This site is operated by a business or businesses owned by Informa PLC and all copyright resides with them. Informa PLC's registered office is 5 Howick Place, London SW1P 1WG. Registered in England and Wales. Number 8860726.
What Went Right
1. Think first. The need to come up with a workable schedule seems so obvious, and still it does not work out in so many cases. For us, by far the most important step was to come up with a schedule that - even given all the time pressures we were under - was realistic. This included the overall game concept as well as the details of the technical realization. It was absolutely essential to get level designers, artists, and programmers to talk to each other before final decisions were made, and to keep them talking to each other for the duration of the project.
Rather then implementing a classical computer language, we designed CPunsh as a drag-and-drop-based system of virtual cards, each containing a collection of instructions or decision points.
Star Wars: Rogue Leader's completely rewritten AI system offered a whole new set of possibilities to the level designers. On the N64 we always had to be overly performance- and memory-conscious. Both Star Wars: Rogue Squadron and Star Wars: Battle for Naboo used close to nothing else but enemies that were running along on predefined splines. This made it quite difficult for level designers to control large quantities of enemies and also make it seem as if the enemies actually would react to the player's actions. With Star Wars: Rogue Leader, this system got its long-overdue revamp. In this title, enemies are still guided by splines, but most of the action is controlled by flocking and other algorithms and is highly aware of the player's actions. The added creative freedom for level designers was truly a great asset.
4. Art: Painting by polygons. One thing our work on the original Space World demo really helped with was to get a thorough understanding about the basic art requirements of this title. The demo offered us a test run in terms of getting artwork out of Maya into the run-time engine. Only the basic animation and geometry pipeline developed for the Space World demo ended up in the final product, but this proved to be a key asset in speeding up the development of the shader data path later on, since we didn't have to start entirely from scratch.
Both the programmers and the artists had a clear understanding of what they wanted, and the specifications for geometry in particular were clear long before the bulk of the team moved over to the development of Star Wars: Rogue Leader. This technical groundwork, together with the exceptional work of all the artists on the team, helped Star Wars: Rogue Leader achieve the visual quality one sees in the final product.
One of the strengths of Gamecube's hardware is multi-texturing. Using well-understood techniques for our geometry representation and generation, we decided to concentrate our efforts on the texturing aspect.
An X-Wing modeled in Maya. We used tightly packed texture sheets wherever we could to minimize the overhead introduced at run time due to different material setups. It proved much faster to go for a more complex global material setup than for multiple simpler ones.
to craft models, this was definitely the right decision. The classic Star
Wars designs don't lend themselves too well to the modern ways of compressing
and refining geometry representation, such as subdivision surfaces or
NURBS, due to their boxy and angular structures. To get accurate representations
of these models, we had to rely less on technology and more on first-class
For the landscape, which was represented by a height map, the texturing was the single most important aspect of all. Only with multi-texturing was it possible to achieve the organic and natural look we were going for. The landscape texturing consists of multiple layers of repeating, general patterns. The trick was to combine all these layers with what we called "mix-maps," a set of simple grayscale textures that defined how the different types of patterns were to be combined. To add even more flexibility, we also allowed the mixmaps and patterns to be rotated against each other. Besides offering good looks, the use of mixmaps also gave the textures a small memory footprint, since we could easily hide the repetition of the patterns with clever setups for the mix-maps. Bump and detail maps finished off the effect.
All these texturing technologies were integrated either into L3D, our in-house level editor, or Maya's shader controls. This way, the artists and level designers had an easy-to-use interface in which to create all the texture artwork.
Some issues remain to be solved for our next game. For example, there was no fast and easy way for the artists to preview their work on the real hardware. Unfortunately things look quite different on a PC monitor than on a 6403480 TV display, but we were still pleased with the results.
5. Making some noise. With regards to audio, we had a good start. Factor 5 had an important role in the development of Gamecube's audio hardware, and we developed the MusyX audio system in-house. Because of this, we were able to build the audio part of Star Wars: Rogue Leader on a solid, fully understood API and tools.
On the creative side of things, it helped a great deal to have access to the Lucas Arts and Lucasfilm archives. While a lot of effects and post effects for voice recordings had to be redone and redesigned by our sound effects designer, having access to this data was very important in keeping things sounding authentic. We are in the lucky position of having two dedicated and very experienced sound designers at Factor 5, assets that can't be overvalued if one has to work on a tight schedule.
We also implemented a little tool that allowed the sound effects designer to mix the audio much like a sound designer in a movie would do. Using this tool, the sound designer is able to manipulate most parameters of sound effects in the game while the game is running. Since mixing sound effects is as important as designing their basic characteristics, this tool was truly worth the work spent on it.
Star Wars: Rogue Leader was the first game ever to feature a Dolby Pro Logic II (DPL2) surround sound encoder. When Dolby showed us the results one could produce using DPL2 while staying 100 percent compatible with the widespread Dolby Pro Logic system, we were truly amazed. Because we started with such a solid audio base, we could invest the time to develop our own DPL2 encoder for use on Gamecube.