Architect

Will Wright may not be the hands-on go-to guy for The Sims: Bustin�� Out, but there��s no denying he��s the grand visionary at Maxis. Employees often refer to him as the man behind the curtain, ensuring everything Sim-related runs smoothly. Making a name for himself with SimCity, Wright eventually went on to create the ultimate crossover game: The Sims (heck, even chicks dig it!). Even though he��s working on his next ��berproject, he still has time to lend his brain to Sims: Bustin�� Out.

Is there a unifying philosophy behind the entire (PC and console) Sims franchise?

If there is a unifying concept, I think it would be that we want players to own the world as much as possible.

What kind of thinking went into the two different directions of the PC and console versions of The Sims?

The first differences had to do with the players and the environment. Console players tend to be younger and are playing in a more social environment. Frequently, there are spectators watching over your shoulder as you play, and this influences how you relate to a game. I view the console versions of The Sims as experiments in cross-breeding, to some degree; we��re trying to combine elements of the PC gameplay with other, more goal-directed and level-based games.

How do you think the online experience of Bustin�� Out on the PS2 will compare with the ill-fated The Sims Online?

They are totally different beasts. One is about developing long-term relationships and achievement (The Sims Online), the other (Bustin�� Out) is about playing together to unlock cool new objects and explore new locations.

How do you make your games so appealing to everyone, even the elusive female market?

Part of the trick here is to get more females involved in the development process. At Maxis, we��ve been lucky to recruit a high percentage of women onto our development teams. There is something of a chicken-and-egg problem to solve here. One of the reasons we attract more qualified women is because we are making the types of games they like to play, which then helps us to make just those types of games better.

From where do you draw all of your ideas?

Most of the ideas I bring to games come from books I read. I read mostly nonfiction��science, sociology, biology��and find that many of the subjects I research are very compelling to me. I always feel a need to find ways to communicate these ideas to a wider audience.

Are there any other game designers you admire, and if so, why?

Yes, I have the utmost respect for Miyamoto-san of Nintendo; I love all of his games, and his craftsmanship is superb. I enjoy Sid Meier��s games because he designs from the player��s point of view. I like Peter Molyneux��s games for their creativity and the detail he puts into his little worlds.

How did you get into the industry?

I bought my first computer to control robots that I was building at the time. After teaching myself to program, I found myself becoming more and more fascinated with the possibilities. I bought some of the first games at the time��the ones that came in Zip-lock bags��and became totally hooked on the idea of building these microworlds.

Describe the ideal game you��d love to make.

Well, I��ve been working on it in the background for a few years now. Ask me again in a year when I can talk about it.

What would you be doing if you weren��t making games?

Probably making toys. Or perhaps making robots.

If you could go back and remake any one of your past titles, which one would it be and why?

I think I might remake SimAnt from a more immersive first-person point of view.

Do you have any advice for aspiring game designers?

Expose yourself to ideas, subjects, and design approaches from outside the games industry. There��s a world of useful stuff out there for you to discover, and by pulling from outside sources, you��ll contribute to broadening games rather than inbreeding them.

Copyright © 2003 Ziff Davis Media Inc. All Rights Reserved. Originally appearing in Official U.S. PlayStation Magazine.