AUG. 11, 2011 • MMOs are changing. There’s the wide adoption of the virtual item, free-to-play (F2P) model, of course. Embracing F2P for MMOs can attract an audience that may not have tried the same game if a retail box purchase and a monthly subscription were necessary. Yet lowering the barriers to playing MMOs is not a substitute for originality. The traditional, Dungeons & Dragons ruleset-based fantasy experience that predominates in these online games can seem stale whether the monetization is from virtual item sales or subscriptions.

That’s why DFC is taking a closer look at new MMOs that feature an innovative tack in game design. En Masse Entertainment is one such outfit. This Seattle-based publishing operation is a subsidiary of Bluehole Studio in South Korea. En Masse’s first project is adapting Bluehole’s inaugural product, TERA: The Exiled Realm of Arborea, for the North American market.

While the title retains classic fantasy and subscription attributes, what makes TERA interesting as a new franchise is what En Masse calls “Action-MMO Gameplay” and a political system that allows player groups to hold and administer territory in the world over long periods.

Only TERA’s North American release later this year will tell whether gamers respond to these novel features. Since the game’s launch is still a ways off, DFC went to En Masse publishing vice president Chris Lee, and senior producer Brian Knox, to fill us in what’s noteworthy in their approach to MMO design.

DFC: Bluehole Studio was formed in South Korea during 2007. The wholly-owned subsidiary that became En Masse Entertainment was originally named Bluehole Interactive. What year did Bluehole Interactive open?

Chris: En Masse Entertainment, (formerly Bluehole Interactive) was founded by Dr. Jaeheon Yang aka “the Professor” in Los Angeles in October, 2008. His goal was to establish a Western publishing entity for high-quality online games, starting with TERA, and to eventually include other amazing titles. In Dr. Yang’s drive to build a top-notch team, he sought out the best talent in the gaming industry, which led the company to Seattle. There, about a year later, he put together a group of game industry veterans tired of doing things the old corporate way. The team Dr. Yang assembled has decades of experience with driving successful launches for some of the most respected gaming companies in the industry, and they share a desire to make a lasting mark in the online game space.

DFC: Was the North American operation always dedicated to bringing TERA into the market? If not, what were your other options?

Chris: Absolutely. From day one it has been a clear goal for the company to publish in North America with TERA as our inaugural title. This was a different approach than our parent company took (as NHN publishes TERA in Korea). We saw an opportunity to build a unique publishing organization that could give TERA the best chance for break out success and to continue as a focused business specializing in publishing future online titles. This is possible because our parent company shares in our vision. Looking ahead, we plan on bringing other amazing online games to North America.

DFC: Why the name change in 2010?

Chris: We got a few funny looks when we told people we were called “Bluehole.” But the name change to En Masse Entertainment also supports our long term objectives. Our vision for the North American division of the company is focused on the delivery and service of multiple titles, from multiple developers, and that differed from Bluehole Studio’s development focus. Also, while Bluehole Studio is a well-respected name in Korea, it’s an unknown entity in the States. So we took the opportunity to create a new name that allowed us to grow and shape a new identity in the West. Our name, En Masse Entertainment, reflects a set of values we take seriously, and developing a brand consumers can trust is what we strive to achieve.

DFC: NCsoft sued Bluehole in South Korean courts accusing Lineage 3 code infringement. In both criminal and civil courts NCsoft won favorable rulings through the end of 2009. What was the final outcome of this legal battle?

Chris: The internet has had a lot of fun with this one, and it has been blown out of proportion. The legal dispute between Bluehole and NCsoft was regarding recruiting issues, and those matters are still ongoing. However the latest ruling was favorable toward Bluehole Studio. There was a separate suit against some individuals employed by NCsoft and Bluehole that involved disclosing game features unrelated to TERA. Fines were handed down to those individuals; however this decision is being appealed.

DFC: What effect did the NCsoft court actions have on the development of TERA for both South Korean and North American release?

Chris: It had no effect.

DFC: The arrival of the free-to-play model has brought a lot of excitement and new virtual items features to MMOs. In some ways, however, this new revenue model has glossed over some of the tedium consumers have begun to experience with traditional, grinding, subscription MMOs. How much did this trend concern you, and how did you react as a team?

Chris: We are definitely aware that this is becoming more of a trend, but there is certainly room for multiple business models. So far, in the free-to-play space, it looks like life cycle management for MMOs have sharply declining player populations. We have yet to see a new triple-A MMO launch with an initial free-to-play business model. Provided a player feels that he/she is getting good value for their money, we are confident that the subscription model is right for TERA.

DFC: Bluehole has said TERA will be a subscription game worldwide. As ground central in the free-to-play movement, how well are subscription MMOs received in South Korea?

Chris: Subscription MMOs are still quite strong in Korea. The top three titles played at PC cafés are all subscription based.

DFC: Why go with the subscription model instead of a virtual item monetization? What were the advantages based on the game you were making?

