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| A blond 1980s guy tries, and fails, to look menacing. |
Knights of Legend
United States
Origin Systems (developer and publisher)Released 1989 for DOS, Apple II, Commodore 64
Date Started: 24 March 2013
Date Ended: 20 May 2013
Total Hours: 96
Difficulty: Moderate-Hard (3.5/5)
Final Rating: 43
Ranking at Time of Posting: 73/94 (78%)
Knights of Legend is the damnedest game. If you've been following my postings, it must have been baffling every time you saw a new one. Its deficiencies are just jaw-dropping: no sound; the inability to trade gold from one character to another; a training system that doesn't allow you to progress beyond novice level in some weapons or even at all in others; ten keyboard commands just to move one step; almost no keyboard shortcuts; incorrect information given in the manual about everything from statistics to spells; a needlessly complex spell system; enormous combat maps where you spend half your time just trying to find your enemy; an absurdly Spartan approach to saving the game; and a bug at the very end of the game that would have prevented most pre-Internet players from winning.
And yet, there are moments of genius and stark originality: the "foresight" system in combat; beautiful graphics; a well-designed world and story; memorable NPCs who respond to keywords; the ability to fit armor to each character; a large selection of interesting character classes; a tactical combat system with dozens of options, but all of them logical; and a "trophy" screen that anticipates the "achievements" of the modern era. Things take maddeningly long in the game, but they happened just often enough--a difficult enemy falls, a quest map is cleared, a new trophy is obtained--to give a shot of dopamine right when it was necessary, and to keep me playing all the way to the end. PetrusOctavianus (perhaps the game's most prominent champion on my blog)
had the right term a few days ago: "morbidly addictive."
It's tempting to call it a "flawed masterpiece," but it's far too flawed for that. I absolutely cannot recommend it, but at the same time, I'm a little disappointed if my coverage didn't make you want to check it out at least briefly. I don't know how this is going to translate into a
numeric score, but let's see:
1. Game World. The back story is very detailed, well-written, compelling, and utterly inconsequential to the game itself. In its description of the land, the history, the races, and the present set of circumstances, Knights of Legend lives up to Origin's best titles. As you wander the land, you encounter interesting personalities in the towns and keeps. But the core of the gameplay--the quests and combats--are completely divorced from this story. They could be happening anywhere (with the sole exception of the final battle). Enemy fortresses and keeps don't even appear on the map until you get a specific quest to assail them. Hardly any of your actions effect permanent changes in the gameworld. Score: 5.
2. Character Creation and Development. You select your six characters from a list of classes defined by their geography (e.g., Krag barbarians, Htron pirates, Poitle Lock rogues) or histories (e.g., the reformed Dark Guards). Again, these sound awesome, but once selected, the classes essentially become a set of numbers and lose any ability to role-play these rich histories. The game is unique in having shopkeepers and innkeepers that will refuse to serve certain races and classes, though this is more an annoyance than a feature.
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| An armorer reacts harshly, but understandably, to a Dark Guard in his shop. |
In terms of development, there isn't much. The primary mechanism is the accumulation of "adventure points" which you can spend on offensive and defensive skills with various weapons. Building these skills is absolutely crucial to the party's ability to survive in combat, which makes the game's approach to training all the more mystifying. Certain trainers will only work with you if you have a certain minimum skill, but there's nowhere in the game to get that skill. Some trainers are the sole trainers in certain weapons, but only go up to 20 or 30 skill points where others go up to 60-70. The result is that you max out on favored weapons very early, and if you want to keep leveling the character, you have to train in random weapons that he probably will never use.
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| Hela at game's end. 45 is the highest you can get with the halberd, so I trained her in random other weapons to keep leveling her. She still ended the game with 2,366 adventure points. |
There really isn't any reason to "level," though--which requires a visit to the arena after you've channeled enough points into training. The only benefit, other than the ability to train more (which ceases to be a benefit once you've maxed in your primary weapon) is that your "title" increases. As a "commoner--apprentice," Hela is about one-third of the way between "peasant" and "knight-baronet." The value of the title, as far as I can tell, is only in the player's satisfaction in achieving it.
