Here is the conclusion of our in-depth look at Diablo III!

Those who have been following the game for any length of time know that the art style has been the subject of unending controversy. The designers went for a ‘painterly’ style, and a vociferous group of fans claimed that it was too cartoony and colorful. While it is true that Diablo III looks different from its predecessors, the new style works. The scenery in this game is some of the best I have ever seen. It is true that there is a lot of color, but you need color to make the areas distinct and interesting. Wandering through four acts of darkness and gloom would get old very quickly. The autumnal areas of Act I and the luminous halls of Act IV deserve special mention for their superior execution.

Diablo III also features a stunning array of monsters. Each act has a diverse bestiary, with few overlaps. The monsters also deploy an equally diverse arsenal of attacks. The Dune Dervishes of Act II spin wildly, deflecting projectiles in the process, while the Morlu Casters of Act II can call down meteors from the sky to cause your character a world of pain. Champion and Elite monsters also receive special modifiers, such as ‘Vortex’ (which allows them to pull you into melee range) and ‘Waller’ (where they cause walls of stone to rise up and block your path). In Normal mode, Champions and Elites get one modifier, but in subsequent difficulty levels they get an additional one, which means they can have up to four in Inferno. Running into a pack of foes that are Wallers/Jailers/Arcane Enchanted/Invulnerable Minions is enough to give even the hardiest adventurer pause.

One area where the game fell flat was the story. For the past four years, the developers have been bragging that Diablo III would have the best story of all the games. But while it had some really cool moments, it also had some glaring plot holes. The random lore books that you find scattered throughout the world are really well done though. One also has to wonder why they felt the need to bring back no fewer than three minibosses from earlier games. Nostalgia is all well and good, but in this case it felt a bit forced. Blizzard also needs to realize that having villains explain their plans in a gloating fashion is the worst kind of cliché.

There are also times when the game feels… incomplete. Acts III and IV feel rushed, though the designers have maintained that this was a deliberate design decision to heighten the feeling of suspense by rushing the player toward the climax. But it is not just a question of pacing: those two acts seem to have fewer random areas and events than the two previous acts. It is also regrettable that the final act does not feature its own ‘town’ like the other three acts did. Given the final act’s spectacular setting, it would have been cool if we had had the chance to interact with more NPCs. In Act IV, you encounter a hostile NPC and it looks like you are going to have to fight him, but then he suddenly falls over (well, it is a bit more complicated than that, but I do not want to spoil it for those of you who have not seen it yet). It seems obvious that Blizzard had to cut the fight for some reason (perhaps to save it for an expansion pack?), but the change seems quite bizarre.

But do not let these quibbles dissuade you: Diablo III is still a fantastic game and a worthy addition to the series. It is every bit as addictive as its predecessors, and chances are you will find yourself staying up until all hours of the night as you try to clear out one more area or get one more skill. The little pockets of randomness that are sprinkled throughout the world make the game seem fresh, even on the tenth playthrough. All in all, it is an excellent piece of game design, and it is well worth the insanely long wait.

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The launch of Diablo III made headlines, but not in the way Blizzard Entertainment would have liked. After waiting for twelve years, Diablo fans learned that technical problems could be more fearsome than any demon when the game’s servers crashed spectacularly on release day.

Unlike the earlier games in the series, Diablo III requires players to be connected to the Internet at all times, even when playing the game’s single-player campaign.

Over two million people pre-ordered Diablo III, and there were over 8,000 midnight launch parties worldwide. But when eager fans tried to enter the world of Sanctuary, they put an enormous strain on the company’s servers. They were confronted with an esoteric group of error messages, the most popular of which was Error 37, which was so widespread that it became a trending topic on Twitter. While whiling away the hours of downtime, frustrated players vented their frustration by creating numerous Error 37 memes.

Blizzard was forced to take the Diablo servers offline no fewer than three times for ‘emergency maintenance.’ Players also experienced numerous random disconnects. When I attempted to play the game, I was disconnected no fewer than five times throughout the day. Lag remained an issue as well, with combat becoming a mess as characters and monsters rubber-banded all over the screen as the main servers struggled to keep up with gameplay.

