The Dwarf Fortress of survival gaming has been in continuous improvement for 33 years, and its creator would not suppose he’ll ever cease updating it: ‘When I accomplish one characteristic, I all the time have two extra ready’

Dwarf Fortress has achieved legendary standing for its furiously detailed algorithmic worlds, its legendarily lengthy improvement, and the truth that its creators, Tarn and Zach Adams, appear content material to proceed engaged on it for the remainder of their lives. But Bay12 Games’ monument to emergent storytelling is not the one venture of its form. In reality, it is not even the oldest life simulation that is nonetheless in lively improvement.

Indeed, whereas calling UnReal World the Dwarf Fortress of survival gaming is handy shorthand, it is perhaps fairer to say that Dwarf Fortress is the UnReal World of fantasy fortification administration. A procedurally generated survivalist roguelike set in Iron Age Finland, UnReal World has been in continuous improvement since 1992.

In the decades since it launched, UnReal World has amassed a dizzying array of systems. It pioneered mechanics like crafting and shelter construction years before they became mainstream, while it also boasts complex animal AI, a highly detailed combat system that simulates injuries to specific body parts, and magic inspired by Finnish folklore. And it’s all the work of just two people.

UnReal World is the creation of Sami Maaranen, who together with programmer and longtime UnReal World collaborator Erkka Lehmus, runs the indie studio Enormous Elk. Maaranen started designing UnReal World when he was simply 14 years previous, having discovered to code throughout his childhood.

“At about the age of maybe eight or nine, we got our own Commodore as a Christmas present, but it wasn’t a Commodore 64, it was a Commodore 16, because it was a little bit cheaper,” Maaranen tells me over a scratchy video name from his house in rural Finland. “We had my uncle visiting [that] Christmas, and he was a bit of a tech guy, into computers and stuff, and he used to read this manual to us kids, me and my older brother.”

Eventually Maaranen graduated to a PC, the place he grew to become obsessive about on-line Bulletin Board Systems, even operating his personal for a time. “The BBSs were full of interesting indie games, and I found the roguelike [genre]—Nethack, Moria, Omega—and they hit me really hard,” he says. “At some point I thought ‘Hey, I’ll try to create a roguelike of my own.'”

This initial version of UnReal World was a more traditional fantasy roguelike than the one playable on Steam right this moment (it also just launched on GOG). “It started as mimicking or borrowing ideas from the games that I liked,” he says. Maaranen was additional impressed by pen & paper roleplaying video games like D&D and RuneQuest. “I was a big fan of those fantasy worlds.”

Maaranen bought the primary model of UnReal World by way of the BBS boards utilizing a shareware mannequin, with the purpose of constructing sufficient cash to keep away from having to get a summer season job. “That was the usual chore you had to do as a schoolkid,” he says. “I thought maybe enough people would buy it so that I don’t have to get the summer job and continue on the programming, and it worked out.”

As Maaranen entered maturity, his curiosity shifted towards extra grounded roleplaying settings, first by way of extra “realistic” pen & paper RPGs like Hârnmaster, then ultimately the actual world itself. Specifically, Maaranen and Lehmus developed a fascination with historical Finnish historical past and mythology, which Maaranen places right down to them rising up as countryside children. “It seemed like many roleplaying games had this generic medieval fantasy world,” he says. “There was a feeling that, if we are going to continue making UnReal World, it has to be something different.”

Consequently, Maaranen started nudging UnReal World towards its present historic setting, changing the high-fantasy races with Iron Age human cultures. The first survival components arrived someday in 1996, akin to a climate system, simulated starvation, and the power to construct shelters. “For a long time, it wasn’t the purpose to create a survival game,” Maaranen says. “These elements came naturally because we tried to recreate the worldview and traditional mechanics of livelihood for ancient people, and it’s a lot about survival.”

While there are apparent platform milestones for UnReal World, akin to its debut on Windows in 1999 and its arrival on Steam in 2016, it is more durable for Maaranen to single out key moments in its design historical past, just because its updates have been largely iterative and comparatively constant. That mentioned, he does recall a couple of necessary moments, such because the addition of a crafting system, which arrived round 2005.

“It came from one of my friends who was playing the game a lot at the time. I remember quite clearly the first time he suggested that ‘Hey, Sami, wouldn’t it be great if the player character could craft something?'” Maaranen explains. “And at first I thought ‘Nah, I don’t think it’s necessary.'” Yet Maaranen reconsidered, ultimately including a fundamental system to craft easy weapons—”probably something like a primitive javelin or club”.

The players went wild for it. “They loved it and they wanted more,” Maaranen says. As such, crafting has become a major part of UnReal World, with many recipes and crafting methods based on historically authentic processes that Maaranen has tried out for himself. “Like how to make thread out of a nettle plant,” he offers as an example. “[It] contributes to the game, because I want to transfer as realistic [an] experience as possible.”

Another element Maaranen is particularly proud of is UnReal World’s magic system, which is based heavily in ancient Finnish folklore. “The spells and rituals and magic that exist in the game, they are picked up from real spellbooks that have been preserved by recording old people’s tales,” he says. “It has been really interesting to go through those and pick the ones that fit the game.”

Today, UnReal World is a completely different game from the one Maaranen originally made. He estimates that only 5% of the underlying code remains the same as it did in the early 2000s. “[There are] some ancient functions somewhere, or ancient remarks,” he says. “Sometimes when I go through the code, fixing or adding something, I come to think ‘what’s this?'”

For Maaranen, UnReal World is more than just a project, it’s a companion that has been with him for most of his life. The amount of time he spends on it ebbs and flows with his lifestyle. There are periods when he works on it full time, or periods when it’s more of a part-time concern. But it is always there, always the project he is drawn to creatively. Indeed, while he’s dabbled with making other games in the past, he always ends up coming back to UnReal World.

“In a big simulation game, when it’s set in history and when you are basically doing everything by yourself as an indie coder, if you have any ideas—good game ideas, good feature ideas—you can put them in there,” he says. “If you want to create a fishing simulator, you can create it within UnReal World, you can spend a year polishing the fishing mechanics. If you want to create a story-based game, you can add a really nice quest to UnReal World.”

To date, Maaranen has been working on UnReal World for 33 years, and there are countless features he still wants to add. His current development focus is clothmaking, which he plans to make “much more detailed and more hardcore”. After that, somewhat appropriately, he wants to add permanent NPC companions who will accompany the player through their life, including the ability to get married. “It’s quite a big change, actually…because now it’s a single-character world,” he points out. “It changes the game quite a lot, if somebody will stay with you.”

There are also some dream features Maaranen would like to add, if he can find the time or resources to do so. “If I had all the time and also power in my hands, I would like to make the other human beings in the game world [have] a lot more artificial intelligence,” he explains. “You could have greater interactions with them, and they would be more aware of things, so they would become more alive.”

Such features could be years in the making. But it’s entirely possible that Maaranen will achieve them, as he has no intention to stop working on UnReal World, ever. “It’s quite impossible to see that happen, because when I accomplish one feature, I always have two more waiting,” he says. “So, in that sense, it can’t be finished. When my imagination shuts down, then it may be.”