And yet, even though real character development is limited to adding offensive and defensive points to weapons, there's some authentic satisfaction associated with doing so, and the effects are palpable in combat. I wish there had been more to it, but I can't say that there isn't any development. Score: 5.
3. NPCs. One of the more interesting parts of the game, even though (like the game world and story), they exert very little influence on the mechanics of gameplay. They're memorable and well-written, with well-designed character portraits, and interacting with them uses the keyword approach that I like in so many Origin titles. Unfortunately, there are no dialogue choices or role-playing opportunities. Score: 5.
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| A touching bit of back story from an NPC that amounts to very little. |
4. Encounters and Foes. The various foes you face in the game are well-described in the manual and satisfying in their variety of strengths and weaknesses. Many of them are unique to the game, though based on common tropes. Aside from the text you get before each mission, though, there are no "encounters" as such, and no real way to role-play your approach to the various enemies. It's also a bit banal the way that every combat features only a single enemy type. Score: 4.
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| The "mist giants" are original-ish. |
5. Magic and Combat. Combat is the highlight of the game: extremely tactical, with options that we don't see in any other games to date. I love the ability to anticipate the enemy's actions, to choose from a variety of attack and defense types depending on the circumstances, and to use the terrain to the advantage of the party. If the quest-based combats weren't so large and so long, I'd be unabashedly positive about this aspect of the game (and those issues are really more of a gameplay item than a combat item).
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| Partly concealed in a doorway, Coll kills the final enemy in the game. |
The magic system is a little less successful. I didn't fully explore it, but then again, I didn't really need to; it's essentially optional. The system--stringing together syllables to make spells that have various effects on various creatures of various strengths and various ranges--is unusual and interesting, but the reality of the game doesn't match the description in the manual, and I didn't feel like puzzling through the confusion. It's a little odd that all spells tie to the eight attributes; there's no "fireball" spell or anything like that. You directly damage health, fatigue, and stuff instead. Spells are keyed to specific creatures or classes of creatures, so if you want spells to damage every possible class at long range, for instance, you need five separate spells. Still, the game deserves some credit for allowing spell customization; it's perhaps the first game in my chronology to do so.
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| For magic, I never experimented beyond healing spells. |
The system of damage to body parts and the importance of fatigue are also strong characteristics of this game. The bottom line is that if you enjoy this game at all, it's almost certainly for this category. Score: 8.
6. Equipment. This is another reasonably good category. In an era where most games offer perhaps a weapon, a suit of armor, and a shield--and you always buy the best one--this game features 11 wearable equipment slots plus 7 pockets. You have to carefully balance protection with weight so as not to overly-fatigue your characters, and armor requires custom fitting to offer the best protection. My only complaint is that you don't find much good equipment in the game--a handful of magic items and weapon upgrades--and there's no reason not to finish the game with essentially the same armor purchases you started with. Also, some of the weapon slots go unused: I never found a single necklace or belt in the game, and only two rings. (Perhaps these were planned for expansions.)
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| Coll proudly displays his gear. |
Finally, there were far too many shops selling bafflingly worthless items. The ability to create "forged" items from a few ingots is really not that impressive since you don't get to determine anything about the result except the name. Score: 5.
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| What would I possibly do with any of this? |
7. Economy. There are quite a few things to purchase in the game: equipment, horses, healing, training, and rooms at inns. It's enough that gold is precious at the beginning of the game, and you pick up every stray weapon you can from slain enemies to sell. After you max your training in the various weapons and buy the best horses, gold loses its value considerably. The inability to trade gold among characters is a bizarre interface oversight. Score: 4.
8. Quests. There isn't exactly a "main quest" in the game, though the manual seems to set one up. Instead, you get a series of 24 quests organized into various groupings. Once you finish 23 of them, the ultimate one is sort-of the "main" quest, concerning the rescue of the knight Seggallion. The quests are perhaps the most disappointing part of the game. They all feature the exact same dynamic, centering around the annihilation of a group of enemies and the retrieval of some talisman, and they offer no role-playing choices (except perhaps whether to kill all the enemies or just take the object and run). Since you have to complete them all to get the last one, I can't really regard any of them as "side quests." The trophies were a nice touch. Score: 3.
