Dan Schmidt: Looking Glass Interview 2/10

Introduction to the Podcast and Its Purpose

Exploring Authorship in Game Development

• The podcast aims to investigate the concept of authorship in game development, challenging the notion of a single author for games.

• The host expresses interest in discussing memorable moments and contributions from various team members involved in game creation.

Background on Underworld and Early Experiences

Personal Journey into Game Development

• Discussion begins with a reference to bugs encountered in "Underworld" and a specific incident referred to as the "Pac-Man moment."

• The guest, reflecting on their background, shares their journey starting from MIT during the late 1980s and early 1990s.

Formation of Gaming Community at MIT

• At MIT, computer clusters were used not only for homework but also for playing text-based games like Nethack, fostering an informal gaming community.

• Notable individuals from this community included Doug Church and Terry Donahue, both influential figures in game development.

Development of X Tank

Innovative Gameplay Mechanics

• Terry Donahue created "X Tank," a top-down vector graphic tank game that allowed players to program AI for tanks using C code.

• An ultimate frisbee mode within "X Tank" became unexpectedly popular; the guest developed an advanced AI that excelled at gameplay mechanics.

Transitioning to Blue Sky Productions

Joining the Team

• After graduating, Doug Church invited the guest to join Blue Sky Productions as an AI programmer due to their experience with AI programming at MIT.

• The initial project was "Underworld," which had not yet been officially licensed as part of the Ultima series when they began working on it.

Evolution of Underworld's Concept

Exploring Game Design and Simulation

The Role of Technology in Game Design

• Discussion on the importance of technology in game design, emphasizing a design process that prioritizes simulation aspects before narrative coherence.

• Mention of "Underworld" being referred to as a dungeon simulator, raising questions about its chronological development and design philosophy.

Challenges in Narrative Development

• Reflection on the challenges faced during the development of "Terra Nova," indicating that focusing on simulation first may not always yield positive results.

• Acknowledgment that while the simulation aspect was powerful, it led to an ad-hoc approach for plot development, resulting in a less coherent storyline.

Plot Coherence Issues

• Description of the game's plot as random and incoherent, with quests feeling shoehorned into the overarching narrative.

• Introduction of standard quest elements typical in games like "Ultima," including character interactions and objectives.

Collaborative Authorship Dynamics

• Insight into authorship dynamics where multiple team members contributed to dialogue and storylines rather than having a single author.

• Explanation of how external writing contractors did not align well with the team's vision, leading to self-authored content by programmers and artists.

Level Design Contributions

• Each team member was responsible for their own level's geometry, dialogue, and plots, creating diverse experiences across levels.

• The role of one individual (the speaker) involved editing dialogues and knitting together various narratives into a semi-coherent whole.

Reflections on Professionalism and Player Experience

• Team members felt unprofessional due to their lack of experience; this influenced their perception of the quality of their work compared to established designers.

Exploring Game Design and Player Experience

The Eclectic Nature of Game Levels

• Discussion on the intentional design of game levels, highlighting how different environments contribute to player experience.

• Emphasis on the exploratory aspect of gameplay, where players encounter various unique levels that enhance engagement.

• Mention of "Underworld 2" and its focus on distinct dimensions, building upon the variety established in the first game.

Language and Puzzle Complexity

• Inquiry into the Lizardman language puzzle in "Underworld," which required players to learn a new language without direct guidance.

• Reflection on the challenges faced by designers regarding puzzle difficulty and player expectations for challenge versus accessibility.

• Insight into the design philosophy that aimed to create realistic interactions within puzzles, avoiding overly simplistic solutions.

Player Feedback and Reception

• Discussion about player feedback regarding puzzle complexity; whether it served as a barrier or an engaging challenge.

• Overview of initial reactions from players who were impressed by technological advancements in gameplay mechanics during early demos.

