DUNGEONS & DRAGONS: DARK ALLIANCE gets release date and trailer

Dungeons & Dragons: Dark Alliance has gotten a surprisingly imminent release date. The game will launch on 22 June this year.

D&D: Dark Alliance is a spiritual successor to Baldur's Gate: Dark Alliance (2001) and Dark Alliance II (2004). Like those games, this is an action title set in the Forgotten Realms world and emphasising combat over roleplaying. The game sees the players taking control of the infamous Companions of the Hall - drow ranger Drizzt Do'Urden, human archer Cattie-brie, dwarven warrior Bruenor Battlehammer and human barbarian Wulfgar - in a struggle against an army of invaders that swarmed into Icewind Dale in search of the infamous magical artifact known as the Crystal Shard. These characters and events were made famous in R.A. Salvatore's bestselling novel series, The Icewind Dale Trilogy, although the game does not appear to be a 1:1 adaptation of the novels, featuring as it does both beholders and wights (which are nowhere to be found in the books).

The trailer makes some bold choices with bombastic visuals, a heavy rock soundtrack and very generic-looking action. Hopefully the game will be better than it appears.

The game will launch on PlayStation 4, PlayStation 5, X-Box One and X-Box Series X, as well as, pleasingly, PC (the original Dark Alliance games were not released on PC).

The Halfling's Gem by R.A. Salvatore

The Companions of the Hall have successfully located Mithril Hall, the ancestral home of Bruenor Battlehammer and his clansmen. Unfortunately, the quest was completed only at great cost: Bruenor was lost in combat with the shadow dragon Shimmergloom and the halfling Regis was captured by the assassin Artemis Entreri. Entreri is now taking his prisoner back to the great southern metropolis of Calimport, leaving Drizzt Do'Urden and Wulfgar with no choice but to pursue them, whilst Catti-brie organises the armies coming together to retake Mithril Hall. The pursuit is long and dangerous, and Drizzt must decide whether the recovery of his friend is true motivation, or the knowledge that Entreri is the first warrior to have ever matched him blade to blade, and how eagerly he seeks a rematch.

The Halfling's Gem (1990) wraps up R.A. Salvatore's first fantasy series, The Icewind Dale Trilogy. The Crystal Shard had introduced the world to the dark elven ranger Drizzt Do'Urden and his companions and Streams of Silver had given them an epic, Tolkienesque quest to undertake. This concluding book sees them divided and hot on the heels of one of their kidnapped fellows, a scenario ripe for pulp fantasy adventure, and that's what we get. Drizzt and company visit the grand cities of Waterdeep, Baldur's Gate, Memnon and Calimport; engage in all manner of hijinks on the high seas; and are then pitched into battle with a shadowy thieves' guild and its allies, a mixture of wizards, giants and wererats. It's mostly splendid fun.

By this third book, Salvatore has become a reasonable writer of straightforward action adventure and delivers an entertaining book in that mode. It does feel like he has larger aspirations to write an engaging travelogue of the Sword Coast (the west coast of the main Forgotten Realms continent of Faerun and the focus for many of the works in the setting), and in that respect falters; 320 pages isn't really enough time to do that and  both Waterdeep and Baldur's Gate get decidedly short shrift in this book. Calimport is more fully fleshed out, but it's questionable to what extent Salvatore consulted the source material: the city's distinction of being divided into many dozen drudachs or subdistricts, each walled off from its neighbours, is not mentioned at all. As a result the unique character and flavour of Calimport is lost (Salvatore is also smarter than to rely on Arabian stereotypes for the city or Calimshan as a whole, although one hapless Memnon merchant does start leaning in that direction).

Characterisation remains reasonable and Salvatore explores some interesting ideas, such as Drizzt using a magical mask to pass as a surface elf and avoid the racist appraisals of his character stemming from his skin colour alone, and facing a crisis of identity as a result. Drizzt also has to face his motives for dealing with Entreri, and whether these stem from a desire for revenge, a desire for a rematch with a worthy foe or a genuine desire to save his friend Regis. Wulfgar also gets a fish-out-of-water storyline as he finds himself trying to survive in civilised surrounds for prolonged periods for the first time, and we meet a few more characters who will become important in future volumes of the wider Legend of Drizzt series, such as Captain Deudermont and the crew of the Sea Sprite.

