Finally, EoB III didn’t get as big a release as its predecessors did, either. ![]() Later promotions seemed to focus more on relatively newer stuff such as Dark Sun or the Ravenloft-based IP which featured free roaming movement such as 1994’s Strahd’s Possession. The ads for both EoB I and II were easy enough to find, but there was scant reference to the third game in CGW or elsewhere. It also didn’t seem to get much of a marketing push. But die-hard fans still gave EoB III a spin if only because it was the “GRAND FINALE! The meanest 3-D graphic adventure series ever!” as the cover would proclaim and bring at least some sense of closure to the party they had imported on through since the first game in 1991. The sequel, Ultima Underworld II, would also come out in 1993, adding additional pressure. New competition in the 3D space from the house that Ultima built, Origin Systems, had also made it and other grid-based CRPGs look old thanks to 1992’s Ultima Underworld. The last game in the “Legends Series” from the SSI/TSR team-up wasn’t put together by Westwood Associates (who would go on to be known as Westwood Studios) when it released in 1993, and fans noticed. ![]() ![]() Even the box art was a bit on the boring side. Heavy on combat, light on story, and created by another group at SSI other than Westwood, it lacked some of the polish of the first two and came across like a cash-in to simply finish the series. The last chapter to the Legends Series that had begun with the first Eye of the Beholder by Westwood was considered by many to be the weakest in the series.
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