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By Guest
FOR IMMEDIATE RELEASE:
Guild Software announces upcoming multi-platform MMO middleware solution: The NAOS Engine.
MILWAUKEE, WISCONSIN, March 6th 2010. Award-winning independent game developer Guild Software, Inc has announced the upcoming launch of a new MMO middleware product: the NAOS Engine. Developed to power their long-running, continuously-upgraded retail MMORPG, Vendetta Online, this engine provides a complete and multi-platform [...] Continue reading
![]() ![]() ![]() By Simon Carless
When you get past the uncomfortable hilarity of seeing your character's genitals on the creation screen, you start to realise exactly what Mortal Online's main design ethos is. This is not a place of half measures. Starvault, the developers, aren't planning on appeasing anyone, and aren't going to chase a rating a few slots beneath what they want for the game just to get a few extra sales. No, this is a game where your characters have genitals. And that takes balls. That's not to say it's attempting to accurately portray a Feudal system of Medieval Britain or anything as trite as that. Mortal Online is a fantasy MMO through and through, complete with dragons, magic and chainmail. It's not trying to simulate our lives any more than fantasy should, but instead creating a layer of truth that makes being in that world contain a little more fidelity than we're perhaps used to. You're thrown into the world with little more than a few rags and a hatchet, and given absolutely no indication of what you're supposed to be doing. The list of skills gives you a little idea, with simple things like woodcraft and mining lying there dormant, waiting for you to expand and build them. So you approach the nearest tree and begin to hack. It's from here that everything starts to make sense. You cut down wood to turn into a bow, or the handle of a weapon. You mine stone and that allows you to make the head of a hammer, or a crude axe. You then use these new found tools to kill yourself some animals, and suddenly you've got leather and fur, and you can make some clothes.
I've sunk quite a few hours into such manual labour, and I've not yet felt the urge to set off from this quiet idyll, if only because right now the world of Mortal Online is a somewhat empty wasteland. It's there to fill, and due to the ongoing beta-state, players are struggling to advance far enough before they're wiped to begin to set about building houses, towns and cities. Right now they're somewhat confined to the compounds that exist as starting areas. Somehow, though, that's all right. There's an element of frontier here that I've not yet witnessed in gaming. In less of a 'colonising America' way and more of a 'coming out of the stone age' one. As you discover bow craft and hunting, you manage to clothe your way out of rags and shod your feet in leather. In a way, it's advancing through the primitive towards the civilised. And of course, civility means war. Mortal is a game with violence at the forefront, as with so many, but Starvault are doing something slightly interesting here, too. What with the entire game being in a forced first-person perspective, this isn't a matter of targeting an enemy and clicking the auto-attack. You have to instigate every swing, each lunge, and all the blocks. These are dictated by your stamina, bringing to mind a system similar to the one present in Demon's Souls, where each swing takes away a lot of your energy, but it's quick to refill. And here, as with everywhere else, when you start out you're little better than a feckless lamb. The only thing separating you is that you've got an axe, and all a lamb can do is bleat. You swing, and suddenly you're panting. Absorbing a block from someone will all but knock you from your feet. But the thing is, and this ties back to how the game encourages you to start off as a hunter-gatherer, by chopping all those trees, and mining all that ore, you've started to develop these big bulging muscles. They build your strength, your constitution, and suddenly you've got more stamina, more strength with which to swing. It's crazy, but things really start to make sense at this point. Meticulous logic in my game? Now there's a thought.
And that's not the half of it; there's been a somewhat resurgence of difficulty in games, most notably with Demon's Souls, but at least there there's something resembling a direction given to you. The levels are mostly linear, and so it's usually pretty clear where you're supposed to be going. Mortal Online, by it's very nature, offers you no advice, no helping hand. You'll find no quest givers, or helpful village elders who've got a problem with rats in their basement. The idea is that players will build their houses, their basements, and get their own rats. As the FAQ on the Mortal website claims: 'The overwhelming majority of MMORPGs today belong to the Theme Park category. Like a real theme park it always looks the same and chances are you grow tired of the rides after 20 times or so, unless the theme park creates new exiting rides to keep the park entertaining. In a Sandbox game you are able to create your own rides. Mortal Online is a true sandbox game.' It's that unique nature that makes it so alluring. Even the smallest occurrence in your game will become infinitely more special, because it's the only time that has happened. Just by the nature that you're the one it happened to and so you're reactions where wholly original. Once, when I logged in, I was instantly attacked by a small, domestic pig. I'm still not entirely sure why, but because of a fight I'd had before logging out, he killed me in a few hits. What followed wasn't pretty. It wasn't dignified in any way, and it ended badly for the pig. And its brothers, and probably quite a few of its distant relatives. Through some glitch in the game, my axe didn't return to my inventory, and so I was forced to craft myself a hammer from the wood I had in my inventory. That there was a niggle in my head that this wasn't entirely justified, and I'd probably attacked the pig the previous day, made it all the more questionable when I was malleting my way through his family tree.
