Gamasutra: The Art & Business of Making Gamesspacer
Postmortem: Bungie's Myth: The Fallen Lords
arrowPress Releases
December 21, 2014
PR Newswire
View All






If you enjoy reading this site, you might also want to check out these UBM Tech sites:


 
Postmortem: Bungie's Myth: The Fallen Lords

July 31, 1998 Article Start Page 1 of 2 Next
 

As the team at Bungie Software put the finishing touches on the Marathon series of first-person action games, our thoughts drifted to bringing our 3D game experience to the real-time strategy game (RTSG) genre. We were inspired by movies such as Braveheart, with its close-up portrayal of bloody melees between large forces, and books such as Glen Cook's The Black Company, in which gruesome tales of battle contrast with engaging and intriguing characters. We envisioned a dark, amoral world where opposing sides are equally brutal and their unity is torn by power struggles within the ranks. We dreamed of game play that combined the realism and excitement of action games with the cunning and planning required by strategy games.

Our original design document, if you could call it that, was simply opposing lists of "Stuff that Rocks" and "Stuff that Sucks." Anything vaguely cliché, such as excessive references to Tolkien novels, Arthurian legend, or "little boys coming of age and saving the world," went in the "Sucks" category. The "Stuff that Rocks" list was filled with ideas that contributed to the visual realism of the game: a true 3D landscape, polygonal buildings, reflecting water, particle-based weather, "blood-spattered battlefields littered with limbs," explosions that send shock waves through the terrain, and "lightning frying guys and their friends."

Our goals for the product were lofty: simultaneous release on Windows 95 and Macintosh platforms, integrated Internet play, and a free online service to allow players from across the globe to battle one another. From this vision, Myth: The Fallen Lords was born.

The Making of a Legend, er, Myth

The project began in January 1996 with four programmers, two artists, and a product manager; midway through development, one programmer dropped out and an artist was added. Music, sound effects, and cut scenes were done out-of-house, and a few artists were contracted to help with interface artwork.

The roots of the Myth programming team were on the Macintosh, so most initial coding was done on the Mac with Metrowerks CodeWarrior. When PC builds were required, though, we used Microsoft Visual C/C++. Myth was written entirely in C.

In addition to creating the shipping product, we developed four tools to aid in the construction of the game. One utility, the Extractor, handled the importing of sprites and the sequencing of their animations. Another tool, dubbed Fear, dealt with importing polygonal models such as houses, pillars, and walls. The Tag Editor was responsible for editing the constants stored in cross-platform data files, which we called tags. And finally, Loathing, our map editor, handled the rest. Loathing was built around the Myth engine and allowed us to modify the landscape, apply lighting, set terrain types, script the AI, and place structures, scenery, and monsters.


wire model and finished character

Myth Character Design

The artists used Alias|Wavefront's PowerAnimator and StudioPaint on a single Silicon Graphics Indigo 2 to create polygonal models and render all the characters. At one point, the artists worked separate day and night shifts so that they could maximize their time on the SGI. Models were brought into the game using Fear, while the sprites were cleaned up in Adobe Photoshop and imported with the Extractor. To create the texture maps for the terrain, the artists used Photoshop to draw what looked like an aerial photo and applied it to a 3D landscape in Loathing.

If this sounds like a lot of work to you, you're right. Most maps took at least a week or two to create. We considered using fractal-generated landscapes, but we were worried that the inherent randomness of such terrain would make it extremely difficult to design good levels. As a result, all maps were painstakingly constructed by hand. As the artists put the finishing touches on the landscapes, the programmers, who doubled as level designers, scripted the AI for the levels.

Myth took approximately two years from start to finish. It began as a six-degree of freedom engine that allowed you to fly around a landscape. Soon, troops were added, heads started flying, blood was made to destructively alter the terrain's color map, and the network game was born. Most of the first year was spent developing the initial network/multiplayer game play. Almost the entire second year was spent developing the single-player game, refining the levels, and testing bungie.net, our free online service.

