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The Digital Antiquarian on Ultima V
Editorial - posted by Infinitron on Fri 5 February 2016, 19:56:07Tags: Electronic Arts; Origin Systems; Richard Garriott; The Digital Antiquarian; Ultima V: Warriors of Destiny
The Digital Antiquarian has finally resumed his series of articles about the history of the Ultima series. Continuing where he left off back in 2014, his latest article tells the story of what Origin was up to during the years between the releases of Ultima IV and its 1988 sequel, Ultima V: Warriors of Destiny. There's lots of details I'd never heard about here - the internal civil war that preceded Origin's return from New Hampshire back to Texas, and most interestingly, the source of Richard Garriott's well-known antipathy towards Trip Hawkins' Electronic Arts. But I'll just quote the part where it gets down to brass tacks and describes the development of Ultima V itself:
In between the two lies Ultima V, a crossroads game if ever there was one. It marks the end of the line for the 8-bit Ultimas, the basic structure that began with Akalabeth pushed to a complex extreme that would have been unthinkable back in 1980. How extraordinary to think that this game runs on essentially the same computer as Akalabeth, plus only 16 K of memory here or an extra disk drive there. The series’s glorious last hurrah on the Apple II, it also marks the beginning of a radically different development methodology that would carry forward into the era of the MS-DOS-developed Ultimas. Starting with Ultima V, new Ultimas would no longer be the end result of Richard Garriott toiling alone in front of a single Apple II for months or years until he emerged with bleary eyes and disk in hand. From now on, Richard would direct, design, and supervise, while other people did most of the grunt work.
It was an obviously necessary step from the perspective of even the most minimally informed outsider. Ultima IV had taken him two years, twice as long as originally planned, and had nearly killed him in the process. If the series was to continue to grow in scale and ambition, as he himself always demanded it should, something had to give. Yet Richard resisted the obvious for quite some time. He struggled alone, first with the abortive Ultima IV Part 2 and then with Ultima V, for almost a year while while everyone fretted at the lack of progress. He genuinely loved programming, took pride in knowing each new Ultima was truly his personal expression, top to bottom. But at last he accepted that he needed help — an acceptance that would change everything about the way that Ultimas got made forevermore.
The process started with two new programmers, Steve Meuse and John Miles. The former started writing tools to make it easier to create the world, to put a friendly interface on all of the tasks that Richard normally managed by hand using nothing more than a hex editor. Meuse’s “Ultima Creation Package” would grow into something that, according to Richard, “almost anyone could use.” Meanwhile Miles took over most of the actual game-programming tasks from Richard; more than half of the code that shipped in the finished game would be his. “The transition of doing it all yourself to doing it as a team was very painful,” Richard says of this landmark change of late 1986 that marked the abrupt end of his days as a working programmer. “However, once you had a team in place, and especially once you were no longer sharing the duties of both doing it and managing it, the pain went away.”
Richard’s team only continued to expand after the move to Austin, as all of that pent-up Texas talent began arriving on Origin’s doorstep. The finished game credits no fewer than six programmers in addition to Richard himself. With so many more people involved, this Ultima needed a project manager — the role also commonly referred to as “producer” — for the first time as well. That role went to Dallas Snell, late of Penguin Software, who , nobody being too specialized yet at this stage, did some of the programming as well. Snell lobbied for months for the hiring of a full-time artist, but Richard remained skeptical of the need for one until quite some time after the move to Austin. But at last Denis Loubet, an Austin artist who had been doing cover art for Richard’s games since the days of Akalabeth, joined the Origin staff to do all of the art for Ultima V, whether the media be paper or cardboard or pixels. Loubet’s work, blessedly free of the chainmail bikinis and other cheesecake tendencies that make most vintage CRPG art so cringe-worthy, would now become even more integral to the series, helping to maintain its aura of having just a little more class than the standard CRPG fare. Finally, and also largely thanks to Snell’s determination to professionalize the process of making Ultimas, there are fourteen people — fourteen! — credited solely for play-testing Ultima V, more than enough to ensure that there wouldn’t be any more blatant screw-ups like the vital clue that was left out of Ultima IV.
Freed from the pressure of programming, Richard could make Ultima V a much more consciously designed game than its predecessors. From an interview conducted almost a year before the game was published: