The Stack

Just a brief note today, corresponding to a brief play session. My time has mostly been spoken for the last few days. This will end soon, but I can’t help but feel like I’m dragging my heels again, like when I was just starting Pool of Radiance — perhaps because I’m no longer rushing to access sequels on schedule. (There is one more game left in the series, Pools of Darkness, but I don’t feel like I have to start that next week, because I have other games from 1991 I can do instead.)

But also, I may be getting tired of the gameplay. I’ve made a lot of comments about the subtle differences between the Gold Box games, and how the user interface incrementally improves, but the fact is, the bulk of my time spent playing the game is still a matter of maneuvering guys around on a battlefield, casting the same few spells, and then going through the ritual of resting up, re-memorizing spells, and identifying any enchanted loot I found. Bosses break this up a little, but they’re a minority of the play time. The one thing that really changes as I advance is that my higher-level characters have more spells and more hit points, and therefore can have more battles between rests.

I vaguely recall a passage in the first edition Dungeon Master’s Guide about how the players should regard monsters as obstacles, not goals. (Presumably this is the rationale for providing XP for treasure.) A lot of CRPGs break this idea, to the point where players spend time wandering around explicitly looking for random encounters. Here, though, I’m really feeling like random encounters are just getting in the way of me doing what I want to do, which is advancing in the plot in a timely fashion. In the previous two games, there were ways to avoid a lot of the random encounters, usually by means of the “Parlay” option. (One dungeon in Curse of the Azure Bonds had random encounters with giant slugs, which could be avoided by simply stepping out of their way.) But that hasn’t even been an option here.

Just outside of the starting area in Secret of the Silver Blades, there’s a district that doesn’t fit inside the usual 16×16 map sector. Places like this started cropping up in Curse of the Azure Bonds, but I didn’t pay much attention to them there, because they were in places obviously disconnected from the plot. I don’t really think this one is connected to the plot either, but the plot here is less of a driving force, at least at the beginning, so I decided to explore it anyway.

I had some suspicion that an area that seems like it doesn’t fit in the usual map grid would turn out to simply have wraparound, or at least somehow fit together jigsaw-style into a neat square. There was at least one dungeon in CotAB that pretended to be long and skinny, but was composed of strips that naturally fit together into a 16×16 block. But that really doesn’t seem to be the case here. So the game engine is capable of supporting larger areas. And yet, the important areas still seem to be limited to the standard size, and I have an inkling why. It has to do with triggered events. In important areas, stepping into particular spots will produce effects ranging from simple descriptive text to monster encounters to plot events. Traps and hidden treasure caches may also be bound to particular map tiles. I’ve seen similar events in the larger areas, but they’re not actually bound to locations: if I go back to an earlier save and explore the same area again, they’ll happen in different spots. So, I hypothesize that the designers implemented special events in terms of a list of coordinate references, and opted to keep those references limited to 16×16 — which, as I pointed out before, fits neatly into a single byte. Whatever model they’re using for the walls is clearly more freeform.

Another thing about the large area here: it smacks of procedural generation. There are a lot of repeated identical rooms and pointless dead ends. I don’t think the game actually generates maps procedurally at runtime, but it could easily have been generated randomly during the authoring stage, either by a computer program or even by rolling dice. There’s even a certain amount of tradition to the latter approach: the first-edition Dungeon Master’s Guide had a section on generating dungeons randomly. (I tried it in a live session once. It didn’t work very well.) But who knows? Maybe the designers just threw in the identical rooms and dead ends to make it labyrhinthine and confusing. But it would be more effective at this if I didn’t have my map coordinates on the screen all the time.

So! Let’s get to it. The silver blades: what is their secret? I don’t know. I don’t even know what the silver blades are yet. The game opens with no mention of them, presumably because they’re secret. Instead, we have (ye gods) a something-evil-in-the-mines opening. Well, fair enough: the series hadn’t tackled this cliché yet.

First impressions: They’ve really devoted some attention to improving the engine this time around. The visual presentation hasn’t changed much (apart from reorganizing the character sheets and adding some new wall textures), but they’ve added support for two major pieces of add-on hardware.

One is the Ad Lib sound card — yes, just the original Ad Lib, not the Soundblaster, which means that we just get FM synthesis, not sampled sound effects. Laugh all you want. The Ad Lib was a tremendous improvement over the previous state of the art, the PC internal speaker. It doesn’t seem to get used much here, though: the only bit that really takes advantage of it is the intro sequence, which has background music. Still, even that little goes a long way toward making the game feel more professional than its predecessors.

The other new hardware is the mouse. This makes a big difference in a fundamentally menu-driven game. But then, the menu system had gone through something of an overhaul anyway, mostly for the better. Vertically-aligned menus are now navigated with the up/down keys instead of the difficult and unexpected home/end of the previous two games. Consequently, I’m having to retrain myself; I keep reaching for the wrong keys here. Of course, using the up/down keys like this means that you can’t scroll through a menu and use the up/down keys for movement within the world at the same time, and accordingly, movement has been separated out into its own mode. I complained about having to manually switch into movement mode in combat in Pool of Radiance, but it’s not so bad in this context, because once you’re in movement mode, you tend to stay in it for a long time. In combat, you had to switch back every round.

So I’m a bit disappointed to see that we’re back to having to manually switch into movement in combat as well, undoing one of CotAB‘s chief improvements to the UI. But you can’t have everything, I suppose.