Chris: If you dig into the current consumer perception around free-to-play games, you’ll quickly see that a significant portion of the longer-term players are wary of this nickel-and-dime approach. We respect that there is room for games with different business models, but TERA was designed to provide players with a very robust and high quality experience that we felt was better supported by a subscription model. Our decision to go this route ensures that the game designers are not burdened with figuring out ways to monetize the player – only with how to keep the game fun and engaging!

DFC: Please give us your perspective of the market for subscription MMOs in North America. Things have changed radically since Ultima Online in 1997, World of Warcraft in 2004, and today. What does it take to be successful in 2011 with a subscription MMO?

Chris: An MMO has to compete on the four P’s: product (quality), place (digital), price, and promotion. We believe what will make us different is our commitment to high quality service. Our goal is to exceed customer expectations with regards to the level of service we provide. That covers support, community, polish, stability, content, balance, and security. North American players have a high value bias towards companies and products that provide good service, especially when it comes to a product in which they subscribe.

DFC: TERA has been live in Korea since January. What has been the player response to date?

Chris: In February 2011, TERA saw a record setting launch in Korea. It settled in nicely as the number two MMO in the market and has maintained a strong following. The game recently went into service in Japan with a record breaking 100,000 users signing up for the closed beta test in a single week. We’re pleased to see how TERA has trended as it continues to perform remarkably well in the countries in which it is currently available.

DFC: What has Bluehole learned in Korea that has been useful in your work here, and for Frogster in Europe?

Brian: Running a live service is no small task, and we are paying close attention to the Korean service, as well as relying on our experts here at En Masse Entertainment. For Bluehole, the experience of supporting a live game 24/7 has been invaluable. Couple this with streamlining our pipeline for support in multiple territories – each with its own needs – and we have been able to mature greatly as a company over the past six months.

DFC: From Korean reviews we have read, it is not difficult to level cap TERA via casual play in three to four weeks. The big challenge in launching a new MMO is retaining existing players, and attracting new ones, especially for subscription products. MMOs are a service where content has to be robust, enjoyable and updated regularly. How does TERA’s game design overcome these challenges and keep those subs playing after a month?

Chris: Hitting level cap that fast would require serious sleep deprivation, lots of caffeine, and lax personal hygiene. I completely agree that keeping players is a bigger challenge than attracting new ones. But players in different parts of the world consume content differently. It isn’t safe to assume the reaction of a Korean or Japanese player will be the same as players in NA or EU – especially given the degree of game changes we’re implementing for the Western markets.

Expectations for a Western MMO have changed. Not only do you need to have a polished journey to max level, but you have to have a substantial endgame in place. We focus on three pillars in the endgame: PvE, including instances and epic boss fights; PvP, including battlegrounds and guild vs guild; and our social endgame, the political system. The political system is one of our unique features that empower users to control content in the game.

DFC: The Korean team has been quoted as saying one of the aspects of localization for the North American market is the addition of a much fuller story component that is not as important a concern in Korea. How has En Masse run with that task? What were your guidelines and goals in expanding the story aspect of the game?

Brian: Storytelling is at the heart of TERA. We’re fortunate to have a team at Bluehole Studio who understands the need to create an experience that delivers to both the global and North American audience. Without a doubt the expectations for story in the West are much different.

Our first official hire at En Masse was an exuberant Writing team manager who immediately brought in an experienced team including published fantasy authors to take on the challenge of not just creating a great story for the West, but to improve the story of TERA for all territories. Our Writing team lives by the motto of “Emotional rewards through storytelling.” They have gone way above rewriting content and actually developed quests and shaped lore.

DFC: How else has TERA changed in the adaptation to the North American market?

Chris: TERA was developed with a global appeal in mind and having that foundation has really helped us. We are currently working to adapt and add specific features for our audience, such as achievements, game pad support, adding to the level of dynamic/depth of combat, more Western intuitive controls, etc. Interestingly enough, what we’re doing on our end impacts the global version of the game as well, so all regions will benefit from these improvements. We have a quite a few changes in the works that we haven’t been able to talk about yet, but those will be revealed in the coming months.

DFC: Some of feedback we have seen from Korea is that the crafting system in the game is weak – inferior items to drops, and not much effort to max out. Is this an area of the game En Masse has worked on/enhanced?

Brian: Nothing in the Korean version is final for the Western version. We have to test and see. Our crafting system is accessible. We don’t force the player to choose two or three professions, but instead allow them to explore all of them. Crafted items can be enhanced to boss level drops but it takes time and planning. This system allows the average player to get 80% of the quality out of the crafting system, but then the hardcore crafters can squeeze out the remaining 20%.

DFC: The Battlefield PvP option was added after launch in Korea as an update. Are any changes to Battlefields being made for NA release? If so, please detail.

Brian: Battleground PvP is going to be epic. We’re looking at every aspect of the game to ensure TERA will be a lot of fun for the North American gamer, and we will share more at a later date.