9. Graphics: I thought the graphics were beautiful. Certainly, a lot of work went into them, from the animated opening to the well-drawn monster and NPC portraits, to the establishing shots every time you enter a city or keep.
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| These shots even tell you something about the basic layout of the interior. |
This is balanced by no sound at all (except during the opening animation) and a frankly horrible interface. There's no reason that common commands couldn't be mapped to letter keys: "I" to access inventory, "A" to attack, "S" to shoot, and so on. Instead, I got repetitive stress in two of my right fingers from constantly hitting the < and > keys, the only way to scroll through menu commands without the mouse. Other interface elements, such as the cumbersome method of trading and equipping items and the inability to trade gold made the game absolutely maddening. In this category, the game only gets credit for the graphics. Score: 2.
10. Gameplay. This one is tough. I have to give it some points for nonlinearity, since you can do the quest "groups" in just about any order. It also gets some small credit for replayability given the huge number of character classes, although this would affect nothing but combat tactics and it's impossible seeing myself spend another 50+ hours on the game. Neither can I say that it's too "hard," exactly, except for a few challenging battles. The game's basic problem is that it's tedious. Everything takes too long in this game: navigating the combat map, finding enemies in combat, killing them, finishing all 24 quests, shuttling between the arena and training sites, staving off random combats as you try to get from place to place, even equipping weapons and armor. Saying that the game is "like a guest at a party who overstays his welcome" isn't enough. It's like a guest who overstays his welcome so long that he's still there for the next party, and then he hangs out too long after that one, too.
The way this game could have been much, much better is to have only about 12 quests, maybe in groups of 3 with some kind of major plot point after each one. But the real assemblage of 24 quests, 21 of which were completely unmemorable, is exhausting. I was ready for it to be over in March. Score: 3.
The numbers add up to 44, but I'm subtracting one point for an unforgivable bug, which puts the final score at 43. That's not bad as things go. It puts it in the top 25% of games I've played so far, on par with games I honestly enjoyed, like Star Command, Demon's Winter, and Chaos Strikes Back. But this is the rare type of game that's lesser than the sum of its parts. There are some really good elements here that just don't effectively come together in what we might call a "good" game. If the score doesn't adequately reflect that, I hope the text does.
At least I'm not the only one of two minds about the game.
Dragon apparently reviewed it twice, completely panning it in March 1990 and then giving it 5/5 stars in May 1990 in a review that praised Porter for his programming skills and called it an "outstanding adventure."
MobyGames currently has two user reviews for the game; one is titled "
Knights of Legend is a turn-based role-playing game that is well-developed" and the other is titled "Gaming hell." The bigger problem seems to be magazines that
didn't review it, though. Scorpia gave hints for the game in the
March 1990 Computer Gaming World, but the magazine otherwise seems to have ignored it. I'm not sure how well it was publicized; I scanned six issues of
CGW and couldn't find a single ad for it.
The manual has a touching story about how developer Todd Mitchell Porter created the basic concept for the game with three fellow RPG lovers while sitting around a restaurant table in Pella, Iowa in 1981. Porter tinkered with developing it for a while, and he got extremely lucky when a friend introduced him to Richard Garriott. Garriott both optioned the game and hired Porter, who worked a bit on Times of Lore (1988) before his creation was published in 1989.
The reception must have been difficult for Porter. He planned a host of expansions that, thanks to flat sales, were now impossible. But he stayed at Origin for a while and is credited on
Ultima VI (where Seggallion returns!). He went on to develop a strategy game for SSI called
Renegade Legion: Interceptor (1990) and is credited on several other games before he transitioned into other industries. He says he now makes software for the casino industry.
He stopped by and commented on my second-to-last posting a couple of days ago, so be sure to check that out.
We're now going to divert to
NetHack for at least one posting while I try to figure out if
Romance of the Three Kingdoms is really an RPG.
