Pre-production began on TimeSplitters 4 in early 2007, with the goal of showing publishers that there is interest for the game via successful marketing.
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On the other hand, the PC version would be identical to the next-generation versions, using Games for Windows – LIVE for various features, such as matchmaking and account management. However, due to limitations, online battles could only have up to 25 human players as well as 40 AI players, compared to 50 human players/50 AI players planned for the main systems (Xbox 360/PC/PlayStation 3).
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Following the philosophy of offering the best experience on every system, as done by Star Wars: The Force Unleashed, the Wii version would offer content suited for the console, such as Challenge mode, a variety of fast paced mini-games that make full use of the unique controllers and Jedi Arena (1v1 lightsaber battles), which would take place in specially built environments meant to test the player’s lightsaber and Force skills. ĭevelopment continued into 2007, with Nintendo Wii and PC versions being signed in February and May, respectively. In August, the game was announced as a 'Secret LucasArts Project', a title it was meant to keep until E3 2007. This meant that the publisher would be involved with the day-to-day running of things and the decisions that were made regarding the game’s development, putting creative liberties below the need for approval. While the studio preferred owning its intellectual properties, working on a Star Wars project was special, as many of the employees were fans.Īt the same time, however, the company would now have to work with the milestone process, something it did not do with past games.
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Pictured here is Bespin's planned inverted vertical battlefield, which was later replaced with a traditional approach.īattlefront III was the second of Free Radical's work-for-hire projects. The vertical battlefield was pitched as the main feature of the game. The directors celebrated this by buying a lightsaber for everyone in the company. LucasArts, seeing that this game had massive potential, signed the game in June. It would have been a casual, fun experience, that would ensure a high amount of sales and satisfaction in both casual and hardcore crowds. Players would be able to play as Jedi, fly from ground to space, destroy a capital ship, then escape while watching its destruction – all in one session, where other players would also participate. Battlefront III would combine the ground combat of Battlefront and the space combat of Battlefront II to create a multi-layered battlefield. Thus, LucasArts would begin approaching multiple developers in 2006, one of them being Free Radical Design in March.įree Radical pitched to LucasArts the 'the most complete and authentic Star Wars experience ever'. However, such features would require updates to the game engine, something the one year development period would not allow for. Pandemic's vision for a third title would have featured a vertical battlefront as well as the ability to see your body and feet while looking down. įollowing the success of Pandemic's Battlefront II, LucasArts began looking for a developer to create a sequel for next-generation systems.Īt first, they were interested in Pandemic Studios continuing development but they declined after being offered only one year for development. However this meant that development on both the engine and the game would have to be done in tandem, limiting the ability for experimentation. Haze, as well as future projects, were to utilise a new C++-powered engine, which would, in theory, accommodate the demands of the next generation. As a result of high development costs, this was the first project the developer would not have full ownership of, with the rights being co-owned by Free Radical and the publisher, Ubisoft.
This would end up becoming Haze, an anti-militaristic shooter meant to showcase the horrors of war. Perfect and, as such, moved towards creating a new IP. While the game sold well and received high review scores, it did not generate enough revenue and led to worries about financing future projects. This did not bother the studio much, as they had achieved everything they wanted to do with Future The move into the next generation resulted in higher production costs, which meant that publishers were looking for games which would sell millions of copies.
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