A couple of years after releasing Rastan, Taito and designer Hiroshi Tsujino unleashed Cadash, which might serve as an indication of how the tides had shifted in fantasy since the decade had begun. Cadash broadly resembles Rastan in that both games were side-scrolling hack-and-slash types (there was no crossover between the teams behind each game), but while Rastan was a pure sword-and-sorcery experience that was made to be a sort of unofficial Conan game, Cadash is a multiplayer, party-based game that tilts more toward the sort of high fantasy that had come to dominate the genre by 1990.
Up to four players can play Cadash simultaneously, each person choosing from a fighter (the closest to the older Conan/Rastan type), a magician, a priestess, or a ninja, each of course with particular strengths and shortcomings. Perhaps following Gauntlet's example a bit, or simply riding the RPG mania that gripped Japan after Dragon Warrior and Final Fantasy blew up, each character has a set of hit points, upgradable equipment, and experience levels, and before getting to the monster fighting players can wander a town speaking to NPCs to get hints about what to do; e.g., when in the gnome village, you need to find a magical item that will shrink you down to their level so you can enter their homes and shops and teleport to the next continent over. Instead of simply going in one direction, the dungeons are somewhat nonlinear and exploration could lead to finding chests with extra power-ups, although a time limit meant the players needed to stay focused on the goal.
By the time Cadash was released, people were starting to perceive Dungeons & Dragons as less of the classic sword-and-sorcery experience it was at the start, where adventures were often just about taking care of localized issues or simply raiding dungeons while picking up a lot of cash, and more like epic adventures where parties were akin to Tolkien's Fellowship of the Ring and the fate of the world, if not all creation, was at stake. The story in Cadash is that demons are rising up to conquer the surface world behind their leader, Baalogue, whose name is a mistranslation of Balrog. Baalogue kidnaps the king's daughter, so the king hires the heroes to get her back and end the menace.
It's a reasonably entertaining game, especially with more than one player, and it being not terribly long offsets how the level design can be a bit dull. It's not nearly as visually or musically inspired as Rastan, but it's not bad in those aspects, either.
Gauntlet, designed by Ed Logg (Asteroids, Super Breakout), brought the party-based dungeon-crawling concept of Dungeons & Dragons to arcades. It's easy to say roleplaying games are about complex, evolving, consensual narrative experiences, but for many, particularly less imaginative players, it really comes down to killing monsters and taking their money while exploring a maze. Gauntlet fulfills this. Up to four simultaneous players could choose a distinct character: Thor the Warrior, Thyra the Valkyrie, Merlin the Wizard, and Questor the Elf, each of whom had a particular strength. Thor was an axe-wielding barbarian type who was especially good at hand-to-hand combat, the Valkyrie had a bit more resistance because she wore (some) armor, the Wizard was obviously the most powerful at using the screen-clearing magic potions, and the Elf was the fastest. Regardless of how many people are playing, the action always involves running around a level, picking up treasure, keys, and life-restoring food, and slaying monsters and the generators that spawn them on the way to finding the level's exit.
The original seed of the game was actually an Atari computer game called Dandy (i.e., D-and-D) created by John Howard Palevich in 1983. In Dandy, players control a bow-and-arrow-wielding hero who wanders through a maze, picking up money, keys, and food, and defeating monsters. An odd quirk of Dandy is that attacking monsters will cause them to transform into different, weaker monsters until the weakest form is defeated and they die. In desperate times, the player can use a screen-clearing bomb similar to the smart bombs in Defender. Logg acknowledges having played Dandy in 1983, but there's no mention of it in the original pitch document for Gauntlet (under the name, Dungeons) and when Gauntlet was released Palevich threatened to sue Atari for stealing his game design, which earned Palevich a settlement.
Gauntlet takes the concept of Dandy and with the power of a state of the art arcade system massively improves the presentation. The graphics are clean and attractive, instantly conveying the dungeon-crawling concept. If you were already a D&D fan back then, the hulking 4-joystick cabinet stood out like a monument among other machines. Gauntlet also has one of the most memorable soundscapes of any game ever made, particularly thanks to its use of voice synthesis. To this day, all you have to do is utter "Elf needs food, badly" and people will know exactly what you're talking about.
As a gaming experience, though, Gauntlet is a classic example of how a little bit goes a long way. Once you've put about 15 to 20 minutes into it there isn't much left to discover as you've probably seen the whole variety of monster and maze types. Although the game has its own particular strategies like any arcade game, it's especially voracious about coin-eating, keeping a constant pressure on the player by ticking their hit points down at a steady rate (on top of the monster attacks), which can only be stymied by eating food or pumping in more quarters. After a while, the game starts feeling like drudgery and after more than 100 levels it simply flips back to level 1. Pity any player who spent a ton of money to see what would happen after persevering through every level only to get no reward or congratulations at all. But even so, it's still fun to go back to it and play just a little bit every now and then.
