The Stack

One major change from Pool of Radiance I should mention: the wilderness. Where PoR had an Ultima-style third-person grid outside the cities and dungeons, Curse of the Azure Bonds has a network of set paths, navigated using the same sort of menus that are presented at other major decision points in the game. At each node, you typically have a choice of two or three other places to go to, as well as options to make camp and (where relevant) enter the city or dungeon you’re currently at.

You lose a lot of freedom this way, but possibly just enough — as I said in a previous post, PoR‘s total lack of restrictions on travel made exploration of the wilderness uninteresting. CotAB doesn’t even have exploration of the wilderness in the same sense. It does use the word “wilderness”, but in a different way: when you choose a destination, the travel menu often gives you a choice of moving through the wilderness or following the trail (or, sometimes, going by boat). Your choice here can trigger different special events, but usually seems to just affect how much cover from trees and the like there is in any random encounter along the way. Regardless, there’s no hunting around the map for unknown points of interest; you have to already know where you’re going before you can even try to go there.

It has to be said that the CotAB approach is a lot more like how the world outside of dungeons and other planned set-pieces is handled in live D&D. There, as Starmaker said, the usual philosophy is that “nothing important happens in the wilderness”: you tell the DM where you want to go, and the DM rolls for random encounters, and that’s it.

At some point when I was googling for more information about Curse of the Azure Bonds, I saw a review that praised it for having a stronger story than Pool of Radiance. I’m not sure I agree. The two games have different stories, certainly. PoR‘s is like the RPG equivalent of a police procedural. The player characters are just doing a job. That job brings them in contact with a larger story, but the story is not fundamentally about them. The PC’s are no one in particular, just a group of wandering adventurers attracted by the opportunities in the city of Phlan, like many others.

In CotAB, on the other hand, it’s all about the PCs. You are the Chosen Ones! Characters in the game actually use that term, although it’s somewhat inverted from its usual meaning, because it’s the bad guys who did the choosing. And, well, fair enough: your party is at least level 5 now, and that makes them good choices. I recall reading an analysis of the third-edition D&D rules that came to the surprising conclusion that the most skilled people in the real world — the Albert Einsteins and Michael Jordans and whatnot — are the equivalent of fifth-level D&D characters. Beyond that point, we’re in the realm of pure larger-than-life fantasy. At any rate, while the player characters in PoR were special by the end (being chosen to storm the castle and all), they had to earn that position through hard work within the framework of the story. Your special position in CotAB, on the other hand, is unearned. But that’s okay, because it’s also involuntary. (It’s funny how that works.)

The story in PoR is largely backstory; you generally only show at the end of each plot thread, because you’re the one doing the ending. (This adds to the police-procedural-like tone: much of the story is communicated through discoveries about what happened before.) In CotAB, the story is happening to you, as you play it. This doesn’t mean the story is more interactive, though. Quite the contrary. The premise of the Bonds provides the author with not just an excuse to wrest control of the characters away from the player, but an obligation to do so. And this gets into the most peculiar thing about CotAB‘s story: the premise involves villains with schemes, but you can’t actually do anything to stop them. All you can do when a scheme is executed is to read some noninteractive text describing how the scheme went down: the villain took control of your actions, but it all somehow went wrong anyway, due to circumstances beyond your control. And sure, you get to kill them after the fact, but that’s it.

I’ll say this for the CotAB approach, though: because you’re the center of the plot, the villains aren’t necessarily sitting in their lairs oblivious to your approach, as in PoR. They have reason to seek you out, and occasionally do so when you’re not expecting it.

Unlike with Pool of Radiance, I started off Curse of the Azure Bonds with full access to the documentation. This still leaves me with less information than a set of D&D books would provide. For example, there’s an area-effect spell called “Ice Storm”. What area does it affect? The manual here doesn’t say. I think it’s roughly equivalent to the Fireball spell (which, indoors, extends three tiles in all directions around the point you cast at), but it’s hard to tell exactly, because you only get to see its effects on the monsters that don’t resist it, and the monsters I’m dealing with at this point have pretty good magic resistance.

Or consider the Drow arms and armor. I know from experience in third-edition D&D that Drow equipment melts when exposed to sunlight, and sure enough, that turns out to be the case here. But if I defeat some Drow on the way into a cave, and I know I’m going to be spending a while exploring it, should I bother taking their stuff? Or is the gear I already have better? I knew I could tell how good a character’s armor is by looking at the character’s “AC” rating, but it took me a while to realize that the “THAC0” rating similarly includes the bonus on the weapon.