DFC: Tell us more about the Lord, or political system, in the game. How did this feature come to be developed? What were your goals?

Brian: The political system was developed to empower our players and our community. By allowing them to determine their rulers – based on combat or popular vote – we feel that, much like real life political elections, the TERA community will have a polarizing topic on which to engage on a social level. The best part of this feature is that it allows players to shape content, and we are excited to see what they do with it. Players will have the ability to transcend the game and leverage media, forums, and social network sites to rally TERA players to their cause. We also fully expect the elected officials to use their position as a platform for speaking to En Masse as a publisher for what they want to see added or changed with the game. The power is truly theirs to utilize how they see fit, which is something that hasn’t been done before.

DFC: After working on the political system for a while, what had to change or adapt to make this aspect of the game work better?

Brian: TERA’s political system is a standout component of the game. There is no other MMO that delivers the complexity and depth that we offer, and our community will be a major influence on how this feature plays out – which is pretty exciting for us! So far the biggest changes we have had to make are in the little loopholes that players have found. As is their nature, players enjoy finding creative ways to work the system to their favor. The political system is now in a stable spot, and we’re working on enhancing the system with even more content and options for the vanarchs. The more there is to control within the position the more desirable the position becomes.

DFC: In what way does giving players and their guilds the opportunity to hold territory in a persistent way challenge the development process?

Brian: Empowering a few users means we need to make sure that what they do actually enhances the play experience of the majority of users. We always must keep in mind that for every 1 person elected to office, 10,000 are not. It’s a balance that we’ll strive for throughout the service of TERA. It’s going to be fun seeing how it all plays out once we are live.

DFC: The press we have read from Korea about TERA indicates that the political system is considered end-game content, and was not slated to be accessible at launch. Is the political system considered end-game content in North America and Europe, as well?

Brian: We consider the political system to be what really kicks off the social aspect of TERA. That said, participation in the system can start from level 20 and actual elections can take place at level 50 (below max level). The results of this will affect the entire population, so players will not have to wait to see what awaits them later on. As for availability, it will be active and running from day one in North America and Europe.

DFC: How would you define an action MMO? How is it different from the traditional MMO?

Chris: We coined “action MMO” as a category within the MMO genre as TERA delivers all the depth of an MMO combined with the visceral gratification of an action game. Players are going to have to make split second decisions and actively aim, dodge, roll, and get out of the way to avoid taking damage. In other words, it’s what all MMOs should be in this day and age. Current MMO combat is based on avoiding latency issues, but this isn’t 1998 anymore.

DFC: What are the challenges of developing an action MMO? Typical quest grinding isn’t very exciting in an action sense. What has to be new and different about playing an action MMO?

Chris: We are breaking new ground and setting precedents with TERA. With an action MMO, we are introducing the element of player skill into the genre, so balancing the difficulty of bosses and mobs is more challenging. This also makes class balancing a little more difficult. In general, action combat makes fighting and questing more fun and engaging because no two encounters are ever exactly the same.

DFC: Using the Unreal engine for an action MMO seems like a fine fit. What surprises arose, however, in using Unreal technology for TERA, and how did you adjust to them?

Brian: The Unreal Engine has been a great tool for us, due to its scalability on a variety of PC specifications. It’s also allowed us to create great in-game cinematics and trailers in-engine. Stability and performance are key to an MMO; and Unreal Engine 3 allowed us to focus more on what we do best. Our artists were not restricted by engine limitations, our combat devs didn’t have to wonder if achieving a high level of action was possible, and our world builders had a suite of tools at their disposal to create breathtaking vistas and unforgettable cities. I believe the lack of surprises may be the biggest surprise we had with Unreal Engine, thanks to its stability, performance and versatility.

DFC: We gather from some of the statements made so far that TERA might release in Europe prior to North America. Is that the case, and if so why?

Chris: No, our plan is to have TERA release at the same time in Europe and North America.

DFC: Do you worry you may launch too close to Star Wars: The Old Republic?

Chris: Hmm, I think they may be a little worried about launching too close to us! We are definitely aware of our competitors as well as consumer trends, but our focus is on delivering the best game we can and listening to our audience is crucial, as they are the ones who will ultimately determine if we succeed or fail. But because of its unique combat system, incredible depth, and magnificent visuals, TERA will stand out when we launch.

DFC: Does it make more sense to launch TERA away from Old Republic?

Chris: TERA will launch when we feel it’s ready. We believe there is room in the market for games that differ as much as TERA does from other MMOs. Our strategy is to push the trial of TERA because once a gamer sees and feels what is possible with our action combat system they will have a hard time going back to any other MMO.

DFC: What are your plans for bringing TERA to Latin America? Will that job fall to En Masse, or Frogster – the latter already tasked with localizing into Latin languages?

Chris: Frogster is our partner for Europe. Partners for other regions, including Latin America, will be decided on by En Masse Entertainment and Bluehole Studio. We have not made any announcements beyond publishing TERA in North America and Europe.