And that's easily one of the smaller things that's happened to me in my time in Mortal Online. It's important to stress that the game is far from finished, and while it has recently gone into Open Beta, it's still very much in active development, with huge patches being rolled out on an almost daily basis as systems are implemented and tweaked. Really, though, it doesn't matter; the game shows such raw promise, and so many completely new and novel ideas, that what's there is more than enough to squeeze a considerable amount of enjoyment from. [Phill Cameron has begged work off multiple different sources, including the mighty Rock, Paper, Shotgun, the wonderful Resolution Magazine, and the ever stalwart Reticule. You can contact him here, and follow him on Twitter here.]
![]() ![]() By Simon Carless
Whoa! Alice Taylor is totally right: in certain screenshots, maybe at certain angles, Allods Online sure looks convincingly like World of Warcraft.
Allods Online launched its open beta today. And as there are no brabbling subscription fees to contend with, the Russian MMO is free to play. [Allods Online: a WoW clone to make you double-take] ![]() ![]() ![]()
By Jennifer Schommer
A Tale in the Desert is a unique MMO game that is based more from a social aspect. The massive multi-player online (MMO) game is not one big game, but a collection of mini-games. Players can build their own world from scratch and move the game along at their own pace. The only thing limiting [...] Continue reading
![]() ![]() ![]() By Simon Carless
Aion, a unique MMO heavily based around the mechanic of player flight, is the latest major MMO from the online-focused publisher. It was first released in South Korea in 2008, and was localized for the Western market for a release last September. These excerpts from the January 2010 issue of Game Developer reveal various "What Went Right" and "What Went Wrong" highlights from throughout the creation of the game, revealing how the company used solid tools to overcome MMO comparisons and a difficult "pyramid" of user demographics. Comparisons Were Inevitable, But Early Comparisons Were Toxic World of Warcraft is a blessing and a curse to other MMOs: it's undoubtedly grown the market, and a rising tide lifts all boats, but it also saddles every other MMO maker with the curse of endless comparisons: "The pressure on the developers wasn’t just internal. Almost as soon as it was announced, gamer media gave Aion the 'WoW-killer' tag. That inheritance was unwanted but probably inevitable, because there hadn’t been a truly global MMORPG success since World of Warcraft. "Comparisons with both Western games (Hellgate: London, Warhammer Online) and Eastern games (Prius Online) soon followed. Even before launch -- even before we knew what we were going to launch -- we were in competition with a half-dozen great games. "We make games, so we know firsthand how competition can be healthy; it’s a virtue in and of itself. But those comparisons came so early that it was hard to ignore the other games and figure out what we wanted Aion to become. There may be a place for reactive game design, but it’s not at the beginning of the development process." Lush MMO Graphics: Working With A Third-Party Engine Crytek's game engines, used to breathtaking effect in the company's own Far Cry and Crysis, haven't had as much pickup as, say, Unreal Engine or Source. But the Aion team wanted an engine that would do the team's assets right, and with some significant adjustments, it worked out: "We used an engine optimized for first person shooters in an MMO because we really wanted Aion’s environment to “pop” off the screen. CryEngine handles landscape textures with ease, and it’s great at processing light effects, which is particularly important in a world where available light tells part of the game’s story (and Aion is based on the world of angels). "That said, CryEngine isn’t an MMO engine per se. We had to rearrange about 90 percent of the engine to make it work for Aion. The building blocks were there; they just needed to be reassembled. The team has since worked hard to improve the graphical quality without switching graphics engines. "Whereas before our artists might have simply designed something to be as gorgeous as possible, as we become even more familiar with the technology we are finding ways to improve quality without any major performance or polygon hits." It's Hard To Serve Two Masters Especially with an MMO, which thrives on a large, diverse user base, appealing to numerous demographics is key. Of course, as any designer knows, that can be a tall order: "One of our early design goals was to make a game that would support a “pyramid” of users: a wide base of more casual players, narrowing upward to a minority of hardcore users that would play Aion with real fervor. "That’s easier said than done, of course. What’s 'boring' to the hardcore player is 'impossibly frustrating' to the