This is because I’m not used to the concept of THAC0. I played first-edition D&D as a kid, and more recently played 3rd and 4th edition as an adult, but THAC0 is a second-edition concept. My first encounter with it was in Planescape: Torment, which (bafflingly, to my eyes) treated it as one of the basic D&D concepts that you’d naturally be already familiar with. I’ve heard that it had been replaced by the concept of Base Attack Bonus, but that’s apparently not quite right, because BAB doesn’t include situational modifiers like what kind of sword you’re wielding. I had been letting my eyes glide over that spot in the character info, assuming that it was beyond my ability to affect, much like the character stats. Perhaps I would have noticed my error earlier if I were playing a single character instead of six. I almost certainly would have if the game displayed figures that had changed recently in a different color, like a lot of more-recent CRPGs do.

The fact that THAC0 is in this game at all also reveals something that I’ve been mistaken about all along: I’ve been saying that these games are based on first-edition rules. They’re not. I’ve tried to find some resource online that is to the first-edition rules what d20srd.og is to third-edition, but to no avail. (Which makes sense, because the 1e rules weren’t released under a public license like the 3e rules were.) But now I know that even if I had found such a resource, it would have been wrong.

And really, even a set of 2e core rulebooks wouldn’t have information specific to the Forgotten Realms campaign setting, and even a set of Forgotten Realms sourcebooks wouldn’t be completely accurate as a description of the rules in the computer adaptations. GameFAQs has a nice little writeup of the 2e rules for players of the computer games, but it’s not content-specific enough answer the kinds of question I have. So I suppose I’ll have to continue figuring things out by trial and error. Which is how Gygax wanted players to do things anyway; early editions treat the Dungeon Master’s Guide as secret knowledge that should never fall into a the players’ hands. (A futile sentiment, since every D&D group I’ve ever been in trades off DM duty to different players from time to time.)

I said before that it’s rare for CRPGs to implement anything like D&D-style spell memorization unless they’re explicitly using the D&D license. (The only other games I can think of offhand that use it are the ones in Infocom’s Enchanter series, and those are adventures, not RPGs.) In early titles like Wizardry, the shift away may have been primarily a way of saving memory. But once mana systems and the like were established as viable, they were obviously more appealing to players. Being forced to choose a subset of the spells available to you means losing the full freedom and flexibility that those options represent.

But limitations are at the heart of what makes a game. Perhaps there’s something that we lose by abandoning the memorization system? Sometimes, I think there is: a level of preparation. If you know in advance what sort of enemies you’re going to be fighting, you can tailor your spell roster to them. I did this a fair amount in Pool of Radiance: going to the graveyard to fight undead, for example, I knew full well that Sleep would be useless.

My experience with playing D&D live is that there’s almost never an opportunity for this sort of advance preparation. Most scenarios seem to involve either walking into a mostly unknown situation or responding to an emergency that doesn’t allow you the rest period needed to prepare new spells. The engine used in Pool of Radiance and Curse of the Azure Bonds sidesteps around both of those contingencies. In grand CRPG tradition, emergencies are illusions: if you can find a safe place to rest, you can rest there indefinitely and pick up the emergency where you left off. And nothing comes unexpected when you’ve gone back to a previous save.

And yet, my spell choice is seldom driven by circumstance. Usually I pick the same spells that have proven useful over and over: Fireball, Magic Missile, Cure Light Wounds, Hold Person, etc. Sleep stopped being useful somewhere in PoR. Now that I can cast Cure Serious Wounds, I’ve toyed with swapping out an instance of Cure Light Wounds in favor of a utility spell like Detect Magic, but when you come down to it, you never have enough healing power. And I’m told in the comments to the last post that it only gets worse at high levels!

I’m pretty sure this is the fault of the D&D spell list, rather than of the basic mechanic. I can imagine alternate lists making spell selection into a vital part of the game. Indeed, other games do this routinely, just not with spells: consider Pokémon. Or, closer to what a game like this one would do, consider what some games (Blood Omen, for example) do with variously-enchanted weapons and armor. Of course in order to make that into a prep-time activity, the game would have to prevent you from changing weapons and armor mid-fight, and the engine used here doesn’t do that. (Yes, you can change out of plate armor between sword-thrusts; the only thing preventing players from noticing this is that you usually don’t have any motivation to do so. Everyone should be wearing their best equipment all the time.)

Curse of the Azure Bonds is a sequel to two things, a game and a novel. The game is of course Pool of Radiance, and I’ve just gotten far enough into it to see how the plots are linked (the end boss has apparently returned). The novel is Azure Bonds, a Forgotten Realms novel by Kate Novak and Jeff Grubb. I had no idea about this until after I started playing, but just looking at the book’s description on Wikipedia, I see that certain minor characters in the game were drawn from the novel. I suspect that the story would be a little easier to follow if I were already familiar with them.