On the minus side, there isn't much. This very much remains an action-focused, fast food meal of a fantasy novel and is enjoyable on that level, but those looking for a deeper, richer experience best look elsewhere.

Otherwise, The Halfling's Gem (***½) wraps up this trilogy reasonably well. From this book readers can go back to experience Drizzt's backstory in The Dark Elf Trilogy or press on to find out what happens to the Companions of the Hall and Mithril Hall next in the Legacy of the Drow Quartet (I'd strongly recommend the former). The book is available now in the UK and USA.

Streams of Silver by R.A. Salvatore

Having successfully saved Icewind Dale from the invading army of the sorcerer Akar Kessell - albeit at a high cost - Bruenor Battlehammer, Drizzt Do'Urden, Wulfgar and Regis embark on a new quest. This time their goal is Mithril Hall, the long-lost homeland of Bruenor. Unfortunately, Bruenor was only a child when the hall fell and has no memory of its location. The companions set out for the cities of Luskan and Silverymoon, hoping they will find clues to the Hall's whereabouts. But danger stalks the party, for the assassin Artemis Entreri is on their tail, seeking the halfling Regis, whilst the mages of Luskan are anxious for news of the Crystal Shard and are determined to recover it.

Streams of Silver (1989) is the middle volume of the Icewind Dale Trilogy but mercifully escapes "middle book syndrome" by virtue of Salvatore not planning a trilogy in the first place. The Crystal Shard had to stand well enough alone so that if it bombed, readers would not be left on too much of a cliffhanger for a sequel that would never come. Fortunately, the book did very well and two sequels were commissioned, which are more tightly connected together (the "standalone+duology" school of trilogies, which has an honourable precedent in the original Star Wars trilogy).

Streams of Silver is a less tightly-plotted book than The Crystal Shard and less epic in terms of having large armies clashing, but it's much more of a traditional Dungeons & Dragons adventure. We have our party, who even now get a cool name (The Companions of the Hall™) and they have a quest which takes them across the Savage North of the Forgotten Realms. Many, many later books would also focus on this region but it's interesting to see it in a nascent state here with a lot of the worldbuilding still in a fairly embryonic stage, to the point where Salvatore overlooks the existence of the later very high-profile city of Neverwinter, which is amusing, and Alustriel Silverhand, one of the infamous Seven Sisters, only has two sisters at this juncture. We get a nicely varied story as well, taking in political-magical intrigue in the city of Luskan, a semi-comic interlude in the whimsical wizard hamlet of Longsaddle, a more desperate long-running battle across the troll-infested Evermoors, an angsty stay in the city of Silverymoon (a bastion of peace and enlightenment where Drizzt hopes for respite, only to be turned away because of his dark elven heritage) and a final descent into Mithril Hall, presumably thoroughly checked by TSR's legal team to stave off the J.R.R. Tolkien Estate suing them into the next universe.

An interesting parallel storyline emerges where the assassin Artemis Entreri is hot on our heroes' trail and assembles an "evil party" to bring parity to their encounter, complete with its own wizard, tracker, magical construct and a reluctant guide in the form of Catti-brie, Bruenor's adopted daughter now turned hostage. Given that Catti-brie was barely even in the first book, it's good to see her have some character development in this volume.

There's a lot more female characters in general, including several among the villains, which remedies one of the oddities of the first book. There's a fair bit of action, although not quite as breathlessly over-the-top as in the first book (sadly Drizzt and Wulfgar don't get to take out two dozen giants single-handed, which was stretching credibility just a bit), and Salvatore's writing calms down. No more excited exclamation marks after every other sentence! His prose can still veer towards the cheesy (especially whenever he decides Drizzt needs to be introspective and ponder on the unfairness of the world), but it's easily accessible and straightforward. There's still more enthusiasm than skill here, but it's surprising how much fun that can be.

