that Jango passed it. The bounty hunter agrees to be cloned but, in addition to his monetary reward, demands that he get to keep one unmodified clone for himself (thus honoring Rozatta's final wish). The game ends with Jango carrying the wounded Wesell to Slave I, while telling her not to push her luck when she asks to split the reward 50/50. DevelopmentStar Wars: Bounty Hunter began life when LucasArts was asked to make an Episode II-based game which featured the character, Jango Fett. In March 2001, game design documents were presented, and development began shortly after. The PlayStation 2 and Nintendo GameCube versions of the game have different custom in-house graphics engines, each designed specifically to take advantage of the two platforms' unique strengths and work around their unique limitations, but the core game engine is identical. In the PS2 version, they took advantage of both vector unit (VU) chips to drive the graphics to maximum performance. The DMA bandwidth was taken advantage of to use a high number of textures. There is full-screen antialiasing and texture mip mapping support. They used the second VU1 chip to handle all the character skinning and VU0 to handle all the skeletal animation transforms. Which enabled dozens of characters to be on-screen without bogging down the frame rate. They had 10 individually optimized rendering loops on VU1 to speed up the rendering process. Their PS2 graphics engine could move 10,000,000 triangles per second, and adding the gameplay, collision, logic, textures, sound would go down accordingly to around 30,000 to 50,000 triangles per frame, all at an average frame rate of 30 frames per second. In the Nintendo GameCube version, they took advantage of the system's fast CPU to achieve a higher frame rate, and added more polygons to characters, especially Jango, who has roughly twice the polygon count on GameCube. The GameCube's texture compression allowed them to use high-resolution textures. Texture compression also allowed for improved color variance on textures. MIP mapping support across the board on all textures helped provide a rich and consistent environment. They exploited additional memory to improve load times. They implemented projected shadows on all the characters and an increased draw distance to allow for vista views. Level design began with what designer Michael Stuart Licht referred to as spatial studies. Design began with paper cut-outs of various rooms. Licht would rearrange these rooms until he found