For good measure, he set Max’s blind hunt for revenge against an apocalyptic winter storm - a none-to-subtle reference to Ragnarok, the mythical end-of-the-world battle between gods and one of many nods to Norse mythology. Lake wanted players to experience that implosion first-hand, peppering the game with Max’s staccato narration (provided by New York actor James McCaffrey) and nightmare sequences set deep inside the character’s own psychosis. Hunted by his fellow cops, haunted by his murdered wife and daughter, Max’s most violent and self-destructive impulses kicked in. He started with Max as the typical Chandleresque hard-boiled detective, then systematically destroyed him.
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Sami Järvi - better known by his professional name, Sam Lake - brought big ideas to the table. A team of designers scouted seedy Manhattan locations escorted by a pair of ex-NYPD bodyguards while, back in Finland, Project Lead and Remedy co-founder Petri Järvilehto turned to his old buddy to write the story:… the same guy he’d brought in to help script Death Rally. Miller provided funding and guidance, and would publish under Apogee’s 3D Realms and Gathering of Developers imprints. Max Heat and his expensive trademarks went straight into the trash. Then someone from Remedy suggested “Payne” as an alternative. Eventually, for lack of anything better, they went with Max Heat and spent $20,000 securing the worldwide trademarks on it.
Miller threw out Max, but nobody knew what Max’s last name was.
Miller wanted everything built around a strong lead character with an iconic name that doubled as the game’s title, a la Duke Nukem. Most importantly, the name “Dark Justice” had to go. The team drew one from action-film director John Woo’s trademark slow-mo shootouts. It also needed a hook no other game could claim. Not a problem for Remedy they’d made the bulk of their capital on landmark 3D-graphics-benchmarking software.
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He insisted Dark Justice go full 3D just like the biggest release of the day, Tomb Raider,… only with a decent camera.
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A decade in the industry had given Miller very specific ideas on how to build a marketable game. Miller went with the shooter, but he wanted changes before he threw any weight behind it. Remedy soon pitched Apogee founder Scott Miller three new ideas: another racing game, a Decent: FreeSpace– like space-combat sim, and Dark Justice, an isometric, neo-noir shooter inspired by Interplay’s twisted death-a-thon, Loaded. Everyone wanted to keep the momentum going. Death Rally, a circuit-race variation on Twisted Metal‘s automotive carnage, helped them find a publishing partner in Apogee, the name behind smash hits Commander Keen, Duke Nukem, and Wolfenstein 3D.
Barely a year old and with only two dozen people on the payroll, Finnish developer Remedy Entertainment scored a solid hit on their first try.
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