The novel is very much still in the "Big Mac with extra fries" mode of fantasy literature, but it does make some clumsy nods towards engaging with a big theme when it comes to racism. Drizzt is a dark elf or drow, whose people were cursed and outcast from the rest of elven civilisation ten thousand years ago after betraying the other elven peoples during the Crown Wars. As a result, Drizzt encounters extreme hostility from pretty much everyone he meets. Later Forgotten Realms fiction would cast this event as a grand tragedy, with many tens of thousands of innocent and "good" dark elves punished for the crimes of their evil brethren, with many drow fighting for redemption under the banner of the goddess Eilistraee. At this early stage in the setting's history, though, the worldbuilding is more that all the drow are evil all the time (apart from a small number who are merely totally amoral instead), and Drizzt is the only exception in the whole world. On that basis it's hard to make Drizzt's story about racism work when virtually all the other drow we meet are inherently evil (shades of Dragon Age trying to make a story about bigotry against its mages because the run the risk of being overwhelmed by evil forces, despite the fact that almost every single mage we meet does go insane and get possessed by a demon at one point or another). Later books, which introduce more nuance to the setting, do deal with the issue more successfully.

Streams of Silver (***½) is a reasonable follow-up to The Crystal Shard. Salvatore has improved as a writer, although this is still very much at the enjoyable pulp end of the literary spectrum, and makes a couple of nods at larger themes around racism, homelands and belonging in this book, which are not altogether successful. He does deliver a readable, action-packed story which moves with verve through an interesting setting. With the success of this novel a bit more assured, there's a cliffhanger ending leading into the concluding book in the trilogy, The Halfling's Gem. Streams of Silver is available now in the UK and USA.

A History of Epic Fantasy - Part 13

When they came up with the name "Dungeons and Dragons" for their roleplaying game in 1974, Gary Gygax and David Arneson envisaged heroic adventurers entering vast underground labyrinths in search of treasure and battling mighty dragons. It turned out this didn't happen too often, as their dragons were incredibly tough monsters, best-handled by heroes only after many months of adventuring and acquiring magical weapons.

In 1982 TSR, Inc., the owners of Dungeons and Dragons, decided to restore the game's focus on the mighty winged beasts. They had developed an elaborate number of different types of dragons, some good, some evil and some indifferent, and wanted to draw them together with a cohesive backstory and mythology. They also wanted to create a grand story using the D&D brand, rather the smaller-scale, sword-and-sorcery adventures that most players had been enjoying up to this point. So was born "Project Overlord", an attempt to turn D&D into an epic saga.

To bring this project to fruition, TSR turned to Tracy Hickman. A (relatively) new employee at TSR HQ in Lake Geneva, Wisconsin, Hickman and his wife Laura had conceived of a new campaign idea during a lengthy car journey. This campaign had been unfolding in D&D sessions run by Hickman for his friends and co-workers, and would now serve as the basis for "Project Overlord". Hickman was put in charge of the project, along with Margaret Weis, an editor working for the company. This was going to be a multimedia project, incorporating a series of a dozen or so roleplaying adventure modules and a series of novels. TSR had limited experience in this field, so brought in a professional author to write the books. Weis and Hickman felt that this author didn't get what they were trying to do, and in the end fired him. Over the course of a weekend they together wrote the opening chapters of the first novel themselves. Impressed, TSR hired them as the authors for what would now be called The Dragonlance Chronicles.

Red dragon pulls off the best portraitbomb ever.

Dragons of Autumn Twilight

The world of Krynn is suffering in the aftermath of the Cataclysm, the devastation of the landmass of Ansalon by the gods, furious at the temerity of a human empire which had challenged their power. The gods have turned their backs on the stricken continent, which has sunk into war and conflict. When the dark goddess Takhisis secretly casts her influence over Krynn once again, sponsoring the rise of an empire allied to the dragons of chaos, it falls to a band of heroes to save the world. However, the heroes are divided by internal conflicts and their would-be allies are scattered and leaderless.

Dragons of Autumn Twilight certainly didn't win any awards for originality in its setting or general storyline. But it did do things a little differently to other fantasy stories. The magically-enhanced genetic engineering of a race of human-dragon hybrids was fairly unusual for the time and the story took a number of unexpected, dark turns. A major character died unexpectedly in the cliffhanger to the second volume (more shockingly, killed by one of his own former friends and allies), and there were a number of epic dragon-on-dragon battles. That said, these flourishes were more about rearranging the furniture than totally rewriting the rules.

