Origins The initial idea for a video game adaptation of
Blade Runner came from The Blade Runner Partnership (composed of
Bud Yorkin and
Jerry Perenchio of
Tandem Productions). They originally approached
Electronic Arts,
Sierra and
Activision, before
Virgin Interactive agreed to take the project on. However, the rights to the film were spread out over several entities, each of whom owned a different aspect, making production of the game complex from a
copyright perspective;
The Ladd Company owned North American distribution rights to the film;
Run Run Shaw owned international distribution rights; and The Blade Runner Partnership owned all
ancillary rights, and were the
bond guarantors, who had taken control of the film when it went over-budget and over-schedule towards the end of production. As a result, sorting out the rights took several years before Virgin were in a position to actually begin development. They ultimately hired
Westwood Studios to work on the game, but even with the rights secured, and the game in pre-production, there were still legal problems. As
Louis Castle, the game's executive producer, art director and technical director, explains However, Castle's unique idea for the game somewhat side-stepped the potential legal problems. He didn't want to adapt the film; he wanted to make an original game set within the film's
milieu. This would mean the game would not have to borrow as heavily from the film as it would were it a straight adaptation, hence avoiding the potential legal problems down the road. This allowed fans of the film the experience of seeing the sights and sounds of the movie, but without knowing where the story is heading. Designers David Leary and James Walls achieved this through a self-developed technology using
voxels (
pixels with width, height and depth). Castle explains, , co-founder of
Westwood Studios, and executive producer, art director and technical director of
Blade Runner. The use of voxels, however, meant 3D accelerators couldn't be used, as there would be too many polygons for a card to render. Instead, the designers used a fast rectangular rendering routine that rendered a rectangle whenever it had to draw a polygon. Speaking in 2014, Castle said "people ask me all the time "Why didn't you just use 3D?" Well, that's easy to say now we have full rendering pipelines and
shaders, but back then you just didn't. You had a few
vertex-shaded polygons and the
texel mapping just wasn't accurate on a lot of the cards. Nowadays I'd do it all in 3D." Another reason for not using 3D accelerators was that the game features roughly 140 locations, most of them open to player exploration. Each of these locations featured millions of polygons, well beyond the capabilities of even the most high end graphics cards of the time. The game's environment takes up 60–65% of the
CPU bandwidth, primarily because of the moving camera, but also because eight different characters can appear on screen at any one time – a large number for the technology of the time. Because of this, a powerful CPU was required to run the game, since the engine relied on the processor doing all the work in creating the 3D models. However, despite this limitation, the game runs at a minimum of 15
FPS, even on slow systems. The downside to this was that, since processor power at that time was limited, the in-game 3D models tended to look very
pixelated, especially up-close and when motionless, due to the low amount of voxels used to display them. However, had the number of voxels been raised to increase the detail on the characters, the game would have become too slow to play, even on advanced CPUs. All character animations in the game are based on
motion-captured actors, with the characters moving in the pre-rendered 3D environment. At the time, any game that attempted 1,000 motion-captured sequences was considered cutting edge;
Blade Runner featured 20,000. Speaking in 2014, Castle stated
Music The rights for the film's original soundtrack could not be secured for the game, so Westwood brought in their in-house composer
Frank Klepacki to create new tracks based on
Vangelis' score, and also to re-record some of the main tracks from the film. As Klepacki was not allowed access to the original master recordings, he had to re-create the music by ear. ==Reception==