dungeons of Dredmor 419 E.Y.E.: Divine Cybermancy 420 Dark Souls 422 The Witcher 2: Assassins of Kings 424 Way of the Samurai 4 426 The Elder Scrolls V: Skyrim 428 Magical Diary 430 Dragon Age II 431 Deus Ex: Human Revolution 432 Mass Effect 3 434 Tales of Maj’Eyal 436 Legend of Grimrock 438 Kingdoms of Amalur: Reckoning 440 Dragon’s Dogma 442 Of Orcs and Men 444 Defender’s Quest: Valley of the Forgotten 445 Diablo III 446 FTL: Faster Than Light 448 Paper Sorcerer 449 Shadowrun Returns 450 Hyperdimension Neptunia - Re;Birth1 452 Heroine’s Quest: The Herald of Ragnarok 453 Path of Exile 454 Cataclysm: Dark Days Ahead 456 Aaklash: Legacy 457 Card Hunter 458 Bound by Flame 459 Might and Magic X 460 The Banner Saga 461 NEO Scavenger 462 Blackguards 464 Transistor 465 Divinity: Original Sin 466 Lords of Xulima 468 Lords of the Fallen 469 Dragon Age: Inquisition 470 Wasteland 2 472 South Park: The Stick of Truth 474 UnderRail 475 The Witcher III: Wild Hunt 476 Age of Decadence 478 Undertale 480 Mystery Chronicles: One Way Heroics 481 Tale of Wuxia 482 Fallout 4 484 Sunless Sea 486 Hand of Fate 487 Pillars of Eternity 488 Further Adventures 491 1982-1987: The birth of the Japanese RPGs 492 Fan-Translations 496 SD Snatcher 497 Chinese Paladin 498 E.V.O.: The Theory of Evolution 499 The Legend of Cao Cao 500 Labyrinth of Touhou 501 Sword of Moonlight: King’s Field Making Tool 502 Sengoku Rance 503 Kamidori Alchemy Meister 504 Gates of Skeldal 505 Games we’ll (likely) never play 506 Lists Further Reading 513 Lists 514 Editor’s Picks 517 Further Reading 518 Glossary 522 Index 524
  • 8. 8 Introduction W henthinkingaboutwhereabookdedicated to computer RPGs might come from, one might consider countries like Germany, Canada, UK or the US. Maybe France, Russia or Poland. Surely never Brazil. There’s a good reason for this. When the first personal computers and games started to appear in the late 70s, Brazil was under a military dictatorship which banned all computer imports. We couldn’t buy an Apple II, C64 or IBM PC, only the slow and crude national alternatives. Some, like my father, managed to bypass this by smuggling a computer into the country. Still, to play you also needed to find games, and those were a rarity (especially CRPGs!). You had to know someone who travelled to the US and brought the floppy disks back – and then copy those. That’s how Betrayal at Krondor arrived at my house back in the early 90s. Even with the computer and the game in hand, there was still one final barrier: the language. As much as I enjoyed seeing my father play, I had no idea of what those costumed people were saying. I spent months playing Krondor, exploring its large world, but never even left the first chapter. My biggest achievement was brute-forcing a riddle chest. IfoundsolaceinJRPGs.Notonlytheyweremuch easier to play, but consoles were growing popular in Brazil, as in 1994 we finally began to emerge from a long and brutal economical crisis. A friend in my apartment building had a Super Nintendo with Chrono Trigger, and that game became my passion. By then, owning a PC was finally legal, but the CRPG genre was dead – computers were Doom machines. Years later, I was reading a games magazine and something caught my eye: a bizarre game where you could teach farmers about crop rotation to earn XP – but only if you had created a smart character. I had just started playing tabletop RPGs and was fascinated by a computer game like that. So, in 1998 I bought Fallout, which I love to this day. Not only is it an amazing game that breathed new life into CRPGs, but I finally knew enough English to play it properly. My younger brother didn’t. He couldn’t do most quests, so he just walked around and killed everyone. But that was also allowed, and we had a lot of fun talking about just how different our experiences were and all the cool things we kept discovering. I wanted to do that with more people, to talk with my friends in school about this game, to hear their stories, to partake in the joy of a shared hobby. However, my parents had just divorced and I was then living in a small town in Brazil’s countryside. My father gave me his old computer, but no one else I knew had one. They were still very expensive and complicated machines. Cyber Cafes began to appear around this time, but people played Counter-Strike there, not hundred-hour-long CRPGs. Other than my brother, I had no one to talk to about the wise-cracking sword in Baldur’s Gate II, how I became a vampire in Morrowind or the fact that you can shoot Anna Navarre in Deus Ex. In 2004 I moved back to São Paulo, Brazil’s biggest city, to go to university. A side-effect was that, for the first time in my life, I had the Internet in my house. That was when everything changed. It sounds obvious today, we take it for granted, but the Internet freed us from all regional barriers. I could talk to anyone, anywhere, about anything! Eventually I found the RPG Codex, where not only I could talk for hours about my favourite games, but could I learn about RPGs I missed, alternate quest solutions I never tried, cool mods, funny stories, powerful builds and much more. I was home.
  • 9. 9 In the 14 years since, I’ve been trying to learn as much as possible about this amazing genre. I played Ultima, Wizardry and other classics that I had missed, tried obscure gems, emulated the hardware I never had, and much more. I owe a lot to abandonware sites, emulator developers, wise forum members and to the great work done recently by GOG.com. But where does one start? Just what is a C64? Does Wizardry I still hold up today? Is Albion good? Should I play the Might and Magic games in order? Am I playing badly or is this game extremely hard? Which mods to use in Neverwinter Nights? I suffered all these questions – and many more – but finding the answers wasn’t always easy. Over the years, many guides became outdated, and when asking around you might find someone who “is tired of dumb questions”, who gives poor answers or who simply hates a game that you might love. Resources such as “Top 10 RPGs” lists help, but they mostly focus on the recent, popular titles. As such, this book represents several things. First, it’s a guide – the one I wish I’d had when I first began exploring the world of CRPGs. It shows the most important, popular and interesting titles, then tells you about what makes them so special. You can flip the book open, read about a few cool games, see the screenshots and choose what to play next. I’ve made sure to add some historical context too, showing what was happening at the time. To fully grasp the impact Ultima IV or Dungeon Master had, you must know what came before and after them. The book is also a helping hand. It has tips on how to run games that aren’t compatible with modern hardware, tells you when there’s a patch to fix critical bugs and even recommends some mods, so that you can have the best possible experience. Finally, it’s a gift to my younger self – and to anyone who might feel lonely like I did. Here you have over a hundred people from across the world, all willing to sit down and tell you about their favourite RPGs, the great adventures that they had and why you should try these games. Creating this book was a long, wild ride. It first began in early 2014, with the RPG Codex Top 70 CRPGs, a poll where people voted on their favourite games and then wrote small reviews. From there came the idea of making an expanded book version, with longer reviews and adding historically important titles and curiosities. Having made the Top 70 list in about two months, I thought that the book would take around six to ten months, at most. Ha! It took me four years. Still, I can’t complain. I learned a lot during this time, had a blast playing the 300+ games featured here, got in contact with legendary figures from my childhood such as Chris Avellone, Warren Spector, Scorpia and Tim Cain, as well as all the wonderful people that helped create and promote this project. It’s surreal now to recall a time when computers were rare, obtuse artefacts and reading a simple quest in English was a challenge. A time when a project like this would’ve been impossible. I’d never talked to a foreigner until I was 17 years old, yet now I live in Japan. Isaac Asimov used to say that the role of science fiction was to predict change, so that we could better handle it as a society. Perhaps the role of RPGs (and games in general) is to help prepare individuals for challenges and adventures to come. Felipe Pepe, Project Editor
  • 10. 10 About the project T he CRPG Book Project is a collaborative, non-profit project created to compile the history of Computer Role-Playing Games into an accessible and educative volume. The book was written by volunteers from all continents, ages and walks of life: developers, journalists, modders, critics, scholars and fans, but also parents, couples, grandfathers, doctors, teachers, engineers, businessmen, etc. The purpose of the project is to spread our passion for this great genre, sharing knowledge that is currently scattered across countless forums, magazines, websites and minds. The book covers CRPGs from 1975 to 2015, plus contains several articles, mod recommendations, developer quotes and interesting trivia, in an effort to create a guide that will have something to offer to old-school veterans and new players alike. This PDF is based on the hardcover version of the book, published by Bitmap Books in 2019. That was a limited release, that helped us to get the entire book proofread and revised by a professional. The CRPG Book Project remains non-profit, and all the author earnings from that version (£12.475) were donated to Vocação, a Brazilian NGO that helps kids and teenagers from poor areas to get education and employment. Dedicated to: Claudia, Célia, Marco, Saphyra, Thais, Vanessa, Thiago, Carol and Caio. Special thanks to: TheRPGCodex,RPGWatch,BitmapBooks,HardcoreGaming101,UltimaCodex,TheInternetArchive,MattChat, MobyGames,TheCRPGAddict,Cyber1,CGWMuseum,DJOldGames,DOSBox,TheDigitalAntiquarian,Unseen64, Museum of Computer Adventure Game History, The LP Archive, Abandonia, My Abandonware, GOG, Gamasutra, Nautilus, Shane Plays, Hall of Light, Emuparadise and every unsung hero who contributed to these websites, developed emulators, ports for modern systems, mods, fan-patches, archived rare games or uploaded footage of them to YouTube. This book would have been impossible without all of you. And, of course, a most special thanks to those who created all theses games in the first place, as well as those who put their best into games that unfortunately never saw the light of day. This book is a tribute to your work.