What made Dragons of Autumn Twilight and its immediate sequels, Dragons of Winter Night and Dragons of Spring Dawning, such a success was the marketing. The books were pitched at a young and teenage audience, many of them already familiar with dragons and Takhisis (in her core D&D guise of Tiamat) from the Dungeons and Dragons cartoon series that had started airing in 1983. The focus on dragons and the cross-marketing with the adventure modules also proved extremely successful. Sales of the Dragonlance Chronicles shot through the roof, helped by strong sales in the UK thanks to a team-up with Penguin Books. Sales increased again a few years later when the trilogy was repackaged and sold in an omnibus edition.

By 1991 there were over four million copies of the Chronicles trilogy in print, giving it a claim to being the biggest-selling epic fantasy trilogy of the 1980s. It helped revitalise interest in both dragons and the D&D game, as well as serving as the entry-point for hundreds of thousands of young and new fantasy fans. It also kick-started the collaborative writing career of Margaret Weis and Tracy Hickman. They followed up on the initial series with an expectation-defying sequel trilogy, The Dragonlance Legends, comprising Time of the Twins, War of the Twins and Test of the Twins (1986). The original trilogy had been a war epic of massive scale and scope, but this was a far more intimate story focused on the intense and complex relationship between the heroic Caramon Majere and his brother, the sickly, morally-compromised wizard Raistlin, whose antihero antics had made him easily the most popular character in the franchise.

Weis and Hickman then edited some additional Dragonlance books before striking out to write original fiction for Bantam Books, including the hugely popular Death Gate Cycle, before returning to the Dragonlance world for more novels around the turn of the century. With sales approaching 30 million, they the most successful collaborative writing team in the history of epic fantasy and one of the most influential.

The success of the initial Dragonlance books led to more, a lot more, written by numerous authors. Almost 200 Dragonlance novels have now been published, ranging over a span of time from millennia before the Chronicles trilogy to centuries after, but none have repeated the enormous success of Weis and Hickman's books. It would take another four years - and a completely different world - for that to happen.

The Crystal Shard

Ed Greenwood had started writing fantasy stories in 1967, at the age of eight. Over the course of years he built up and created his own fantasy world, telling stories about characters like Mirt the Moneylender, a cheerfully roguish adventurer-turned-merchant who was actually one of the secret lords of Waterdeep, the City of Splendours. In 1978 Greenwood converted his world into a setting for his homebrew games of D&D and started publishing gaming articles in Dragon Magazine. Over the next seven years or so he became one of the most prolific and popular contributors to the magazine, making frequent references to his home setting.

In 1985 TSR bought the rights to Greenwood's fictional world and turned it into an official D&D campaign setting. The idea was that Dragonlance had become very narratively centred on the War of the Lance (covered in the Chronicles books) and its aftermath, and TSR wanted a much bigger world where they could tell a wider canvas of stories. Greenwood and designer Jeff Grubb set about this project with enthusiasm, releasing in 1987 the Forgotten Realms campaign setting. It was accompanied by novels, both a trilogy by Douglas Niles about the Moonshae Isles and a stand-alone book by Greenwood called Spellfire. These did okay, but were not huge successes. It was the next book published in the setting that established its popularity.

Robert Salvatore was 28 years old and had sent TSR a novel on spec, Echoes of the Fourth Magic, about a research submarine and its crew which are transported into a fantasy world. It wasn't TSR's normal kind of thing, but it was enough get the attention of editor Mary Kirchoff. She gave Salvatore a large map of the Realms and asked for ideas. The one he came up was for a sub-arctic tundra setting, an evil magical gemstone of enormous power and a young barbarian hero. The editor bought the idea, but later on had to reject one of the sidekick characters. Five minutes late for a marketing meeting to discuss the book, she asked for Salvatore to create a new character on the spot. His panicked response was to suggest a dark elf ranger named Drizzt Do'Urden, which he didn't even know how to spell. On that random moment, Salvatore's entire writing career was set in motion.

