Retro Review: Dungeon Siege II

I have a lot of love for the Dungeon Siege games. The original was the first RPG I well and truly enjoyed, and the third was one of the best games I’ve ever played.

Battling scorpions in the desert in Dungeon Siege IIThe second passed me by, though. It came out during the time when Real Life prevented me from gaming. Once I did take up gaming again, I tried the demo but found it oddly underwhelming, so another few years went by without my playing Dungeon Siege II.

But come the most recent Steam sale, I was able to buy it for pocket change, so I decided to finally play through it from beginning to end.

I don’t regret the decision, but this game definitely isn’t on par with the other entries in the franchise.

An unhappy medium:

In many ways, Dungeon Siege II plays much the same as the original. It’s an action RPG more or less in the “Diablo clone” mould. It allows you to recruit a large party, and rather than having preset classes, your character levels skills naturally as you play — though you’re still encouraged to pick one style of fighting and stick with it.

As with the original, DS2 spends most of its time treading a fine line between mindless and relaxing, though the puzzles and boss fights are a bit more intense this time.

The siege of Snowbrook Haven in Dungeon Siege IIHowever, there are some ways in which DS2 is a departure from the first game. It attempts to be a bit less mindless and a bit more of a traditional RPG, but not all of these changes are for the better, and those that are crippled by some seriously poor design decisions.

DS2 sees the addition of skill trees for each “class,” as well as activated powers, but both of these fail to enrich the game.

Much of the appeal of the original Dungeon Siege came from the fact that it was an RPG where you built your character by playing the game, rather than playing the game by building your character. The addition of skill trees kills this, and it brings back a lot of the problems of traditional RPGs — having to grind forever to start to feel powerful, and having to force yourself into one incredibly narrow style of play.

For example, in the original, a fighter could swap between a one-hand weapon and shield and a two-hand weapon readily, depending on the needs of the party. In DS2, those are completely different specs.

DS2 has a much greater variety of weapon and spell types than any other game in the series, but it’s a complete waste when the skill trees force you to focus on only one play style.

A scenic vista in Vai'lutra Forest in Dungeon Siege IIArmour is now strictly segregated based on “class” as well, which I find sucks some of the fun out. I enjoyed having mages in chain mail.

And none of this adds any real depth. Dungeon Siege II is still far more basic than most RPGs. It’s a “worst of both worlds” scenario.

The powers aren’t much help, either. They’re very powerful and fun to use, but you can only equip one per character, and they have fairly lengthy cooldowns, so they don’t so much spice up the simplistic gameplay as call attention to it — especially in the early game.

There are some things I like better about DS2 than the original — at least in theory — but other elements of the game sabotage them.

Each party member is a fully fleshed out character now, with dialogue throughout the game and quests unique to them. Some of the characters are pretty interesting, so I enjoyed this.

Fighting in Windstone Fortress in Dungeon Siege IIOr at least I tried to. Dialogue is interrupted by combat, and there’s no way I can see to restart a cancelled conversation in the field. This is a game where it’s pretty much impossible to ever not be fighting, so I missed a huge amount of the character dialogue.

DS2 also has much stricter party size limits, based on difficulty setting. On the easiest setting, you can only have a maximum of four party members. Since the game is designed such that you need at least one of all four “classes,” that renders choice of party members largely moot.

Oh, and you can’t play the higher difficulties until you beat the easiest one.

I hate, hate, hate this. It’s everything I loathe about the RPG genre: arbitrary restrictions and grind for grind’s sake. It also goes completely against the effort to make each party member more meaningful, and it strips away more of the Dungeon Siege identity — another core selling feature of the first game was the huge party size you could potentially have.

DS2 also features a new pet system that allows you to raise various minions by feeding them gear. I really liked this system — who wouldn’t want a baby mule following them around?

But again, this is sabotaged by the party size limitations. Since you can only have four party members and you need one of each class, the pet system basically doesn’t exist on your first play through of the game. I had to give up my beloved mule, Daisy, in order to have an archer. That’s just criminal.

My beloved pack mule, Daisy, in Dungeon Siege IIWe’re not in Ehb anymore:

My other big gripe about Dungeon Siege II is the story.

The story in the original Dungeon Siege was fairly simplistic, but a strong setting in the form of the Kingdom of Ehb and a great sense of history made it compelling. The third game in the franchise capitalized on the rich history of Ehb, further expanding the setting while also revisiting old favourites.

DS2, on the other hand, is set in a completely different part of the world and has almost no connection whatsoever to the stories of the first and third games. In terms of plot and setting, DS2 might as well be from a completely different franchise. Only the presence of Azunai makes it at all recognizable as a Dungeon Siege game.

As for the new story, it somehow manages to be even more generic and cliche than the original’s. There are a few interesting revelations about the history of the world here or there, but mostly it could be any other fantasy game on the market, and there’s not nearly the same sense of place and history that made me care about Ehb so fiercely.

