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.
Ohlen is fortunate enough to work on a game that has considerable freedom within its universe. "Because we're based thousands of years before the movies we have a lot of freedom to develop the Star Wars universe the way we want. LucasArts has been great at giving us creative freedom." The Lord of the Rings Online, on the other hand, has unique limitations. Says Pierson: "Certainly there are constraints; figuring out how to merge with the timeline of the novels is the most challenging one, since the characters cover a lot of ground really fast, and leave a lot of mayhem in their wake, particularly in The Two Towers and Return of the King. Oddly, it's not as bad with actual setting because Tolkien left so much interesting stuff lurking off on the periphery of a reasonably narrow strip of action. Take Moria, for instance--the Fellowship traverses only a tiny portion of it, which meant we got to fill out a lot more. If anything, Tolkien gave us a good sprout to grow a larger plant from."
Pierson continues: "Of course, there are parts that are annoying. His tendency to make interesting areas off-limits to outsiders--hi there, Lothlorien--or to describe wide swaths of land as utterly barren and uninhabited--Lone-lands and Eregion, I'm looking at you--makes me want to beat my game designer head against my desk. To an extent, with stuff like that, you have to apply liberal doses of salt and say, 'well, there has to be someone living somewhere other than Dale, Rohan, Bree, and Gondor.' We're still making a game, after all, so we have to push against the constraints at times."
Whether or not you feel Turbine succeeded in creating the Middle-earth of your dreams, you certainly couldn't accuse Pierson of neglecting his research duties. He also has to be conscious of how others have interpreted the licence--particularly Peter Jackson, director of the Lord of the Rings films.
If anything, Tolkien gave us a good sprout to grow a larger plant from.
"I've read the books about six or seven times straight through," says Pierson, "but I'm constantly rereading bits, particularly when doing the research pass at the beginning of an expansion's development, so in reality I've probably done certain chunks between 15 and 20 times. It's been occasionally hard to keep from replicating Jackson's work because he got the book spot-on in a lot of cases (not all of them, though), and there's an expectation among fans, particularly casual ones who came to the story through the films, that Middle-earth should look the way it does in the films. Fortunately there's still plenty of leeway on a lot of things. If you look at our interpretation of Amon Hen in the Rohan expansion, for instance, it's radically different from Jackson's."
A world starts with concept. But dreams don't magically appear on paper--or on a computer monitor. It takes years of hard work for the imagination to take on a shape that can be enjoyed by others. It also takes a lot of collaboration. Ragnar Tornquist knows this all to well. "[MMO development] involves a lot of people. Writers, concept artists, designers, modelers and environment artists. It's an iterative process that begins with the written word and ends with an actual world you can move around in and interact with." The team at Trion Worlds might have imagined a very different world from Funcom's mysterious realm, but creative minds like Rift Design Director Simon Ffinch and Environment Artist Chee Fong worked tirelessly to bring the world of Telara to life. How did Ffinch and Fong take a vision and turn it into an actual digital realm?
"Once the concept for the overall mood is figured out, the next step is to create a whitebox," they say. "This is a very simple version of a given area where we are mostly concerned with footprint, silhouette and layout. We then figure out the major hubs and variations on the concept, using a set of pre-created whitebox assets. At this point more detailed and refined concept art is made, focusing on construction aspects of the bigger pieces. Not everything in the whitebox gets a concept; it is usually just the major points of interest or 'hero' pieces. Modelers then take the whitebox to completion, changing it from a very rough idea of the area, zone or dungeon to a detailed but mostly untextured version. It is at this stage that the modelers transfer the style and design motifs from the concept art to all the pieces in the area. As the modelers take the assets to completion, terrain artists flesh out the geology and layout to a more realistic and refined state. Skies, lighting and final terrain textures are added and everything gets wrapped up with a polish and optimization pass. This includes reducing draw calls and polygons and unifying colors and lighting."
Clearly, world design doesn't occur in a vacuum. Each aspect of the game impacts everything else, from quest flow to character dialogue. Says Bioware's James Ohlen, "World creation starts with the writing team working with the world designers, then goes to concept art. Then we figure out the quest flow. Once that's known, designers block out the world with temp art while writers are taking care of scripts for the quest lines. Then designers implement the quest lines while environmental artists start adding final art to the worlds. Then we spawn the world with enemies. The final stage is building out the cinematic scenes in all of the conversations. Internal play testing is ongoing throughout the process once spawning is complete."