Not that it’s exactly been hard to follow. The premise is a simple one — it’s essentially a fantasy version of The Manchurian Candidate. Before the game starts, the player characters are captured by bad guys, who afflict them with mind-control tattoos: five blue glyphs running down the arm, each representing a different master who can take control of your actions. Before you can leave the starting city, you’re compelled to attempt regicide.

It’s the sort of premise that has the potential for interesting gameplay, and I suppose that’s why they chose that particular novel. I’m not sure if it actually translates into game mechanics here, though. I’m imagining situations where your ability to give commands to your characters is constrained, like in Tower of Heaven, and the engine probably doesn’t support that; the one time I’ve been compelled so far, it happened in a noninteractive text passage. Still, the five bonds give the game an obvious structure: five symbols, five enemies. I’ve already defeated an entire guild of assassins, resulting in the erasure of one symbol, although I’m not sure how that works, or why they didn’t just compel my characters to march right out of the guild’s hideout or stab themselves in the throat or something. I suppose the whammy must have limitations of some sort.

As the game’s intro sequence asserts a couple of times, what’s at stake here is “control of your destiny”. And this raises a point of unity of form and content, although I’m not sure whether this was intended or not. Up to the point where you get rid of the first symbol, the game is quite linear, and seems particularly so in contrast to Pool of Radiance. Afterwards, exiled from the realm where you start (because they can’t blame you for being mind-controlled, but at the same time it’s too dangerous to have you around while it can happen again), you get your first real choice: where to go next. So, as a result of getting rid of the bonds, you gain control of your destiny. We’ll see if this continues.

So, going straight from the first game in the Pool of Radiance series to the second, what’s changed?

Well, first and most obviously, it’s higher-level. PoR started you out with freshly-minted level 1 heroes and guided them to level 6, 8, or 9 (depending on character class), at which point additional experience points simply pile up, any additional leveling deferred until you import the characters into CotAB, which takes you as far as level 10, 11, or 12 (again depending on class). CotAB doesn’t even support low-level player characters; newly-created ones start at level 5.

Higher levels means more complexity: more new spells, more new special-case rules that kick in at high levels. A level 10 Thief, for example, has a chance of successfully casting spells from a scroll — another of the less-imitated D&Disms. And apparently the developers felt that if they were throwing in new complications, they might as well let us have dual-classed characters (a concept distinct from multi-classed characters, although as a child I found this all too arcane to follow), as well as a couple of subclasses.

Back in first-edition D&D, it was apparently considered important that every player character be essentially one of the four classic base classes (Fighter, Magic User, Cleric, and Thief), but subclasses provided some variation. Thus, they’re the forerunner of what later editions would call Prestige Classes and Paragon Paths, although most of the specific first-edition subclasses are simply base classes today. ¹The exception is the Illusionist, which isn’t even a class any more. Illusionist spells simply got folded into the regular Magic-User spell list. Ranger and Paladin, the subclasses of Fighter, are the only ones available here: there’s no Illusionist, Assassin, or Druid, although the manual lists a few basic Druid spells because Rangers can learn them. This means there are six classes available, exactly the right number to have one of each in your party (much like in Might and Magic). This is what I’m trying first, even though the result seems kind of lopsided to me: three fighter-types and only one mage. I suppose it’ll smooth out a little once two of the three fighters start learning spells. If not, I can always swap out the vanilla Fighter.

In presentation, the game isn’t much changed from PoR. The window borders are different now, PoR‘s twisted-cord motif replaced with fractured stone. The ludicrously crude customizable character portraits are gone (so no more putting the bearded dwarf head on the chainmail-bikini chyk body), but the customizable character icons are still around. The horrible UI has some small improvements: for example, multiple spell-memorizations are now displayed stacked. (That is, if you memorize Magic Missile three times, it’s listed in the spell-selection menu as “Magic Missile (3)” instead of occupying three rows.) Probably the biggest improvement is the Fix command, which you can activate in camp to make your Cleric(s) cast Cure Light Wounds as many times as possible, then rest up to memorize it again, and repeat the process as many times as necessary to get the entire party to full health. This is a process I went through countless times manually in PoR. So it’s good to see that the developers were actually paying enough attention to how people played to see a pattern worth streamlining. It sure isn’t the improvement I would have asked for first, though.

