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Dungeons and Desktops
Dungeons and Desktops
The History of Computer
Role-Playing Games
Second Edition
Matt Barton
Shane Stacks
CRC Press
Taylor & Francis Group
6000 Broken Sound Parkway NW, Suite 300
Boca Raton, FL 33487-2742
© 2019 by Taylor & Francis Group, LLC
CRC Press is an imprint of Taylor & Francis Group, an Informa business
No claim to original U.S. Government works
Printed on acid-free paper
International Standard Book Number-13: 978-1-138-57464-9 (paperback)
978-1-138-57467-0 (hardback)
This book contains information obtained from authentic and highly regarded sources. Reasonable
efforts have been made to publish reliable data and information, but the author and publisher cannot
assume responsibility for the validity of all materials or the consequences of their use. The authors and
publishers have attempted to trace the copyright holders of all material reproduced in this publication
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future reprint.
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From Matt
Acknowledgments, xxi
Chris Avellone’s Preface, xxiii
Authors’ Preface, xxvii
Chapter 2 ◾ Origins 21
BASEBALL SIMULATION GAMES 21
TABLETOP WARGAMES 24
J.R.R. TOLKIEN AND FANTASY ROLE-PLAYING 27
COLOSSAL CAVE ADVENTURE 34
NOTES 39
vii
viii ◾ Contents
Menzoberranzan 307
World of Aden 308
AD&D GETS DUMBER AND DUMBERER 309
Descent to Undermountain 310
ORIGIN AND THE DEMISE OF ULTIMA 312
Ultima VIII: Pagan 312
Ultima IX: Ascension 313
Transcending Ascension: The Gothic Series 315
IN THE NEXT CHAPTER 317
INDEX, 593
Acknowledgments
Special thanks to Brian Fargo, Richard Garriott, Tim Lang, David Wesely,
CRPG Addict, Lazy Game Reviews, Robbie Sambat, Griffith Archduke,
Nathaniel Tolbert, Adam Dayton, Mike and Sam Witwer, and David
Swofford.
xxi
Chris Avellone’s Preface
I’ve been an RPG fan ever since I was nine years old. I remember the exact
moment, in fact. I was tossing a baseball around in my backyard with
Michael, one of my friends from the neighborhood, and he brought up a
game called Dungeons & Dragons.
I had never heard of D&D, so he explained it to me—it was like liv-
ing out an adventure in Lord of the Rings, similar to playing a game of
make-believe, but there were rules to it, and randomness determined by
rolling dice to determine outcomes. The way he explained the “rules” is
what grabbed me most—the adventure wasn’t a static construct, it wasn’t
a fantasy story of the kind I’d read and loved—it was something that went
beyond that, where you could be the protagonist, but rather than being an
xxiii
xxiv ◾ Chris Avellone’s Preface
unstoppable hero, you would experience challenges and setbacks, even fail
at them. That was amazing, and even more important to me at the time,
it felt fair.
Getting a group (gathering a party) to actually play the game, however,
was a pain in the ass.
D&D was a game meant to be played with others, and if you don’t have
a car (I wasn’t able to drive when I started playing), and you don’t live
close to your friends, it turns out getting together and finding a group is a
challenge. Even when I finally got a driver’s license, another problem pre-
sented itself—even if you had a group, you had to find someone to be the
“Dungeon Master,” who was the one who “ran” the adventure, made the
rule calls, controlled the monsters in the dungeon, and gave quests to
the players around the table. They were the ones who did most of the work.
And it was a LOT of work.
Still, because I’d rather be a Dungeon Master than not play at all, I often
took on the role—and over time, found myself enjoying it quite a bit, even
though I was rarely able to play as a player, which had sort of been the
point of the whole thing.
So, in the wake of those challenges, I stumbled across Bard’s Tale II
playing on a friend’s Commodore 64, and I suddenly realized this was
a version of D&D I could play on my own when I couldn’t get a gam-
ing group together—it was a digital Dungeon Master, and I could go on
an adventure the game developers had scripted by myself. That revelation
started me playing an avalanche of games … Bard’s Tale I, II, and III; Pool
of Radiance and all the Gold Box games; the Ultimas; Might and Magic;
Eternal Dagger; Wasteland; and more. Whenever I wasn’t doing home-
work or running a game of my own, it was time to boot up the CRPGs and
start playing. My mom put up with it, because she’s cool like that (it helped
that I kept up my grades).