Published in 1988, The Crystal Shard was a slightly unusual D&D novel. The frozen setting, the characters who are twisted versions of standard fantasy archetypes (the dark elf character suffering from racial prejudice and a halfling who's a shrewd trickster and thief rather than a cosy hobbit) and an unusually proficient ability at writing action sequences set The Crystal Shard apart and made it an enormous success. Two sequels followed, but it was the Dark Elf Trilogy (1990-91), which abandoned the epic scale of the earlier books and delved deep into Drizzt's personal backstory, which took the character and made him iconic. Almost thirty years later, approximately 30 million copies of Drizzt's adventures have been sold, making him the most popular-ever D&D character and Salvatore the single most successful author to have worked in that fantasy universe.

By the late 1980s epic fantasy was now firmly established as a marketable, popular genre. There were a few bestselling authors working in the field, critically-acclaimed novels and books which did things a bit differently. But it was still lacking a work that would build on Tolkien's legacy and take it to another level. But at this point there was not just one but two authors working on books and series that would be defined by their extraordinary lengths, their enormous popularity and the huge impact they would have on the genre.

Icewind Dale II

A band of adventurers are among the mercenaries called in to help defend the remote settlements of Icewind Dale after they come under attack by an army of monstrous creatures. Investigating the causes of the raids, the team embark on a lengthy trek into the hostile Spine of the World mountains.

Icewind Dale II was released in 2002 and was the fifth and last game to use the Infinity Engine. Originally used for Baldur's Gate in 1998, the Infinity Engine had powered a whole series of classic roleplaying games and was arguably the last great 2D engine before most games switched to 3D technology. At the time of its release, Icewind Dale II was heavily criticised for using old tech, made even more apparent by it coming out just a month or so after BioWare's Neverwinter Nights, with it's all-singing, all-dancing 3D engine.

Played without regard for such concerns, Icewind Dale II emerges as an enjoyable, solid roleplaying game much in the vein of its predecessor. The Icewind Dale games are very much the 'brainless action movie' branch of the Infinity Engine tree, where combat is emphasised over roleplaying. There isn't anything too wrong with that, especially since Icewind Dale II also puts more emphasis into puzzle-solving, quest-resolving and occasional bursts of proper roleplaying. You still spend 80%+ of the game hacking enemies apart, but there's a little bit more story and character to proceedings this time around.

As with the previous game, you create a party of six adventurers from scratch. Balancing melee combat characters with ranged ones with magic users (and a rogue to help open all of those locked chests of loot) is key to completing the game effectively. Unlike the other Infinity Engine games, Icewind Dale II uses the Dungeons and Dragons 3rd Edition rules which gives your characters much greater choices of weapons (no more arbitrary restrictions by class), classes (no more arbitrary restrictions by race) and skills and feats, which improve your combat abilities.

You start the game in the town of Targos which is under goblin attack. After dispatching the attackers you find yourself running around town getting to know people and finding out more about what's going on. This being a game by Black Isle (which splintered apart shortly after this game's release, the remnants reforming as Obsidian and Troika), with such CRPG luminaries as Josh Sawyer and Chris Avellone working on it, the game features some amusing meta-commentary about the genre. One soldier recounts how he started his adventuring life by killing rats for ages because it was 'character-building', whilst running around town doing trivial odd-jobs for pitiful amounts of money. This was funny at the time, but is slightly tragic in 2014 given how many modern RPGs still insist on using the same structure.

The game is linear, with your team moving from objective to objective without as much ability to go off and do some exploring by yourself (although there a few optional side-quests). This makes sense in the context of the game - you are a mercenary party on a military commission to halt an invading army - and also given the time restrictions the game was made under, but it does feel a little constraining at times. The game is also pretty relentless and, in the midgame especially, becomes something of a grind. The environments are beautiful, ranging from palaces made of ice to spectacular underground caverns and windswept mountain passes filled with snow. However, too often there is little to do in these environments rather than bludgeon lots of things to death and search for loot. There are a few moments of satisfying roleplaying - doing a side-mission near the end of the game makes the final battle considerably easier, whilst you can completely skip a lengthy and lethal battle in a mind-flayer fortress by convincing their relentlessly logical leader that it's just safer to let you pass - but the focus is very much on fighting.