  • 11. 11 Contributors Alberto Ourique (AO) is an experienced copywriter, but a rookie in game industry and novels. If all goes wrong, he intends to embrace immortality by becoming a lich. Andre Stenhouse (AS) didn’t own a single console game until high school, but played Quest for Glory with her father and read stacks of books. Andrea Marcato (AM) is a long-standing Abandonian who is amazed to be in the same credits list as Chris Avellone. Andreas Inderwildi (AI) is a writer and freelance game critic with an unhealthy obsession for Dark Souls and Planescape: Torment. When he isn't playing games he likes to read and/or write about history, folklore, and the occult. Andrew “Quarex” Huntleigh (QX) is a family man with a PhD, and spends his days as a federal officer when not agonising over proper paper-doll inventory management. Arkadiusz Makieła (AR) got his first computer, an Atari 65XE, at the age of 10. This was the beginning of his quest for an ultimate RPG. Today, he still doesn’t realise there’s no such thing. Árni Víkingur (ÁV) has been sheltering from the Icelandic frost by a warm computer since 1986 and therefore knows far too much about video games. B. “Mr Novanova” White (BW) is a writer who remembers when Knights of Legend would make his floppy drive melt. Inquiries can be sent to forbwhite@gmail.com BaronVonChateau (BC) Dreams of making a surrealist RPG, though he has no idea of what he exactly means by that. To trump his despair, he spends years making convoluted quest mods named after jazz standards. Benjamin Sanderfer (BE) once helped develop software for a famous RPG publisher for their universal pen-and-paper game system. Too bad that system was such a failure it helped drive that company out of business. True story. Blobert (BL) Started with RPGs with Phantasie III on the C64. Fell in love Ultima V, and continues to play CRPGs when his four kids give him the chance. Branislav Mikulka (BM) resides in the land of the leprechauns. Got stuck in the MS- DOS gaming era, secretly admires trashy movies from the 50s and thinks Philip K. Dick was the best writer ever. Brian Stratton (BS) started playing CRPGs in third grade and still lives for fighting minotaurs, dragons, orcs and the undead. Brian ‘Psychochild’ Green (BG) is an MMO developer who first played text MUDs and is a lot more friendly than his pseudonym might indicate. Casiel Raegis (CR) is a North Carolina-based film director whose backlog is larger than this book. Casper “Grunker” Gronemann (CG) dislikes most parties, excepting those with six characters or more. Chester Bolingbroke (CHB) continues to struggle with his addiction. Chris Avellone (MCA) is reported to be friendly, non-toxic, and his mother still doesn’t understand what he does on a daily basis, but he loves her anyway. Christian Hviid (CH) started gaming in the 80s and still thinks 3D gaming is something new-school and dirty. Christian Hudspeth (CHR) Husband, father, gamer and really good at all of them, just ask his mom. Christopher Ables (CA) has a passion for gaming history. He and his wife grew up gaming and love playing both new and old-school games together. Crooked Bee (CB) got to be the RPG Codex’s editor-in-chief after defeating the previous editor in a game of Wizardry IV. That should tell you all you need to know about her. Daniel D’Agostino (DD) became a software developer to learn how to create games. Ironically, he now seldom finds time for games thanks to software development itself. Darktoes (D1) is a student, gamer and self-proclaimed helpful person. Darth Roxor (DR) likes Betrayal at Krondor, naked volleyball and putting as many adverbs into his articles as possible. David Ballestrino (DB) can’t look at a chequered floor without imagining how to position a party and hoping for a good initiative roll. David Konkol (DK) is an author and game designer whose insane ramblings can be found at www.madoverlordstudios.com David Walgrave (DW) has three uses for his deep, booming voice: to organise video game projects, to sing as the frontman of a metal band, and to quietly talk to his cute, fluffy dogs. David “dhamster” Hamilton (DH) is ready to form a party like it’s 1999.
  • 12. 12 David “mindx2” B. (M2) spends many a night perusing his collection of classic computer game boxes, pining away for that bygone era. Deuce Traveler (DT) has many hobbies be- sides CRPGs. He also likes beer, exercise, pulp novels, chess, and the occasional screw. Diggfinger (DF) loves Fallout and everything Troika-related. Check out his wiki on Jason D. Anderson if you’re not convinced. Dorateen (DO) rolled a dwarven fighter over thirty years ago and has enjoyed this hobby from tabletop into its computer role-playing iterations ever since. Drew Merrithew (DM) became a developer specialising in cybersecurity when it became apparent game development doesn’t pay. Durante (DU) role-plays a scientist by day and is an RPG gamer at night. He has a thing for intricate systems and simulations, even if they are needlessly complex. Eric Shumaker (ES) is a gamer bad boy who games for what he believes in. He has worked on many stupid games you haven’t played. ERYFKRAD (ER), His Holiness the God- Emperor of All Mankind, Lord of the Heavens above and Master of the Hells Below. Fairfax (FAX) MCA disciple and Civilization modder, loves game development stories and daydreaming about making CRPGs. Felipe Pepe (FE) is the idiot who thought he could finish making this book in just six months or so. Ferhergón (FHG) used to host “Maniacos del Calabozo” and thinks old gold times for RPGs are long gone. Frank “HiddenX” Wecke (HX) The Elder Spy, Game Curator Editor at RPG Watch, RPG Dot veteran and special emissary at the RPG Codex. Gabor “J_C” Domjan (JC) grew up in the 90s and got to see the golden age of gaming. He enjoys most genres, but CRPGs and flight simulators are his real love. Garfunkel (GA) got a C64 for Christmas, detoured briefly to Amiga 500 before set- tling in with a PC in the 90s and has never strayed elsewhere. Gary Butterfield (GB) is an author, podcaster and loving supporter to maligned CRPG sequels. He’s actually sort of OK with THAC0. Geo Ashton (GE) is an avid writer who enjoys playing video games and reading about gaming culture. George Weidman (GW) makes videos a few people enjoy. He has lost years of his life to the Fallout series, and regrets nothing. Ghostdog (GD) Has been in RPG Codex far too long for his sanity’s sake. When he had trouble replaying his favourite game, Planescape Torment in widescreen resolutions, he made a UI mod to fix that. Grant Torre (GT) Living in the state of Michigan, he spends his time with drumming, literature, video games, and everything else geek culture has to offer. Guilherme De Sousa (GS) has enjoyed CRPGs since playing Ultima IV on the C64 back in the mid 1980s. Gustavo Zambonin (GZ) is, perhaps, the youngest among all of the contributors, slowly learning how to savour the best CRPGs released since he was born. Hannah and Joe Williams (HJW) are a married couple LARPing as computer game creators and part-time hermits. Ian Frazier (IF) is a game designer whose hobbies include painting minis and banishing unfathomable evils to the outer darkness. Ivan Mitrović (IM) Proud member of the PC master race, in 2001 he tried his first RPG, Planescape:Torment which up to this day remains his favourite game. Jack “Highwang” Ragasa (JR) is a YouTube game reviewer that attributes many years of video games to his overly verbose nature. Jaedar (JA) had a great big think about it, and realised NWN2 is one of the first ‘real’ RPGs he ever played. He’s been playing catch-up ever since. Jakub Wichnowski (JW) Story is what he values the most in games and he hopes that one day he’ll be able to make a game at least half as good as Planescape: Torment. James McDermott (JM) is a musician that plays too many games. He is still waiting patiently for Arcanum 2. James “Blaine” Henderson (JBH) doesn’t like whatever terrible games you like, unless they’re games that he also happens to like; but he can probably find a reason to criticise you anyway. Jay Barnson (JB) is a writer, game developer, programmer, and – in an alternate universe where the C64 never came to be – the Grand EmperoroftheWesternHemisphereHegemony. Jedi Master Radek (JMR) from the depth of his basement is scheming to take over the world. Hoping to turn all readers into his mindless puppets. Joseph Coppola (JO) is a programmer who enjoys RPGs, novels, and other word-based activities. Jörn Grote (JG) had to decide whether to study for final school examinations or play Fallout. It worked out for the best. John Harris (JH) writes for @Play and on retro games, and also sometimes makes computer games. He thinks the best game ever made is Rampart, the fool. Kenneth Kully (KE) inadvertently created the biggest hub of Ultima news and fan activity online, and still finds time for it when he isn’t on call as a father or Scout leader! Kurt Kalata (KK) took his first step towards war and made the end of battle. He also runs Hardcore Gaming 101. Lev (LEV) likes RPGs and just wanted to appear in a book with Chris Avellone. Ludo Lense (LL) Trades sanity for the ability to make overly long videos about games. Luis Magalhães (LM) From doctor to marketer to writer, Luis keeps changing class in real life, but his favourite gaming genre is unchanged since the 90s. Hint: it’s not FPSs. M. Simard (MS) prefers to stay in the base- ment during summer, although his German Shepherd does take him out for a walk every once in a while Maciej Miszczyk (MM) Gamer since early childhood, loves games of all kinds but prefers either RPGs from mid-to-late 90s or anything that’s obscure, complex, difficult or unique. Marc Hofstee (MHO) is called the weirdest Ascaron-fan of all time (quote M. Worsley). He also loves Final Fantasy VII, an Atari ST and his seven kids. Marko Vučković (MV) is an old strategy fan who spent way too much time playing Laser Squad on his C64, but regrets nothing. Mathias Haaf (MH) Amateur writer from Germany and an avid collector and player of MS-DOS RPGs. Has a YouTube channel were he posts videos on his beloved hobby. Max Silbiger (MAS) is a developer who does translation hacks of old Japanese PC games. Sometimes, he even gets to play them, too! Michael Mils (MI) learned to read and write on a French 8-bit computer and therefore grew both bitter and nostalgic. Michel Sabbagh (MIS) is a bug smasher by day and word wrangler by night who has a salmon fetish.