There are some other annoyances here and there, too. Unlike in the original, enemies in DS2 will respawn, and they do so incredibly quickly — even very powerful enemies.

A cutscene of Azunai battling Zaramoth in Dungeon Siege IIThis makes backtracking a rather tedious process, and boy, does this game require a lot of backtracking.

It’s not all bad news:

For all my griping, I don’t want to give the impression that Dungeon Siege II is terrible. I did finish it, after all, and I wouldn’t have done that if I wasn’t having some fun.

The core gameplay remains enjoyable, if a bit simplistic and repetitive. I did enjoy interacting with my party members on the occasions when we weren’t interrupted by combat.

It’s an incredibly detailed game, too, with enormous potential for exploration and secret areas everywhere.

Probably the best thing about DS2 is how meaty it is. It’s an incredibly long game, and the various secrets and side quests will keep you busy for a few dozen hours at least — though some quests are a little unnecessarily tedious. Considering how cheaply you can pick this game up nowadays, you definitely get your money’s worth.

Exploring a cave in Dungeon Siege III still wouldn’t recommend Dungeon Siege II, though, unless you’re a huge fan of old school RPGs or a rabid completionist who enjoyed one or more of the other Dungeon Siege games.

DS2 isn’t a bad game per se, but it’s totally lacking in identity. It gave up virtually everything that made the original special and failed to establish a compelling identity of its own. By comparison, Dungeon Siege III was even more of a departure from the original, but it managed to be a strong and enjoyable game in its own right, and it was at least a true sequel to the original in terms of story.

Overall rating: 5.8/10 I highly recommend the first and third Dungeon Siege games, but you can safely skip this one.

Pointless Nostalgia: Gaming

We now continue with my series of self-indulgent nostalgia posts discussing the sci-fi and fantasy I loved as a child, which turned me into the proud nerd I am today.

A screenshot from the mission Stair of Grief in Myth II: SoulblighterThis time, I’ll be discussing video games. Note that I am limiting this to sci-fi or fantasy games that had a significant impact on my views of those genres, so there are some games that I truly loved that will not be discussed in this post. The Age of Empires franchise, for instance.

Some of these are also games that I’ve discussed before, so my thoughts on them may be a little truncated to avoid repeating myself too much.

Warcraft:

Of course, Warcraft is always the first game franchise that comes to mind on this topic. Warcraft: Orcs and Humans wasn’t the first game I ever played, but I did start on it very early in my life, and it’s probably the first one to have had a major impact on my tastes going forward. I would go on to spend an enormous amount of time playing it and its sequel, Warcraft II: Tides of Darkness.

In retrospect, the early Warcraft games weren’t particularly special by modern standards. They were fantastic given the limitations of the era, but looked at through modern eyes, they were fairly thin experiences that shamelessly ripped off Warhammer and Lord of the Rings.

Still, I loved them at the time, and Warcraft II is noteworthy for kickstarting my lifelong love affair with Elves. With their coolly confident voices, lethal ranged attacks, badass capes, and epic hair, my seven year-old self thought the Elven archer units were just the most amazing thing ever.

A screenshot from Warcraft: Orcs and HumansWarcraft III, however, was something special. It vastly expanded the universe and added an incredibly amount of depth and complexity to what was previously a very simple story.

Timing also played a role in my love for Warcraft III. It came around just as I was getting old enough to understand that the world isn’t entirely black and white. I think it had a profound impact on my sensibilities as a writer, and as a person. It helped to waken me to the idea that there is more than one perspective on everything, that one person’s villain is another’s hero.

The expansion, The Frozen Throne, was less impressive, but it did take my Elf obsession to new heights by reinventing the Elves as the Blood Elves, who remain my favourite interpretation of the archetype from any source.

Again, timing plays a role. To my teenage brain, the edgy, sexy, misunderstood Blood Elves seemed irresistibly cool.

StarCraft:

Blizzard’s other great RTS franchise also deserves a mention, but truthfully, I’m not sure it really had that big an impact on me.

A screenshot from the original StarCraft's Terran campaignNow, don’t get me wrong. I loved StarCraft, and still do. It was a great game with a strong if somewhat imperfect story, and from a gameplay perspective, it was a quantum leap forward for the genre.

I’m just having trouble drawing any direct lines between my love of StarCraft and my current sensibilities. I had already developed a certain degree of interest in sci-fi thanks to things like Star Trek and Beast Wars.

Mostly all I can say is that Jim Raynor was and remains my all-time favourite video game character, a rare example of a character who is presented as an everyman forced into the role of hero and actually feels authentic as both.

One nice thing is that StarCraft 1 is the only entry on this list that can be readily played today, without dealing with technical issues or outdated graphics and game mechanics.

