Fallout is obviously not sword-and-sorcery, but if you install Fallout 2's Restoration Project mod, you might get to meet a character who bears a striking resemblance to a famous pulp hero.
Among the content that was cut from the original release of the game but restored by the mod is a primitive tribe living on the California coastline in Fallout's post-nuclear setting. The hero of Fallout 2, the Chosen One, can meet a member of this tribe named Sulik while exploring the settlement of Klamath. Sulik is a "tribal" who comes from the Umbra Tribe and after recruiting him as a companion, you can travel to their small village. After arriving, you can meet the tribe's head warrior, a fellow named Krom.
The game's description of Krom: "This sun-bronzed giant looks as if his corded muscles were carved out of granite. Beneath a mane of black hair, his smoldering blue eyes pierce into you." Krom goes on to ask you about who you are and what your purpose is. Krom is well-spoken and supportive of your quest to find the Garden of Eden Creation Kit to save your village, although he scoffs at the concept of the GECK itself in favor of man toiling against the earth with his own natural gifts. He also makes it clear that he's well-travelled and the village is just a temporary home for him before he decides to move on and see what else the world holds for him. You can continue to interact with him while staying with the tribe and he'll put you to work on solving some simple tasks the village could help with.
So Krom is an expy of Conan himself, transplanted cleanly into Fallout's world. It goes to show in a very minor way that despite the differences, post-apocalyptic fiction and S&S are cousins of sorts, both genres about people battling strange forces and hostile environments as much to just survive as to vanquish some great evil.
No sorcery in this one, just sword, but a lot of classic S&S does have a strong historical element. And even as history-minded as this game is, it does brush up against a sense of weirdness in a couple of spots.
Kingdom Come: Deliverance was Kickstarted in 2014, released in 2018. The player takes control of Henry of Skalitz, the son of a blacksmith living in a Bohemian village in 1403. The king, Wenceslaus IV, is a bit of a disappointment compared to his father, Charles IV, who presided over a golden age for the country. In response to Wenceslaus's frivolous ways, his half-brother Sigismund leads an invasion of the country to presumably sort things out. What this means for humble citizens like Henry is that his village, a valuable silver-mining center, is sacked by Cuman mercenaries who take liberties with the locals in the process, including killing Henry's parents. Just before the invasion, Henry's father had forged an exceptional sword for the local lord, Sir Divish, and in the early portion of the game the sword is stolen by the villains, so Henry's quest becomes to recover the sword while taking revenge for his parents and village. Henry will become a knight in Sir Divish's service and will travel across a region that includes the towns of Sasau and Rattay.
The game is a first-person RPG, built on the CryEngine, with very good graphics that emphasize realism over art direction and mood. Henry has basic needs for sleep and sustenance that have to be monitored, although they aren't too difficult to maintain. Injuries have to be looked after. Not bathing or taking care of your clothes and armor will draw insults from other characters. The fighting system involves having to practice to level up strength and skills so Henry will have more endurance and ability to parry, strike, and counter attacks. The combat system is interesting but disappointingly falls down in major battles where Henry is part of larger forces clashing. It simply becomes a mess of men flailing at each other and the most effective technique is probably to just run behind the enemy shield wall and start backstabbing people while your fellows keep them occupied in front. Not exactly the blood and thunder one would hope for in such situations.
KCD had to be crowdfunded because historical games, especially ones in as obscure a setting as medieval Bohemia that require a hefty budget, terrify game publishers that would greatly prefer to stick to tried-and-true settings like Tolkienesque/D&D-flavored fantasy or space marine-centric sci-fi. As much as possible, KCD is based on real places and events, peppers its story with several actual historical figures, and generally tries to present its setting with as much accuracy as a video game could reasonably allow. A writer like Harold Lamb might have found it interesting. Accessing the game menus will allow the player to read brief encyclopedia entries on medieval society, enough that playing the game will give players an elementary-level foundation of Bohemian history. The game also is generally even-handed in how it depicts its setting, eschewing Monty Python-like images of cruel nobles mercilessly beating idiotic peasants covered in mud and excrement. Instead there's a range of personalities shown, with nuanced examples of people all along the social strata. Some lords are entitled brats but others are serious-minded and dedicated to their duties on behalf of subjects, while peasants might be hardworking, lazy, or opportunistic depending on their minds and circumstances.
