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It developed techniques that would draw the bare minimum for any frame and that would stream the geometry of the track from the DVD as you drive around the track to make best use of the console’s memory.Īt the same time, Burnout 3 was Criterion’s first game for Electronic Arts, and they wanted to impress.
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To achieve this target while also presenting long and exciting tracks that would look better than its competition, particularly Need for Speed, Criterion had to push the PS2 to its limits. Why is that? Because it’s really technically challenging.” “The only others were Namco’s Tekken team. “The arcade racing games did it, and we were one of the only teams stupid enough to do it on PS2,” says Ward. Burnout 3 runs at 60 frames a second (at least on NTSC TVs). “Boosting doesn’t add that much speed, only 10% or something, but it doesn’t feel like it, it feels like you’re going another 50 per cent faster,” says Walley, busting your understanding of the whole game.Īnd then there’s its buttery-smoothness. And when you boost, the view gets even wider. This has the effect of increasing the sense of movement in your peripheral vision while making things in the centre of the view appear smaller and rush towards you faster. The roadsides are also thick with detail – lampposts, trees, billboards and buildings – so they flash by, and the team also made the camera wide-angled. “But when you make things twice as big, suddenly you lose the speed, so we had to make the cars twice as fast,” says Walley. You can’t dance through the traffic or light up the boost and chain it. They have to be really wide, much wider than real life. “A bad racing game is one where you bounce around the walls all the time, so we had to get the sliding right and once you’ve got a handle on that you can make nice tracks. “The tracks are built around how the cars slide,” says Ward. That’s because the roads are twice as wide as they should be. The visual tricks that emphasised Burnout’s need for speedīut while Burnout is fast, getting the sense of its speed across was still a challenge. But you’re surrounded by these themes and you’re soaking it up subconsciously.” “It’s completely peripheral because generally you are just playing the game and trying not to crash. It’s not the only use of an icon on the track: its castle is based on Disney’s Cinderella Castle, which in turn is partly based on Neuschwanstein Castle in Bavaria.
“Everyone’s quite familiar with that mountain at the beginning of Indiana Jones, so that’s the reference I used,” he says. For example, the familiar-looking mountain in the bend just after the toll booths is based on the Paramount logo. “In my track there’s a bunch of stuff that you associate with alpine locations,” says Walley, who now runs his own studio, Escapist Games. Tracks had, therefore, to get across their sense of place very quickly, whether the Californian forests or a Hong Kong cityscape.
Indiana Jones and Cinderella inspired the track side details The first car you have access to is faster than Burnout 2’s speediest rides, and by the end of the game you’re driving Formula One-style racers.
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And Burnout 3 was the fastest in the series so far. It was enough to make Ward, who co-runs Danger Zone developer Three Fields Entertainment, really want Burnout 3 to have an autobahn.īurnout has always been about speed, and your attention during a race is almost entirely fixed on the vanishing point so you can react to oncoming traffic and turns.
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When they arrived at the terminal, the driver refused payment and wheel-span away. “I said, ‘But I need to get to the airport!’ And he said, ‘If I drive really really fast, could you put your seatbelt on? This is going to be a hot diesel drive.’ He floored it.” Just after setting off, the driver took a call and learned his wife was in labour. How a woman going into labour inspired the trackĪnd it was inspired by a taxi journey director of design Alex Ward took to Munich’s airport while promoting Burnout 2.
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Released in 2004 for PlayStation 2, it was made at a time when just one person could build every aspect of a track, from the texture of the road surface to all the sights that zip past. It was created by just one artist, Chris Walley, at developer Criterion Games. It’s a track of wild winter crags and old castles and also high-tech bridges and highway toll booths, and huge corners that beg to be drifted through. The wide autobahn sweeps through a valley and heads up into the mountains, past snowy firs and rocks and towards the peak and then it heads back down, under a towering viaduct, through a modern city and back again, ready for another lap.īurnout 3: Takedown‘s Alpine track is a blistering trip through the Bavarian Alps, a thrilling ascent and descent along a road built for speed.
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