The Saboteur shines on PS3 with new anti-aliasing technique
Pixel-counters, graphic junkies – call them what you will. Regardless of your stance on the practice, no one can discount the phenomenon – which has only intensified during this generation of gaming – that showcases people’s obsessive desire to dissect multiplatform games and hail one the victor over the other.
We here at PS3 Attitude usually care very little for these graphical comparisons. For the most part, the games are actually indistinguishable to the human eye and we’d rather focus on the game itself rather than one version having an almost invisible jaggy while the other does not.
That said, we’re also suckers for innovation, so Eurogamer’s recent Digital Foundry article where the PS3 version of The Saboteur is shown to present a whole new graphical technical in the battle against the ever-niggling bugbear of anti-aliasing is more than welcome.
We suggest you read the entire article to appreciate the ins-and-outs of this new programming foray as it does get exceptionally technical with various terms like morphological anti-aliasing bandied around like polygon-shaped confetti.
Interestingly, how Pandemic addressed the anti-aliasing issue with the PS3 version of the game (the 360 foregoes it completely) is not to rely on the traditional techniques (blurring the entire screen or incorporating the quincunx technique etc.) but to employ a brand new method. Introducing the Cell to perform full-screen anti-aliasing as each screen is being rendered, the super processor seeks out all the edges in real time and softens them accordingly.
What makes this new technique so exciting, however, is just how impressive it holds up on The Saboteur and its implications for all games destined for a PS3 release. According to the experts over at the Foundry, it also surpasses other console anti-aliasing options currently available suggesting the days of PS3 versions of multiplatform games suffering from “the Vasoline effect” or sub-standard anti-aliasing could be over.
It should be stressed that Digital Foundry are very clear that this new process will only cater to certain types of games, and that certain colours blend better than others (red and black appear to be the best, which just so happen to be the primary tones of The Saboteur) but, either way, it’s an innovative new step and one we’re hopeful EA will be eager to share with the developing community.
If anything, the more this knowledge is shared, we’re confident the more it will improve.