1. Level Design Game Design Vishnu Kotrajaras, PhD

2. What in general? See if artist got the wrong scale. See if gameplay supports enough levels. Pestering people to fix problems.

3. Level in games Normally, it is what can be put into memory at once. One level –Space invaders –Centipede Maps, accompany by objectives –StarCraft Decorations –Sport games Something for the players to construct from a single level –Civilization –SimCity

6. Level separation Difficulty and tension ramp upward toward the end of a level. –Some mini-resolution at the end, such as boss, or something to obtain. –When a player finish a level, he must feel proud. How large the level is depends on the system memory. –Must load a new level if memory runs out. –Spyro the Dragon on PlayStation does not have to load. Because Spyro flies into the air between levels. (new map can then be loaded.)

9. –Half-Life In Quake, levels are completely independent. Takes lots of time to load. Half-Life map is much smaller, but it has so many maps connected together. –Fast loading time. –Monsters can track you across the maps.

11. Level Order Big shoot out should be alternated with more strategic or puzzle-oriented levels. Otherwise, it will look very unbalanced. Unreal –Levels are independent, because there is no story. The importance here is just coolness. Indiana Jones and the Infernal Machine –Story is very important, so the levels must correspond to it. –Design team and story team have to work hard.

13. –The level need not be planned to minute details, however. –Leave it to the level designer. –The level designer must know what the level wants to achieve, from the story point of view.

14. Level components Action –How much action? How many battles? –Pacing Intermissions –Must know enemy AI and design the map that will lead to interesting conflicts. –Must know the place players can use for cover. –Set up the level to encourage players to come up with their own strategy.

16. Exploration –Player that sees the map for the first time will always be tempted to explore. It ’ s fun. –Must think ahead of how player will explore the level. –The fun depends on how the level flows and what the player has to do to reach new area. –Does the game only has 1 path, or more? A very action-oriented game normally has 1 path. –Will the path be obscured, or obvious? –FFXI

19. Puzzle solving –Switch flipping in FPS. Exploring until the player finds the puzzle. Easy. –Moves mirrors so a laser can reflect to the correct position. More clever type of puzzle. –How much will you have puzzle?

20. Storytelling –RPG Must set up levels to support appearances of NPC. –Historical war game Level must be set up according to history.

22. Aesthetics –Look and feel. –But this should not be the first priority. –Because beautifulness can affect gameplay. Example, gorgeous cathedral Hard for player to navigate. Hard for AI to find path through it. Engine may not handle the detail. –Must balance beautifulness with other aspects. Fewest polygons while still looking good.

25. –Put the texture to guide player where he cannot go. –Lighting can hide secret areas. Puzzle can be used to set the light. –Making a hard-to-get-to area looks fabulous. This will reward the player.

26. Level flow Mario, Tomb Raider, Doom –Plays through a distinct beginning to a separate end point. –The main part is exploring the level. –Once a player pass, the level becomes less fun. Scripted encounter causes player experience of the level to remain the same. –The flow is more or less linear, with additional few choices. –Racing game is also like this.

27. Grand Turismo

28. RPG –A bit more non-linearity. –The designer usually intend that the player navigate to a particular location in a particular way. –Hub style gameplay allows player to branch off, with a central return point, such as a town. –Similar flow, compared to action titles.

29. Strategy –Include Quake Death Match. (exploration is not fun here, but is needed for winning.) –Include sports. –Level flow is less clearly defined. –Exploration is not the main part of enjoyment. –Battles may take place on any part of the map. –Battle can move from one location to another. –Certain sections of the map may never be used. –The level flow is less predictable. –Variation example: Civilization hasn ’ t got breaks, while WarCraft has.

30. Quake 3 Arena

31. Example of a Quake Building How come no one notices how strange this looks?

32. Militia Map in Counterstrike Why is that valley so weird looking?

33. Good levels Player cannot get stuck. –Example, use dynamite to blow up traps. –If use all dynamite before disarming all traps, the player get stuck. –It takes a lot of planning. Sub-goals –Various task that contribute to the final goal. –Example: check point in racing games. Sub-quests in RPG. Payer gets reward that help them with the main goal. –Must make it clear, so player knows he is progressing.

34. Landmarks –Help ease the player ’ s exploration. Limited backtracking –Player will not be interested in backtracking through the level that he just passed. –But this may be ok in RPG, where we may want it to be realistic travel. Provide alternative transport then. Success the first time –Must have appropriate difficulty. –Allow good, observant player to pass the first time. –Others, with more experience, will be able to pass later.

35. Navigable areas clearly marked –Reachable slope should appear different from non-reachable slope. –Do not let player play by trial and errors. Door 10 doors, only 1 is unlocked. Boring. Choices –Paths, ways or methods to accomplish goal. –Places in battles. Item in dangerous area,to be chosen whether to pick it up.

36. process Wait till get the final movements of main character. –Remember to do prototype with level first. Sketch outline –Must understand what the level is going to do, from design and story viewpoint. –Then do pencil and paper sketch. –Make the most important part first. –This sketch can be shown to the team.

37. Base architecture –Just make sure player can access the level well. Repeat last topic until navigating starts to be fun. (still focus on normal navigation) Add parts that use player ’ s moves. –Placing monsters. –Items. –Puzzles. –NPC. –Starting unit placements. –Later reinforcements. Refine gameplay until it is fun Refine beauty Final playtest

38. All about architecture

39. The Role of Architecture in Videogames Reality is for suckers We can ’ t easily turn 3D worlds into 2D maps in our heads!

40. 1. Levels of Scale A balanced range of sizes is pleasing and beautiful.

41. 2. Strong Centers Good design offers areas of focus or weight.

42. 3. Boundaries Outlines focus attention on the center.

43. 4. Alternating Repetition Repeating various elements creates a sense of order and harmony.

44. 5. Positive Space The background should reinforce rather than detract from the center.

45. 6. Good Shape Simple forms create an intense, powerful center.

46. 7. Local Symmetries Organic, small scale symmetry works better than precise, overall symmetry.

47. 8. Deep Interlock and Ambiguity Looping, connected elements promote unity and grace.

48. 9. Contrast Unity is achieved with visible opposites.

49. 10. Gradients The proportional use of space and pattern promotes harmony.

50. 11. Roughness Texture and imperfection convey uniqueness and life.

51. 12. Echoes Similarities should repeat throughout a design.

52. 13. The Void Empty spaces offer calm and contrast.

53. 14. Simplicity and Inner Calm Use only essentials; avoid extraneous elements.

54. Summary Game Spaces are not sculpted based on reality. You will sculpt them in order to: –Give rewards and challenges appropriately –Build and break suspense –Create certain feelings –Send a message –Allow for the game action you would like –Help people find their way –Clarify some things, obscure others –Stay within limits of your technology –Control people into the experience you want