  • 13. 13 Neanderthal (NT) Wounded, old and lecherous. Nicolas Hennemann (NH) Freelance writer and translator, took the chance to tell you about his favourite game and ran with it. Nicole “Jaz” Schuhmacher (NS) grew up with Pong and is still a multi-platform gamer. She gets all teary-eyed when thinking of the games of the 90s. Nostaljaded(NJ)canbefoundlurkinginthe Bearpit.Nootherknownfactsotherthana quirkyonewhopreferstheveiloverlimelight. Nyaa (NY) is an avid gamer who took up Translation LP of unique foreign games as a hobby to contribute back to the gaming industry that he loved. Octavius (OC) aka PetrusOctavianus is one of the veterans of the RPG Codex. Oleg “Smiling Spectre” Bobryshev (SS) is an avid gamer and game collector. He wants to play them all, but real life makes its own adjustments. Outmind (OU) enjoys long walks on the battlefield and hopes robots won’t take over before an FF Tactics sequel is released. Patrick Holleman (PNH) writes books about the historical development of video game design. No, he does not know why, either. www.thegamedesignforum.com Petr Hanák (PE) is a Dračí Doupě gamemaster that just had to create his own game system for the party. Secretly hoping to finish it and shatter the ADD supremacy. Prime Junta (PJ) has a thing for systems, worlds, and stories, and thinks RPGs on computers and off them are the coolest way we know to bring all of them together. Reggie Carolipio (RE) has been trying not to walk and turn in 90° angles or (A)ttack stray monsters without armour since the 80s. Ricardo Regis (RI) learned to love CRPGs as a child, while he fantasised everything that happened during tabletop RPG matches with his friends. Richard Cobbett (RC) just wants everyone to stop with the bloody giant spiders already. Unless there’s an equally giant can of RAID. Richard Mitchell (RM) got his CRPG start with Ultima on the C64 in 1988. He would like to say it’s been all downhill ever since but Star Wars and comic books would disagree. Rob Parker (RP) studies interactive fiction and roguelikes, Managing Editor for First Person Scholar. Rob Taylor (RT) has been hanging out in Waterdeep tavern, enjoying the vibe, since 1991. He was a professional games journalist in another life. Robert Bailey (RB) is an RPG Watch member who still plays C64 RPGs and goes misty eyed upon reflecting on the games which got him started on this grand adventure. Rod “TronFAQ” Rehn (RTR) has a dumb nickname that he’s now stuck with, and somehow went from writing FAQs to making mods for one of his favourite games. Rogueknight333 (RK) had a hard time finding the old school RPGs he loved, so decided to use the Neverwinter Nights toolset to make his own, resulting in the ongoing Swordflight series. Romanus “ZZ” Surt (ZZ) played shooter games before stumbling upon Akalabeth and Mordor. Ryan J. Scott aka “Zombra” (RJS) is neither zombie nor zebra, but enjoys certain qualities of both. Ryan Ridlen (RR) Hooked on RPGs since Betrayal at Krondor. Loves story-driven games and turn-based tactical combat. Scorpia (SC) is still crazy (gaming) after all these years. Sometimes, she wishes we were still in the 8-bit era. Scrooge (SR) got into computer gaming relatively late, being a part of the console crowd before. Since then she loves soaking up everything that’s turn- and party-based. Shamus Young (SY) is a programmer, an author, and nearly a composer. He just won’t shut up about video games. Shanga@Bearpit (SH) Cuddly fierce bear who doesn’t like to share his food, but would gladly starve and let you eat it all if you’re a nice person. Silver Girl (SG) Sitra Achara (SA) spelunking in Temple of Elemental Evil files since 2006, has yet to be eaten by a grue. SniperHF (SD) started playing RPGs on completely opposite ends of the spectrum with Fallout and Diablo. He has been addicted to the genre ever since. SuicideBunny was due to help with the book, but the universe had other plans. RIP, bro. Suzie Ng (SN) CRPG enthusiast since Baldur’s Gate II, enjoys party-based games with good NPC interactions, and dreaming of getting involved in mod development. ‘Tatty’ Waniand (TW) would spend her perfect Sunday coding, reading books that aren’t related to work, and daydreaming about gore and games. Thiago Fernandes dos Santos (TF) has always loved RPGs and fighting games. Thomas Henshell (TH) always read the manual before playing the game. Always. Patiently awaiting manuals to make a comeback. Thomas Ribault (TR) can’t stop talking with his hands. He loves CRPGs so much that he is writing a PhD about them. Théo“Izual”Dezalay(IZ)wroteawholebook aboutFallout,whichmeansheobviouslymade allthewrongchoicesinhislife. Tilman Hakenberg (TI) has managed to trick everyone into thinking he’s some kind of writer, but doesn’t really know what he’s doing. Tim Cain (TC) has been making video games since before it was cool. You know, like in the 80s. Tonya Bezpalko (TAB) loves stats that turn out to do nothing when you look them up later, and other antique design elements. Trevor “Trooth” Mooth (TM) is a self- proclaimed authority on roguelikes, and has been gaming and writing since before you were born. Vadim Keilin (VK) is a scholar whose academic job gives him the perfect excuse to play games - because, you know, research. VioletShadow (VS) would like to be a figure skater in the next life. In this one, she frequents questionable forums and plays Bloodlines. VladimirSumina(VL)grewupplaying adventuregames.ThenhediscoveredCRPGs, whichshoweredhimwithanabundanceof choices,andhesoonrealisedthatblowingup adoorcanbejustasfunasunlockingit. Werner Spahl (WS) is an analytical chemist who never would have thought that fixing a game is sometimes more fun than playing it. Wojtek “Mico Selva” Misiurka (WM) is a failed fan-fiction writer turned world-class time waster, with an ever-growing backlog of stuff to do. Zed Duke of Banville (ZD) has been playing CRPGs since 1986. Although he now reluctantly plays games on IBM PCs and consoles, he spends his spare time building a time machine so that he can travel back and establish Amiga world domination.
  • 14. 14 14
  • 15. 15 H ere we feature a guide to using this book and an FAQ on how to play older CRPGs, followed by a selection of articles about older hardware, game history and CRPG trends. Several writers contributed here. The first article is from Jay Barnson, developer at Rampant Games and prolific writer, full of insights into the RPG genre. The second comes from Michael Abbott. He’s a game design professor and used to write for the Brainy Gamer blog/podcast. He writes about his experiences teaching about older games to new generations. Next we have Scorpia, the anonymous legend of gaming journalism. She was the CRPG expert for the Computer Gaming World magazine during the 80s and most of the 90s. Until 2009 she posted at Scorpia’s Gaming Lair, but has unfortunately retired. Still, she was kind enough to contribute with an article and a couple of reviews for this book. Finally, Craig Stern, creator of the Telepath RPG series and the Messiah board game, who wrote an article on the distant origins of RPGs. Articles Guides The map for Might and Magic IV: Clouds of Xeen, by artist Michael Winterbauer. 15
  • 16. 16 T he goal of this book is not only to gather, preserve and share the history of CRPGs, but also to help people find hidden gems or experience classic titles for the first time. The games are listed in chronological order, starting in 1975, but feel free to start right at the end and slowly come back if you wish, or jump to your favourite title and explore what was going on at the time. The book contains over 400 CRPGs – some of them legendary classics, others just curiosities – but even the worst game included here has something interesting to offer, be it a great concept that was poorly executed or just some insight into the reasons behind the game’s shortcomings. If you’re new to the genre or haven’t played many older RPGs, here are some tips to help you: SAVE OFTEN!! Auto-saves and checkpoints weren’t common until the 2000s, so remember to save often or you might suddenly lose hours of progress. There’s no shame in saving after every battle – ignore those who say “save-scumming ruins the challenge”, as really challenging games will limit your saves when needed. Start slowly. Games like Wizardy I, Ultima IV and Pool of Radiance are all-time classics, but going from modern games to one from the 80s is a shock – there’s nomousesupport,interfacesareterrible,somefeatures aged badly and you’re expected to take notes and draw maps. Starting with them might frustrate you. Dungeon crawlers are great for beginners. Games like Eye of the Beholder, Lands of Lore, Anvil of Dawn and Dungeon Master were designed to be accessible – they aged very well, have mouse support and a well- done difficulty curve – they start slowly but become very challenging by the end. Suggested starting points: – 1980s CRPGs: Dungeon Master, Phantasie, Wasteland and Quest for Glory. –1990sCRPGs:MightandMagicVI,Fallout,Baldur’s Gate, Betrayal at Krondor, Star Control II, Diablo, Quest for Glory: Shadows of Darkness and System Shock 2. – 2000s CRPGs: Deus Ex, Morrowind, Wizardry 8, Diablo II, Gothic, Geneforge, Dragon Age: Origins, Valkyria Chronicles and Star Wars: Knights of the Old Republic II - The Sith Lords. – Roguelikes: Dungeons of Dredmor, Tales of Maj’Eyal or Stone Soup: Dungeon Crawl. Above all, remember to have fun. Some games may take a while to get going, but continuously forcing yourself to play something you’re not enjoying will only result in burnout. Using this book
