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It’s almost exactly the game that we outlined in our early General Design Document. “We hit the finish line on that production with something we really enjoyed playing ourselves.

The final result speaks for itself, but even decades later, Hudson can’t imagine changing anything about it. Fortunately, that approach worked and led to a really interesting, tactical combat scheme that made the most of our RPG systems.”

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This led to an interface a big ‘COMBAT MODE ENGAGED’ label, plus a visible queue showing the actions you’ve loaded up for each character. “ kicked off a competition to propose solutions. Our first prototypes were spot-on in terms of visualizing the game we all wanted to make.” Derek Watts had an eye for Star Wars, which allowed us to start building art very early. Level designs and maps came together really fast on the design side. James Ohlen knew what he wanted from the RPG systems. Drew Karpyshyn was an extremely fast writer and the story developed quickly. There wasn’t much hesitation or false starts-it’s amazing in retrospect how quickly we got to work on such a cohesive vision. “We all knew what we wanted from the start. KotOR was no different, but Hudson emphasized how their shared vision for the game made for a smoother process: lightsaber blur … and level art … It was a thrill just walking around and talking with people about what they were doing!”Įvery game has its fair share of ups and downs during development. Everything people were working on felt incredibly exciting. “The best part was working so closely as a team at BioWare inside such a magical IP. Looking back on Knights of the Old Republic’s development after 20 years and an illustrious career, Hudson still thinks of the experience fondly. It’s hard to describe the feeling of growing up obsessed with Star Wars, and then going to the place where we could walk among the people who created it.” That place is pure magic for a Star Wars fan and we were absolutely in heaven each time we went there. Sometimes that would involve a trip to Skywalker Ranch. “ part of working on a Star Wars game,” Hudson pointed out, “was we occasionally traveled for meetings with LucasArts.

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I helped out wherever I could, with bits of concept art, 3D modeling, and some technical things (like figuring out how to add lightmap shadows to our engine).”Īs a lifelong Star Wars fan, Hudson was more than willing to take on the challenge. During a typical day I would review art and design work with the leads, play the game and make feedback notes, make plans for upcoming milestones, and do calls or business trips to meet with LucasArts. As he explains, taking on the task involved being “responsible for the overall creative direction, planning the schedule, and working with our publisher LucasArts. “ the only disappointing thing about the project was it came to us so early in my career, because I would have loved to have a leadership role on such an incredible project … Greg and Ray must have remembered that moment, because when it came time to select the project lead, I had the incredible fortune of being chosen.”īeing a project director was a dream come true for Hudson, despite the heavy workload it entailed. Having only been with BioWare for a couple years, he never imagined he’d be picked to lead such an ambitious title. Hudson’s role in developing KotOR came as something of a surprise. Greg wandered by and we chatted about our excitement doing a Star Wars game.” “I was … testing a level I was working on for MDK2. “I remember shortly after hearing the news,” Hudson said. News spread fast throughout the company, and the excitement level was understandably high. creative freedom, while also having access to the essential parts of the Star Wars experience: Jedi, Sith, lightsabers, starships, etc.” We saw in the Old Republic an opportunity to have. “We wanted to tell the most important story of our era-meet legendary new characters, kill them off, destroy planets, and so on. Telling a story set during the classic films was a tempting prospect, but the decision to delve into the past was an easy one.

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pointed us to the comic series Tales of the Jedi, which explored the Old Republic, a time 4,000 years before the movies.”

LucasArts presented the company with two options: “One was to set the game in the timeframe of the movies-I think specifically the Original Trilogy. Looking to expand into RPGs, LucasArts’ then-president, Simon Jeffery, approached BioWare after it had made a name for itself in the RPG world with the critically acclaimed release of Baldur’s Gate. In late 1999 and early 2000, Lucasfilm was eager to capitalize on the new wave of Star Wars love.