The final bout of maintenance ended at 11:21 pm PST, which was actually ahead of schedule for a change. Thankfully, Blizzard seemed to have gotten things under control, and the game played very well, without any of the login problems, random disconnects, and terrible lag that marred earlier play sessions.

These connectivity woes cast fresh doubt on Blizzard’s controversial decision to make Diablo III online-only. When the decision was first announced, Blizzard claimed that it was a necessary step to combat hacking.

They rejected the idea of having separate characters for single player and multiplayer, alleging widespread anger among Diablo II players who were unable to play multiplayer games with their single player characters. However, another (perhaps more plausible) explanation might be that, because real money is at stake in the game’s Auction House, Blizzard has to be even more vigilant about hacks and dupes.

Diablo III’s technical woes have generated a firestorm of bad press for Blizzard, and media outlets from Kotaku to the Daily Mail covered the glitches in excruciating detail. Despite these ‘teething troubles,’ the initial reviews of the game are generally positive. The Toonari Post will have its own review posted in the near future, so stay tuned!

Image Courtesy of    http://eu.battle.net

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In the third installment of the official Diablo III comic book, our mopey hero returns home seeking the punishment he has been craving since the first issue.

The issue begins on a cool note, as a band of Khazra goat demons argue with the thugs who are pursuing Jacob. In a truly creepy moment, the thugs’ leader, Ivan, starts bleeding from his facial orifices as he strikes a bargain with the demons.

It soon becomes apparent that Ivan is possessed by a sinister force—a force that offers to make the Khazra great again if only they will reveal Jacob’s location. The Khazra spend about five seconds contemplating the offer before declaring that Jacob and his wizard friend, Shanar, are hiding beneath them.

Thankfully for Jacob, Shanar has some more nifty wizard tricks up her sleeve, and she deploys several new in-game spells, including Mirror Image and Electrocute. Meanwhile, Jacob engages in some expository combat with Ivan that reveals that the madness affecting Jacob’s people is apparently spread by blood.

A well-placed lightning bolt from Shanar knocks Ivan to the ground, which gives Jacob an excellent opportunity to rid himself of the madman who has been pursuing him for the past three issues. Common sense suggests that it might be a good idea for him to use his flashy magic sword to lop off Ivan’s head. Sadly, common sense is not Jacob’s strong suit.

Instead of killing Ivan, he uses his sword to carve glyphs into his chest. Shanar is naturally confused, and Jacob explains that he will return to his home city of Staalbreak with Ivan and the other thugs so that he can face justice for killing his father.

The problem is, Jacob’s plan is epically stupid. I understand that he feels guilty about killing his father (he has, after all, been moaning about that since the first issue), but the idea that he will find justice back home is just laughable.

He knows his people are suffering from an insanity-inducing plague of unknown, but undoubtedly sinister, origin, yet he is willing to let them sit in judgment of him. That is not nobility. That is not ‘doing the right thing.’ It is a logic fail of titanic proportions, and Jacob richly deserves the slap that Shanar administers to try to jolt some sense into him.

Naturally, things go to Hell as soon as Jacob returns home. The townspeople start to stone him as soon as he enters the city. He is dragged before the constable (who has the face of a demonic Kewpie doll) and is cheerfully informed that there will be no trial. Jacob was found guilty as soon as he fled the city. Jacob begs for a chance to address the people, and the constable agrees, provided Jacob surrenders his super powerful magic sword.

Because Jacob has all the common sense of a head of cabbage, he agrees to this proposal and is promptly hung from a gibbet by his wrists. The townspeople start stoning him again, and they refuse to listen to his attempts to warn them about the plague. He spends an entire night hanging from the gibbet before Shanar saves his sorry butt once again.

Throughout the issue, readers have cause to question Jacob’s intelligence. If he did not know about the blood plague, then his decision to return home to face justice would seem noble, but he knows something is rotten in Staalbreak. He watched his father go crazy. He saw Ivan and his minions eat a boar while it was still alive.