  • 17. 17 DOS,Apple,C64,Amiga...WhichversionshouldIplay? The DOS versions are usually the most common; they are often available on GOG.com and have a powerful and easy-to-use emulator: DOSBox. The Commodore Amiga version of some games released between 1985 and 1990 had much superior graphics and sound, but getting the Amiga emulators to run can be slightly more complex. For titles released before 1985 the Apple II versions are usually the best alternative, as the AppleWin emulator is extremely easy to use. What should I keep at hand while playing? I strongly advise to always play RPGs with a pencil and paper nearby for note-taking and map-making. The manual is important for checking rules, but some RPGs also use it as a spell book, requiring you to type the name of each spell when casting. Also, most 80s RPGs had a Quick Reference Guide, with all the game’s commands in one handy list. They are extremely useful and I suggest printing it. Should I read the manual before playing? That’s expected for most pre-90s RPGs, as they provide little to no in-game tutorials and creating a character requires familiarity with the game’s rules. Moreover, games like Ultima IV have amazing manuals explaining the world and its lore, and that knowledge might be required during play. Should I take notes? Quest logs weren’t common until the late 90s and older RPGs often have keywords, passwords or even entire magic rituals you need to know to beat the game – these might be mentioned just once during a dialog, so be sure to note them down! Should I draw my own dungeon maps? That’s part of the intended experience in most old-school dungeon crawlers. Designers would add teleporters, spinners, dark areas and other traps to confuse players and challenge their map-making skills. If you don’t want to use a pencil and grid paper, there’s great software such as Grid Cartographer. Some games also have their own fan-made mapping tools, such as Eye of the Beholder’s The All Seeing Eye. Should I re-roll my character’s stats? In games such as Wizardry, stats determine which class your character can choose. For example, in order to become a Thief your character needs at least 11 Agility, so you’ll have to re-roll until you get that. Others, like Baldur’s Gate allow you to pick a class regardless, but a poor stat roll can leave you with a weak character. So, again, carefully read the manual. I’m afraid my characters will suck. What can I do? Indeed, creating a bad character in some older RPGs can make progress extremely difficult – or sometimes impossible. If you read the manual but still feel insecure, do an online search for recommended parties for beginners. You can copy them entirely or just take hints, and that will help you avoid hitting a wall hours later. I can’t get a game to work, what now? Visit the PC Gaming Wiki, an amazing wiki that helps players run and optimise all kinds of PC games. If you can’t find the game or the issue you’re having, try checking the Vogons forums. FAQ
  • 18. 18 I ’m going to make a confession. This is a big one, coming from a designer of an “old-school style” CRPG, and from a guy who’s constantly harping on about the joys of old-school gaming. I don’t know what the hell “old-school” means. Sure, I was there playing these old classics when they were new, and I still play some of them today (Hey, I just re-played Ultima III a few months ago!) I remember clearly when The Bard’s Tale was the hot new thing. I was reading “behind the scenes” articles in magazines and books when the big players of the era seemed like they’d be pumping out RPGs until the end of time – yet are now long shuttered. I’ve chatted with some of these guys at length at GDC (back when it was called CGDC, even). But that doesn’t mean I know what I’m talking about. Sure, I’ve got my own little pet ideas, but they apparently conflict with other people’s ideas, so apparently I don’t really understand what it means. That, or old-school is in the eye of the beholder. Take, for example, turn-based vs. real-time. Action-based, “real-time” RPGs have been with us for a very, very long time. I like to refer back to Gateway to Apshai, published in 1983 (yeah, over a decade before Diablo), which was pure action-arcade-RPG. You had the trappings of an RPG, gathering loot and gaining levels as you used the joystick to do action- based battle against pixelated bad-guys. We can also go back to Ultima III or Telengard, two of the earliest CRPGs I ever played. These were “real-time turn-based” if that makes any sense. You had time limits to choose your actions. Worse, the only “pause” command was getting into some input loop where the games were asking for additional details or confirmation of your action. So really, as far as I’m concerned, and as much as I like to refer to “turn-based” games as “old-school”, the truth of the matter is that both have been with us about as long as we’ve had commercial CRPGs. There’s absolutely nothing inherently new or improved or better about action-based gaming. And there were absolutely no technical limitations pre- venting RPGs from being real-time / action-based – there were lots of Action RPGs back then. Variety runs the gamut. Perspective? We had top- down, first-person, isometric, side-scrolling, hybrids, and variations like crazy. Even games that changed perspective when combat started. Complexity? You’ve got dirt-simple titles from back in the day that make the most “dumbed-down” modern offerings seem like piloting the space shuttle by comparison. And then you have some pretty awesomely over-the-top tactical stuff, like SSI’s Wizard’s Crown. And humongously detailed systems with tons of dynamic-generated content and gazillions of factions, like Daggerfall. And everything in-between. Old-school games had you exploring a single, open-ended dungeon. Or an open-ended world. Or led you along a very constrained path, level-by-level. We can’t even agree about a time-period for “old- school”. Maybe it’s my age, but I still have a tough time thinking of any game published in a year that begins with a “2” as “old-school”. It’s like, you take the history of commercial computer games, which for me begins around 1979, and mark it at the halfway point between then and now – which would be about 1996 – and set that as the “old-school” demarcation. What is an Old-School RPG? by Jay Barnson I don’t know what the hell “old-school” means.
  • 19. 19 Yeah, I’ll give it a little bit of extra slosh, but I have a tough time thinking of a game like Oblivion as old-school. Friggin’ kids. Plus, as I’m still playing older games for the first time (I just recently finished Star Wars: KotOR II), I have a tough time thinking of some of these games as being all that old. When I talk “old-school”, I tend to talk about classic games that I personally played, which included some classics as well as some stinkers. Back then, I didn’t worry about whether Al-Qadim: The Genie’s Curse was a “real” RPG or not. Hardly anybody worried about that until the “boom” of RPGs hit its peak in the early 90s and then started contracting. Sure, you occasionally had an article explaining the difference between the two popular genres, RPG vs. Adventure. How quaint that seems now. Really – it was all good. Except when it was bad. When did we start worrying so hard about what box we fit these games into, anyway? And how did that happen? So you wanna know what “old-school” means? Maybe it means all the amazing variety of game styles that used to be sold but are no longer “in vogue” amongst mainstream publishers. Instead, they’ve narrowed their scope down to just a tiny handful of crowd-pleasing styles that they keep trying to perfect. But as the whole “mainstream publishing” thing is also losing relevance (at least for PC development), I don’t even understand how important that really is anymore. I’m still going to refer to some of the things I do as “old-school,” but like the word “indie” it’s really just a poor shorthand to potential players to reset expectations. But old is the new new. Or something like that. But really, I still don’t know what the hell I’m talking about. March 18, 2013 Jay Barnson has been playing video games since Pac-Man and Wizardry were hot stuff, and has been creating both indie games and top-shelf “AAA” retail games for over a decade. Al-Qadim: The Genie’s Curse, RPG or not? No one cared. The awesomely over-the-top Wizard’s Crown. Ultima III imposed time limits on your decisions. Gateway to Apshai: action-based battles back in 1983.
  • 20. 20 P ortcomparisonsintoday’seraofmulti-platform releases usually amount to small differences, such as slightly better visual effects, a slightly smoother frame rate or slightly higher resolution, especially when comparing Sony’s and Microsoft’s consoles. PC ports might have more nuances, such as 4K resolution, additional options like Field of View and support for mods. Still, it’s a far cry from the 80s, when dozens of wildly different platforms were fighting for consumers’ preference, each with its own hardware particularities. Even basic elements like colours or sound were up for grabs – a 1986 Macintosh had a sound card but could only render black and white images, while an IBM PC from the same year could display colours but its only sound was beeps from its internal speaker. Even among computers with colour there was a wide range of colour pallets and limitations. The blue of a Commodore 64, an Amstrad CPC and a NES had completely different tones, often making art designed for one hardware look weird on the other. Then you had deeper differences: some computers used cassette tapes, others 5¼-inch or 3½- inch floppies. Some had mouse support, others didn’t even have a hard drive. Plus all the variations in speed and capacity of each hardware. Another factor was the time difference between ports. Dungeon Master was released for the Atari ST in 1987, for the Amiga in 1988 and was only ported to MS-DOS in 1992. Some companies would update the ports as time went by, so the original 1985 release of Phantasie for the Commodore 64 had crude graphics and clunky UI, while the 1987 Amiga version uses a new, colourful art and has mouse support. This style of game porting would continue until the early 2000s, when several factors such as the massive popularity of consoles, the economical struggles of PC developers, the market dominance of a few giant publishers and the arrival of the Xbox pushed all games towards multi-platform releases. For players wondering what’s the best version of older games, the MS-DOS versions are usually the easiest to find and run – they are often available on GOG.com and have a powerful and easy-to-use emulator: DOSBox (the DOSBox Daum build offers more options, while DFend has a friendly interface). The Commodore Amiga version of some games released between 1985 and 1990 had much superior graphics and sound, but getting the WinUAE Amiga emulator to run can be slightly more complex. You can also try the Amiga Forever emulator – it’s paid, but comes with pre-configured setups. For titles released before 1985, the Apple II versions are usually the best alternative, as the AppleWin emulator is extremely easy to use and you can also play online at Virtual Apple II. The following pages will show some comparison between several ports of a same game, to give you an idea of just how different they could be. Ports: Far beyond resolution and FPS by Felipe Pepe
  • 21. 21 EGA (16 colours) VGA (256 colours) CGA (4 colours) EyeoftheBeholder DOS (EGA Mode) Commodore 64 Apple IIGS Atari ST Amstrad CPC Commodore Amiga DefenderoftheCrown DOS (CGA Mode) Macintosh NES Defender of the Crown (1987) was designed to show the Amiga’s graphical power, and while its 16-bit rivals – the Apple IIGS and the Atari ST – could display a very similar image, they still lost some of the finer details. The comparison also show some peculiarities of each machine, such as the C64’s darker colours. Even playing in the same platform could result in very different experiences. SSI’s Eye of the Beholder (1991) was released for MS-DOS with gorgeous VGA graphics, but it also supported older graphics cards. While those playing today on emulators or GOG’s re-release usually default to the superior VGA mode, back then players with older machines had no choice but to play in EGA or even CGA mode.
