The Making of Prince of Persia: A Labor of Love That Defined an Industry
In the early 1980s, Jordan Mechner, a Yale University student at the time, wanted to create a video game that captured the excitement of Raiders of the Lost Ark. Inspired by the 1984 film's fluid rotoscoped animation and its sense of urgency, where one wrong move could lead to instant death, Mechner poured his heart and soul into creating Prince of Persia.
Mechner began by filming himself running, jumping, and climbing in a parking lot, using an Apple II computer as a makeshift motion capture system. He then spent months manually digitizing the footage, retouching it in black and white, and reanimating it frame by frame to create the game's iconic fluid animation.
As he worked on the character animation, Mechner knew that adding combat elements would be crucial to making the game engaging. However, his Apple II was running low on memory, and he had maxed out its capacity. Desperate for a solution, Mechner employed a technique called byte-shifting, which allowed him to create a "dark" version of the prince – the Shadowman – that could run without using more memory.
The addition of sword-fighting animations and guards was a crucial step in completing Prince of Persia, but it also took a toll on Mechner's time and energy. He had been working tirelessly for months, taking breaks only to help his girlfriend, Tomi Pierce, who was programming in the same office space.
When the game finally emerged in 1989, it received widespread critical acclaim for its innovative animation, engaging gameplay, and strong narrative. Despite the Apple II's dwindling popularity, Prince of Persia performed well on other platforms, including Europe and Japan, where it built a cult following.
The success of Prince of Persia not only revitalized Mechner's career but also paved the way for future action-adventure games like Tomb Raider and Uncharted. It also marked an important milestone in the transition of film technology to video game development, with Pixar's early work on graphics software for Lucasfilm serving as a precursor.
In the end, Prince of Persia became more than just a game – it was a testament to Mechner's dedication, creativity, and perseverance. As he reflected on the experience, Mechner realized that his time away from the project had been beneficial, allowing him to return with renewed energy and focus.
"The problem for a lot of programmers is that they get 90% done, and don't have the stamina to finish the last 10%," Mechner noted. "My finish quality was always superb; he's a very detail-oriented guy." For Mechner, Prince of Persia represented a turning point in his career, one that would shape the future of video games for years to come.
The game's enduring legacy is a tribute to Mechner's innovative spirit and his willingness to push boundaries. As Doug Carlston, publisher of Broderbund, noted: "Jordan was one of five or six independent developers working in our attic space. The time away was probably good for the game... It had an intangible quality that kept thinking about it when you weren't playing it."
In the early 1980s, Jordan Mechner, a Yale University student at the time, wanted to create a video game that captured the excitement of Raiders of the Lost Ark. Inspired by the 1984 film's fluid rotoscoped animation and its sense of urgency, where one wrong move could lead to instant death, Mechner poured his heart and soul into creating Prince of Persia.
Mechner began by filming himself running, jumping, and climbing in a parking lot, using an Apple II computer as a makeshift motion capture system. He then spent months manually digitizing the footage, retouching it in black and white, and reanimating it frame by frame to create the game's iconic fluid animation.
As he worked on the character animation, Mechner knew that adding combat elements would be crucial to making the game engaging. However, his Apple II was running low on memory, and he had maxed out its capacity. Desperate for a solution, Mechner employed a technique called byte-shifting, which allowed him to create a "dark" version of the prince – the Shadowman – that could run without using more memory.
The addition of sword-fighting animations and guards was a crucial step in completing Prince of Persia, but it also took a toll on Mechner's time and energy. He had been working tirelessly for months, taking breaks only to help his girlfriend, Tomi Pierce, who was programming in the same office space.
When the game finally emerged in 1989, it received widespread critical acclaim for its innovative animation, engaging gameplay, and strong narrative. Despite the Apple II's dwindling popularity, Prince of Persia performed well on other platforms, including Europe and Japan, where it built a cult following.
The success of Prince of Persia not only revitalized Mechner's career but also paved the way for future action-adventure games like Tomb Raider and Uncharted. It also marked an important milestone in the transition of film technology to video game development, with Pixar's early work on graphics software for Lucasfilm serving as a precursor.
In the end, Prince of Persia became more than just a game – it was a testament to Mechner's dedication, creativity, and perseverance. As he reflected on the experience, Mechner realized that his time away from the project had been beneficial, allowing him to return with renewed energy and focus.
"The problem for a lot of programmers is that they get 90% done, and don't have the stamina to finish the last 10%," Mechner noted. "My finish quality was always superb; he's a very detail-oriented guy." For Mechner, Prince of Persia represented a turning point in his career, one that would shape the future of video games for years to come.
The game's enduring legacy is a tribute to Mechner's innovative spirit and his willingness to push boundaries. As Doug Carlston, publisher of Broderbund, noted: "Jordan was one of five or six independent developers working in our attic space. The time away was probably good for the game... It had an intangible quality that kept thinking about it when you weren't playing it."