Fortunately the fighting is pretty good. As usual you can pause the game to issue orders and battles soon become a frenzied rush of arrows, swords swinging and spells flying past. As the game progresses enemies become more likely to use magic, so it becomes necessary for your party to use magic to buff your characters or summon small armies of monsters to act as cannon fodder. Unlike, say, the Dragon Age games, which have a seriously tiny spell selection (presumably for simplicity's sake), Icewind Dale II offers a large range of spells, weapons and combat options which can tend towards over-complexity, but also give the player a satisfying choice of tactics to pursue. Many seemingly-impossible battles can be won by simply changing tactics or even just the positioning of your characters: bottlenecking large enemy forces in narrow passages is a simple but often decisive tactic.

So the combat is good, the choices for character development are better than any previous Infinity Engine games and the story is moodily and effectively told through animated storybook cut-scenes. For its time, the 2D graphics are impressive (if inevitably a little pixellated on modern machines) and the music is splendid, though there isn't a whole lot of it. The game is pretty long (clocking in at well over 20 hours) so you get a lot of content for your money. The game gets grindy and repetitive at times, but it's worth persevering for the satisfyingly epic conclusion.

Icewind Dale II (****) is a worthy follow-up to Icewind Dale and a decent conclusion to the Infinity Engine era of roleplaying games. You can get the game now from GoG, where it has been optimised to run well on modern machines, or you can also get it as part of a triple-pack with the original Icewind Dale and its expansions (UK, USA).

Chris Avellone on RPG design, PROJECT ETERNITY and too many great games to count

At the Rezzed gaming conference this weekened, Obsidian developer Chris Avellone did a presentation on CRPG design. You can check it out here.

Avellone has a CV that is interesting. At Black Isle back in the day he was the project lead on Fallout 2 and Planescape: Torment (probably the greatest Western CRPG of all time) as well as working on Icewind Dale and its sequel. At Obsidian he was the lead designer on Knights of the Old Republic II, Fallout: New Vegas - Old World Blues and Alpha Protocol. He also worked on Neverwinter Nights II and its expansion Mask of the Betrayer as well as the main game of Fallout: New Vegas. He has also been hired out to inXile to assist on the upcoming Wasteland 2 and Torment: Tides of Numenera. Avellone is a noted proponent of player choice and including more complex thematic, and philosophical elements than is normally found in games, not to mention more complex characterisation.

Some of those things are discussed in the interview, along with progress on Project: Eternity, some interesting info on how they made Planescape: Torment and Fallout: New Vegas, and on the merits of Kickstarter as a business model. He also namechecks Brandon Sanderson and Patrick Rothfuss in a discussion of magic systems, though he doesn't mentioned Obsidian's planned Wheel of Time CRPG (which is still on hold until Red Eagle raise the funding for it).

Icewind Dale

A band of adventurers arrive at Easthaven, a town in the Icewind Dale region of Faerun, far to the north of most civilised lands on the far side of the Spine of the World. The town's mayor asks the adventurers to travel to Kuldahar, a village of druids in the foothills of the mountains, where they have reported strange goings-on. The adventurers agree, but are cut off in the foothills by an avalanche. Proceeding to Kuldahar on foot through an area inhabited by hostile creatures, the adventurers learn of a threat to all of Faerun that is developing in the mountains and the caverns under them, and they must defeat this threat before it's too late.


Originally released in 2000, Icewind Dale was the third of the Dungeons and Dragons games using the Infinity Engine, developed by BioWare and Black Isle (now Obsidian). These three games were effectively an attempt to corner three distinct types of fantasy: Planescape: Torment was the 'arty', literary and philosophical game, essentially a video game equivalent to Gene Wolfe, whilst Baldur's Gate was the more traditional large-scale, long, broad-based and well-characterised epic, following in the trail of Tolkien. Icewind Dale, on the other hand, was the much more combat-oriented, sword and sorcery adventure, much more of a romp than the other two. This led it to getting somewhat mixed reviews at the time, though viewed in isolation from its forebears, its positive aspects become much more apparent.

Starting off, Icewind Dale has you creating all six characters in the party, giving them names and deciding on their races and character classes. This is unlike Baldur's Gate, where you only created the leading character and then picked from a range of pre-existing companions, and also unlike Planescape: Torment, where you had a pre-generated character (though you could change his stats). This is the biggest change from the other games, since your party is totally user-generated there is little to none of the party interplay seen elsewhere. There is no possibility of romances or rivalries erupting between party-members, which removes some of the flavour and unpredictability of the earlier games, but also makes Icewind Dale a lot more old-school and traditional, which is not entirely a bad thing.

