Spells first drain the caster's stamina and then health. Some spells have variable strength; the player can choose how much energy the spell consumes. Some combat spells also require that the target being within line of sight of the caster.

Feist later wrote Krondor: The Betrayal, a novelization of the game and the first in a series of new Midkemia books called The Riftwar Legacy. Feist credited Hallford and Cutter as co-authors of the original story for Krondor: the Betrayal, and dedicated the book to both of them. I struggle to listen to a lot of audio books, especially in this genre. There are so many different races and accents in them, that, for me, it can be hard to listen to and/or follow. Invariably, I end up giving up after a few chapters and buying a physical copy too. I was pretty tired of Feist when I stopped reading his stuff about a year ago but this is a relatively short book and I just decided to read it since I own it. Then as the story got moving, it was actually really fun, it’s not a serious fantasy by any means, but it’s quite fun. It felt like a playful romp in a setting that I used to know well. But… 3/4 of the way through, I started getting bored and by the end I was very bored. With the try-succeed pattern repeating throughout the story there is a sort of childishness to the plot, because there are a LOT of plot points but they’re all glossed over at high speed so the characters can move on to the next “quest”. There’s no real tension in any of it, even during the siege that Jimmy has to command. I think if Feist had approached writing this with more humour it would have worked so much better. Instead it reads like a poorly aimed stab at an epic fantasy that just falls completely and utterly flat.

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The storyline of the game isn’t too striking when it begins. A country boy named Aren dreams of adventure, a longboat from a sinking ship happens by where he’s fishing followed by a horrible beast which he destroys, he discovers he has magical powers, etc. etc. etc. We’ve heard it all before. But the game begins to gain depth as it goes along; although many of its facets are stereotypes (the unfairly discriminated beast-people, the much-loved evil organization called the ‘Shepherds’ that keeps them at bay, the mad wizard/scientist who inadvertently killed his wife and is the father of the lead female), they’re well presented enough to not bore the player too much between the more original parts, which, I might note, are actually quite well done. The game has two possible views, the 3D first-person view and the 2D top-down map view, where the player is represented with a triangular marker. The overworld is completely mapped, but other locations are automatically mapped in the top-down view as the player explores them. The player can also view the full map of Midkemia and see their location. As mentioned before, most of the mechanics of the game are straight from Betrayal at Krondor. You control up to three characters at once from a first-person perspective; each item has a piece of narration to describe it; weapons and armor wear down and can be repaired with the proper tools. Each character has an array of skills which improve over time and with use, faster if they’re selected to be trained at the time. Magic is researched by discovering different schools and selecting combinations of them to slowly discover new spells to cast. The basic game systems are quite well designed as they’re simple enough to attract neophyte gamers and (barely) intricate enough to keep veterans interested. The dialogue in the game is really bad. It’s humorous when it’s supposed to be serious and just painful when it’s supposed to be humorous (the jokes never get better than weak puns and awful double entendres). The narration is slightly better than the character dialogue, but not by far. Being an RPG, this really takes its toll on the game. When you can’t take any of the characters seriously, it’s damn hard to care about them.

Reviewing this game is a challenge for me, as it is one of those games that completely took me by storm while at a young age. For that reason, I thought it might be difficult to give it a fair review, and thus decided to do yet another play-through with a critical glance. Spells first drain the caster's Stamina and then Health. Some spells have variable strength; the player can choose how much energy the spell consumes. Some combat spells also require that the target being within line of sight of the caster. Stores buy and sell various kinds of items; some also repair equipment. Inns and taverns allow characters to buy food and alcohol, get information, gamble (in some inns), talk to some NPCs, earn money by playing the lute, and sleep, which allows full healing of wounds and fatigue, whereas resting in the wilderness only restores 80% of health and stamina. When you enter one of the major cities you are greeted with a wonderful hand-painted vista of the city and its environs, as a unique musical compositions sets the mood. This really helps create a sense of otherworldliness that allows you to sink easily into a magical fantasy mire. Great, great stuff -- just be sure you keep a window open so the odd breeze can remind you there's another world outside your house -- if you're interested in such trifling affairs.The storyline is advanced primarily through literary cutscenes. Each chapter begins and ends with a cutscene, consisting of text, dialogue, and animations. The player meets various NPCs during their travels. Dialogue is text-based and some NPCs have their own pictures as well. Conversation is tree-based: in some cases, the player can choose between various dialogue keywords. This is used to get information, training, and items, sometimes for a price. It doesn’t really read like it’s based on a video game to me, maybe because I started (re-re-re-)playing the game at the same time I started the book so the differences were more obvious. At least, it skips most of the battles and treasure finding and dungeon crawling and such and even skips or glosses over a lot of the travel. It’s basically the story parts of the game fleshed out, with more character interactions added. If you like Raymond E Feist and Peter Joyce, you can't wrong with, not just this, but the previous saga's too.

