I was never a big fan of The Wheel of Time series, but I liked the actual game quite a bit.
The notable parts:
— The title largely revolves around the player’s armament of Ter’angreal, ancient artifacts that grant magical powers. They’re grouped together into numerous categories — offensive projectiles, homing attacks, shields, immobilizers, summoners, magic nullifiers, etc. — and encompass gameplay modifiers that are usually presented via inventory items.
Many of the Ter’angreal are also only used to solve in-level puzzles, while others are strictly limited to multiplayer.
— Many of the enemies have an annoying habit of instantly sidestepping incoming projectiles. It looks awkward, wastes precious ammo, and often forces the player to aim at the ground in order to cause splash damage.
Aside from this odd quirk, the enemies themselves are quite varied. They have drastically different amounts of health, fire numerous types of projectiles, can deflect or absorb the player’s attacks, and even possess special abilities such as teleportation.
— The vast amount of Ter’angreals makes it difficult to properly use them in fast-paced battles, but when the interface doesn’t get in the way, they work quite well.
Here’s an example:
I entered a small arena where I encountered a magic-wielding boss. I immediately threw up a magic-dissipating field, activating it just in time to dissolve a barrage of incoming projectiles.
As the field’s timer began to count down, I queued up a Reflect Ter’angreal and activated it when the field wore off. It batted back an approaching Soul Barb, a homing Ter’angreal that damages its target whenever it attempts to use any of its own weapons. The Soul Barb struck my foe, and I went on the offensive with a Decay.
Decay is useful for boss battles as it homes in and damages enemies over time, but it’s also quite slow. My opponent was able to bring up her own magic-nullifying shield before the projectile reached her, but since the dissipating fields work both ways, she was unable to counterattack.
I used to the time to retreat and heal up, and as her field was about to expire, I launched a Freeze. The projectile reached my opponent right after her shield went down, encasing her in a solid block of ice. I immediately threw out an Earth Tremor, an area-of-effect Ter’angreal that causes continuous damage, and started blasting away with other offensive spells. My immobile target screamed as the ice slowly melted, and victory was mine.
Of course at other times you round a corner only to be hit by 2 Fireballs and die instantly. It’s a flawed system that encourages quick-saving/loading, but when it works, it does a good job of making combat feel like a magical duel.
— Many of the Ter’angreal are also used exclusively for puzzles. They’re placed very deliberately so that there’s never much experimentation, and the puzzles themselves are usually straightforward, e.g., using a fire shield to walk across a furnace, but there’s a handful of more interesting ones as well.
One of my favourites revolves around getting across a vast chasm between a rampart and a fortress.
The rampart contains an opening that provides a view of the fortress, complete with a metal shield adorning one of its walls. The shield can be struck with a projectile, creating a loud sound that summons the guards. Once one of the sentries is visible, the player can use the Swap Places Ter’angreal to teleport into the fortress while jettisoning the enemy back into the isolated rampart.
— The overall level design is quite good with interesting environments that take advantage of 3D to loop in on themselves. Progression is still fairly linear, but with enough twists and turns (and optional passages) to feel fairly open while still guiding the player.
There’s some scripted sequences here as well, but they’re pretty sparse and clunky when compared to something like Half-Life.
— WoT contains a large amount of destructible objects, traps, climbable areas, lever/pressure plate/key based puzzles and a handful of scripted triggers that collapse floors, walls, etc. When combined with the aforementioned puzzle-Ter’angreals, these components make for pretty interactive levels that help breathe life into the world.
As an interesting side note, Balefire, the BFG of WoT, can disintegrate various props that are not part of the architecture. These objects do not regularly react to weapon use, imbuing Balefire with an added sense of power.
— Shadar Logoth is a destroyed city haunted by a deranged evil. It’s notable for its unique enemies that attack the player and his foes, as well as a monstrous boss called Legion. Its main attraction, however, is the Mashadar fog.
The first time I played the game, I started anxiously looking around when I heard some soft hissing. I couldn’t spot anything coming down the hallway facing me, so I decided to hunker down and wait in ambush in case an enemy appeared.
That’s when the screen became a white haze and my character started screaming in pain.
I scrambled around, desperately firing off Ter’angreal and trying to get away from whatever was hurting me. That’s when I realized what was happening: the puffy mists I passed earlier on weren’t just an ambient decoration, they were a vicious threat!
The ethereal fog snaked out of its hole and coiled around me, mindlessly following my character like harmless prey. My panicked counterattack actually hit the fog, forcing it to retreat, but there was no way to actually kill it. Soon the hissing filled the air, and I ran as the fog followed.
— Shador Logoth ends in an interesting mission that takes place in a large arena. The level is filled with numerous Ter’angreal and a never-ending onslaught of enemies, and its main goal is simply to survive until daybreak.
The main character is joined by a handful of NPCs, and although the powerups don’t seem to respawn (requiring a lot more exploration than in a typical Alamo standoff), the gameplay is similar to current-day multiplayer modes such as Gears of War 2’s Horde.
— Following the brutal assault on the White Tower, the player is tasked with recovering her arsenal of Ter’angreal and retrieving a special artifact in the citadel’s vaults.
The mission makes sense within the narrative as well as the gameplay, and provides a nice change of pace from the intense battles that preceded it. The level lacks enemies of any kind — except for an end-boss — and is filled with traps and puzzles that take advantage of various Ter’angreal such as Seeker and Levitate.
— The Ways are a series of stone walkways floating in a dark void that serve as shortcuts throughout the land. In one of the levels, the player character is forced to traverse them in order to pursue the antagonist. In the process, she encounters the Machin Shin.
Staying within the Ways for an extended period of time summons this infinite wall of ghostly heads that scream and whisper as they approach. It’s a very striking event, and one of the most memorable parts of the game.
If the “Black Wind” envelops the player character, the small amount of lighting in the level — including the Light Sphere Ter’angreal — is subdued as she is slowly killed.
The Ways are also used as a clever framing device. The player must periodically exit the ways to avoid the Machin Shin, each time facing a new challenge. These mini-levels force the player to find a way to re-enter the gateway, or simply survive long enough for the the Machin Shin to recede.
— The second last level is another Alamo standoff, but this time the player is forced to protect injured NPCs. An interesting twist here is that the map is filled with portculli that the player can control, effectively funneling the enemies while setting up traps.
A neat touch is a lever that opens up a floor grate above a pool of acid, and a Whirlwind Ter’angreal located just beside it. This allows the player to toss in various enemies while staying out of harm’s way.
— The audio in WoT definitely stands the test of time. The majority of the sound effects are very fitting, and the unique soundtrack (here’s a taste) does a great job of enhancing the atmosphere.