Ultima IV: Quest of the Avatar
1985
- role-playing (rpg)
- fantasy
- open world
- single player
The story
Following the defeat of the evil triad in the previous three Ultima games, the world of Sosaria changed beyond recognition: continents rose and sank, and new cities were built, heralding the advent of a different civilization. Unified by the reign of the benevolent monarch Lord British, the new world was renamed Britannia. Lord British wished to base people's well-being on the ethical principles of Truth, Love, and Courage, proclaiming the Eight Virtues (Honesty, Compassion, Valor, Justice, Sacrifice, Honor, Spirituality, and Humility) as the ideal everyone should strive for. The person who could accomplish full understanding and realization of these virtues would serve as a spiritual leader and a moral example for the inhabitants of Britannia; he alone would be able to obtain holy artifacts, descend into the Stygian Abyss, and access the Codex of Ultimate Wisdom. This person is the Avatar. The fourth game in the Ultima series features an improved game engine, with color graphics and enhanced character interaction: the player can have conversations with non-playable characters by typing names of various topics. However, the main difference between Ultima IV and its predecessors in the series (as well as other role-playing games) lies in the game's objectives and the ways to fulfill them. Instead of building up a character by any means possible in order to face a villain in the end of the game, in Ultima IV the player is trying to become the Avatar, a role model for people. This means upholding the Eight Virtues, basically trying to become a better person. Making morally conscious decisions and helping other people is not done expecting a material reward, but because it is the actual goal of the game and the main focus of its gameplay. The game frowns on behavior typical of most other RPGs, such as backstabbing fleeing enemies or picking up everything that isn't nailed down even if it does not belong to the protagonist. This different approach established the game'
What it’s like
Chunky 8-bit color tiles and a top-down grid map of rolling green overworld, dark blue sea and small walled towns, with a cool, earnest palette rather than gloss. The look is spare and readable; the interest is in the slow, deliberate rhythm of turn-based travel, where every step is a choice you can see on screen. Sound is a sparse chiptune score and simple blips, mostly quiet enough to leave room for thinking. The vibe is patient, contemplative and quietly wholesome: a long rainy afternoon with a notebook beside you, or an unhurried evening playing alone. Intensity is low to moderate: combat is turn-based and abstract, with enemies, death and occasional dungeon peril, but no gore and little cruelty, and the tone pushes toward mercy and honesty rather than brutality. Some grinding and fiddly party management can drag. Pacing is methodical, with a protagonist who grows from a self-interested wanderer into a figure of conscience as he learns to meet each virtue. It suits players who enjoy systems-driven exploration, moral reflection and classic old-school RPG patience more than cinematic spectacle.
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