Roleplayers inclined to play the game ‘as intended’ struggled in the new ecosystem, which was defined by space karate. It was a form of Star Wars kung fu invented for a fighting game on the original PlayStation and, through developer oversight, it came to define early Star Wars Galaxies. A niche combat discipline, Teräs Käsi, was discovered to be much more powerful than any other way to play. When it did not work, in those early days, it was because of balance problems. If you were looking for a new blaster, you would scan listings for advertisements from players, journey to their shops in player-built cities, and buy what you wanted from customised NPCs in buildings that had been decorated through an elaborate object manipulation system (with the help of player architects and interior designers, naturally).
You might start a mining company just to save enough money for an expensive off-world shuttle, and once on that other world you might decide to settle down and never come back. Players came up with get-rich-quick schemes for themselves or took up jobs to pay the bills on their way to something else. When it worked, this created a wonderful sense of place. Similarly, you might choose to buff your stat pools with food created by a chef or go to a cantina, where player musicians and dancers could offer buffs to experience gain. These would require the attention of a player medic, often found in medical centres where they received a bonus for their work. Light injuries would heal over time, but more serious wounds would not. Interdependency between players was encouraged. Instead of classes, Star Wars Galaxies gave each character a budget of skill points to spend on professions that could be freely mixed and matched in whole or in part. If an aspiring Han Solo wanted a drink, then they should be able to buy one from a player who-for whatever reason-aspired to be that bartender from the Mos Eisley cantina. If the player wanted to be an adventurer, the logic went, then they should be an adventurer in an ecosystem that also included craftsmen, doctors, dancers, pilots and farmers.
In the view of Koster and his team, an MMOG was a persistent world driven by systems that emphasised player participation at every level. Galaxies’ creative director, Raph Koster, had been a lead designer on Ultima Online. In its final form, Star Wars Galaxies was a mess of contradictory creative urges whose design and technological foundations had been stripped out from under it-but it was an ambitious mess, the type of game that players often ask for but rarely get.
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