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Title : Ultima Underworld: Won!
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Ultima Underworld: Won!

            

I guess I needn't have worried. The inventory error message didn't manifest itself in any obvious way, and I was able to get to the end of the game. I was in a constant state of agitation until then, however, which hurt my enjoyment of the last level.

I spent most of Level 8 obsessively collecting every bone and skull that I could find, then taking them back to Level 5 and trying to use them on Garamon's grave. The grave stopped accepting them with the previous "you thoughtfully give the bones a final resting place" message, and I started to worry that I'd somehow filled up the grave.

Eventually, I found a refuse heap worthy of a mage: Vas, Tym, Sanct, and In runes, a case with a scroll of "Freeze Time," a Ring of Invisibility, and a set of bones. Those, fortunately, turned out to be Garamon's. When I used them on the grave, his spirit appeared.

Garamon suggested that we open a gate to send the Slasher back to his own world, which would require a lot of magical energy. He said that the source should be "pure" and somehow tied to the traditions of Britannia. Then he left it to me to suggest the solution: the various TALISMANS of virtue that I'd been assembling for the entire game.

            

I didn't have a saved game recently; otherwise, I would have tried the first option.

        

While agreeing on the source, he was stumped on "a latent source of power" to "release their stored virtue." Again, I had to feed him the keyword. It wasn't hard; it was all around us: LAVA. He agreed and said I should toss the talismans in the lava when I encountered the Slasher.

           

I shall name a font after thee.

         

The last major step before the endgame was assembling the "three-part key." I'd already found the Key of Courage on an upper level. The Key of Truth came from telling the seer Illomo that I'd rescued Gurstang, which involved giving him a keyword--FALANAE--that Gurstang had spoken to me. Illomo said that the key was in another dimension, but I could call it back at an ankh shrine with the right mantra--a mantra that might be found in a library book.

Exploring the library, I found a book called Falanae Fanlo, used the second word as a mantra at the shrine, and got the key.

          

It's a good thing those are the only two words I could read. This otherwise might have taken a while.

          

I knew beyond a doubt that the Key of Love would come from Judy, once I gave her a picture of Tom, but I couldn't find the damned thing for the life of me. I finally had to look up a hint. I'm glad I did, because it was a bit unfair. One of Tyball's prisoners who you free on Level 7 is named Bolinard, and he asks if he can help you by making a map of the area. When I first met him and he asked that, I chose the answer that said, "No, I know my way around" because by then, I'd already explored the whole level and the automap was filled in. It turns out that you have to say "yes" so that he writes the map on the back of the picture of Tom.

In any event, I took the picture back up to Judy on Level 5. She mercifully had not fallen into the lava in the meantime. When she saw the picture, she cried a single tear, which fell into the lava and somehow turned into a Key of Love.

           

Well, I feel like a jerk now.

        

With the three-part key, I could open the inner chamber of the volcanic core on Level 8. I had discovered it ages ago.

          

Hey, is this supposed to be the same chamber that had the Codex in Ultima IV?

        

The Slasher of Veils was standing in a square of lava within, trapped by some magical energy. He won't talk to you, which I thought was too bad. Attacking him causes his bonds to break, and he kills you instantly.

          

I half-expected him to be a gargoyle.

          

With no other options, I threw each of the eight talismans into the lava, watching them burst into flames one by one. The moment the last one hit, a portal opened and sucked the Slasher into another dimension, and me along with him.

            

It's nice that in this chaotic hell-dimension, someone took the time to paint the floor tiles.

           

We were in a chaotic todash space, void on all sides, weird images like giant eyes and laughing mouths in the periphery. The Slasher was there, and he immediately started for me, so I had to run. There were several paths leading from the central area. My first choice, a red path, ended up leading me to a moongate that simply warped me back to the beginning.

            

Demon dogs are just a few of the horrors in the periphery of the final area.

        

My second choice, a green path, wound about for what seemed like miles, some horrible image at every bend, my health draining for no reason throughout the journey. Eventually, I came to a moongate and burst through. This was apparently the right one, for the endgame sequence commenced.

            

        

The moongate apparently brought me to the shores of the Isle of the Avatar, because the endgame narration (all text, no voices this time) explained that I dove into the sea with the lava at my heels. Fortunately, a ship belonging to Baron Almric was sailing nearby. 

          

What happened to my boots?

        

Almric apologized for how he treated me:

          

The "and more" part is never really elaborated.

         

And his daughter offered her admiration:

           

Have there been any others?

         

The ship sailed away as the volcano engulfed the Isle of the Avatar behind us.

         

Remember this next time you hear someone say, "Why don't we just throw all our trash into volcanoes?"

         

The final text explained how, after I got home, Garamon came to me in a dream, thanked me, and said he had used the last of his magic power to open a portal for the rest of the inhabitants of the Abyss. "They are now settling in a place called Destard," he said. I'm sure that I'll find their descendants there in Ultima VII and this will not simply be never referenced again.

          

From your lips to Lord British's ears.

          

After a final farewell, I got the screen at the top and a summary of my endgame status.

             

             

As usual, while appreciating the detail of the narrative, I feel that Origin missed some opportunities. First of all, rather than some demon we've never head of from a place we've never heard of, why not make this the first appearance of a villain who's about to have a big role in the Ultima series? You don't even have to refer to him by name. Just, you know, some being from another dimension has contacted Tyball and wants his help getting through. It would add more to the twist in the next game.