  • 22. 22 PlayStation (1995) DOS (1992) Windows (1996) WizardryVII:CrusadersoftheDarkSavant Not all re-releases and later ports are improvements. Wizardry VII received a Japan-only remake for the PlayStation, but the fully 3D graphics aged much more poorly than the original’s pixel art. Worst yet was Wizardry Gold, a re-release of the game for Windows and Mac that added many bugs, blurred pixels, inconsistent art style and only ran in a window. In this case, just stick to the original release. TheBard’sTale The Original Bard’s Tale for the Apple II was an impressive graphical feat since, until then, dungeon crawlers like Wizardry all used wire-frame graphics. However, the Amiga version, released just a year later, added mouse support and had a massive leap in graphical quality, overshadowing previous versions. Still, the high cost of the 16-bit computers meant ports for weaker but cheaper machines like the ZX Spectrum and Amstrad CPC would still be produced in the following years. Macintosh (1990) PC-9801 (1988) DOS (1988) MightandMagicII:GatestoAnotherWorld Combat in most versions of Might and Magic II is very similar, using keyboard controls and showing only one enemy at a time. The Mac version, however, is fully mouse-driven and uses the Mac’s GUI to display multiple windows at a time. While slick, many players find that managing a party of six characters is much easier with the keyboard’s hotkeys. The Japanese PC-98 port is also mouse-driven, but instead of multiple windows it has an entirely different combat screen, which shows the party and the enemies. Commodore Amiga (1986) ZX Spectrum (1988) Apple II (1985)
  • 23. 23 The PC Engine remake was ambitious, with character design by Yoshikazu Yasuhiko, a famous Japanese artist, and soundtrack by Joe Hisaishi, known for its work on Studio Ghibli movies. NES port (1990) PC-8801 port (1987) DOS port (1987) Macintosh port (1987) PC Engine remake (1991) Apple II original release (1986) MightandMagicI-CombatComparison Might and Magic I was first released on the Apple II. The DOS port arrived later and it’s very faithful, just changing some colours and fonts. The Mac port, however, makes full use of the machine’s mouse support and high-resolution (albeit monochrome) graphics, introducing a vastly superior interface. The Japanese machines were much better at handling colours, so their versions have the best visuals among PC releases. The NES port has some drastic changes – the interface is menu-based, a mini-map was added and graphics are much better, making it arguably the best version available in English. Finally, the PC Engine version is actually a remake. Adapted to Japanese audiences, it features a cast of six fixed heroes, a fancy intro sequence, adds an on-screen mini-map and it’s fully voiced. Sadly, it was only released in Japan. DOS port (1987) Macintosh port (1987) Apple II original release (1986) MightandMagicI-ExplorationComparison NES port (1990) PC-8801 port (1987) PC Engine remake (1991)
  • 24. 24 Unplayable by Michael Abbott O ne of my most satisfying moments as a teacher came two years ago when 15 students overcame their resistance and disorientation and embraced the original Fallout. I wrote about that experience, and since then I’ve continued to challenge my students with games that fall well outside their comfort zones: arcade classics (e.g. Defender); interactive fiction (e.g. Planetfall); and early dungeon crawlers (e.g. Rogue). But I’ve noticed a general downward trajectory forming over the last six years or so. Gradually my students have grown less and less capable of handling one particular assignment: Ultima IV. To be sure, they struggle with a game like Planetfall, but when they finally learn the game’s syntax (and heed my advice to map their progress), it’s mostly a question of puzzle-solving. Defender knocks them down initially, but they soon apply the quick reflexes they’ve developed playing modern games, and they’re fine. Ultima IV is another story. Here’s a sampling of posts from the forum I set up to facilitate out-of-class discussion of the game: “I’ve been very confused throughout the entire experience. I’ve honestly sat here for hours trying to figure out what to do and it just isn’t making much sense to me right now.” “When I start a game I like to do it all on my own, but it’s been impossible to do so with Ultima. I’ve asked friends for help, looked up FAQs/ walkthroughs, and even searched for Let’s Play Ultima 4 on Youtube and I am still uncertain as to how to get further in this game.” “Yeah, I still have no idea what the main goal is. I suppose it’s to basically find out what the purpose of the Ankh is. But I see no way of furthering that goal.” “I tried for a while without any walkthroughs to get the full gamer experience sort of thing and within the hour I gave up because of a combination of bad controls and a hard-to-get-into story for me at least. It reminded me of a bad RuneScape.” “I don’t quite understand the concept of the game. I believe my main confusion is the controls and how it displays what you have done and how you moved. I’m not used to RPGs and I don’t like them too much. I hope to find out how to move forward, but so far no luck.” “How the hell do I get out of here after I die?” They had five days to play U4, and I asked them to make as much progress as they could in that time. When we gathered to debrief in class, a few students explained how they’d overcome some of their difficulties, but the vast majority was utterly flummoxed by the game. As one of them put it, “I’d say for gamers of our generation, an RPG like Ultima IV is boring and pretty much unplayable.” After removing the arrow from my chest, I asked them to explain why. It mostly came down to issues of user interface, navigation, combat, and a general lack of clarity about what to do and how to do it. I had supplied them with the Book of Mystic Wisdom and the History of Britannia, both in PDF form, but not a single student bothered to read them. “I thought that was just stuff they put in the box with the game,” said one student.
  • 25. 25 “Yes,” I replied. “They put it in there because they expected you to read it.” “Wow,” he responded. Some of their difficulties must be chalked up to poor teaching. I should have done a better job of preparing them for the assignment. I resisted holding their hands because in the past I’ve found it useful to plop them down in Britannia and let them struggle. Figure out the systems, grasp the mechanics, and go forth. Ultima IV may be a high mountain to climb for a 19-year-old Call of Duty player, but it’s well worth the effort. At least that’s what I used to think. Now it seems to me we’re facing basic literacy issues. These eager players are willing to try something new but, in the case of a game like Ultima IV, the required skill set and the basic assumptions the game makes are so foreign to them that the game has indeed become virtually unplayable. And as much as I hate to say it - even after they learn to craft potions, speak to every villager, and take notes on what they say – it isn’t much fun for them. They want a radar in the corner of the screen. They want mission logs. They want fun combat. They want an in-game tutorial. They want a game that doesn’t feel like so much work. I’m pretty sure I’ll continue to teach Ultima IV. The series is simply too foundational to overlook, and I can develop new teaching strategies. But I believe we’ve finally reached the point where the gap separating today’s generation of gamers from those of us who once drew maps on grid paper is nearly unbridgeable. These wonderful old games are still valuable, of course, and I don’t mean to suggest we should toss them in the dustbin. But if we’re interested in preserving our history and teaching students about why these games matter, a “play this game and sink-or-swim” approach won’t work anymore. The question for me at this point is how to balance the process of learning and discovery I want them to have inside the game with their need for basic remedial help. I love great old games like Ultima IV, but I can no longer assume the game will make its case for greatness all by itself. September 22, 2010 Michael Abbott writes and hosts the Brainy Gamer blog and podcast, devoted to video games and the community of gamers. Two pages from Ultima IV’s ‘History of Britannia’ booklet that came with every copy of the game.
  • 26. 26 M any gamers today take auto-mapping for granted. Very likely, they couldn’t imagine a product without it. We of the (cough) “elder generation”, however, know otherwise. Those who go back to the “golden era of gaming” remember well, perhaps all too well, the joys of manual cartography. I learned my lesson fairly early. It wasn’t long, as I wandered in the mazes of Colossal Cave and Zork, before I realised that random scraps of paper or sheets stolen from the printer just weren’t going to do the job. It was time to get professional about this. I bought a stack of graph paper, a package of pencils, and that most important item, a blister pack of erasers. Actually, mapping out the adventure games usually wasn’t too bad. Aside from an occasional nasty trick or mean maze, they were pretty straightforward and, most importantly, nothing was out there waiting for lunch. RPGs, however, were quite another matter. Despite being on mere 8-bit machines, the RPGs were big, and seemed all the larger because mapping was a very slow process. There you were (or I was), carefully pencilling in one step at a time, and there all the critters were, ready to pounce and rip out your heart, lungs, and assorted other organs for appetizers. In no time at all, you were turned around, and only twenty minutes later (if you were lucky), did you realise your careful cartography was somewhat inaccurate. It’s amazing how many erasers you could go through mapping out just one game. The prime example for huge was the first Might and Magic. I still have my 50+ maps from that one. Yep, that many. It seems incredible now, to look at those old sheets, and ponder the time and effort needed to draw the maps, one step at a time. There was one saving grace, though: the dungeons were all standardised, being the same size and shape. Naturally, size was different in different games, but if you were doing MM, you could count on each outdoor area, each town, each dungeon level, being the same 16×16 square. Of course, that meant 256 happy little steps per section, each one carefully mapped. With notes, naturally, on where things were found, where traps were, where messages appeared (and what they said), and so on. And fighting off monsters galore almost every step of the way (it’s odd how Monsters Galore showed up in every RPG; busy little critter!). While Might and Magic was the most excessive in terms of mapping, other games weren’t far behind. The Bard’s Tale, for instance, required a fair amount of cartographical effort, though it featured a mere one town and no outdoors. Seventeen maps for that one, each a generous 22×22 in size, and our friend, Monsters, waiting for us everywhere. I don’t know if it’s possible to adequately convey what it meant to map-as-you-go. This was work, real work. OK, you knew the size of the dungeon, drew it on the graph paper, numbered the sides, and usually knew your starting point. Say it was X3, Y5; here were the stairs out. Everything else was unknown. Cartography by Scorpia Some companies, such as Sir-Tech and New World Computing, would even include graph paper sheets in their games’ boxes.