Over the years, this passion ebbed somewhat, mostly due to college
and other constraints. I didn’t stop enjoying role-playing games, though,
but it wasn’t until I started writing pen-and-paper adventures for publica-
tion that a true opportunity opened up, and I suddenly had the chance to
contribute to the CRPG genre I enjoyed so much. Over the next twenty-
plus years I worked on: Planescape: Torment, Fallout 2, Icewind Dale 1
and 2, Star Wars: Knights of the Old Republic II, Neverwinter Nights 2,
Alpha Protocol, Baldur’s Gate: Dark Alliance, and even back to the Fallout
franchise with Fallout: New Vegas and a chance to contribute to further
iterations of games I’d loved in my youth—Wasteland 2, Wasteland 3, and
Chris Avellone’s Preface ◾ xxv
new ones Divinity, Pathfinder: Kingmaker, and more. It’s been a fantas-
tic experience to be able to participate and give back to a genre I love so
much—the only drawback being that it means I have less time to play the
same games, but it’s a small price to pay.
You also get involved with the community that enjoys CRPGs, which
brings me to Matt and Shane.
I’ve known Matt and Shane for a long time. I’ve spoken to them at
length, in interviews and outside of interviews. If there’s anything I can tell
you, it’s that both of them love computer RPGs, and this book you’re hold-
ing, downloaded, or are reading in the future through scrolling cybernetic
retinal displays is proof positive of their passion for RPGs.
This isn’t the first edition—the fact there’s a second edition is also proof
of the growing market and growing interest in RPGs. RPG mechanics of
skill progression, experience points, character customization, item inven-
tories, and giving the player’s avatar more freedom to make decisions and
see different outcomes is making itself into all gaming genres, even mak-
ing itself felt in global hits as God of War. It’s an experience players want:
more “voice” and progression in the world they are exploring.
Looking back from this, RPGs have come a long way. Back in the 1980s,
if you played D&D, you weren’t exactly in the cool kids’ club, so nothing
has been more gratifying to me than seeing D&D become appreciated,
and something that almost everyone is willing to at least give a try …
and rarely looked down upon. Seeing shows like Critical Role and others
draw a following from showing their gaming sessions has even been more
welcome.
Books like the one you’re holding now let people get a closer look at the
history of CRPGs and what makes them tick. Matt and Shane have put
together something special—even if you’re a CRPG veteran (some might
say lich) like me, you’re likely to learn a lot about your craft or your passion;
it stems from every page.
So, welcome. Grab a tankard, pull up a chair, and join us—this book’s
about to take you on an incredible adventure.
And thanks to my neighborhood friend Michael for that game of catch
so many years ago. It changed my life.
Welcome back, brave adventurers! Or, if this is your first foray into the
world of computer role-playing games, greetings! Infinite quests, glory,
and epic amounts of lost sleep await!
But before we set out once again to slay those pesky dragons, let’s deal
with the one in the room: Why a new edition? History is history, right?
Unfortunately—or fortunately as far as hungry historians are concerned—
while the facts of history don’t change, our ability to find and present those
facts changes frequently. To put it simply, in the decade following the pub-
lication of the original Dungeons and Desktops, your authors have gained
enough experience points to level up once, if not a few times. We simply
know much more than we did, not only about the genre this book covers,
but about book writing and publishing in general.
To cut to the chase, here are four good reasons to justify a new
Dungeons and Desktops: full-color screenshots, behind-the-scenes stories
from developers and designers, a complete reorganization, and, of course,
a general update to cover the startling developments in CRPGs since
xxvii
xxviii ◾ Authors’ Preface
Assis sur son derrière, Kazan, après avoir jeté son cri lointain, se
mit à renifler dans l’air la liberté qui maintenant était la sienne.
Autour de lui s’évanouissaient, avec l’aurore, les abîmes de nuit de
la forêt.
Depuis le jour où tout là-bas, sur les bords du Mackenzie [7] , il
avait été, par des marchands qui trafiquaient dans ces parages,
acheté aux Indiens et, pour la première fois, attelé aux harnais d’un
traîneau, il avait souvent, en un désir ardent, songé à cette liberté
vers laquelle le repoussait le sang de loup qui était en lui. Jamais il
n’avait complètement osé. Maintenant que c’était fait, il en était tout
désorienté.
[7] Le fleuve Mackenzie prend sa source dans les
Montagnes Rocheuses, traverse le Canada vers l’ouest
et va se jeter dans la Mer Glaciale du Nord, après avoir
côtoyé les Grands Lacs de l’Ours et de l’Esclave.