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#Ultima online forever dungeon word of power manuals#
#Ultima online forever dungeon word of power manual#
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Tortured explanations for inconsistencies in fiction are usually fun, as are fan theories.

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There have been all kinds of attempts to explain or hand-wave these inconsistencies, both in canon and fanon, and I don't doubt my message board will be full of them. I'm afraid getting here so early in the game, just so I could take this screenshot, involved a bit of homicide. This suggests that there's some point in the underworld where gravity flips around, I guess, but I suppose if we're talking about a world shaped like a cereal box, considerations of things like gravity, hydrology, and atmosphere are already pretty absurd. The gargoyles apparently live on the other side of the world, and the "underworld" from Ultima V is now the space in between the two. Suddenly in VI, it's possible to reach the "edge" of the world and see the void of space beyond.

Ultima IV and V took place on a three-dimensional world that wrapped around on itself.

The enemies in VI are the "gargoyles," despite gargoyles having existed as separate creatures in V and gargoyles having been called "daemons" in previous games.

But Iolo and Dupre never really talk about Earth, and Gwenno and Shamino, both Britannians, are similarly long-lived. This supposedly accounts for their long lives.

Lord British is said to come from Earth, as are Iolo and Dupre.

Exodus is manifestly a computer in III but becomes a demonic entity in later depictions.

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Minax is given in the manual as having threatened "Sosaria," despite the game taking place on Earth.

Starting in the Ultima VI manual, the Avatar is explicitly named as the same hero who won the first three Ultima games, never mind that III had four characters, and any of the characters in the first three games could be of non-human races.

When you think about what had to happen to turn the map to the left into the map to the right, you wonder if it wouldn't have been a better idea just to learn to live with Exodus. I'm pretty sure that global catastrophes capable of so re-shaping continents would also kill every living thing.

To excuse nothing more than a desire to create a bigger, more geographically complex game world, the games suggest that the destruction of Exodous at the end of III created earthquakes and tsunamis and other geological upheavals, transforming Sosaria to Britannia.

#Ultima online forever dungeon word of power manuals#

IV and V are the closest, but in general, the game manuals engage in a rampage of retconning between titles.

Hardly any aspect of the world holds up to scrutiny between any two games.

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The Ultima series is rightfully famous for re-inventing the game engine and magic system between numbered titles, but it also re-invented its stories, too. It is, in fact, one of the few games of the era in which the manual and game feel like they were written by the same people.īut perhaps as notable as the effort and detail put into Britannia's history is how poorly Origin maintained it. It's one of the few games of the era in which the manual and game seem like partners in the gameplay experience. In this era, Ultima IV comes along like a revelation, with a manual outlining Britannia's history, detailed descriptions of every town, monster, and item, a fully constructed virtue system-and, most importantly, a game that made full use of all the manual's lore. Richard Garriott created the Ultima series in a time when hardly any games were paying attention to good stories-and even if they did, the technology of the times wasn't sufficient to justify much of the prose. For years, I've thought of Origin as the paramount example of what became the first category in my GIMLET index: "game world."

Britannia is the most obvious example, but even the company's minor titles, like Times of Lore or Knights of Legend, have rich game manuals and complex histories. Origin System's motto was "we create worlds." It was a fitting motto for a company so dedicated to detailed back story and lore.