  • 27. 27 So you started off, taking a step, drawing lines on your map, and hoping against hope that you hadn’t just stepped on a spinner that turned your merry band in another direction, or worse, an undetectable teleporter that just sent you halfway across the dungeon without you realising it. Beyond that, there were nasty little places where everyone took damage as they walked through, where magic was suppressed, where it was totally dark, where you could walk into pits or chutes, or any combination of the foregoing. And remember, our pal Monsters was there, too, practically every other step. Yet we persevered. We mapped. We fought. We erased. We screamed and cursed and muttered (maybe louder than muttered) imprecations against the evil designers. Then we mapped and fought and erased and screamed some more. We could take it. We were tough. We were dedicated. We were hardcore gamers. We were masochists. Nothing else could explain why, the moment a game was finished, we put aside the old maps, reached for a fresh sheet of paper, and started on the next RPG. It’s a pity there was no Game Scouts of America to hand out merit badges for Cartography. Not one of us earned one, and we still have the calluses to prove it. Ah yes, the golden age of gaming. It many ways, it was a good time. But y’know, there are some things about it I don’t miss at all… Copyright © 2006 Scorpia. Reprinted by permission. Scorpia is one of the most fondly remembered game journalists. From the 80s through to April ’99, she was a lead reviewer of, and hint giver for, adventure and role-playing games at Computer Gaming World magazine. Scorpia also ran game-related areas on Compuserve (the original GameSIG), Delphi (GameSIG), AOL (Scorpia’s Lair), and GEnie (Games RoundTable). A map from Bard’s Tale, filled with spinners and dark areas. Be glad it isn’t a teleporter maze.
  • 28. 28 From Prussia with love The origin of RPGs by Craig Stern C omputer RPGs began to appear in the 1970s, more or less contemporaneously with the arrival and popularisation of pen-and-paper role-playing games – which are themselves the children of historical wargames. Thus, the CRPG has only been around for a few decades – but its history reaches all the way back to the 1800s. Baron von Reisswitz is credited with creating the first true wargame – that is, a game meant to simulate battles with a certain degree of fidelity, and not merely a chess derivative. Created in the early 1810s, this game went by the name Kriegsspiel (meaning “War Game” in German). It featured units actually in use by the military of the day, and was meant to simulate battles. Character creation was a matter of faithfully emulating the real-world characteristics of the units those pieces represented, then using die rolls to simulate unforeseen factors in resolving combat. Von Reisswitz’s son created a revised version of the game in 1824. The revised Kriegsspiel paid such close attention to accuracy that the Chief of Prussian General Staff recommended it as a military exercise; the King of Prussia, in turn, actually ordered that every regiment of the army be supplied with a copy. In 1876, Colonel Julius Adrian Friedrich Wilhelm von Verdy du Vernois produced a third version of Kriegsspiel. Vernois was suspicious of the idea that military outcomes could be predetermined according to fixed rules, and replaced die rolls with the mediation of impartial “umpires” who would determine the outcomes of various engagements based on their knowledge and experience (yes, the first Dungeon Masters were Prussian military men from the 1800s). The American military began putting out its own wargames around this time, with Jane’s Fighting Ships following suit across the Atlantic in 1898. Like Kriegsspiel, Jane’s Fighting Ships spelled out the characteristics of the game’s numerous units in astonishing detail. (Google Books has a digitised copy of the rulebook online, so you can see for yourself just how intricate this got.) Even H.G. Wells, the renowned writer, got in on the action, producing Little Wars in 1913. The rules of Little Wars were far simpler than those of other wargames, but it generally followed the practice of simulating large-scale battles, with the characteristics of different unit types decided rigidly according to the type of troops each unit represented. It wasn’t until the early 1970s that wargames started delving into the idea of individual men and women as units. The games that did this eventually became known as “man-to-man wargames” (not to be confused with Steve Jackson’s ruleset of the same name). It may seem obvious to us now, but this focus on individual men and women was such a radical departure from wargaming tradition that it wouldn’t be mentioned in the rules for Gary Gygax’s Chainmail until 1971, three years after Chainmail’s initial publication. In 1811, a special table full of drawers was made so that King Wilhelm III could play Kriegsspiel. The table is still around, kept at the Charlottenburg Palace in Berlin.
  • 29. 29 Even then, it seems the man-to-man rules in Chainmail were largely an afterthought, relegated to a mere two pages out of the entire 44-page book. There, too, character creation remained a matter of looking up prefabricated unit values in a table. Things changed dramatically with the publication of Dungeons Dragons in 1974. It retained many of Chainmail’s rules, centring character creation around selecting from three main classes of characters: Fighting Men, Magic-Users and Clerics. However, before selecting a class, DD first had players roll three six-sided dice to determine abilities: Strength, Intelligence, Wisdom, Constitution, Dexterity, and Charisma. These would, in turn, impact how well-suited the character was to a given class, imposing bonuses (or penalties!) based on their chosen class’s primary statistic. This wholly upended the method of character creation that had prevailed up until that point. Statistics were no longer determined by class: instead, characters got statistics, and only then chose a class based on which roles the statistics made available to them. This approach would form the basis of numerous classic computer RPGs. RPGs continued to diverge from wargames as the genre developed, and so too did their character creation systems. With increased focus on unique, individual characters came an increased focus on the abilities and limitations of each individual character. At their peak, these considerations would come to supplant the notion of character class entirely. Published in 1986, Steve Jackson’s GURPS represented a coming of age for skill-based RPG systems. GURPS characters have no classes at all – rather, they have four primary attributes and a huge variety of skills that can be levelled independently of one another. In a way, this represented the zenith of the individual-focused approach to character creation. All vestiges of the old system were gone: in the skill- based paradigm, characters became unique, fully realised individuals rather than mere instances of a uniform military unit to be used in battle simulations. This approach became quite popular among pen-and-paper role-players, not just with GURPS, but later with the RPGs published by White Wolf, such as Mage: The Ascension and Vampire: The Masquerade. GURPS would strongly influence the SPECIAL. ruleset eventually used in the Fallout series; and Vampire: The Masquerade’s rules would form the basis for Vampire: Bloodlines. But we’re getting ahead of ourselves here – although pen-and-paper role-playing games would directly influence CRPGs for many years, CRPGs have a history all their own, beginning humbly with the tinkerings of bored university students in the mid-1970s. Craig Stern is the founder of Sinister Design; creator of Telepath Tactics and True Messiah: www.truemessiahgame.com Illustrated London News picture from 1913, showing H. G. Wells at his house, measuring unit movement with a string.
  • 30. 30 W ith home computers being so omnipresent in our daily lives, it’s odd to realise just how recent a technology they are. It was only in the mid-70s when home computers began to appear – before that, all we had were giant machines that would weigh tons and occupy entire floors. Yet some of these computers were way ahead of their time. The legendary “Mother of All Demos” presentation, made by Douglas Engelbart in 1968, shows him using a mouse and window-based GUI, clicking on hyperlinks and chatting with a colleague via video conference while co-editing an online text. One of such avant-garde computer systems was the PLATO (Programmed Logic for Automatic Teaching Operations). Created in 1960, it was a giant mainframe with user-friendly terminals designed to teach university students via a series of virtual lessons. The PLATO IV system, introduced in 1972, went as far as to offer vector-based graphics, a touch-screen interface and an Internet-like network, connected to thousands of other terminals across the globe. Students soon found that all this could be used to create games as well, and titles like Empire (1973) and Spasim (1974) began to appear. Empire is particularly impressive: it is a game where up to 30 players battle in a top-down space arena, shooting each other’s ships and fighting to control the galaxy – all this in 1973! When Dungeons Dragons came out in 1974, it unleashed the perfect storm: powerful computers, bored programming students and a statistic-driven game that was begging for automation. The result was the birth of Computer Role-Playing Games. Sadly, not all of them survived. PLATO was still an educational system, so its administrators would delete unauthorised games. As such, we lost all records of m119h, the first CRPG ever made, created in 1974. But its successors escaped – hidden under nondescript names like pedit5 or saved by students, they were played by thousands and influenced many later titles. Thanks to the effort of Cyber1, a community created to preserve the PLATO legacy, these early CRPGs are still available and can be freely played. However, keep in mind that some of them have been updated since the 70s – Oubliette’s title screen even has an ad for its iPhone remake – so they aren’t the exact version people were playing back in the day, but they still give us a good idea of how things were. If you want to learn more about PLATO, I full- heartedly recommend The Friendly Orange Glow: The Untold Story of the PLATO System and the Dawn of Cyberculture by Brian Dear (2017). While somewhat light on the gaming side of things, the book is the best resource available on PLATO and its influence. The PLATO RPGs A PLATO terminal, with its distinct orange plasma display. By 1976 there were 950 of these terminals across the globe. by Felipe Pepe
  • 31. 31 Created by Reginald “Rusty” Rutherford at the University of Illinois, this the oldest playable CRPG. Officially called The Dungeon, it was hidden among the PLATO files under the name pedit5 to avoid being found and deleted by the system administrators. Despite its age, the game holds up quite well. You start by typing a name. The game then rolls your attributes – Strength, Dexterity, Constitution and Intelligence – and you’re off to the dungeon. Visually the game resembles a roguelike, although it predates Rogue (1980). You explore a maze-like top- down dungeon, searching for treasure and battling monsters – if you die, your character is erased. Your goal is to collect 20,000 XP and return to the entrance. Succeed and your score is added to the Hall of Fame. Thedungeonlayoutisfixedandhasonlyonefloor, but it’s quite large and also features secret passages. Random encounters will occur as you explore, with the game prompting you to fight, cast a spell or flee. There’s a surprising amount of depth here, with 16 spells available. These are a selection of classic DD spells, such as Magic Missile (deals damage), Invisibility (escapes combat), Cure (heals you) and Charm (ends combat). Enemies even have different spell resistances: you can’t use Sleep on an Undead. As such, pedit5 is not only an important historical artefact, it’s also a good game – especially for the time. It’s a short dungeon romp with enough variety in enemies and spells to sustain repeated runs in search of high scores. It would take years until home computer CRPGs could match this level of sophistication. TheDungeon/pedit5(1975) Despite trying to cleverly hide itself, pedit5 was eventually deleted from the PLATO system (luckily, a copy was saved by a student). In its wake came dnd, created by Ray Wood and Gary Whisenhunt. Since Wood was one of the administrators of the PLATO system, his game was openly hosted and enjoyed a long-lasting popularity, with constant updates based on player feedback. At its core, the game is very similar to pedit5, but with more detailed character artwork, additional monsters and spells, as well as a few extra features – such as being able to re-roll your initial stats. Initially the game only had one dungeon floor, but the creators kept expanding it. Inspired by pinball machines, they decided to add a high-score system. Since players then began to just race to collect gold and exit the dungeon, they decided to add an end goal: to retrieve the Orb, which was guarded by the Dragon – the first boss fight in a video game. The creators later handed the reins to Dirk Pellet, who kept on improving the game. He added new magical items, potions, a bag for holding and even an auto-fight feature when encountering weak monsters. The most iconic item was the Genie Lamp, which could be used to make a wish: you would literally write a request to the game administrators, who would read it and, hopefully, grant your wish. All this additional content makes dnd much more complex than pedit5, but also harder and longer. Later versions of dnd had as many as 15 floors, with any sense of balance thrown out of the window. dnd(1975) In 2012, The RPG Fanatic made an extensive video interview with the dnd’s creators. You can watch it here.