The story is linear but the player is free to define Henry however they like. He can be a selfless do-gooder or a complete psychopath or likely somewhere in between. He can specialize in fighting (and particular weapons) or have a silver tongue or be a stealthy type. The game is open enough to different playstyles that there are usually multiple valid ways to overcome situations. Come across a bandit camp and don't think you're strong enough to simply walk in and massacre everyone? Perhaps try waiting until midnight and then sneak into the camp so you can take out watchmen silently in the dark and then murder the others in their beds. Or slip poison into their food and let it do its work.
Even at his strongest, Henry isn't a cartoon hero. Travel on the roads can be very tense, especially in the earlygoing, as Henry can run into highwaymen, stray bands of Cuman raiders, or be baited into traps by people claiming to be in distress. Henry's odds of winning a fight drop significantly with each extra man added on the other side - one-on-one isn't too bad; one-on-two is doable; against three, four, or especially five, though, and he might be in real peril and simply trying to escape or even surrendering might be the best play.
As mentioned above, the game does touch briefly on more fantastic aspects in two notable sections. First, there's a sidequest that can only be completed if Henry is able to access a cabinet of forbidden books in the Sasau monastery's library. The particular book he needs is Lovecraft's Necronomicon, although somewhat disappointingly, the presentation of the book is a bit drier than might be anticipated. Nothing about its authorship by Abdul Alhazred, and even looking over its pages makes it seem like nothing more than just another book, albeit slightly more esoteric than some. But at least it's something, and the lighter touch in how it's presented is probably more in the spirit of classic S&S than the overkill most games go for.
The other episode is a somewhat more standard one in which Henry is tasked with uncovering witchcraft in one of the villages. His investigations will take him to a secluded woodland spot where some of the women are trying to commune with Satan by using psychedelic drugs, and, after confronting them, when they smear the drug on Henry's face he starts hallucinating, seeing men with the heads of beasts.
KCD ends on a bit of a cliffhanger, but the sequel has yet to appear despite the game turning out to be an unexpectedly big hit. Considering how actual history went and the allegiances of the main characters in this game, it doesn't look good for Henry and his friends having a triumphant ending, but perhaps he will slip through the cracks and land on his feet somehow.
A bit of an odd choice this time but an interesting contrast in how games are marketed in different regions. Kid Niki the game is a cute action-platformer with a goofy sense of humor. For the North American cover, the company went with this more realistic and fiece image of the hero facing down his enemies with his sword already running with blood, with the damsel in distress at the center looking like a swipe from Frazetta's Egyptian Queen. Not an uncommon occurence in the marketing of 8-bit video games, as we saw with Deadly Towers.
Volgarr the Viking was one of the old Kickstarter success stories, a throwback to Rastan intended to be particularly challenging and gameplay-heavy. "A game with no real challenge is like a cheeseburger with no meat...We're here to put the meat back in the cheeseburger!" the creators, Crazy Viking Studios, said, and they meant it. Volgarr the Viking is a tough game that demands practice and memorization of the best ways to overcome difficult parts.
Being a viking, Volgarr is resurrected by Odin and sent out to fight whatever happens to be in front of him. That's about the extent of the story, although there are multiple endings based on how you play and the endings reveal certain things, such as how Fafnir the Dwarf was transformed into a dragon. The creators weren't kidding when they talked about a "time when games were about the game, not about the cutscenes or cinematic presentation."
The pixel art isn't a lush knockout on the level of Henk Nieborg's work or the Metal Slug games, but it's solid enough and the graphics are very clear, with characters easy to distinguish from backgrounds at all times, which matters in a challenging gameplay-first game. Despite the Norse theme of the game, Volgarr will cut his way through a variety of Lovecraftian fishmen and lizardmen and other giant bugs and sea creatures.
The music is deliberately non-retro and features stirring compositions by Kochun Hu that stand up well to anything short of Basil Pouledoris's Conan the Barbarian score. There are many sword-and-sorcery B-movies that wish they had music as good as this game does.
To get into the details of how it plays, Volgarr can swing his sword and also throw spears that when thrown into walls also serve as platforms for him to jump on to reach high places. He can move while attacking with the sword but must stop in place to throw a spear. He can also double-jump in midair and stab downward while falling. Similar to Rastan but with a few extra wrinkles thrown in and making progress mostly means knowing which sequence of moves to make in particular situations. Volgarr also has various layers of protection. Get hit once and he'll lose his helmet, get hit again and he'll die. His shield can block attacks but it will break unless a reinforced version of the shield is picked up.