Heck, he even heard Ivan speaking in the voice of a demon! All these things suggest that Jacob’s countrymen are under the influence of something nasty, but he seems oblivious to the danger he faces. He apparently believed that all he had to do was address the people, and they would realize that something evil was afoot. Calling him naïve would be the understatement of the year.

This is the second time Jacob’s masochistic guilt has gotten him into a dicey situation from which Shanar has had to rescue him. We can only hope he has finally learned his lesson.

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Diablo fans around the world can finally rejoice! Blizzard Entertainment announced on March 15 that Diablo III will hit stores exactly two months later on May 15.

“After many years of hard work by our development team and months of beta testing by hundreds of thousands of dedicated players around the world, we’re now in the homestretch,” said Mike Morhaime, CEO and cofounder of Blizzard Entertainment, in a statement uploaded to the company’s website. “We look forward to putting the final polish on Diablo III over the next two months and delivering the ultimate action-RPG experience to gamers worldwide starting on May 15.”

Diablo III will be released for both Windows PCs and Macs. The standard edition will cost $59.99, while the collector’s edition will be $99.99. The collector’s edition includes a range of goodies, including the game’s soundtrack, an art book, a behind-the-scenes DVD/Blu-Ray two-disk set, and 4 GB flashdrive in the form of an in-game artifact called a soulstone. It will also feature bonus content for other Blizzard games, such as World of Warcraft and Starcraft II.

Diablo III’s development cycle has been unusually protracted, even by Blizzard’s notoriously slow standards. Although it was first revealed to the public at the Blizzard World Wide Invitational in Paris on June 28, 2008, most observers believe that the game had already been in development for eight years by that point.

Blizzard North, the division that produced the first two Diablo games, is said to have started on Diablo III shortly after the completion of Diablo II in 2000. But in May 2003, Blizzard North was rocked by the departure of four of its top executives, which set in train a chain of events that ultimately led to the division’s closure in 2005. Blizzard Irvine ultimately decided to scrap all of the previous work on Diablo III and start from scratch. For the next few years, there were occasional rumors about the game’s development. While Blizzard maintained that the Diablo franchise was not dead, it was not until 2008 that the game’s existence was publicly confirmed.

Back when the game was announced, few people expected that it would take four more years before it would hit store shelves. Almost from the get-go, the game was controversial. Everything from the art style to the in-game chat functions have been criticized by fans. Of course the seemingly glacial pace of the development process did not do much to calm fan anger, either. Through it all, Blizzard clung tenaciously to their vision for the game, promising fans that the finished product would be phenomenal. In two months, we shall see whether they are right.

Image Courtesy of  Blizzard

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Diablo fans got a nasty surprise on March 9 when lead game designer Jay Wilson announced that Diablo III’s PvP content will not be available until after the game is released.

“After a lot of consideration and discussion, we ultimately felt that delaying the whole game purely for PvP would just be punishing to everyone who’s waiting to enjoy the campaign and core solo/co-op content, all of which is just about complete,” Wilson said in an official statement on the official Diablo 3 website.

Although the Diablo series focuses on Player vs. Monster combat, there have always been fans who would rather slaughter each other instead of the minions of hell. Diablo II featured a ‘go hostile’ button that allowed a player to attack other players.

In many cases, this was used for consensual dueling, but there were also people who would unilaterally declare hostility (a practice known as Player Killing or PKing). Players who suddenly found themselves on the receiving end of a declaration of hostility often died because their characters were not properly configured for PvP play.

Diablo III was supposed to offer a more advanced PvP experience. Instead of fighting each other within the main game, PvP fans would be able to duel in special Arenas. Non-consensual PvP would also be a thing of the past. Players would only be able to fight each other within the confines of the Arena.

But instead of shipping with the game, PvP content will be patched in at some point after the game is released. Wilson attempted to placate disappointed fans by touting the awesomeness that is to come.

“When the PvP patch is ultimately ready, it will add multiple Arena maps with themed locations and layouts, PvP-centric achievements, and a matchmaking system that will help you and your team get into fairly matched games quickly and easily. We’ll also be adding a personal progression system that will reward you for successfully bashing in the other team’s skulls.”