Here’s a phenomenon that I think most D&D players are familiar with. Let’s say you’re in a situation best handled with subtlety of some sort. It can be stealth, or deceit, or careful manipulation of the physical environment — the details don’t really matter as long as you have some way of accomplishing your goals without combat. The phenomenon is that it basically never works. No matter how carefully you plan, you’re going to slip up somehow, either by an unlucky roll of the dice or just by not anticipating the consequences of your actions, and wind up fighting the guards or whatever. D&D is just biased that way.

The endgame of Pool of Radiance is kind of like that, except that when things go pear-shaped you can always go back to an earlier save and try again. Getting into the castle’s central hedge maze to confront the end boss without setting off any alarms took me multiple tries, and actually defeating the boss took several more — in fact, it took a few tries just to get through his guards, a team of level-8 fighters. Understand that this game does not permit the possibility of simply overpowering these guys by force of superior experience level. The entire game caps experience level at 6 for clerics and magic users, 8 for fighters, and 9 for thieves. I had been relying almost exclusively on direct-damage spells for most of the game’s plot-significant fights, but the most powerful offensive spell you can learn — Fireball — although good for clearing out roomfuls of orcs in a single cast, just doesn’t do enough damage to win the final fight fast enough. To beat the boss, you have to really know what you’re doing — and on your first attempt, you don’t. You don’t even know you’re about to fight the boss until you stumble into his room once, and you really need to buff up before you do that.

The boss, incedentally, is known as “the boss” within the game itself. It comes off as a little meta, but really, it’s an attempt to create a sense of mystery about who’s actually pulling the strings. In a sense, though, the authors have told you who the boss is before you even start playing. I haven’t talked about the meaning of the title: within the gameworld, the Pool of Radiance is a legend akin to the Holy Grail, something elusive and sought after, granting great power to those who find it. And, like in some versions of the Grail legend, it’s capable of transporting itself from place to place. Some of the bad guys are looking for the Pool of Radiance, but the end boss, in a sense, is the Pool of Radiance — or rather, the demon that possesses anyone foolish enough to dive into its waters. So, really not so much Holy Grail as One Ring.

Anyway, it’s with some relief that I remove the first game from the Stack this year. I had a lot of negative things to say about Pool of Radiance, but it does an admirable job of putting all its RPGisms into a sensible context in which everything has a reason to be the way it is. Even the monsters frequently have some larger goal they’re trying to achieve by attacking you, rather than doing so just because they’re monsters. Next up: the sequel.

Completist that I am, I’ve taken care to complete all my dangling quests before proceeding into the city’s climactic castle. This meant spending a considerable amount of time scouring the wilderness for the last few places of significance. The explorable part of the wilderness is only about 40×30 map tiles, which wouldn’t take that long to go through systematically if it weren’t for the fact that I keep getting interrupted by random encounters. Fortunately, I have one thing that helps speed them along: a character with a natural 18 charisma.

This was not deliberate on my part. Charisma is traditionally the least useful stat in D&D, and I probably would have treated it accordingly if the character generation system let me. But generation here is done the traditional way: randomly. The game makes it easy to repeatedly re-roll your stats until you get something you like, and one of my fighters just happened to get lucky in charisma at the same time as in the stats I cared about. The effect is that I can talk my way out of fighting a lot of the time, assuming that the fight is with something able and willing to talk. (A lot of the wilderness encounters are with wild animals. While I can imagine someone with a really high charisma dissuading a wild boar from charging by means of body language, it’s never worked for me.)

When you choose to “parlay” (sic) instead of attack, you get a choice of conversational tone: Haughty, Sly, Nice, Meek, or Abusive. You might think that choosing anything other than Nice would tend to give offense, but in fact different types of monster tend to respond well to different tones, which is a neat little way of adding a touch of personality to the different monster types. For example, gnolls, if my observations are at all accurate, only respect the Haughty, while minotaurs are grandstanding bullies who see anything but Meekness as a challenge to their dominance. Kobolds respond well to the Abusive approach — as the least powerful of the humanoid monsters, they’re probably so used to being pushed around that they see anything else as a sign of weakness.

The Sly tone is a special case: it’s an attempt not just to persuade the monster to not attack you, but also to subtly pump it for information. This is really only useful in specific puzzle-like situations, though; wandering monsters in the wilderness generally don’t know anything.

Anyway, it’s good to have alternatives to combat, especially at this late stage in the game, when combat basically doesn’t benefit me. Most of my characters are at their maximum experience level (a by-product of completing all the quests), and I have about as much money as I can carry (and nothing to spend it on). A lot of the pleasure in RPGs comes from improving your characters, and I’m running out of room for improvement. Good thing it’s ending soon.