The Witcher 3 is one of the most celebrated games of the modern era. It iterates on the gameplay style of the Witcher 2 by adjusting the combat system and shifting to a massive open world peppered with an exceptional amount of uniquely crafted content, much of it with full voice acting.
CD Projekt Red clearly wanted to finally get its video game version of Geralt more aligned with the literary version, so the story in its early phases sees Geralt summoned to an audience with the emperor of Nilfgaard, the Germanic empire that invaded the northlands at the end of the previous game. Geralt is soon reunited with Yennefer of Vengerberg, his canonical love interest, who's been serving the emperor as an advisor, and the emperor tasks Geralt with tracking down Ciri, Geralt and Yennefer's adopted daughter because the emperor is her biological father and wants her with him. Ciri, as the long-lost daughter of the queen of Cintra and the descendant of a crossbred elf-human line with incredible powers (sort of the Witcher universe's version of Dune's Kwisatz Haderach), is an important person, both politically and genetically, so she spends a lot of time evading people who want to take advantage of her, and in this game she's on the run from the Wild Hunt, a group of extremely ill-tempered elves from another dimension who like to snatch people and press them into serving their ghostly hunting party. Geralt is revealed to have been in their clutches before he was freed and rendered an amnesiac, explaining how he got into the state he was in as the original game began.
So off Geralt goes to track down leads on Ciri, reuniting with old friends and enemies, and generally having a variety of new adventures. Occasionally, when Geralt finds where Ciri has been, the game will switch to a flashback in which the player gets to control Ciri and enjoy her ability to teleport around the playfield, zipping behind enemies and backstabbing them.
As with many open world games, the overarching story isn't very compelling, little more than a thread to keep players moving into fresh, unexplored areas. What's more notable is what goes on as the player wanders around that world, running into monsters or bandits that need killing, visiting towns and picking up contracts for witcher's work, or just stumbling across strange happenings that need sorting out. When the game is at its best, there is no game that better conveys the sense of being a wandering swordsman simply getting into adventures. The life of a sword-and-sorcery protagonist who's more interested in making some money or satiating some curiosity about strange local rumors instead of saving the whole world. The major subquests, such as the one about the Bloody Baron, often feel like they could pass as well-drawn short stories or novellas in an extra volume of Geralt's adventures. Even the main storyline, to its credit, is really just about Geralt trying to reconnect with his daughter; Ciri might be of world-shaking importance but Geralt is "but a witcher."
The game is a triumph of presentation. The graphics are beautiful, with various environments convincingly rendered with crisp art direction. The music brings a classically Slavic flavor that has never really been popularized outside Eastern Europe. Most notably, the game has a very large amount of unique writing that makes even the most disposable content feel special. Wiping out a generic group of highwaymen will usually yield at least a letter or journal that explains who they were and why they were there, completely unlike any other generic bandit group who have their own brief stories. And the game handles a variety of tones. Much of it is grim and horror-tinged, but there are times it goes for humor or well-earned sentimentality. It brings back the Grimm fairy tale and Arthurian influences that Sapowski worked into his original stories.
Where the game is less triumphant is in most other aspects; i.e., the gameplay. Although it improves on the combat system in The Witcher 2, adding a nice side-hopping move to the full dodge-roll from the previous game, the combat is still rather unsatisfying in many ways. Geralt has a maddening tendency to auto-target the wrong enemies and in more hectic fights the player could end up fighting the controls as much as the characters in the game. Geralt's context-sensitive moves can be hard to predict - sometimes he'll perform a simple quick stab, but many times he winds up with a slow-developing pirouette. And the combat is often formulaic. Many situations come down to dodging or parrying a strike, hitting exactly two counterattacks before the enemy gets its guard up, and then repeating until the fight ends.
The controls for horseback-riding and swimming under water are also frustrating. The player has to keep Geralt facing forward at all times for them to work correctly, lest they start reversing over and over until the player resets the camera behind Geralt and gives the game a moment to settle down. With Geralt's limited air supply, you can literally drown while trying to get the swimming sorted out.
