As for the actual gameplay, King Arthur: Legends Rise isn't straying far away from the fantasy elements that are usually depicted in adaptations of the legends. There'll be plenty of fire-breathing dragons to slay, Eldritch monsters to battle, and other dark forces looking to pick a fight. The game uses a turn-based battle system, as you command Arthur and his allies, and the king can recruit knights, mages, and mythical beings to his cause.
King Arthur: Legends Rise is a new turn-based RPG inspired by the legends of King Arthur and the Knights Of The Round Table. You take the role of the mythical King and a group of his trusted knights as they push to unite his kingdom.
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154ARTHURIANA fminin' (141); Creuz de Lesser's Les chevalierswas 'the first and only attempt in the first halfofthe century to tell the story ofthe rise and fall ofArthur and the knights ofthe Round Table' (158; for other 'firsts,' see 4, 72, 79, 133, 139, 147). Thus, despite the dearth ofArthurian material, Glencross's study is an absorbing reconstruction of French Romantic medievalism. HEATHER ARDEN University of Cincinnati debra N. MANCOFF, The Return ofKingArthur: The Legend through Victorian Eyes. New York: Harry N. Abrams, 1995. Pp. 176, color illus. isbn: 0-8109-3782-4. $35. A respected teacher ofmine once made what, at the time, seemed to me to be a fairly startling remark. Critics ofliterature, he said, would do well to pay more attention to art historians and their practice and less attention to philosophers and theirs. I had always been, and continue to be, somewhat dubious of the analogy drawn between poetryand paintingin olderliterarycriticism. But myteacher's remark, I soon realized, had little to do with this shopworn critical practice and its often too facile employment. Rather, it had more to do with thesimple fact that it is almostalways more informative, and so more productive, to regard literaryworkswith something like the art historian's eye for style ofcomposition and arrangement of materials than it is to regard them with the philosopher's obsession with oracular pronouncements about the Nature of Being. It is also, I soon learned, more fun. I will notsoon forget the excitement I felt when I first observed, for instance, that much medieval architecture, and particularly Gothic architecture, is paratactic in composition and, bywhat cannot be a coincidence, so is much medieval literature. And so, my teacher's advice, about which I initially had my doubts, soon proved to be true. My experience overcame my reservations. I am reminded ofall this by the appearance ofDebra N. Mancoff's new book on the Arthurian Revival that figured so prominently in the culture of the Victorian period. One ofthe chiefvirtues of this work, ofcourse, is its collection within one cover ofagreat number ofrepresentative paintings, drawings, and prints from awide varietyofartistswhoseworkswere informed by the renewed interest in theArthurian cycle and transformed by the effort to adapt the Arthurian material to their own artistic practice. It is convenient to have these works readily available for study in a volume so attractively presented as this one. Reproductions, certainly, are hardly an ideal substitute for the real thing. But, as the real thing is not often so easily encountered, the convenience of access to these works Mancoff's book affords is a virtue not to be casually dismissed. More important, however, is the occasion the book provides to appreciare the contribution a volume primarily concerned with art history can make to literary criticism. While the philosophical and ethical uses the Arthurian revivalists made of the legends and the influences they exercised on the culture ofthe Victorian period are well documented elsewhere, a book such as this permits readers whose primary concern is literary not only to learn something about another artistic medium about which they may know very little, but to see and to REVIEWS155 study for themselves, within one cover, theways inwhich strategies ofrepresentation from this other medium both correspond to, and diverge from, those ofthe literary medium. This convenience of access (an altogether too pedestrian a term for this much appreciatedvirtue) ispreciselywhat creates the opportunities Mancoff's volume offers for a first hand study ofthe ways in which individual pictorial adaptations ofArthurian material and individual literary adaptations ofArthurian material mutually informed one another during the Victorian period. The reproduction ofJames Archer's 1862 engraving How KingArthur by the Meanes ofMerlin Gate His SwordExcalibur ofthe Lady ofthe Lake (54), for instance, with its deliberately archaic title and its portrayal of Arthur, in Mancoff's words, as a 'classical hero disguised in medieval costume' (56), very clearly embodies the Victorian effort to fuse classical and medieval tactics for the representation ofArthurian heroism with the Victorian era's own notions of courageous and manly optimism. Tennyson's formal decision to portray his own embodiment ofVictorian heroism through the medium ofVirgilian blank verse is of a piece with Archer's formal decision to...