According to my self-imposed schedule, I should be moving on to 1989 this weekend. This may not happen. I think I’m pretty close to the end of Pool of Radiance, and want to polish it off before moving on. More importantly, looking ahead, I see that there are three games on the Stack for 1990: Might and Magic II, Wizardry VI, and Secret of the Silver Blades, the third of the SSI Gold Box games. I prefer to play series in order when possible, and the only one of these where I could plausibly do that in two weeks is Silver Blades, and that only if I manage to finish Pool of Radiance and Curse of the Azure Bonds in that time. But I think this is doable; as I mentioned before, I spent much of the beginning of the current two-week block lallygagging. Also, importing some level-6 (or higher) characters into Azure Bonds can be expected to make it go faster. But we’ll see.

It’s a simple truism that CRPGs were influenced by D&D. You might as well point out the influence of Space Invaders on shooters, or of Sherlock Holmes on detective fiction. But the interesting thing about Pool of Radiance is the way it exposes the things that other CRPGs typically don’t imitate about D&D (as it existed at the time). I’ve already pointed out a few — gaining experience points for discovering treasure, for example. Or the memorizing of spells: nothing that isn’t strictly D&D-based bothers with that. Mana systems are the norm, and even venerable Wizardry provided something more like what would become the mechanics of the Sorcerer class in third edition D&D.

There’s all the little details of the mechanics of resting: taking different amounts of time to memorize different spell levels, or the way you can rest for days to restore hit points very slowly. The amount of time you spend resting is significant, because random encounters are based on strict timekeeping by the DM — something that most actual D&D groups probably didn’t bother managing, but which a computer can do easily. Nonetheless, most other CRPGs simplify things by assuming that a rest is simply a rest. Likewise, PoR faithfully implements the D&D encumbrance rules.

A lot of D&D-influenced games have limits on what races can be what classes, but this is the only one I can think of that imposes maximum experience levels for specific race/class combinations, leaving only humans able to advance arbitrarily. This is another idea imported directly from AD&D, and it’s weird enough that I have to wonder what effect Gygax was trying for. Perhaps it’s more natural coming from a miniatures wargaming perspective; perhaps level caps are part of the basic mechanics of the other games he was playing, and allowing higher caps for specific combinations was a way to say that dwarves are better fighters than halflings and so forth. In which case unlimited advancement for humans was seen as a special treat for them, rather than (as it is from the player’s perspective) punishment for everyone else. Anyway, this isn’t something I expect to come afoul of in the course of PoR, but it’ll certainly affect which characters I choose to import into the sequel.

One of the really striking things is just how slow combat is. CRPGs typically get individual encounters over with quickly, so that a typical session involves many encounters, but it’s not unusual for a large encounter to take the entirety of a D&D session. To a large extent, this difference is because D&D involves humans rolling dice and talking to each other, things that a computer can do much more quickly. But even so, the less-risky encounters in PoR frequently come down to putting all your characters on autopilot and then making yourself a sandwich or something while you wait for the computer to finish up. Partly this is because it has to go and animate the movement of every individual creature in the encounter, partly it’s because most encounters end with chasing down the last few monsters who tried to flee the area but got stuck on a wall somewhere. But partly it’s because, in the original D&D rules, attempts at hitting opponents simply miss most of the time. (This is why Magic Missile is such an important spell: it never misses.) In other CRPGs (particularly JRPGs), it’s more common for most blows to connect, but do proportionately little damage.

Generally speaking, the history of RPGs has been one of simplification, of eliminating elements that don’t justify themselves in fun (and introducing new elements that do). And CRPGs have evolved in this way faster than pencil-and-paper ones, by virtue of their faster revision cycle. People have complained that fourth edition D&D imitated the mechanics of World of Warcraft, but if you ask me, learning the design lessons that computer games have to offer is a smart thing to do. Even at this early stage in the history of the medium, CRPGs had to pick and choose what aspects of the D&D experience they felt were valuable — Wizardry simply couldn’t implement the entire ruleset and still run on the Commodore 64. For keeping the details that other games left out, PoR probably seemed more sophisticated than its competition at the time, but it really represented something of a step backwards.

It’s worth noting some of the features of D&D that aren’t imported into PoR. There’s no food here. There’s no mention of material components for spells. Light sources aren’t needed; your entire party can see as well underground as in town, eliminating the need for torches or any kind of light spell. These are all things that I consider pretty important to the texture of old-school D&D — what, I can’t buy iron rations? — but they were considered to be too much trouble to include, even by the people who implemented the encumbrance rules. It’s especially notable that these are all things that were present in various episodes in the Ultima series — I think U7 had them all.