I did feel great sorrow at certain parts, no spoilers here, but i wished certain things could have been different. I grew to care about the characters and their well being very much. Stores buy and sell various kinds of items; some also repair equipment. Inns and taverns allow characters to buy food and alcohol, gain information on local happenings, gamble (in some inns), talk to some NPCs, earn money by playing the lute, and sleep, which allows full healing of wounds and fatigue, whereas resting in the wilderness only restores 80% of health and stamina. The Basics: Betrayal in Antara is Sierra’s follow-up to Betrayal at Krondor, a critically acclaimed RPG based on Raymond E Feist’s Riftwar saga. Antara takes the mechanics from Krondor and scraps the world (the rights of which were given to another developer), instead setting the game in the Empire of (surprise) Antara in the world of Ramar.

This book was as enjoyable as all the others. It revolves around a plot of betrayal as the title suggests, but also focusses on the three different 'races' of elves; their reticence towards each other, and history. Both old characters, e.g. Pug, Squire Jimmy, Lochlear and new; Goran the moradell and a young untrained magician have adventures together. There are epic journeys, battles both physically and mentally testing. Some characters I grew to like got killed off. I always want all the goodies to pull through, but Feist never lets you have a good story without paying some emotional currency along the way. I'm purposely not giving detail so as not to spoil the book for others. Het brengt een aantal bekenden ten tonele zoals Martin Langboog, Prins Arutha, Robbie de Hand en jonker Joolstein maar ook nieuwe karakters als Owyn en Gorath een "zwarte" elf.

Each weapon and type of armor has modifiers affecting its combat effectiveness, such as accuracy, damage, blessing, and racial modifiers. After combat, most weapons and armor must be kept in shape with a whetstone or armorer's hammer respectively. There are also items that enhance weapons and armor, such as the poisonous silverthorn or fiery naphtha. This book is pretty much boiler-plate fantasy, exactly the type Feist typically writes, and as such it is fine, about a 2.5. It's got all the usual problems I expect from his writing. All the women are beautiful and the male characters always make sure to either comment or think on that fact. Gamina, Pug's underaged daughter, is immediately described thus:

System Requirements

It was interesting to see a narrative pattern where instead of the try-fail cycle, you have a try-succeed try-succeed cycle – obviously because it's adapted from a game format but arguably, not so well because in book format it doesn’t make for a great read. But it was interesting for a while to see a book written like this just because it’s so different and goes against age old writing advice for creating conflict in a narrative. urn:oclc:861518996 Scandate 20101002015147 Scanner scribe4.sfdowntown.archive.org Scanningcenter sfdowntown Source We keren terug in de tijd naar de tijd van net na de Riftwaroorlog. We zien een aantal oude bekenden terug, maken kennis met nieuwe helden. The world is great both in terms of size and quality, the story is good, the freedom to explore fantastic. Another type of character-environment interaction, that could be considered a trap or a bonus, are the graveyards scattered around the landscape. The player is able to read the inscriptions on the gravestones (usually in the form of a short poetic eulogy), and then decide to dig up the grave (if someone has a shovel). Some graves reveal items and/or money, while others summon a ghost (in some cases, multiple ghosts), which must be fought using the standard combat interface.