Sadly, this is just the latest feature that has had to be jettisoned because of time constraints. Special fatality animations, the Mystic artisan, and now PvP have all been sacrificed or postponed in order to get the game out. But considering the game has been in development for over a decade, fans could be forgiven for raising an eyebrow at Blizzard’s sudden need for speed.

Ironically, back in May 2010, a fan suggested that PvP content be delayed until after launch in order to speed things up. At the time, a Blizzard community manager rubbished the notion, assuring fans that implementing the PvP content would not delay the game’s release (!). But with any luck, this is one of the last hurdles, and we will soon be counting down the days until the Lord of Terror is released on the world once more.

Image Courtesy of   http://eu.battle.net/d3/en/

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Here is Part 2 of our look at the Diablo III beta!

As longtime Diablo fans know, the game’s art style has attracted a fair bit of controversy over the years. Some of the earliest screenshots showed a bright, autumnal world that struck some fans as out of place in a dark and gritty series like Diablo. However, if the beta is anything to go by, fears of a shiny and cheerful Diablo are unfounded.

The outdoor environments are decidedly somber, featuring a dark color palette and macabre touches (such as hanging corpses swinging from nearby trees), and the dungeons are littered with the mutilated corpses of townsfolk. True, the art style is rather stylized: the game designers have repeatedly said that they were aiming for a ‘painterly’ aesthetic.

If you are looking for cutting-edge, photo-realistic graphics, you should probably look elsewhere. However, Diablo III’s graphics are stunning, and they have their own grim charm. Judging from the beta, this is going to be an incredibly atmospheric game. The designers have rendered the world with a loving attention to detail that was lacking in previous games.

For example, in Diablo II the outdoor areas were randomly generated, which usually meant that they were large rectangular areas adorned with random bits of scenery. While the map varied from playthrough to playthrough, the world did not really come alive. In Diablo III, the wilderness areas are static, which allows the designers to create a much more detailed landscape. In order to keep things from getting boring, the designers inserted dynamic areas within each map that change each time you visit.

A cellar that was boarded up tight on your first playthrough might be open the next, allowing access to a mini dungeon. I also found myself interacting with the world like never before. Much of the scenery can be destroyed: tables can be smashed to bits and wrought-iron chandeliers dropped on the heads of unsuspecting monsters.

Sometimes, the scenery will attack you. While walking through the catacombs, it is not uncommon for plaques on nearby vaults to spring off as cackling skeletons crawl forth to do battle, and if you stand too close to certain ravines, you may find yourself surrounded by zombies. On higher difficulty levels, moments like these could become quite perilous.

Speaking of peril, I have to admit that the  beta is actually quite easy. There were very few “oh, crap!” moments where I felt like I was in danger of dying. Patch 10 has increased the difficulty somewhat, as I have noticed more packs of ‘champion’ monsters that present more of a challenge (though that is offset by an increase in character hit points).

On the whole, the difficulty is not onerous. That might not necessarily be a bad thing, considering this is the very beginning of the game. While series veterans would undoubtedly appreciate a bigger challenge, the game also has to be accessible for people who are completely new to the series, or even the action-RPG genre as a whole. I imagine that later parts of the game, and the three additional difficulty levels, will present players with the challenges they seek.

Despite its limitations, the Diablo III beta has been an enjoyable experience. Blizzard has put together a solid game that shows signs of being just as addictive as its predecessors. Now if only they would finally release the $^@! thing!

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It is no exaggeration to say that Diablo III is one of the most-anticipated games around. First announced in 2008, it has been mired in a lengthy development cycle that has seen Blizzard’s obsession with iteration reach new heights.

Last September, the game finally entered the beta testing phase, and thanks to the generosity of a friend, I have been able to spend some quality time with the Wizard, Monk, Witch Doctor, Demon Hunter, and Barbarian as they take the first few steps on the road to defeating the Lord of Terror.