As an RPG, the game feels like it has an identity crisis, similar to its predecessor. Most of the game's design is in line with standard action games and the inclusion of classic RPG mechanics like gathering experience and leveling up feels at odds. Why is Geralt, such an experienced witcher, clowning around much of the game at a low level? Even late in the game, it's possible to encounter random bandits who can slaughter you in a single blow because they're 10 levels ahead of you, so powerful that it's possible you won't even be capable of hurting them no matter how well you've mastered the controls. And the game doesn't even gate off areas with monsters at significantly higher levels. The whole world is open to you right away and it's possible to run afoul of such monsters at any time, leading to pathetic scenes of Geralt fleeing like a wimp from routine drowners or ghouls.
As a major AAA release, The Witcher 3 is also predictably conservative in how it handles exploration and quest design. It insists on holding the player's hand at all times. Although it's possible to switch off HUD elements like the minimap, you'll still need to refer to the map to get anywhere because the game never bothers to use detailed directions when describing objectives. A character might tell you to visit someone in a particular city but they won't give you an address or note landmarks - you have to use your GPS/quest markers to find out where they live. Contrast with a game like Morrowind, where an early quest involves locating Caius Cosades and the player has to work out on their own where he lives based on information provided. Interesting locations in the game world are marked with question marks until the player gets near them, taking some of the fun out of simply wandering the world, wondering what's beyond the next hill or in those ruins off in the distance. Now you just check to see where the markers are and head over, never needing to bother with empty, unmarked spaces.
As a very large game, some pacing issues do occur at times. The game's second major phase, where Geralt visits the island country of Skellige (a nation of pseudo-Celts who follow Norse religion), often demands that Geralt circulate high mountains or sail from island to island. Although it's quite visually stimulating, the relative slowness of the travel can become wearisome and unlocking fast travel options becomes a priority.
Ultimately, the game and the series as a whole exemplify games that succeed based on their storytelling and general ambiance over their actual game design. They resonate with fans who enjoy the characters and the situations they get in, and with those who appreciate games that prioritize choices and consequences, less so with players who would rather just have a nuanced and exciting combat system.
The game does offer a tremendous value for money. In addition to already being a big game, CDPR created two substantial expansions, Hearts of Stone and Blood and Wine. Hearts of Stone provides a major new subplot in which Geralt has to literally beat the devil, taking part in other activities such as organizing a bank heist along the way. It also brings back Shani as a supporting character, giving fans of the first game who missed her some closure.
Blood and Wine is even bigger, so much so that it's almost a full-fledged sequel in its own right (Witcher 3 and 3/4?). Geralt travels to the French high medieval-flavored duchy of Toussaint to hunt a vampire, and it also serves as a homage to the early short story "The Lesser Evil" in how it involves a princess born under a bad sign. Blood and Wine serves as a sort of victory lap for the character and the series. After trudging through so much blood and mud in the northlands, the sunny, colorful climate of Toussaint can be a relief. Sapowski's stories portrayed Toussaint with a bit of a satirical attitude, falling maybe a bit closer to Don Quixote than The Amadis of Gaul, but in the context of the game it's refreshing to explore a place where the beautiful, well-dressed people seem to actually take chivalric virtues seriously (too seriously at times) instead of simply all being bitter-minded cynics and hypocrites. When the expansion closes with Geralt chilling out at the vineyard he's inherited, there's a feeling he's earned his rest and arrived at a better end than what Sapowski chose for him.
Les Edwards's cover was originally created for Milton Bradley's boardgame, faithfully adapted as a computer game by Gremlin. Edwards said it was his choice to showcase the barbarian as the main character, using himself brandishing a pool cue as photo reference.
It's hard to look at Victor Vran, a monster hunter in pseudo-Elizabethan gear with a wide-brimmed hat, and not think he looks at least a little reminiscent of Solomon Kane.
Victor Vran's mission in his game, designed by Haemimont Games of Bulgaria, is to cleanse the Eastern European-ish city of Zagoravia from an infestation of demons that have completely upended the place. The only survivors left are the city's beautiful young queen, her guards, and some advisors. Many other demon hunters attempted this before Victor, but he's the last one (besides a young woman who also appears shortly into the game). The good news is that Victor has special abilities that he gained from making a deal with the devil in the past (so he's maybe more akin to the movie version of Solomon Kane...).