casual gamer. This problem was compounded by the high percentage of new or young developers on the team, who had less experience dealing with these sorts of design issues. "In the end, we made a conscious effort to stay away from the large-scale endgame raiding that’s traditional in MMOs, opting instead for faction-based warfare in the PvPvE structure of a single mega-zone called the Abyss to keep the hardcore happy and the casual players engaged. Zone-based combat allowed us to concentrate some of these experiences in certain areas, which also helped manage the userbase." Additional Info The full postmortem of Aion explores more of "What Went Right" and "What Went Wrong" during the course of the game's development, and is now available in the January 2010 issue of Game Developer magazine. The issue also includes a roundup of governmental game development incentives, Front Line Award finalists, a piece on the art of creating believably flawed characters, and our regular monthly columns on design, art, music, programming, and humor. Worldwide paper-based subscriptions to Game Developer magazine are currently available at the official magazine website, and the Game Developer Digital version of the issue is also now available, with the site offering six months' and a year's subscriptions, alongside access to back issues and PDF downloads of all issues, all for a reduced price. There is now also an opportunity to buy the digital version of this edition as a single issue.
![]() ![]() By Simon Carless
The January 2010 issue of Game Developer magazine, the sister print publication to Gamasutra and the leading U.S. trade publication for the video game industry, has shipped to print and digital subscribers and is available from the Game Developer Digital service in both subscription and single-issue formats. The cover feature for the issue is an exclusive postmortem of NCsoft's fantasy MMO Aion. The article, crafted collaboratively by the game's team, offers insight on the challenges and successes experienced by the internal studio. It is introduced as follows: "Aion is NCsoft's next big subscription MMORPG, originating from the company's home base in South Korea. In our first-ever Korean postmortem, the team discusses how Aion survived worker fatigue, stock drops, and real money traders, providing budget and demographics information along the way." Also featured in the issue is Game Developer's 12th annual Front Line Awards for middleware and tools, for which the winners were just revealed -- the full article includes write-ups and explanations from leading developers: "We're happy to present our 12th annual tools awards, representing the best in game industry software, across engines, middleware, production tools, audio tools, and beyond, as voted by the Game Developer audience." In addition, Riptide Games founder Brian Robbins explores the relatively new challenges of designing UI for touch-based systems: "Thinking of making a game for multitouch-based platforms? This article offers a look at the UI considerations when moving to this sort of interface, including specific advice for touch offset, and more." And as usual, our regular columnists contribute detailed and important pieces on numerous areas of game development -- this issue, we include Bungie's Steve Theodore on tiling, Jake Cannell on voxel tracing methods, BioWare's Damion Schubert on realism in design, LucasArts' Jesse Harlin on the decline of audio loops, and Matthew Wasteland with his monthly humor column. Worldwide paper-based subscriptions to Game Developer magazine are currently available at the official magazine website, and the Game Developer Digital version of the issue is also now available, with the site offering six months' and a year's subscriptions, alongside access to back issues and PDF downloads of all issues, all for a reduced price. There is now also an opportunity to buy the digital version of January 2010's magazine as a single issue. ![]() ![]() ![]() By Simon Carless
Continuing in the long road to catchup on GameSetLinks, we'll start out with Schlaghund taking a good look at Treasure World for DS, a game that is definitely worth taking a look at for its innovative gameplay concepts, despite its relatively shallow nature. Also in this set of links - a look at seminal pre-MMO Habitat, plus some excellent IGF tips from David Edery, some fun videos from the latest Japanese version of Yakuza, and a look at Planet M.U.L.E., as well as plenty of other randomness. He's a witch: Toward better collections, part 3: Treasure World « schlaghund’s playground Apocalypse POW!: Videogame Cinema Creatures of Habitat: A Look Back at the First MMO from 1UP.com Hardcore Gaming 101 - Blog: Yakuza Kenzan interviews in English Planet M.U.L.E. - First thoughts - The Gameshelf 1UP's RPG Blog : Wrath of the Lich King's Grand Finale Game Tycoon » David Edery's IGF tips ![]()
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