The Diablo III beta test consists of the very beginning of the game (roughly one third of the first act). Not only that, but Blizzard seems to have edited the game to remove as many potential spoilers as possible, so beta testers are only seeing a tiny sliver of the total content. Character progression is capped at level 13, so you can only experience a handful of the available skills.

Despite the limited scope, the beta sucks you in right from the get-go, and you will find yourself fighting monsters within the first few seconds of starting a new game. Unlike previous games in the series, each character starts with a skill, so you feel powerful from the outset.

Blizzard has gone out of their way to make sure that even first-tier skills are satisfying: the Barbarian’s Bash skill can literally knock a monster’s skeleton out of its body, while the Monk’s Fists of Thunder sizzles enemies with a satisfying display of lightning damage. RPG purists might object to this on the grounds that new characters should start the game weak and defenseless, but the Diablo III approach certainly livens up the first minutes of the game.

In terms of gameplay, Diablo III shares many similarities with its illustrious predecessors. At its heart, it is a point-and-click dungeon crawler. But character progression is handled much differently than it was in previous games. It used to be that, upon leveling up, you received a certain number of attribute points that you could allocate to traits such as vitality, dexterity, strength, etc.

Now, the game does the allocation for you. Some players have complained that this removes an important method of customization, but I cannot say that I missed manually assigning my attribute points. In practice, you had to adhere to fairly rigid guidelines if you wanted your character to be viable in Diablo II, so most characters ended up having similar attribute distributions.

The way in which you acquire new skills has also changed. Skills in Diablo III are linked to character level, and you no longer have to allocate skill points to make them more powerful. Now, their damage scales as your stats improve, and you acquire better weapons (even spells are tied to weapon damage).

However, you can only have a certain number of skills active at any one time. You start the game with one active skill slot, which soon increases to two. By the end of the beta, you can have three skills active, though that number will rise to seven when you are playing the full game.

It is possible to change your active skills, though the mechanism for doing so is up in the air. When the beta first started, you could change your skills at any time, but the designers decided that that was too much of an exploit. A patch changed things so that you had to use something called the Nephalem Altar to change skills.

Since the altar was only found in town and at the beginning of one dungeon, changing skills was something of a production. Now, with Patch 10, the Nephalem Altar is gone, and you can once again change skills whenever you want, though there is a 30-second cooldown period for newly-switched skills.

Blizzard has made it clear that this current system is a work-in-progress, which is good since it leaves something to be desired. I can understand why they do not want to allow unfettered skill switches; that would make a mockery of the whole idea of limiting the number of active skills.

However, the 30-second cooldown just seems arbitrary, and it is odd that you have the same cooldown whether you are in the field or in town. Surely skills switched in town should not have any cooldown at all.

Going into the beta, I was a little bit concerned that the current skill system will lead to cookie-cutter builds since players no longer have to worry about spending skill points or investing in prerequisites. Playing the beta has convinced me that those fears are probably baseless.

People are always going to have differing play styles, and that, in turn, is going to influence which skills they choose to activate. For example, when my friend plays the Wizard, he likes to use Disintegrate, a skill that causes a beam of red energy to shoot forth from the Wizard’s hand in a straight line of death and destruction.

I, on the other hand, would much rather use Arcane Orb, which lobs a large galaxy-like ball of arcane energy across the screen until it explodes on contact with a monster. Even within the limited confines of the beta, the two of us were able to take different approaches to the same character. When you add runes (which are not even available in the beta) into the mix, you will have even more opportunities for customization.

Be sure to stay tuned for the second part of our coverage of the Diablo III beta!

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Jay Wilson, the Game Director of Diablo III, has taken to the game’s official blog to explain some of the changes that have delayed the game’s release.

Blizzard is notorious for their iterative approach to game design, and Diablo fans have had to endure a development cycle that has tried the patience of even the most patient gamers. The game was originally slated to be released at the end of last year, but in September, Blizzard CEO Mike Morhaime announced that the release window had been pushed back to early 2012.