Victor must use melee weapons, ranged weapons, bombs, and demon powers to exterminate the hellish vermin from Zagoravia. There are undead skeletons (our old friends), giant spiders, vampires, zombies, ghostly apparitions, living gargoyles, and elementals, among many others. The gameplay is inspired by "action RPGs" like Diablo, but with a more direct, action-oriented approach compared to Diablo's furious mouse-clicking gameplay. Victor Vran plays better with a gamepad as Victor doesn't just run and attack but can dodge-roll and even execute wall-jumps to access areas at higher elevations. There are also no classes for players to choose - Victor always begins the game the same for all players but can be slightly customized as he levels up and players decide what style of Victor they prefer. Fundamentally, it's still rather similar to Diablo, though, in the sense that the game is viewed from a distance above the action and Victor must annihilate literal hordes of nasties and then pick up money and weapons they leave behind before progressing. Many of these weapons have only minor distinctions in terms of damage output and specialized effects and are best sold for extra money back at the queen's castle.
Despite the flexibility offered through Victor's abilities, the game isn't very much about elegance in its combat. Overcoming the game's challenges often comes down to simply hammering at everything in front of you and making sure your lifebar doesn't erode faster than theirs, but if it does you can just hit a button for the health potion and renew yourself, and health refills aren't rare. One of the game's attempts to offset this matter of attrition is through challenges for each area, such as requiring that you rush and defeat a certain number of monsters within a restrictive time limit or equipping things that will deliberately handicap you. It's not a very difficult game otherwise, and it's relatively short, which is probably for the best considering its repetitive nature.
The graphics are quite nice. The regions you explore are full of gloomy detail and the environment tends to get smashed up as you battle through without ever losing an important sense of clarity for the player. It's easy to get caught up in just running around the game's crypts, smashing up the sarcophagi, hoping money or health potions will fall out like you're in a world of piñatas. This does tend to happen in a lot of RPGs, where players are trained to rummage through boxes and barrels for special items.
Conceptually, the monster hunter gimmick might remind some of the Witcher, especially in modern times, and the game very much plays into that by casting Geralt of Rivia himself, Doug Cockle, to play Victor. Cockle doesn't do much to differentiate the heroes from each other and if you were only listening to the game you might easily confuse it for another Witcher installment. The game's voice acting is fine, but the story itself is uninspired and generic and feels bolted on top of the game instead of woven into it, which seems to have been the case as the game spent a while in Steam Early Access and the story was apparently one of the final elements added before its official release.
Valfaris is a semi-sequel to Slain, overseen by Slain's team of Andrew Gilmour and Thomas Jenns. While Slain was a straight fantasy that emphasized swordplay, Valfaris shifts to a sci-fi theme in which the hero wields guns as much as melee weapons. It might be coincidental, but the death metal/gothic/space opera mixture of Valfaris makes the game come across like what you might get if someone decided to combine Contra with Warhammer 40K, especially the old school extra++ grimdark 40K of the 1980s.
Slain ends with a Moorcockian twist that the character you've been controlling, Bathoryn, was actually the hero's sentient sword all along, with Bathoryn and his next wielder looking to the stars for the next adventure. Valfaris picks up with its hero, Therion, landing his wolf-shaped spacehip on his home world of Valfaris (and atop of a bunch of bastards he was going to kill anyway), which was apparently once a paradise but has since fallen into a cancerous decline, doomed to soon be swallowed by the star it's orbiting. It's hard to imagine what an idyllic paradise in these games' death metal aesthetic would actually look like, but Therion seems to have been fond of the place before he left. Much as Bathoryn was battling Lord Vroll in Slain, Therion is on a quest to slay his father, Vroll. Somehow, Therion and Bathoryn are brothers, and Therion even gains the option of wielding Bathoryn during the game.
As grim as the game's story and characters are, there is a sense of nobility and honor conveyed through them. Valfaris comes to a tragic end but the hero keeps his square chin up and never loses his resolve. There's no crying in metal. There's even a bit of humor in the form of his female AI sidekick, who has a wiseass personality similar to Cortana in the Halo series.
Valfaris plays quite similarly to Slain in the sense that in many ways it's just Slain with guns added, but that's in no way a bad thing. The extra layer of gameplay provided by the guns makes the combat a bit more lively and requiring different solutions in different situations. The guns, which are named like all the other weapons in these games (e.g., the Bastard, the Hellhammer) can be upgraded for extra effects. And much like Slain, the game is tough but fair, requiring that the player really learn how to play it instead of button-mashing through.
Graphically, it's even lusher and more impressive than Slain, and it features another very good, heavy soundtrack by former Celtic Frost member Curt Victor Bryant. There are some instances in which the game's art direction can get a bit out of hand and obscure the player's view of the action, overwhelming parts of the screen with particle and lighting effects that completely cover up the characters. Even despite this, it's a dazzling game to look at.
Valfaris does tell a complete story, but much like its predecessor it ends with a hook for another sequel, which will apparently be more of a horizontal shoot-em-up that continues Therion's journey.