A British television series (each episode 30-minutes long) in which Lancelot does variousknightly (and some not so knightly) deeds.Arthur and the Square Knights of the Round Table. Animation. 1984. Produced by Wrightswood Entertainment. 80-minutes. A tongue-in-cheek retelling of the legend that suffers in comparison to Disney's The Sword in the Stone.Camelot. Color. 1967. Produced by Warner Brothers. 150-minutes. Starring Richard Harris, Vanessa Redgrave, Lionel Jeffries. The film version of Lerner and Lowe's stage musical, which in turn was adapted from White'sThe Once and Future King. The film attempts to tell the story of an idealized vision ofArthur's kingdom, without the pessimism that White's later novels exuded.A Connecticut Yankee. Black and white. 1931. Produced by Twentieth Century Fox. 96-minutes. Starring Will Rogers, Myrna Loy, Maureen O'Sullivan. The second film adaption of Mark Twain's satirical novel (the first was a 1920 silent movieversion). A vehicle for humorist Rogers, the film takes many liberties with both Twain'snovel and the legend.A Connecticut Yankee in King Arthur's Court. Color. 1949. Produced by Paramount. 108-minutes. Starring Bing Crosby, Rhonda Fleming, Cedric Harwicke. Bing Crosby takes over the role of Sir Boss and adds his own personal stamp. The film is fullof wonderful pastiche that Crosby and Bob Hope perfected in the Road movies andHarwicke's portrayal of Arthur is the most eccentric to date.Excalibur. Color. 1981. Produced by Orion Pictures. 140-minutes. Starring Nigel Terry, Nicol Williamson, Helen Mirren, Cherie Lunghi, Nicholas Clay. Director John Boorman brings together all the disparate elements of the Arthurian tale into agraphically realistic vision. His combining of Arthur with the Wounded King of the Graillegend was a highly ingenious development.The Fisher King. Color. 1991. Produced by Tri-Star. 138-minutes. Starring Robin Williams, Jeff Bridges. This film has a very loose connection with the legend. Williams plays a street bum thatbelieves Bridges is a modern day Fisher King in search of the Grail.King Arthur and the Knights of the Round Table. Animation. 1981. (3 vols.). Produced by ZIV International. 210-minutes. The life and loves of Arthur. Rather unoriginal adaption of the legend.King Arthur, the Young Warlord. Color. 1975. Produced by Heritage Enterprises. 90-minutes. Starring Oliver Tobias, Michael Gothard, Jack Watson, Brian Blessed, Peter Firth. Traditional British adaption of the story starring some British TV "regulars." Remains quiteconsistent with Malory's tale.Knights of the Round Table. Color. 1954. Produced by MGM. 106-minutes. Starring Robert Taylor, Ava Gardner, Mel Ferrer. Typical Hollywood fifties costume adventure, with Taylor playing the role of Lancelot,hopelessly in love with Queen Guinevere.Merlin and the Dragons. Animation. 1991. Produced by Lightyear Entertainment. 27-minutes. Kevin Kline narrates a tale of the enchanter Merlin.Merlin and the Sword. Color. 1985. Produced by Commworld Productions. 94-minutes. Starring Malcolm McDowell, Edward Woodward, Candace Bergen, Dyan Cannon. Originally titled Arthur the King, this made-for-television movie focuses on Guinevere'sabduction and rescue by Lancelot, and the love between Sir Gawain and Dame Ragnell. Theevents are viewed through the eyes of a twentieth century American woman, aided in hervision by Merlin's magic.Merlin of the Crystal Cave. Color. 1991. Produced by BBC Television. 159-minutes. Starring George Winter, Robert Powell, Trevor Peacock. An adaption of Mary Stewart's The Crystal Cave, this tells the story of Merlin's childhood,his training in magic and his eventual participation in Arthur's rise to power.Monty Python and the Holy Grail. Color. 1975. Produced by Almi/Cinema V. 90-minutes. Starring Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin. The cast of the BBC Television series take on the Arthurian legend, and proceed to spoofevery film adaption ever made of it, as well as any other medieval movies. It loosely followsArthur and his knights on a quest for the Holy Grail.Parsifal. Color. 1982. Produced by Triumph, GAU-TMS. 255-minutes. Starring Edith Cleaver, Armin Jordan, Martin Sperr. A German adaption of Wagner's epic Grail opera. The video version provides English sub-titles.Sword of Lancelot. Color. 1963. Produced by Cornel Wilde, Bernard Luber. 115-minutes. Starring Cornel Wilde, Jean Wallace, Brian Aherne. Originally known as Lancelot and Guinevere, this costume adventure focuses on theLancelot-Guinevere-Arthur love triangle and follows Malory's plot closely.The Sword in the Stone. Animation. 1963. Produced by Disney/Buena Vista. 79-minutes. Perhaps the most enduring adaption of the legend to film, this version of White's 1938 novelis best remembered for its wonderful Merlin character.Sword of the Valiant. Color. 1983. Produced by Cannon Films. 102-minutes. Starring SeanConnery, Miles O'Keefe, Trevor Howard, Peter Cushing. An interesting adaption the Gawain and the Green Knight story, in which Connery issuitably made up to portray the Green Knight who places numerous quests on Gawain's(Miles O'Keefe) shoulders. Unidentified Flying Oddball. Color. 1979. Produced by Walt Disney Productions. Starring Jim Dale, Ron Moody, Kenneth Moore. The latest and the loosest adaption of Twain's A Connecticut Yankee. Dale is an astronautflung back in time to Arthur's court. 1996 John J. Doherty ff782bc1db