" Planescape: Torment, Part 1: From the Tabletop… The Digital Antiquarian
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Planescape: Torment, Part 1: From the Tabletop…
22<br>May
By 1999, Interplay had begun crediting its internally developed CRPGs to "Black Isle Studios," a distinction that represented very little difference, given that Black Isle shared office space and personnel with its parent publisher. Note the careful choice of words on the box above, to call Black Isle the "producers" — not the developers — of Baldur’s Gate.
This article tells part of the general story of Dungeons & Dragons on the tabletop and on computers, which includes the more specific one of the Infinity Engine games.
My power fantasy when playing a role-playing game is to confront a villain, explain point by point why his master plan is flawed, and then get him to admit that he hadn’t thought things through as carefully as I had, and ask me what I think he should do. Conversation-based player characters can have their bad-ass moments just as much as someone wielding a gun…
— Chris Avellone
Planescape: Torment is the damnedest game. Its list of failings is longer than that of many a game that I’ve simply written off as bad, full stop, and moved on from without a second thought. The pacing is glacial for long stretches; the interface is fussy and clunky; the combat is both irritating and utterly superfluous to the game’s design goals. Even much of the writing, by far the most celebrated aspect of Planescape: Torment, tends to seem proportionally less profound and more banal as one becomes farther removed in age and life experience from the twenty-something Dungeons & Dragons zealots who first put all of these words — so many, many words, a reported 800,000 of them in all — onto our monitor screens more than a quarter-century ago. In so very many ways, Planescape: Torment is an undisciplined hot mess.
And yet it’s a hot mess that refuses to be dismissed lightly. For Planescape: Torment is also a vanishingly rare thing in the realm of game narratives: a genuine interactive tragedy, in the sense that Aeschylus, Shakespeare, and Nietzsche understood that word. That it recognizes the tragic side of life while inhabiting a genre whose whole point in the eyes of most of its fans is the triumphalism of going from a weakling to a demigod is incredibly brave and subversive. That it did this in 1999, when the games industry was smack dab in the middle of one of the most homogenized, risk-averse periods in its history, is as inexplicable as it is astonishing.
Clearly we have much to unpack…
TSR sold surprisingly few copies of the original Planescape campaign setting, even at the stupidly cheap price of just $30. It goes for $250 among collectors today.
Whatever else it is, Planescape: Torment is first and foremost a licensed adaptation of Dungeons & Dragons, a part of Interplay’s attempt to revive that storied tabletop game’s digital fortunes amidst the collapse of its parent company TSR and TSR’s acquisition by Wizards of the Coast. This particular computer game was no mere branding exercise, as was the case with some of them that came out in Dungeons & Dragons trade dress during the 1990s. On the contrary, Planescape: Torment was deeply, intimately informed by the creative work that took place in TSR’s Wisconsin headquarters earlier in the decade. The extent to which this is the case is often glossed over or forgotten entirely when retrospectives of it are written today. So, let me make it crystal clear here right from the start: love it or hate it, a huge chunk of what makes Planescope: Torment so unique and memorable originated not in Interplay’s Southern California offices but in the nation’s dairy-cow heartland.
It will presumably surprise no one when I write that the "planes" of Planescape are alternate planes of existence, separate from the "Prime Material Plane" in which most Dungeons & Dragons campaigns take place. They were introduced by Gary Gygax already in the late 1970s, in the iconic first editions of the Player’s Handbook and Dungeon Master’s Guide. His cosmology was a melange of a little bit of everything: quantum physics, Renaissance-era alchemy and astronomy, the holy texts of various religions, New Age philosophy, Dante and Milton, twentieth-century fantasy and horror novels.
Gary Gygax’s vision of the Dungeons & Dragons multiverse, as found in an appendix to the Player’s Handbook.
The Prime Material Plane stands at the center of it all, much like the Earth was once imagined to stand at the center of our universe. It is surrounded by the Inner Planes that embody the physical building blocks of existence, which are in turned enclosed by the Outer Planes that embody the metaphysical alignments, those nine possible combinations of Lawful, Neutral, and...