The State of the MMO: Building a World, Part 1
In the first part of an ongoing series, multiple MMOG developers dissect the creative effort that goes into building a persistent world.
You might hear naysayers crowing that all massively multiplayer online role-playing games are just World of Warcraft clones, but in fact, there is a great deal of diversity in the genre. In 2012 alone, each popular MMOG's world has been notably different from the others--and for those looking to escape into an alternate digital universe, the uniqueness of the world can make all the difference.
In our first part of an ongoing series on MMOGs, we caught up with developers from five major studios and asked them to describe to us the joys and sorrows of building a persistent world. Fortunately, the majority of the studios in question weren't newcomers to the genre; they were standing on their own shoulders, using their previous experiences to inform subsequent projects. ArenaNet is one such studio--and their time working on the original Guild Wars went a long way towards what Guild Wars 2 would become.
Efficiency was a key factor, as it turns out. "I learned the importance to get any element into the game and playable as soon as possible from working on the original Guild Wars," says Guild Wars 2 lead level designer Steve Hwang. "This allows you to test new play concepts like dynamic events and allows you to iterate on them. For example, we prototyped the first dynamic events in GW1 and played them for several weeks. We learned what UI elements were needed to inform the player about the event, how chaining events would play out, and how difficulty was very dependent on player group size. We've been fighting centaurs in Queensdale for five years now."
Hwang's ArenaNet cohort, lead systems designer Mike Ferguson, learned similar lessons: iterate quickly, and attempt as many daring ideas as you can. "Our experience with working in very quick iteration cycles was absolutely critical in allowing us to try out all kinds of ideas and keep what worked well and change what didn't," he says. "We also learned that it was essential for us to try out ideas we really believed in instead of just settling for what works for everyone else. When our team really believes in a concept, we will do our best to find ways to make it work, no matter how hard (or crazy) it sounds initially."
LucasArts has a database called the Holocron. That is the final say on everything Star Wars related.
The Secret World wasn't Funcom's first online RPG, but the Norwegian studio didn't approach its world blindly: it had two previous games under its belt, as well as reams of tall tales to inspire their take on modern-day mythology. Says The Secret World creative cirector Ragnar Tornquist: "With Anarchy Online, we built a universe from scratch. While the story used Earth as a starting point, the rest was a blank slate. Rubi-Ka, its ecosystem and political structure, the myths and legends of an advanced far-future civilisation, the corporations vying for control of the galaxy--every detail had to be thought up and fleshed out. By the end of it, there was enough material to fill a whole novel."
As it turns out, Anarchy Online has more in common with The Secret World than initially meets the eye. "With The Secret World, we also began with Earth," says Tornquist, "but this time around, we stayed put. You'd probably think that would be easier than creating a universe from scratch, but that really wasn't the case. When you're basing your story and setting on the real world, on history and mythology, on things people have heard about, read about, or seen with their own eyes, you also have to make sure the details hold up to scrutiny."
Of course, world designers aren't limited just by their imaginations: multiple persistent world games are built on existing properties that inspire rabid fanboyism and excessive nitpicking. How can a developer hope to stay true to a license like Star Wars or The Lord of the Rings, while still exercising creativity and flexing your passions?
If you're Turbine Entertainment's Chris Pierson, you read, and you read, and you read.
"My primary reference [for The Lord of the Rings Online] is, of course, the core books (The Hobbit and The Lord of the Rings), and Tolkien does a lot of thorough description, but you'd be surprised at what he doesn't describe. Try and draw the exterior of Theoden's hall of Meduseld based on the book, for instance. He spends more time describing the channel of water that runs alongside the road leading up to it. So we draw from other artists' interpretations--60 years after the books' publication, there's a fairly strong zeitgeist for many things in the world--as well as, in many cases, historical sources. Rohan, for instance, is extremely Dark Ages Germanic (plus a lot of horse imagery), while our Dunland pulled in strong Celtic elements. We also use some of the atlases and other reference books that have come out over the years, but always double-checking against the source in case those books get a detail wrong now and then (which sometimes happens when anyone interprets someone else's work)."
Bioware's James Ohlen has an even broader database of licensed material when it comes to Star Wars: The Old Republic.
"To remain true to the world we're working in we use source books, online sources and the IP experts that work for the company that owns the property. Most important is that everyone on the game team is a fan of the property we're working on. There is a significant amount of source material for Star Wars. We've used Wookieepedia. LucasArts has a database called the Holocron. That is the final say on everything Star Wars related."





