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I thought that we had left it behind, but someone must have climbed that horrible pile of skulls and brought it out with them when we escaped.

Id always heard that the Myrkridia were hunted to extinction by Connacht, the great hero of the Wind Age.

How could the greatest hero of the Wind Age, the king of Muirthemne during its Golden Age, become the greatest evil of our time.

Because of Balors old enmity toward the Myrkridia, Alric is certain that this will so enrage Balor that he will come to deal with us himself.

During the Wind Age, the Myrkridia were trapped in the Tain by Connacht and thought destroyed.

Ruling during a golden age of peace, Connacht disappeared from Muirthemne, and was thought to be dead.

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Most of the first year was spent developing the initial networkmultiplayer game play.

Informa PLCs registered office is 5 Howick Place, London SW1P 1WG.

We were inspired by movies such as Braveheart, with its close-up portrayal of bloody melees between large forces, and books such as Glen Cooks 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 clich, 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.

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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.

Music, sound effects, and cut scenes were done out-of-house, and a few artists were contracted to help with interface artwork.

When PC builds were required, though, we used Microsoft Visual CC.

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.

The Tag Editor was responsible for editing the constants stored in cross-platform data files, which we called tags.

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.

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.

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.

Soon, troops were added, heads started flying, blood was made to destructively alter the terrains color map, and the network game was born.

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