  • 32. 32 If dnd was the follow-up to pedit5, then Oubliette is the follow up to Moria. Still a multiplayer game, it expands upon it predecessor in almost every way. Moria had four character classes by means of the four guilds in town, but Oubliette expands that to 15 races and 15 classes, each with its own stats requirements! You have the usual Tolkien and DD options, a few exotic ones like Ninja and Courtesan, plus some taken from Lord Foul’s Bane, a high fantasy novel written by Stephen R. Donaldson in 1977. Oubliette begins at a large castle town on top of a 10-level dungeon, featuring several equipment shops, a casino with gambling mini-games, a temple where fallen characters can be resurrected (if their bodies are retrieved by other players) and even a place where you can purchase charmed monsters to take into the dungeon and help you in combat. Spellcasting was also expanded and now uses a system of magic words. For example, in order to cast the “Light” spell you have to type DUMAPIC. By now, Wizardry veterans may be thinking that a lot of that sounds familiar. Indeed, Andrew Greenberg and Robert Woodhead were PLATO users and clearly tookalotfromOubliette,whichledtomanycomplaints of plagiarism from other PLATO users. Oubliette would also greatly influence Mordor: Depths of Dejenol (1995) and Demise: Rise of the Ku’tan (1999). Very few games can claim to still be inspiring successors more than 20 years after its release. For those curious to try it, Oubliette had an iPhone and Android version released in 2010. Oubliette(1977) Moria(1975) Both pedit5 and dnd followed a similar structure, but Moria was a radical departure. Possibly inspired by Maze War (1973), Moria used wire-frame graphics to display the dungeon in a first-person view. Also, despite its name, the authors weren’t familiar with DD or Lord of the Rings; they just played dnd and decided to make something like it. As such, it abandons DD’s traditional stats, enemies and spells. Moria’s four stats – Cunning, Piety, Valour and Wizardry – are based on a 0-100 scale and increase with use. Each stat is also tied to a guild, such as Valor being used by the Knights’ Guild. Instead of levelling up by earning XP, you must join a guild and pay to increase in rank, earning special bonuses as you rise. All stats are useful in battle – Valour influences your attacks and Wizardry is used to cast spells, but Cunning is used to trick enemies into a critical attack and Piety can destroy some enemy types. Money now has a use, as stores offer dozens of weapons for sale (you can even haggle). Just don’t forget to purchase water and food rations, or you’ll die of starvation. More importantly, Moria is actually an online multiplayer RPG. The world is shared with up to ten players, who can band together to form a party! Moria’s world is absolutely massive, with a large city and over 200 areas. The downside is that the game has no real end goal and its areas are just empty mazes filled with increasingly challenging enemies. Extremely innovative, Moria is basically a giant sandbox for players to meet, explore and grow in power. Every MMORPG out there owes it a nod.
  • 33. 33 PLATO had a lot more than just fantasy RPGs. Games like Empire showed that students had a passion for spaceships, sci-fi tabletop RPGs like Traveller were starting to appear and Star Wars (1977) had just come out. Futurewar then was PLATO’s first sci-fi RPG. The game sends players through time to the “far future” year of 2020, where nuclear war destroyed Earth and created an army of mutants. You start by choosing a team – Americans, Guerrillas, Barbarians, Martians or Cyborgs – each with its starting location and bonuses. Then, you roll your stats and can choose one of eight classes, such as Soldier, Medic, Spy and Holy Man. Futurewar is another multiplayer RPG based on exploring dungeons, but it adds several twists such as environmental hazards: you might step on a mine, or be poisoned by a radioactive waste. It also includes a radar, which can detect nearby players and enemies. While still based on stats, with various different weapons available, it’s also a sort of early FPS. When combat begins, your gun appears on screen and you must aim and shoot to hit. There’s a short time limit for each turn, effectively making combat feel real-time. Thus, in a sense, Futurewar was the first FPS/RPG hybrid. Another novelty is having a soldier shooting demons in real time (ish) inside a maze, which would later appear in one of the biggest games of all time. Of course, none of Doom’s creators had access to PLATO, and even back in the 70s Futurewar wasn’t a very popular game. But it’s interesting to see how shooting demons always had a special appeal. Futurewar(1977) Avatar would be the last of the big PLATO games, intentionally designed to surpass all previous RPGs on the platform, drawing the best they each had to offer. The game features 10 races and 11 classes, also tied to guilds in town. Like Oubliette, you start at a castle on top of a huge 15-level dungeon, but, instead of having to walk around, the town is presented as a menu (as Wizardry later did). Another similarity is the many new hazards inside the dungeon, such as pits, zones of darkness, spinners and anti-magic areas. Enemies are also much more deadly, and able to cause status effects, such as Poison, Sleep or Paralysis. According to Richard Bartle, Avatar soon became “the most successful PLATO game ever – it accounted for 6% of all the hours spent on the system between September 1978 and May 1985”. It was so complex it had a staff of volunteers that helped run everything, much like GMs in modern MMORPGs. This also allowed for custom quests that required players to hunt down certain monsters on a certain floor. There are even reports of players bribing admins to get powerful in-game items or resurrect their characters after a failed spell teleported them into a stone wall, as well as graduating players selling their characters before losing access to PLATO. Avatar was constantly updated over the years and still lives on the Cyber1 servers. The latest version is from 1995 and still enjoys some popularity. Avatar(1979)
  • 34. 34 34
  • 35. T his is the meat of the book. Over the next 450 pages you’ll find information on over 400 RPGs, all written by fans, modders, developers and journalists, listed in chronological order and full of screenshots, quotes from its developers and even mod suggestions. The idea is to serve both as a timeline of the genre and a guide to help players get the most out of their games. This section is divided into several chapters, each featuring a span of 5 years. These showcase the events that happened during those years, plus add a brief overview of the changes in the gaming world during that period, giving context to the games and the technological revolution that empowered them. The Reviews Lord British and the Gargoyles read the Codex of Ultimate Wisdom, in Ultima VI: The False Prophet. 35
  • 36. 36 1975-1979 The beginning of the digital invasion It’s no easy task to pinpoint the birth of video games. Tennis for Two, created in 1958, is an often-cited starting point, while others name 1962’s Spacewar! or 1950’s Bertie the Brain. All have their own merit. Since the first surviving CRPGs were developed in 1975 for PLATO, that will be the starting point of this book. Which is convenient, since the second half of the 70s was when the video game revolution really took off, spreading across home computers, video game consoles and arcades. Consoles began to appear in 1972, led by the Magnavox Odyssey. These were very crude machines, mostly only capable of running Pong and other very similar games pre-built into the hardware. The second generation of consoles introduced the concept of ROM cartridges, allowing for companies to continuously develop new games for their machines, much like today’s consoles. While it had a slow start, the Atari 2600 would become a massive hit thanks to the arrival of classic games like Enduro, River Raid, Pitfall and Space Invaders. Computers, on the other hand, were still huge mainframes kept in universities, large companies and research centers. Some smaller models existed, but they were either prohibitively expensive or too slow to even handle BASIC. This began to change with the Altair 8800. Small, cheap (for a computer) and with enough power to be actually useful, it sold thousands of units and was the first commercially successful home computer. On its heels came the Apple II, Commodore PET and TRS-80 – the famous “1977 trinity” of home computers. While the Altair 8800 was made for hobbyists, these three machines were built for mass production, aimed at nontechnical users. However, althoughtheymuchmoreversatilethanagamesconsole,homecomputers were expensive, extremely complicated to use and still struggled to offer their users something other than very simple applications and games. They were highly profitable, but still sold mostly to business, gamers or hobbyists, and their popularity was relative – while the TRS-80 sold 200,000 units, the Atari 2600 sold 30 million units. Computer games themselves were also little more than curiosities. A few, rare commercial titles were sold inside ziplock bags, but most came from technical magazines – they contained pages filled with BASIC code that people would type in their computers, recreating the games. Arcades were also still a small business, less popular than pinball machines. They would grow steadily over the next few years, then explode with Space Invaders in 1979, ushering in a golden age for arcades. In five years, video games went from Pong to a rich ecosystem with multiple genres, platforms and audiences. And this was just the start. 36
  • 37. 37 1975 1976 1977 1978 1979 Colossal Cave Adventure (also know as ADVENT or Adventure) is created by Will Crowther on a PDP-10 mainframe. The first adventure game ever, it also influenced RPGs and roguelikes. PLATO Games: Home computers were just appearing, but American universities had large educational mainframes since the 60s. The most famous was the PLATO network, which came to host several games made by students (hidden from system administrators). Due to the mainframe’s power, these games often had innovative features far beyond what an Atari 2600 or Apple II could offer. Empire, for example, allowed students from campuses all over the US to join in online multiplayer battles way back in 1973! Atari vs Activision: Atari was rigid with its employees – they weren’t paid much and got no credit for the games they designed. Noticing how much money their games made, a group of developers left the company and started their own, Activision, in 1979. Atari sued them for developing games for the Atari 2600, but the court decided people could play whatever they wanted on their consoles. Activision became the first third-party publisher and opened the doors for others to do the same, setting the stage for the crash in 1983. Trends: BBS: Private systems like the PLATO network already allowed users to post messages online, and the advent of home computers and modems soon brought that experience to households as well. The first public BBS (Bulletin Board System) went online in 1978, hosting discussions between computer hobbyists from Chicago. Over the years BBSs would grow to offer all sorts of services, from online games to paid file hosting. They peaked in popularity during the mid-90s, when they began to be replaced by the Internet. Empire is a multiplayer turn-based space game made by John Daleske in 1973. Boxing, released in 1980 for the Atari 2600, was one of the first games by Activision. BBSs like ExecPC were very popular during the 90s and allowed the sharing of freeware and shareware games like Doom. The TRS-80 computer arrives. Created by Tandy, owner of the widely available Radio Shack electronic stores, it outsold the Apple II for years. The Apple II is the first mass- market home computer. The only among its early rivals to have colours, it became a popular games device. The Altair 8800 is released. An early pioneer, it was the first commercially successful home computer, proving that there was a market for them. The VHS (Video Home System) began to be sold in the US, competing against the Betamax and the LaserDisc for the emerging home video market. VHS would win and remain dominant until the early 00s. Space Invaders is released. A seminal classic, it greatly popularised arcades and video games in general. Its Atari 2600 port was also a hit, becoming the first game to sell over a million copies. The Atari 2600 is released. By far the most successful early games console, it sold over 30 million units and popularised the use of ROM cartridges, allowing for an extensive game library. The Commodore PET is released. The first model was criticised for its small keyboard, but subsequent models were very successful. The Intellivision arrives. Created by toy giant Mattel, it brought in better graphics, licensed games and even a voice module. It was the Atari 2600’s biggest rival, selling 3 million units. The Atari 8-bit family begins. A low-cost home computer, it also had a cartridge slot for games, making it a popular gateway into computers.
  • 38. 38 T here are old games, and there are ancient games. Beneath Apple Manor is ancient. Arriving in 1978, it was the first, or one of the very first, RPG-like games for home computers. Yes, personal computing goes back that far. It could run in as little as 16K RAM (tape version) or in 32K+ (disk version, which I had). Levels were created on the fly as you went deeper in the dungeon. Monsters were limited to five: green slime, ghost, troll, purple worm, and red dragon. However, they increased in power the further down you went. Each had its own type of nastiness. Slimes could dissolve armour. Trolls regenerated. Ghosts reduced your Strength permanently. Worms could kill you in one hit, as could Dragons, who had tough hides. BAM could be customised, too. You chose the number of rooms per level (4-7, depending on RAM), the difficulty factor, and whether you wanted black-and-white or colour graphics. With colour, everything was a different coloured block. I much preferred the ASCII black-and-white, wherethemonsters(andplayer,too)wererepresented by letters and treasure by $. You had four stats: Strength, Dexterity, Body and Intelligence. Fighting depleted Strength, so a breather after combat was necessary to restore it. Likewise, movement reduced Dexterity and spell- casting lowered Intelligence. Resting brought those back up, but only a Heal spell could restore hit points. This was not a game of fast movement and rapid-fire combat – caution was needed. Experience was earned by killing monsters and bringing treasure back to the main staircase – the starting point of each level (it wasn’t marked on the map, either, so you’d better remember its location). There you traded points at 10 XP for 1 stat point, increasing it permanently. Gold could buy upgrades to weapons and armour. Most important of all, there you could purchase a “brain scan”. It was your character save. *BAM was re-released in a Special Edition in 1982, with fancier graphics, multiple ports and the ability to save the game to play in multiple sessions. Beneath Apple Manor Don Worth, 1978 Apple II (PC Booter, Atari 8-bit)* My character (Y) found a treasure chest ($) while trying to run from a slime (S). It was cursed. Commands were all over the keyboard, and each action depleted one of your attributes.
  • 39. 39 Playing a huge dungeon floor in colour mode. We (the blue square) listen behind a door, where apparently a troll lurks inside. “It was released two years before Rogue came out. I was not influenced by Rogue (didn’t see it until something like 1983) and, so far as I know, the Rogue guys up at UC Berkeley hadn’t seen BAM either. We probably both came up with the same idea independently. But at least I can say Rogue is “Beneath Apple Manor-like” – Don Worth, Beneath Apple Manor’s creator Should you die – sooner or later, bound to happen – the scan restored you to life at the staircase. Of course, any money you had at the time was dropped. However, you were alive again as of the last scan. And you’d want a new scan as soon as you could afford it. Each use reduced the stats of your next “reload” by 10%. Ouch! Too many restores of the same scan would leave you a wimp. So you proceeded carefully along the level, listening at doors, inspecting walls for secret doors, bashing stuck doors open, running when overmatched, and hoping you wouldn’t run into too many wandering monsters. All this had a goal: to find the fabled Golden Apple, rumoured to be in a dragon hoard far below the surface. Naturally, it exists, and there it is! Or is it? You know the saying: there can be only one (though not a ring this time). But each hoard had a supposed Apple; grab a fake, and you were soon reloading. How could you tell real from fake? Only – haha – by taking it. You don’t always need heavy combat to induce sweaty palms. BAM had to be played entirely in one session. The brain scans were good only for the current game. Quit, and you’d have to start a new game next time. Still, it was meant as a “quick” play. At 5 rooms/levels, you could usually get through it in about four hours or so. Thus BAM was a prototype for Rogue and its many variants. Sadly, it seems to have been overlooked in the history of this sub-genre, even though it arrived two years before Rogue itself showed up in 1980. In its time, Beneath Apple Manor was a fun – if occasionally frustrating – diversion. While simple, the game required thought and strategy. And it shows what could be done with limited RAM and tight, well- designed code. SC BAM allowed you to customise the size of the levels, choose between display modes and 10 difficulty settings. Beneath Apple Manor: Special Edition added so-called “hi-res graphics”, but you could still play in ASCII mode. Some historians claim that BAM was the very first commercial computer game, sold in speciality stores inside a ziplock bag.
  • 40. 40 W hen talking about the first computer games of the 70s, people often overlook the important role played by tech demos, guides and tech magazines. The Apple II, for example, came with a reference manual which explained how the entire computer worked and contained the BASIC source code of a few simple games to teach its users. One of these games was Dragon Maze (1978), by Gary J. Shannon, which randomly generated a simple top-down maze. The player had to navigate the maze by pressing U(p), D(own), L(eft) or R(ight), trying to escape before a dragon could catch them. A series of codes that could be used to generate countless dungeons ready for exploration – this was a gold mine for any RPG fan, and Robert Clardy was one of such fans. Inspired by Dragon Maze, he made his own dungeon-exploring game: Dungeon Campaign. The game starts by generating four dungeon levels – a process that could take several minutes on the Apple II, giving time for players to try to map it down with pen and paper, if they so desired. Once it was finished, you’re sent out to explore it. There’s no character generation; your party always starts with 15 nameless members, including one Elf and one Dwarf. This may sound weird today, but Dungeons Dragons was a very different game back in 1978 – Elves and Dwarves didn’t have classes, and there was a focus on larger parties. Each type of party member has a function. The Elf warns of immediate danger, such as a nearby trap or enemy, while the Dwarf maps the dungeon – if he dies, the map in the screen will no longer update as you explore. The rest of the party members serve as both your hit points and your strength – the game ends if they all die, but at each victory they increase their strength. This means your 15 warriors will have a strength of 15 at first, go to 30 after the first battle, to 45 after the second, but decrease to 42 if one party member dies. And die they will. Combat is simplistic, you just roll your attack, which is added to your strength to see if you hit the enemy. Every enemy in the game dies with two hits; they just become harder to hit as you delve deeper. You also have to roll the enemy’s attack, and if they hit you’ll lose 1-3 party members. The dungeon offers a few other perils, such as traps that will randomly send you to other levels, and rooms filled with toxic gas. Each of the four levels also has a guardian monster, which will run after the player and kill 1-2 party members if it reaches them. These have different behaviours – the giant snake on Level 3 moves in real time across the maze, while the spectre on Level 4 can pass through walls. Regardless, Dungeon Campaign is an easy game. It’s also short. The goal is not to simply complete it, but to get a high score, collecting as much gold as possible before finishing the dungeon – a score-driven design that mirrors the popular arcade games of the era. My party is the pink square, treasures are yellow, enemies are dark green, stairs are white and the pits are grey. Dungeon Campaign Synergistic Software, Inc., 1978 Apple II and Atari 8-bit Synergistic Software was founded in 1978 by Robert Clardy and Ann Dickens Clardy. They would create several other games in the 80s and 90s, including Spirit of Excalibur and Diablo’s Hellfire expansion.