Unlike a lot of modern games, Volgarr doesn't feature liberal use of checkpoints or saving, so if someone plans to get good at the game, they'll do best to carve out some decent time for the game and be willing to die and retry many times until they master just a single level, never mind the whole game. And then even more so if someone wants to get the best possible ending.
Sword of Ianna is a sequel/demake of Blade of Darkness created by the Spanish Retroworks. The premise is that the player controls Jarkum, a descendant of the barbarian Tukaram from Blade of Darkness, who is called by the goddess Ianna to retrieve her sword and defeat another great evil.
What it shares in common with its inspiration is a similar difficulty level in that it tries to replicate the perilous, thin-margined combat of Blade of Darkness in a 2D platformer. Simple enemies can be dispatched quickly but if you don't respect them they can also inflict a lot of punishment on you and leave you handicapped going forward if you can't secure enough healing items. There's also a lot of running, jumping, and climbing involved as Jarkum has to navigate environments inspired by the original game, solving simple puzzles such as finding levers to open gates while avoiding traps. The combat uses the old method of pushing the action button to draw your sword, then holding the button and pushing a joystick direction to execute certain attacks. When not in combat, you can run and climb up or down ledges. The game does feature frequent checkpoints, so dying doesn't cost much of a penalty in terms of time lost. Like many modern games, even the more difficult ones still want you to succeed and progress all the way through to the end.
The game was released for the MSX, ZX Spectrum, and Amstrad CPC computers, the three most popular PCs in Spain in the 80s and represents each system quite well, although the MSX version is probably the most well-rounded of the three. If a game like it had been released back then, it would have been heralded as a classic, with well-drawn graphics featuring large, well-animated characters and moody environments - orc fortresses, musty tombs, and temples of evil based on the original Blade of Darkness settings. The enemies from Blade of Darkness, such as the orcs, dual-sword-wielding skeletons, and golems, also make returns in 2D form. And it has a memorable soundtrack that emphasizes a sense of danger and mystery. One doesn't need to have played Blade of Darkness to get Sword of Ianna, but it adds a little extra layer of appreciation to what the developers present.
Not clear who the artist who did this is. Doc the Destroyer is an adventure/RPG hybrid that was supposed to be the first of a line of Doc the Destroyer games but the series plan didn't come to fruition.
In Primal Light, you control "Krog, a mysterious blue creature in a red loincloth, as he traverses a labyrinth of ladders, levers, traps, and monsters." The game was created by Fat Gem, a studio that appears to be comprised of two people, Jeff Nixon and Shane Sicienski. Krog specifically is a humanoid who seems to have a carapace-like skin and glowing green cross where a person's face would be. The use of a non-human protagonist is a bit reminiscent of some of the protagonists seen in the stories of Schuyler Hernstrom and other writers that like to go for a more exotic, off-Earth feel in their characters and settings.
There's barely any story in Primal Light. Krog, like many before him, comes home to find his village devastated and the few survivors implore him to go forth and destroy the "dark god" responsible. So Krog heads out, runs and jumps through 10 levels with difficult boss enemies at the end of each, and then comes home to a simple congratulatory image if he succeeds. It's not a game to be played by people who look to video games for their stories.
It is a game that can be enjoyed by people who like to be challenged, because even on easy mode Primal Light is quite difficult. Like the "Nintendo hard" games of the past, much of the challenge comes from enemies being placed in such a way as to knock Krog off course during jumps, sending him falling to an instant death. The level bosses can also be tough, with fast-moving and complicated patterns that have very tight margins for evading harm. The game does allow Krog to replenish some health a limited number of times per life, and currency picked up throughout levels can be used to buy extra lives. The game is also generous with the number of lives you start with and in allowing continues. The game will occasionally have a fork in the path through a level, with the alternate route featuring a challenge section ending with a power-up that can give Krog an extra edge in the game, but at minimum Krog will learn several techniques like double-jumping and mid-air dashing that will make him more mobile but also will be needed to overcome platforming sequences. That said, Krog's only attack throughout the game is to slash with his sword.
The game has some really pretty high-resolution pixel art and nice music, and it controls well enough that you usually will blame yourself for failing more than the game. It would have been nice if Krog had the ability to look up or especially down to cut down on the number of blind jumps that occasionally crop up. Although you can usually make a good guess as to where the floor is going to be, the ability to confirm it would be even better. Overall, it's a good game, worth checking if you're into this type of rush'n'attack and platforming challenge, and its grim, alien setting sets it apart from many games.