Once you've created your party, it's RPG business as usual. You can explore the opening town, solve a few puzzles (usually through item quests or combat, though you can resolve a few quests through dialogue alone) and so on before you're given the main quest. You have to fight your way through the mountains to Kuldahar (a town built in and around a colossal tree), which becomes your base of operations as you range out on various missions for the denizens of the town. These involve a lot of dungeon explorations and assaults on temples and castles held by various enemies, so a combat-focused party is a must, though the prevalence of traps and sorcerous opponents means you want to bring a thief and at least a couple of magic-users along as well.

The game is well-written, but compared to the other Infinity Engine games straightforward (indeed, somewhat refreshingly so at times). There's a few nice twists but generally what you see is what you get, and what you get is a metric ton of combat. You fight dozens of different types of enemies, from orcs to powerful enemy wizards, and amass vast quantities of loot. You also level up at a rate of knots compared to other D&D-based games. Generally speaking, if more than ten minutes go by without a ferocious combat sequence, something's gone wrong somewhere.

Luckily, Icewind Dale uses a later iteration of the Infinity Engine, with stronger graphics (including the heaven-sent ability to change the graphics resolution to something bearable on a modern PC), a friendlier interface and more options for character classes and combat (not to mention being able to carry lots more loot). In fact, if you ignore the simple fact that the game is 2D and sprite-based (there are 3D options for spell effects, but these tend to be hit and miss with modern graphics cards), it's aged very well indeed. The hand-painted environments are gorgeous, the sound and music is of a very high quality and the combat is fast and furious (though, as usual, you can hit space to pause the game at any time to issue fresh orders). The pace is only let down by the traditional D&D problem of having to rest every couple of fights to replenish spells, or having to quick-travel back to Kuldahar to unload the frankly ludicrous amounts of loot you amass on your quests at regular intervals. The game also ties in nicely (and unexpectedly) with the Icewind Dale trilogy of novels by R.A. Salvatore, despite taking place almost a century earlier (and fifteen years before Drizzt Do'Urden arrives in the area). This tie-in is very logical and satisfying, compared to the more obvious (and cheesy) cameos in the Baldur's Gate series.

The minuses are, for the most part, the obvious side-effects of the positives. Almost every situation in the game is solved by you hacking your way through it (though there are a few more original and interesting puzzles along the way), and overall the game lacks subtlety. The writing and moody black-and-white cut scenes are great, but given you spend a lot of time in combat-focused dungeons, some time can go by between plot-related events happening, which occasionally threatens to reduce the game to a hard grind. And, as great as the graphics are, the harsh snow backdrops and the very large creatures show up some issues with the engine, leading to some pixellation. The combat focus of the game also means it's pretty unforgiving and total party kills are not uncommon. As with all Infinity Engine games, but moreso here, you need to have a finger hovering over the quicksave button at almost all times and remember to save between combats, before resting, after resting, before tackling a complex trap (especially the ones which can backfire and blow up your entire party if you fail a roll) and at least every five minutes regardless of anything else.

That said, the game's not quite a brainless hack 'em up. The story, which it kicks in every now and then, is intriguing and the writing, when it does appear, is generally pretty good (as you'd expect from some of the same team behind Planescape: Torment). These elements give the game a bit more depth than its reputation suggests. In fact, if the game does suffer in departments, it's usually through comparisons to its contemporaries. Taken on its own merits and in isolation, a rewarding and impressive CRPG emerges.

Icewind Dale (****) is a fun, furious and enjoyable roleplaying game which has aged excellently, and is let down only in comparison to more story and roleplaying-focused RPGs. For those looking into a great dungeon-exploring or more action-based RPG, Icewind Dale more than satisfies.

Due to the game's age, there are a variety of ways of getting it. The Good Old Games edition may be preferable since it has been optimised to run on Windows 7 and Vista with no problems, and also includes the free expansion Trials of the Luremaster (which needs to be downloaded separately for the other editions). You can also get it as part of a triple-pack with the paid-for expansion, Heart of Winter, and Icewind Dale II (UK, USA) or as a boxed copy with just the expansion (UK, USA).