Joystiq: When did Zipper Interactive decide on making a multiplayer game with 256 players? None of your studio's earlier games are nearly that large in scope – what kind of factors led to that decision?
Alan Van Slyke: Well, I think that specific number actually came more from design than it was just an arbitrary number -- but definitely the early thinking was we want to build something big.
We wanted to replicate the scale of a real battle, you know, in first-person. That was the initial goal, and then we started looking at what we'd need to do to organize that: Organize people into squads, have an OIC and have squad leaders. You know, I think 256 just kind of came out naturally. It was more "we need something massive" than it was "we want a specific number."
What kind of things did you learn while working on the SOCOM series that you brought to mind when working on MAG, and what things did you want to do differently?
Well, actually I and a lot of the team came on specifically to work on MAG, so we actually post-date the SOCOM series. But there's definitely a lot of experience and veterancy in the studio with third-person shooter games. And so we took a lot of the existing knowledge that people had, and I think Zipper was also known as a networking-strong, networking savvy studio. We took that and we really built upon it.
We hired even more people with complementary strengths, and hired on even more networking people specifically for this project, and started prototyping the networking stuff out early. And so I think we had a lot of core design and technology strengths to draw from in the beginning. And then of course as we're trying to push the boundaries and go beyond, there's a lot of learnings as well, right?
What kind of challenges did the game's size present? How did it affect the usual multiplayer shooter concerns that developers face? Like balancing and mapmaking?
Yeah, mapmaking presented a lot of new challenges for us. We really had to come up with lots of new tools, technology, processes, and design thinking. I mean maps, for instance, you bring that up, our earlier environments were assembled in Maya for the SOCOM series.
And we knew for MAG, just by sitting down and looking at the scale of environments and the number of objects we were going to have in them, that we actually needed to build a new tool chain, a new pipeline that included a new world assembly tool, and libraries of assets that we could assemble in a more traditional map authoring paradigm. So we really had to start from scratch with the tools and the way that we assemble them.
And then once we have a new tool that means art is no longer doing all of the assembly – now we have a tool that's both available to design and art. And so we need all new processes to figure out how art and design can essentially be cohabitating, working with each other to build great maps with a single tool.
You know, the scale of the game brings a lot of challenges unto itself; I mean, testing, right? So we are a 100+ person studio, and we have 256 player maps. We had to really beg, borrow, steal a lot of resources to fill up games and to stress test the game and make sure it was stable, and to make sure it played well at high densities. We used a lot of clever ways to do that, too. A lot of time, what we would do is we'd break the platoons up and test individual platoon areas. With less frequency, we would fill the entire game up by employing other Sony development studios.
We also used beta probably more than we have in the past as a testing tool, to give us a lot of high player load, high game counts that we could parse through all the data, and look at the heat maps, and see exactly what's going on. It's something we just couldn't replicate internally as you could with a smaller game or a single player game.
[That's interesting. I'm imagining like a gigantic, cross-Sony championship –
[Laughs.]