Splinter Cell PS2 Designer Diary

Designer Diary 04/03/02

Technical Achievement

When Tom Clancy's Splinter Cell was originally released for the Xbox, it was hailed as a graphical coup, and the industry credited it with inspiring people to rethink the treatment of lighting and shadows in video games. The dynamic lighting effects were more than just a shiny package; they figured prominently in the gameplay, becoming a central character in the game. The critical acclaim left people wondering if it was even possible to bring this game to the PS2, a system perceived to be less technologically advanced than the Xbox. Expectations were high, and everybody was eager to see how we would approach the translation to the PS2. It was certainly a lot of pressure for our Shanghai team.

The dynamic lighting effects are more than just a shiny package; they figure prominently in the gameplay.

In order to create an environment rich with shadow, we had to design a dynamic lighting system based on a strong engine. We chose to work with the Unreal engine for the PlayStation 2 because it offered the power and flexibility we needed. If possible, we wanted to offer the player even more interaction with lights and shadows than was possible in the Xbox game, and we believed that the Unreal engine could make that possible.

We started the production one year ago by prototyping an entire mission on the PS2. It took us three months to really have a perfect prototype capable of delivering the high-quality graphics that we were aiming for. Once we learned that our engine could support our vision, the next step was designing all the details.

Our development mantra was always that it would be the final result that counted. Reaching that final result would require creativity and knowledge. When selecting algorithms, we looked into all possible solutions for any given problem, whether scientifically precise or rough simulations. Sometimes, a mixture of solutions had to be used to balance the graphics quality and the demands placed on the engine--specifically in frame rate and memory. After solutions were implemented, the parameters were fine-tuned with the help of graphic designers to reach the best result onscreen. Finally, each feature was allocated a certain CPU or GPU time, as well as a limit of memory usage. The engineers were responsible for optimizing the code to satisfy all these restrictions. The main features of course are the whole light and shadow system--key effects for the soul of the gameplay. With the implementation of the light map, dynamic lights, and projected shadows, we were able to create an atmosphere on the PS2 that was true to the essence of the game. The lighting of the character changes gradually depending on the light position in combination with the visibility indicator.

In the PS2 version, there are real-time reflections on surfaces and a hazy heat effect that radiates out from hot spots--these effects are not included in the Xbox game.

To further refine the effects we employed a 2D expert who specializes in trompe l'oeil--tricks of the eye--to hand-create sophisticated textures that reinforce the realism so important to the Clancy brand. When combined with the lighting, the entire effect was better than we could ever have imagined.

When viewed next to the Xbox version, I can proudly say that both games look very similar--which anyone who has programmed for either platform would agree is an achievement. But our team went beyond creating an identical twin for the new platform; we implemented new effects that create a really sophisticated and tight visual identity. In the PS2 game, there are real-time reflections on surfaces and a hazy heat effect that radiates out from hot spots--these effects are not included in the Xbox game.

Critics have told us that Tom Clancy's Splinter Cell is one of the best-looking games out for the PS2, and we think that gamers will agree. When they see how good this game looks they are going to freak out!