It turns out that the delay was caused in part by the decision to introduce major changes to some of the game’s core elements. The Nephalem Cube and the Cauldron of Jordan have been removed entirely. The former allowed players to break down items to obtain raw materials for use in crafting, while the latter let them sell goods without visiting a merchant in town.

They were originally introduced because the designers wanted to limit the amount of time players spent in town, but now that players can return to town whenever they want, these items were no longer deemed necessary. “It’s a good idea to break up combat so that players have a moment to evaluate their gear and crafting options before venturing back out,” Wilson said.

Another big change is the removal of the Mystic artisan. Artisans were touted as NPCs who would follow the player from town to town performing various services. Unlike regular NPC merchants, artisans would be able to level up, which in turn would improve the services they could provide. Like everything else in Diablo III, the Mystic changed over the course of development, but she ended up having the power to ‘enhance’ items by a random magical effect.

Ultimately, the designers came to realize that the enhancement system essentially duplicated the effect of the socket/gem system. “It would prolong the release of the game even further to go back to the drawing board and differentiate it, so we’ll revisit the Mystic and enhancements at a later time,” Wilson said. Like the other artisans, the Mystic played a role in the game’s story, which complicated her removal.

Character attributes have also undergone major revision. Attack, Precision, and Defense have been removed, replaced by Strength, Dexterity, and Intellect. Vitality remains untouched. As Wilson explained, “Armor is taking over for what Defense used to provide, Physical Resist will take over for Armor, and Chance to Crit will fill in for Precision.”

Furthermore, certain attributes will provide class-specific bonuses to bonuses. Strength will help the Barbarian, Dexterity will help the Demon Hunter and Monk, and Intellect will help the Wizard and Witch Doctor.

Wilson also announced a host of minor changes:

• Scrolls of Identify, long a feature of the Diablo series, are now gone. Instead of using a scroll, players will simply click on an unidentified item, and it will be identified after a brief time delay.
• Common items will no longer be salvageable. Originally, the designers believed that every item in the game should be useful. Common items (which are often referred to as “white” items because their names are shown in white) are not usually worth equipping, but at least players could salvage them for their raw materials. Those materials could then be used to craft powerful items. On reflection, the designers decided that having useless items was not necessarily a bad thing. “Diablo II captured the loot-piñata feel by dropping a lot of crap, mostly arrows and bolts, and we of course still very much want that feeling of item explosions. To do that we need to be able to balance the value of items to how many we’re throwing at you,” Wilson said.
• The Stone of Recall is now called the Town Portal. This is basically a case of the designers deciding to call a spade a spade.
• Character statistics will now be displayed alongside the Inventory screen. This will hopefully make it easier to figure out how items will affect you.
• The fifth quick slot button is now a dedicated potion button. Unlike the earlier games, health potions will play a relatively minor role in Diablo III. Instead, players will replenish their health through health globes that are dropped by enemies, but cannot be picked up for later use. Although health potions now have a somewhat lengthy cool-down time, they can still save a life, so it was decided to make them easier to access.

Fan reaction to Wilson’s announcement has been mixed. The changes themselves are not necessarily controversial, but their timing is. The fact that the designers are still tinkering with core game mechanics has led some fans to accuse them of lacking focus. It certainly did not help that Wilson also indicated that skills and runestones are undergoing revision as well.

Naturally, many fans are wondering what effect these changes will have on Blizzard’s stated goal of releasing Diablo III in “early 2012.” However, it has been confirmed that they have already been implemented in the game, and the vast majority of them will be rolled out to beta testers in a patch expected within the next few days. However, given Blizzard’s track record, this may not be the last word on the subject.

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When I first heard that Blizzard Entertainment was going to produce an authoritative guide to the world of Diablo, I think I let loose a very undignified squeal of glee. Like many fans, I find the long wait for Diablo 3 to be a bit dispiriting, and the ‘Book of Cain’ looked like it might help tide me over until the game is released in 2012.

Historically, the Diablo series tended to emphasize action over storytelling. Players do not have to engage in elaborate conversations with NPCs, and it is possible to play the games without paying any attention to the underlying lore. As the series progressed, its mythology inevitably became more and more complicated, and Blizzard eventually commissioned several novels set in the Diablo universe. While their prose often left something to be desired, these books introduced important story elements to the series’ backstory.