Technical Innovations Compared to Peers

• Comparison between "Underworld" and other games like "Wolfenstein," noting differences in 3D rendering techniques and player movement dynamics.

• Exploration of simulation aspects considered during development, including decisions around damage mechanics related to speed.

Design Decisions and Their Implications

Discussion on Game Development Challenges

Reflections on Features and Puzzles

• The speaker reflects on the development process, noting that they generally opted to keep features that worked rather than cutting them. They mention potential physics-based puzzles that were challenging to implement consistently.

• Acknowledges difficulties with a full 3D physics system, which was not robust enough for certain features, leading to some ideas being abandoned.

Interface Design Decisions

• Discussion shifts to the unique mouse-driven interface of "Ultima Underworld," which deviated from modern standards. The speaker recalls how this design choice came about due to the absence of established 3D interface norms at the time.

• The team initially supported keyboard movement but found it too abstract for players. They believed users would struggle with using both hands for different controls, opting instead for an analog mouse movement system.

• Describes how mouse movement zones allowed players to control their character's direction based on cursor position, creating a more intuitive experience despite challenges in interacting with objects or combat actions simultaneously.

Gameplay Mechanics and Player Experience

• Highlights the challenge of using a single mouse for all actions during gameplay, making it awkward when trying to perform multiple tasks like running away while also aiming weapons.

• Notes that although designed primarily for mouse use, playing with two hands (keyboard and mouse) was easier. This design choice may have been influenced by earlier games like "Ultima VII."

Technical Innovations in Game Design

• Discusses whether scrolling 3D movement was part of the original game pitch. It turns out this feature was integral from day one due to advancements in real-time texture mapping technology developed by Chris Green.

• Emphasizes that real-time 3D rendering was central to their vision and set "Ultima Underworld" apart from other games at its time.

Balancing Realism and Gameplay Mechanics

• Reflecting on how new technologies clashed with traditional gaming conventions, particularly regarding conversations within a dynamic environment where characters could be rendered as sprites while navigating a scrolling world.

• The team had no choice but to abstract certain elements (like conversations), as rendering everything in real-time wasn't feasible at that point in development.

Challenges of Real-Time 3D Design

The Complexity of Analog Physics

• The transition to real-time 3D design introduced significant challenges, particularly in creating an analog feel rather than simply moving objects in a grid.

• Designing within this analog world complicated many tasks that would typically be straightforward, especially when implementing physics-based interactions.

Combat AI and Visual Presentation

• A key aspect of the combat AI for monsters involved maintaining a visually appealing distance from the player, which often took precedence over maximizing damage output.

• The game had limitations on screen space and frame rates, influencing how characters were programmed to behave during combat.

Creative Inspirations and References

Artistic Contributions

• The cute dragon animations that reacted to gameplay events were developed by Doug, the main 2D artist, showcasing collaborative creativity in design.

Music Composition Involvement

• Discussion about music composition reveals that one contributor co-wrote music for "Underworld" while also engaging with other aspects of game development.

Game Mechanics and Technical Innovations

Dungeons and Gameplay Parody

• There was a playful parody element where players could enter dream sequences resembling classic dungeon designs from earlier games like Ultima.

Easter Eggs and Industry References

• Underworld II included various references to other games such as Qbert and Bullfrog Games' mechanics, reflecting a culture of playful homage within the industry.

Legacy of Playfulness in Game Design

Cultural References in Gaming

• The inclusion of random cultural references was common in games like Ultima, contributing to a sense of playfulness that enriched the gaming experience.

Role Diversity in Development

• Contributors played multiple roles; one programmer not only handled technical aspects but also engaged with narrative elements across different titles.

Transitioning Between Projects

Shift from Underworld to Terranova

• After working on Underworld II, contributors began focusing on Terranova, which started development in 1992 and released four years later.

Music Composition Background

Aesthetic Choices in Game Music

Exploring Dimensional Themes

• The music for different dimensions was intentionally crafted to sound distinct, enhancing the thematic experience of each world.

