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Ultima online forever identification wand manuals#
Ultima online forever identification wand manual#

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 identification wand 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. 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.