Drakan: Order of the Flame

Here’s a game that’s definitely not remembered as one of the great classics. Still, it was special in its way, and I remember enjoying it a lot — despite some glaring problems.

A screenshot from Drakan: Order of the FlameDrakan was a fairly generic fantasy story — Evil McBadPerson is coming back from the dead to destroy the world, unlikely hero must stop him — centered on a young woman named Rynn, who bore a remarkable resemblance to Lara Croft. Rynn stumbles across a dragon named Arokh and winds up soul-bound with him.

So the gameplay split between content played as Rynn and aerial sequences atop Arokh.

Arokh is what made the game worth playing. His wry humour and cynicism gave him infinitely more personality than Rynn, but the gameplay of playing as a dragon-rider is what made Drakan really special.

Few things in my gaming career have equaled the sheer thrill of soaring through the air atop a fire-breathing dragon, and Drakan made it every bit as amazing as you would expect. The controls were simple and intuitive, the maps were expansive and full of potential for exploration, and Arokh’s power was awesome in the truest sense of the term. Enemies that would be challenging or nearly unbeatable as Rynn could be effortlessly incinerated by Arokh.

Despite its generic story, Drakan impressed upon me the sense of awe and wonder that the fantasy genre is capable of, and I still have many fond memories of soaring across the Eastern Archipelago, raining fire on my enemies.

A screenshot from Drakan: Order of the FlameDrakan is also noteworthy for beginning my lifelong hatred of jumping puzzles and platforming mechanics. I truly believe the gaming industry has evolved beyond the need for such things; I wish they’d just go away altogether.

Myth:

I am not given to looking back with rose-coloured glasses. I am not someone who grumpily declares that games were so much better back in the day and the current crop of games just can’t compare.

But the Myth franchise was something so unique and special that even today I’ve never quite seen a game equal it.

For whatever reason, Myth: The Fallen Lords and Myth II: Soulblighter* did not become elevated to the pantheon of all-time great RTS games like Age of Empires and StarCraft, but they deserved to be. They ought not to languish in forgotten obscurity as they do.

*(We don’t talk about Myth III. It didn’t happen.)

Art for Myth II: SoulblighterMyth wasn’t like other strategy games. There was no base-building, no economy. Only very rarely would you ever receive reinforcements during a mission, and you virtually never had any control over when you got them. It was just you and a small group of soldiers fighting against impossible odds.

And things did often feel all but impossible. These were brutally difficult games, which is my one complaint about them. You were invariably outnumbered, often outgunned, and there were a million little things that could go wrong.

Which brings me to another unique thing about Myth, which was how incredibly realistic the combat was. It’s hard to imagine, but these janky old games from the 90s managed a level of realism that is unheard of even today. Wind could blow your archers’ arrows off course. Rain could cause your Dwarves’ grenades to fizzle out. Body parts rolled downhill. Explosions sent deadly chunks of shrapnel wheeling across the battlefield, cutting apart friend and foe alike.

This immense realism and the complexity it created were a big contributor to Myth’s difficulty. One wrong move could send a grenade flying into your own Dwarves, causing a chain reaction as the grenade set off their satchel charges. This would turn your army into a conflagration of flame and severed limbs, at which point the supremely deadpan narrator would calmly declare, “Casualties.”

And then I’d laugh my ass off even as ghols tore apart what was left of my army.

But the genius of Myth was not confined to its gameplay. It also had a brilliantly different story.

A screenshot from Myth II: SoulblighterMyth was a bizarre mashup of some of the best elements of Warcraft, Lord of the Rings, and The Black Company. It was high fantasy in the truest sense of the term, full of magic and fantastical beasts, but yet it also felt incredibly gritty and real.

The interesting thing is that they didn’t give you a birds’ eye view of events as most such stories would. Everything was told from the perspective of ordinary soldiers on the frontlines, who often didn’t fully understand the plans of their superiors. Normally I’m not a fan of ambiguity in story-telling, but in this case, having only incomplete glimpses of the world and its history made it feel so much more real.

Much like the how the gameplay could be unrelentingly difficult, the story of Myth was often ruthlessly bleak, depicting a world bereft of hope in the face of all-consuming darkness, but that only made the characters feel more heroic, the struggle more meaningful.

I’ll also say that despite that almost complete lack of any character development or personality, I still think Soulblighter is one of the all-time greatest video game villains. You’ve just got to respect a guy who cut off his own face and tore out his own heart “in a ritual too dark to name.”

And I haven’t yet touched on my great love for the Heron Guard (Best. Paladins. Ever.), or how hilarious the Dwarves were, or the utter badassery of the Trow, or the sheer terror of the Myrkridia…

Myth bannerOr I could talk about they seamlessly blended traditional high fantasy elements with more obscure concepts out of Irish and Mayan culture and their own unique fiction…

Damn, I miss Myth.