Second, just tossing the talismans of virtue into the lava is a boring way to treat them. Why not create a quest that makes more thematic use of the objects? It would have been fun if, for instance, the player had to identify the best individuals to wield each object among the game's NPCs.

The backstory is mostly wasted, but of course it's largely a framing story for a game that was originally conceived as an independent title. We don't really hear that much about Cabirus or why the colony fell apart, and the history is unnecessary to understanding present events. Wouldn't it have been more interesting if Cabirus had summoned the demon to purge the place after seeing his experiment fail? 

Adding insult to injury, I don't think we ever hear of the events in Ultima Underworld again. Neither Arial nor Almric nor their descendants pop up in a later game. We never hear about the Slasher of Veils. In Ultima VII, the Isle of the Avatar doesn't seem particularly worse for the volcanic apocalypse presented here, and despite my joke above, I don't think there are any signs of civilization in Destard. I'm pretty sure multiple characters in Ultima VII refer to "the last time" the Avatar visited, clearly referring to Ultima VI. Correct me if I'm wrong.

           

But let's make sure we include a Wing Commander reference in this game. That's important.

           

The story got really lazy at the end. How did the moongate happen to take the Avatar to the outdoor area of the island, right where Almric's ship happened to be? Why couldn't the Slasher follow the Avatar through the moongate? How did the Avatar even get home from this trip? After offering a pretty lame way to get him to Britannia--he came through a dream--the developers don't bother to send him home at all.

Before I close, I want to say a word about the nature of the combat system in Ultima Underworld and similar games in which combat is integrated with the main game engine, and not offered on a separate "combat screen."

On the surface, tactical combat seems to take a step backwards in Ultima Underworld. Previous Ultimas, which of course featured multiple characters, allowed for careful, turn-based combat on a tactical grid, with options to target various enemies with both melee and missile weapons, cast spells, and use items. Ultima VI allowed you to assign a "template" for offense or defense to each character. In each game after III, terrain was an important tactical consideration. Leave the Ultima series and you find even more tactics in the best games of the day. Consider the system of stealth, backstabs, and opportunity attacks in the Gold Box series, the "foresight" system of Knights of Legend, and the buffs and resistances of any D&D-based game.

In Ultima Underworld, we're reduced to a single character swinging repeatedly at foes while stringing together the occasional spell.
           

Swinging at a golem.

          

But something deeper is happening, because in Ultima Underworld, "combat" isn't a separate and unique phase of gameplay. Rather, a weapon or spell attack against an enemy is simply one of many options you can perform in the main interface. Hence, we need a new approach to thinking about "tactics" in such a game. I would submit that for a game in which combat is integrated with the main game engine, nearly anything possible in that engine is a part of "combat tactics."

This is far from the first game with an integrated interface. Ultima I and II had one. But the mechanics of those games even outside of combat were so limited that the integration didn't provide many additional tactics. Things start to improve in Dungeon Master and its descendants, also featuring integrated interfaces, with options to smash enemies in closing doors and try to get pits to open beneath them. Ultima VI was the first real "sandbox" game, but few of the related options improved the characters' chances in combat.

Ultima Underworld might be the first game complex enough that the integration of combat and exploration truly makes a tactical difference. Combat becomes not just a matter of standing in front of an enemy and trading blows, but rather effective use of terrain, spells, and objects to get a tactical advantage. Here are some things you can do in Ultima Underworld that you can't do in any other game that I remember:
            

• Use my superior jumping ability to reach a higher platform where the enemy can't hit me.

• Lead the enemy into a room, flee, and shut and spike the door behind me.

• Shove an enemy off a platform or bridge and into lava.

• Delay an enemy by pelting him with random objects scooped up from the dungeon floor.

• Use one enemy to block missiles and spells cast by another one. (I don't know if these damage the enemy they hit, but they do keep them from getting to you.)

• Hide in shadows and simply sneak past enemies. 

            
(One thing I don't know: do NPCs fight enemies when they encounter them? I wonder what would happen if I led a headless back to, say, the knight enclave.)

This is a fairly amazing list for a dungeon engine that is appearing for the first time. As such engines grow, so will combat tactics. Anyone who says combat in Skyrim is boring because it "has no tactics" either lacks imagination or is being too literal when it comes to "combat." I'll repeat something I once said in a comment:
           

The last time I played the game, I played on "legendary" difficulty, and it was exhilarating finding ways to defeat foes I could never have defeated just standing there swinging away. Between various stealth options, leading enemies to each other, spells and powers like "Calm" and "Frenzy," leading bandit chiefs up the sides of mountains so I could FUS-RO-DAH them back down, making daring escapes by jumping into rivers, sniping dragons from behind cover, conjuring allies to occupy enemies while I found a new place to hide, trapping Dwemer spheres behind grates, luring enemies into their own traps, and a thousand similar scenarios, I felt the game offered just about all I needed for combat tactics. I think if the next Elder Scrolls changes nothing [except adding body-part specific damage], it will be one of the best real-time combat systems ever made.

            
The problem with Ultima Underworld is that it doesn't have a "legendary" setting, so the combats are too easy to win without resorting to any of the tactics that it offers. But the engine is ready for them. That's something else we can add to the game's admirable legacy.

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