Paul and Dwight Okahara worked on the game's sound effects. This time, Paul Mudra stepped down from music composition to allow their new composer, Frank Klepacki, to get a chance to make the game's soundtrack.
#Beholder video game series#
Eye of the Beholder II was received positively by critics, and is considered by fans of the series to be the best in the trilogy. The party has access to more spells, items, and you can even transfer party members and their items from the first game into this game. The game uses the same game engine as the first game and vastly improves the gameplay and its mechanics. Upon visiting the seemingly innocent temple, it is revealed throughout the game that a 300+ year old dragon in human form (with an uncanny resemblance to Q from Star Trek), Dran Draggore, is not only behind the evil in Temple Darkmoon, but was also responsible for the events of the first game. He sends the party to investigate the evil, and warns his scout Amber never returned. Upon doing so, Khelben informs the players that there is an evil lurking in the Temple Darkmoon. The message urges the party to visit the archmage of Waterdeep, Khelben Blackstaff. In the second game, the party is staying at a tavern in Waterdeep when a note is slipped to them.
#Beholder video game Pc#
However, the third game required a Sound Blaster sound card in order to play the digitized sound effects heard in the game, whereas the first two games could play sound effects on both the AdLib and PC Speaker. The first two games were only compatible with the PC Speaker and AdLib sound cards, whilst the third game supported a multitude of sound devices, as it used the Midpak sound engine, though the first game was also compatible with the Tandy 3 Voice. The second game features some elements of rock, which don't quite fit the medieval theme of the game, but fit into the action they're used in. However, music only plays during the cutscenes and does not loop (except for the first two games, that loop the Character Generation music). and Age of Empires fame, and was the first game he ever worked on.Įach of the three games contains mostly orchestral scores that fit the action of the game. The third game, being by a different company, Strategic Simulations Inc., was composed by Mason Fisher of F.E.A.R. While Eye of the Beholder II was one of Frank's first titles, he later went on to compose some of Westwood's best known franchises such as Lands of Lore, The Legend of Kyrandia, and especially Command & Conquer.
When the second game was released, Frank Klepacki had just joined the company, and was given the chance to score the game's soundtrack, while Paul took care of sound effects with Dwight Okahara. The first game in the series was composed by Westwood's only sound composer, Paul S. 2.3 Eye of the Beholder III: Assault on Myth Drannor.2.2 Eye of the Beholder II: The Legend of Darkmoon.It’s up to the player, to empathize with the lives of the tenant, or to follow orders. Each tenant has their own personality, distinct appearance, conditions, and issues. Beholder has multiple endings, and each of them is a compilation of player-made choices over the course of the game. Much like in a similar in spirit game “Papers, please,” a government worker has to report any suspicious activity or anyone involved in suspicious activity. The moral choice system will take note of every action players will make, and every decision will have consequences. Players will have to eavesdrop, bug the apartments of tenants, search through their personal items and complete quests, given to them by the higher ups. But to follow them or to dismiss them is up to the player, controlling Carl. Carl, a state-appointed landlord, has to spy on the tenants and to receive orders from the government. If someone has to live in the totalitarian society, that person has to work not to become a victim of it.
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