What Went Right

1. Bringing carnage to the masses.
It's a real trick to create a simultaneous, identical-look-and-feel, cross-platform release. It's even harder to do so within the expected time frame with only three programmers. Our experience porting Marathon, our popular Macintosh-only action game, to Windows 95 was a valuable learning experience, and we vowed when starting Myth that, "This time, we're going to do it right."

Doing it "right" meant designing Myth from the ground up to be cross-platform compatible. Ninety percent of the code in the game is platform independent; the other ten percent is split evenly between routines that handle PC- and Macintosh-specific functionality. It was a programmer's dream come true -- we spent almost all our time implementing features and solving real problems, rather than wasting it fighting the OS.

All of the data for Myth, from animated cut scenes to the percentage of warriors who are left-handed, is stored in platform-independent files called tags. Tags are automatically byte swapped when necessary and are accessed via a cross-platform file manager.

One of our programmers worked in conjunction with Apple Computer Inc. to develop a cross-platform networking library code-named Über. One of the greatest things about Über is that it supports plug-in modules for network protocols. Thus, although Myth currently only allows games over TCP/IP, AppleTalk, and through TEN, it would be trivial to add support for new protocol modules. Myth must provide a user interface to set up the connection, but once Über establishes that connection, game play over a LAN is the same as over the Internet.

To keep the game's appearance identical across platforms, we implemented our own dialog and font managers. This allowed us (actually, it required us) to use custom graphics for all interface items. We designed our font manager so that it supported antialiased, two-byte fonts, as well as a variety of text-parsing formats. Thus, our overseas publishers Eidos and Pacific Software Publishing were able to localize relatively painlessly. The German version of Myth was finished only a couple of weeks after the English release, with Japanese and French versions close behind. The only game experience that is different for the two platforms is the installation, and two players on bungie.net have no idea whether their opponents are on Macintoshes or PCs.


2. bungie.net and beta testing.
Myth was also released with integrated support for our first online service, bungie.net. This service was designed specifically for Myth and was developed simultaneously. Similar to online services for other games, it allows players to connect via the Internet to game rooms, where they can chat or play against one another. The Linux-based server that runs bungie.net keeps track of player statistics and gives everyone a score in our ranking system. The service's web site (www.bungie.net) has access to this database and sports a leader board that lists the top players.

Our networking layer is based on a client/server model. Once you advertise a game on the network, you become a server, and other players join your game. Network traffic during a game is limited to the commands issued by the players. All copies of Myth in a network game run deterministically and merely interpret the commands that they receive. This makes cheating difficult; if you hack the game to perform something illegal, such as making all your units invincible, you'll go out of sync with other players. When portions of the game data are periodically checksummed and compared, a message will indicate that you're out of sync (and out of luck). So far, the only form of cheating we've encountered is users trying to exploit the bungie.net ranking system.

To rigorously test our server load capacity and the bungie.net code, we released a public beta of the network game. We were initially apprehensive because it was our first public beta test of a product, but it was an amazing success. When errors occur, Myth alerts the player, logs the error messages, and usually allows the user to save a replay of the problem. Testers submitted these detailed bug reports via e-mail and chatted about features and improvements to levels on internal newsgroups.

Best of all, the testers used bungie.net to give instant feedback to the developers. This interaction allowed us to gather even more useful information about bugs, and it made the testers really feel involved in the final product. By the end of the beta-testing cycle, we not only had a clean product, but also had a loyal following of users who sang our praises when the NDAs were lifted.


wire model and finished character

Myth Figure Design

 


Article Start Page 1 of 2 Next

Related Jobs

GREE International
GREE International — Vancouver, British Columbia, Canada
[12.19.14]

Senior Product Manager
Demiurge Studios, Inc.
Demiurge Studios, Inc. — Cambridge, Massachusetts, United States
[12.19.14]

Game Director
Bigpoint
Bigpoint — Hamburg, Germany
[12.19.14]

Senior Project Manager (m/f) – Hamburg – 3353
Bigpoint GmbH
Bigpoint GmbH — Hamburg, Germany
[12.18.14]

Senior Live Producer (m/f) – Hamburg – 3358





Loading Comments

loader image