• A spooky ambiance was created for a medieval-themed world, incorporating elements that evoke a sense of the medieval era.

• The main theme of the game was rearranged and integrated into various worlds, aiming for a cohesive yet diverse musical experience.

Specific Musical Elements

• In one instance, the main theme was transformed into a waltz for a specific area called the "sewer vault," showcasing creative reinterpretation.

• Underworld One featured intense fight music that dramatically shifted from silence to an overwhelming orchestration, creating an impactful auditory experience.

Challenges in Sound Design

MIDI Limitations

• Working with MIDI posed challenges due to its limited capacity to play only four or five voices simultaneously, necessitating sparse arrangements.

Sound Effects Creation

• The speaker contributed sound effects for Underworld One using a unique system provided by Origin, which involved extensive tweaking to achieve realistic sounds.

• Most sounds were synthesized rather than recorded audio; however, voiceovers in cutscenes utilized actual recordings.

Transitioning Between Projects

Development Insights on Terra Nova

• The speaker's journey as a fan led them to discover Terra Nova years after its release, highlighting their evolving interest in Looking Glass games.

Project Origins and Challenges

• Development began around 1992 alongside Underworld Two. A new programmer envisioned a powered battle armor game focused on realism and AI simulation.

Game Development Challenges and Evolution

Initial Vision and Shifting Goals

• The development team initially aimed to create a robust simulation game, but the vision became muddled after a key programmer left, leading to difficulties in maintaining focus on the original goal.

• There was an ongoing struggle to adhere to this vision, suggesting that stepping back for reassessment could have led to better outcomes.

Competition and Industry Standards

• As game development progressed, competition intensified; originally planned missions evolved due to external influences from other games adopting more engaging cutscenes.

• The decision was made by higher management around 1995 to incorporate full motion video (FMV), driven by industry trends that deemed it necessary for credibility.

Resource Allocation and Production Impact

• The shift towards FMV diverted significant resources from core game development, causing delays and distractions during production.

• Despite its cheesy execution at the time, FMV became essential for market competitiveness, impacting day-to-day programming tasks as priorities shifted.

Scriptwriting Process and External Collaboration

• Transitioning from AI programmer to project director involved managing higher-level decisions regarding script integration with gameplay elements.

• The team sought external writers for FMV scripts; initial pitches included unconventional ideas that were later toned down for coherence.

Final Game Adjustments Before Release

• With impending deadlines, the game underwent significant changes towards a more arcade-style experience rather than strict simulation mechanics.

Terra Nova's Physics Simulation Challenges

Development of Physics Simulation

• The ambitious physics simulation in Terra Nova was led by Sheamus, who had a background in notable projects like Underworld and Flight Unlimited.

• The goal was to create a highly realistic bipedal character simulation, which was innovative at the time but faced significant challenges in robustness.

• Despite initial successes, the simulation often failed due to minor errors, leading to unrealistic movements such as characters being ejected across the map.

Transition to Simpler Models

• After extensive trials, the team opted for a simpler model where characters were represented as "invisible hamster balls," allowing for easier interaction with the environment.

• This change allowed for fun gameplay mechanics like jumping high or bounding over obstacles, enhancing player experience despite sacrificing some realism.

Philosophical Focus on Simulation

• The discussion shifted towards how physics and simulation serve as design focuses in games, drawing parallels with other titles like Trespasser.

• Both Terra Nova and Trespasser aimed for interesting world simulations but faced criticism; however, they contributed unique aspects to game design.

Shifts in Game Direction and Project Management

Decision-Making Process

• Near the end of development, significant changes were made based on clarity of goals; the team wasn't hesitant to pivot direction drastically when necessary.

Post-Terra Nova Projects

• After leaving Terra Nova in 1996, the speaker briefly directed Thief before moving on to work at Harmonix with former classmates.