The ‘Book of Cain’ takes material from the previous game manuals and the novels and reworks it into a coherent whole. Written by veteran screenwriter Flint Dille (if you are a fan of the old ‘G. I. Joe’ or ‘Transformers’ cartoons, you have probably seen his work), it purports to be an in-game artifact created by recurring NPC Deckard Cain.

As Cain reaches the end of his life, he plans to impart his knowledge to his adoptive niece, Leah. In doing so, he provides her with a narrative guide to the world of Sanctuary, starting with the creation of the cosmos and working his way down to the events that mark the beginning of Diablo 3. Longtime fans of the series will find much that is familiar, but there is enough new material to make the book a worthwhile read.

The inclusion of new material may rankle some fans. There are a number of places where story elements have been retconned. For example, the nameless Warrior from the first game is now called Aidan, and he has been transformed into the eldest son of the grief-stricken king whose madness played a central role in the Diablo story.

Some of the material from the Sin War trilogy has also been adjusted. While purists may greet these changes with angst, more sanguine fans will likely be able to accept them as inevitable side effects of writing about a fictional world whose ‘history’ has steadily evolved over the past fifteen years.

The ‘Book of Cain’ is lavishly illustrated, including several pieces by legendary fantasy artist Brom. Some of the illustrations have already been released, but many of them have never been seen by fans. The depictions of the battle between Anu and Tathamet and the angel Inarius in chains are particularly striking.

My only complaint about the art is that it is always rendered in monochrome. Of course, that makes sense considering this is supposed to be a handwritten manuscript, but I think some of the pieces would have been even more dramatic had they been in full color.

Video game tie-ins can be something of a mixed bag, but the ‘Book of Cain’ is definitely worth purchasing if you are at all interested in the lore of Diablo. It is not an essential part of the Diablo experience, but it will make your journey through Sanctuary much richer.

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Although Diablo III has been postponed until 2012, fans of the series can tide themselves over by picking up the first issue of Sword of Justice, which hits the shelves this week. Set in the same dark-fantasy world as the game, SoJ is a five-issue comic series published by DC Comics which takes place during the twenty years that elapsed between the ending of Diablo II: Lord of Destruction and the beginning of Diablo III.

The issue starts with a nice little summary of the overarching story of the Diablo universe.  Sanctuary (the world of mortals) was created by angels and demons as a place of refuge. Despite the best intentions, Sanctuary was almost destroyed twice, and each time it owed its salvation to Tyrael, the Archangel of Justice.

We then segue out of the past and into the present, where a young wanderer is confronted by an old beggar who claims to be able to see the future. He knows that the young man’s name is Jacob and that he is being pursued by hostile men. He tells Jacob to seek out a mysterious mountain.

At first, Jacob doesn’t believe the old man’s ramblings, but after almost dying of thirst in the desert, he stumbles upon the mountain that the old seer described. Inside, there’s a great cave whose walls are carved with scenes from his past, and a shining sword protrudes from the stone.

Seeing the scenes on the wall bring back painful memories for Jacob, and the reader finally starts to understand what the young man is running from. Video game tie-ins often leave a lot to be desired, but SoJ manages to be a compelling read. Scriptwriter Aaron Williams has a done a nice job with Jacob’s characterization, and he has a knack for incorporating subtle humor into the dialogue.

The story he’s crafted appears promising, and it will be interesting to see how SoJ fits in with the storyline of Diablo III when it’s finally released. The art, however, may not be to everyone’s liking. If you’re one of the fans who thinks that Diablo III isn’t dark and gritty enough, then you might want to steer clear of SoJ.

Joseph Lacroix’s work is visually appealing, but his highly-stylized drawings may not appeal to those looking for gritty realism. All in all, SoJ is a promising addition to the world of Diablo. It could have easily become a cliched ‘young warrior finds a magic weapon’ story, but it looks like they’ve managed to create something fresh and new.

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