As for lighting, in Halo 1, the graphics engine used radiosity for light mapping. Radiosity is a rendering method based off detailed analyses of light reflections on objects' diffuse surfaces. Images that result from a radiosity renderer are characterized by soft, gradual shadows, and this technique is used most frequently in rendering the interior of buildings, achieving photo-realistic results in scenes that are comprised of diffuse reflecting surfaces. Yet implementing radiosity takes several days to render, and therefore would lock up a level from being worked on. Not surprisingly, this delay was stressful for the content team, and global illumination in the game was quick and dirty. Furthermore, the artists on the team were highly frustrated by the delays and demanded "a more powerful version of radiosity" for the sequel-- in other words, something faster-- which, honestly, means not radiosity.

Instead, Perez claims Halo 2 will use "photon mapping." Photon mapping is an extension of ray tracing-- it makes the graphics engine capable of efficiently simulating global illumination in complex scenes. This technique can simulate "caustics" such as focused light, shimmering waves at the bottom of a pool of water, "diffuse inter-reflections" such as light "bleeding" from a red wall onto a white floor and tinting the floor red, and "participating media" such as clouds or smoke. With all these high end effects, the artists are sure to be pleased.

But not entirely pleased just yet. The levels of Halo 1 were built in strict "BSP" style, a standard set by John Carmack in which game worlds are constructed with slabs of mass-- something not flexible enough for artists. To reach a middle ground between BSP and the artists' requests, the programming team is simplifying the BSP implementation and adding detailed world geometry with environment objects-- much in the same way Unreal Tournament 2003's worlds' exteriors are built out of a rough BSP and then detailed with "static meshes," which Bungie refers to as the aforementioned environment objects.

IN CLOSING
At the end of the day, programmers have to tighten their boots and take all these challenges head-on if they want Halo 2 to be great and not just good. As Perez elaborated, everyone on the team has to "give a shit," and game programming is "99%... stuff you hate and 1% is the stuff you love. If you half-ass the 99% portion, then you're going to get a product that is 99% half-assed." From the abundant enthusiasm Perez demonstrated for Halo 2, though, you can be rest assured that Bungie does, in fact, give a shit.

To wrap up his presentation, Perez accepted questions from the audience. The first inquiry was where he and his comrades drew inspiration from. Not surprisingly, his answer was from other games the team plays. Graphical effects noticed in Zelda will be attempted in Halo 2, and if that doesn't quiet naysayers of that game's presentation, nothing could. Another inspiration was the "Desert Combat" expansion for PC game Battlefield 1942, which featured a helicopter that required two players' input to both fly and fire-- much like an aerial version of Halo 1's warthog. If he was hinting at something, we don't know just yet, but we may indeed find out at E3, in which a new in-game vehicle will be unveiled. Either way, when asked if there were going to be flying vehicles in Halo 2, Perez clearly assured us there would be.

Now, the wait toward E3 seems even harder than ever. Expect detailed analysis of Halo 2, from the show floor, next month. Thank you again to Michelle Lai, Adrian Perez, and MSImpact.

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