Evolution of Thief: From Dark Camelot to Stealth Mechanics

Initial Conceptualization

• Thief began as a project called Dark Camelot that focused on Arthurian themes and complex villain motivations but evolved into something different due to market considerations.

Shift Towards Stealth Gameplay

Dark Camelot and Game Design Insights

The Concept of Dark Camelot

• Discussion on the original concept of "Dark Camelot" and its evolution, highlighting the challenges faced in sword fighting mechanics during development.

• Reflection on the initial design choices for character weaponry, particularly Garrett's use of a sword as a thief, which was later adjusted to a dagger for practicality.

Continuity in Game Design Experience

• Inquiry into how experiences at Looking Glass influenced later work at Harmonix, focusing on design aesthetics and concerns.

• Acknowledgment that projects at Harmonix were significantly different from those at Looking Glass, leading to a sense of relief about not engaging with complex simulation aspects anymore.

Simulation vs. Constrained Environments

• Explanation of how games like Guitar Hero and Rock Band operate within constrained environments with minimal narrative depth compared to earlier titles.

• Insight into avoiding complex simulation elements in favor of simpler designs due to the difficulties encountered in previous projects.

Reflections on Underworld and Terra Nova

• Recognition that while there was respect for simulation goals in games like Underworld and Terra Nova, it wasn't necessarily a personal ambition but rather an obligation to solve existing problems.

• Enthusiasm expressed about the potential for creating fully simulated worlds during college days, contrasting with the practical challenges faced during actual game development.

Achievements and Frustrations in Game Development

• Discussion on how Ultima Underworld aligned closely with initial visions despite frustrations over time constraints during development.

Experiences in Gaming and Storytelling

The Impact of Player Experiences

• A player recounts an encounter with skeletons that led to a memorable story, emphasizing how excitement can transform experiences into narratives.

• The speaker reflects on being chased off a cliff in a game, highlighting the thrill of unexpected discoveries and exploration within the game world.

Narrative Structure vs. Player Freedom

• Discusses the unstructured nature of storytelling in games like Underworld, comparing it to classic literature (e.g., Tom Sawyer), where the experience is more about adventure than plot coherence.

• The novelty of exploring immersive environments for the first time created a sense of wonder that modern games may lack.

Design Influences from Classic Games

• Mentions Arkane Studios' attempt to recapture the essence of Underworld in their game "Arx Fatalis," indicating its lasting influence on developers.

• Reflecting on design principles from earlier games, noting how discussions around gameplay mechanics shaped future projects.

Satisfying Gameplay Mechanics

• Introduces the concept of "delicious interaction," where core gameplay actions should be inherently satisfying and enjoyable.

• Highlights NHL 90 as an example where players found joy in simple interactions, which influenced later game designs.

Evolution of Game Interaction

• Discusses how certain mechanics (like using a bow in Thief versus Underworld) have evolved over time, impacting player satisfaction.

• Expresses disappointment regarding visibility issues with weapons in some games compared to expectations set by earlier titles.

The Development Journey: Antigrav

Transitioning Between Genres

• Introduction to Antigrav as Harmonix's only non-music project after developing music-based games like Frequency and Amplitude.

Challenges with New Technology

Game Development Challenges and Innovations

Transition from Simulation to Streamlined Gameplay

• The initial design aimed for a simulation that worked 95% of the time, which was deemed insufficient for gaming standards.

• The project began with an open-world concept where players navigated city blocks on hoverboards, but it faced significant gameplay constraints.

• Players struggled with navigation due to obstacles in the environment, leading to frustration as there was no backup option available.

• A pivotal decision was made to redesign levels into a more streamlined experience, likening gameplay to a marble rolling down a chute with limited side-to-side movement.

• The focus shifted towards creating an automatic journey from point A to B, enhancing game elements over exploration aspects.

Return to Music Games

• Following the challenges of the previous project, there was enthusiasm about returning to music games, specifically Guitar Hero.