Level Design

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Level Design
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Level Design

• Good level design combines several elements to
  form a compelling world in which the game is
  played.
• Modeling, lighting, animation, and artwork.
• Music and sound effects.
• Architectural and environmental design.
• Enemy and obstacle placement.
• If a game level is designed well, these will fit
  together seamlessly.
• If not, the game will suffer as a result.

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Level Design
Screen shot from the Warcraft III level editor.
Tools like these are used to combine the various
level elements together to produce a smooth and
seamless level.
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Types of Levels

• Before designing a level for a game, it is
  important to know what type of level is needed
  for the game.
• In many cases, this depends on where the level
  fits into the overall structure of the game and
  the role that the level is to play within the
  game.
• There are many types in the end

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Types of LevelsStandard Levels

• Standard levels are used to contain the typical
  gameplay of a game and are used to contain most
  of the story of the game.
• Consequently, these levels make up the majority
  of a games levels.
• Usually, around 90 of a games levels are
  standard levels, while the rest are special
  levels of one of the other types.

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Types of LevelsStandard Levels
Screen shot from Halo 2. This is one of the
standard levels near the beginning of the game.
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Types of LevelsHubs

• Hubs do not have the same gameplay model as
  standard levels.
• Hubs are levels that tend to be used to connect
  other levels together.
• Consequently hubs can have multiple entry and
  exit points, although not all need be accessible
  on the first visit to the hub.
• Typically, players can return to hubs multiple
  times throughout a game for some purpose.

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Types of LevelsHubs

• In addition to connecting levels together, hubs
  can serve other purposes as well.
• They can provide safe zones for players.
• They can provide gameplay elements for player
  maintenance (training, equipping, receiving
  missions, healing, and so on).
• Not all games have hub levels.
• They tend to be more common in RPGs, adventure
  games, and some action games.

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Types of LevelsHubs
Screen shot from Lego Star Wars. Dexters Diner
serves as a hub levelthat connects other levels
together, acts as a safe zone, and
providesplayer maintenance facilities too.
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Types of LevelsHubs
Screen shot from Oddworld Strangers Wrath.
The town is a goodexample of a hub level, with
safety, player maintenance, andquest assignment
possibilities.
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Types of LevelsHubs
Screen shot from We Love Katamari. This is the
hub level for the gameand it is uh a little
on the different side.
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Types of LevelsBoss Levels

• Obviously, boss levels are levels that contain
  game bosses, and consequently are climax points
  within a game.
• Whether they be bosses, mini-bosses, orthe final
  boss of the game.
• Boss levels are often designed around the boss
  in question.
• This includes how the boss attacks, and how the
  boss can ultimately be defeated.

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Types of LevelsBoss Levels

• Boss levels provide a break from the standard
  levels in a game.
• Typically cover a lot less territory thanthe
  standard levels.
• Can also have different gameplay mechanics.
• Boss levels also typically trap or otherwise
  contain the player so thatthey cannot escape the
  area.
• At least not until they defeat the boss

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Types of LevelsBoss Levels
Screen shot from God of War. While cramped, the
boss level for thefinal fight with the Hydra was
designed well around the experience.
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Types of LevelsBoss Levels
Screen shot from Armed and Dangerous. After
finishing an area, quiteoften there were boss
battles involving using a turret to ward off
wavesof enemies. A different style of gameplay
from the rest of the game.
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Types of LevelsTutorial Levels

• Tutorial levels are typically among the first
  levels seen in a game.
• Their purpose is to teach the player the
  fundamental skills involved in the game.
• They are relatively short compared to standard
  levels, focusing on the training of the player
  and little else.
• Tend to contain relatively simple challenges and
  obstacles.

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Types of LevelsTutorial Levels

• Tutorial levels can be among the more difficult
  ones to design properly.
• They must teach the player multiple new skills in
  a short amount of time, as you do not want the
  player delayed from getting into the rest of the
  game.
• At the same time, the training scenarios must be
  spaced out and paced so that the player is not
  overwhelmed by too much at once.
• They must somehow fit into the rest of the levels
  in the game smoothly, and must not seem out of
  place in comparison, which can be hard,
  especially when you must consider the player
  might skip them.

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Types of LevelsTutorial Levels
Screen shot from Psi-Ops The Mindgate
Conspiracy. This game featuresmultiple tutorial
levels, each teaching a different gameplay skill.
Theseare nicely integrated as memories
recovered as the game progressesto teach the
relevant skills as they are needed.
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Types of LevelsBonus Levels

• Unlike other levels that can be critical to the
  completion of a game, bonus levels are optional
  and not required for game completion.
• Typically, bonus levels are given as rewards to
  players for some kind of extra effort in the
  game.
• In some games, however, bonus levels are
  sprinkled throughout the game and are accessible
  without extra effort.

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Types of LevelsBonus Levels

• Bonus levels also provide a break from standard
  levels.
• They can be shorter and use much different
  gameplay than standard levels.
• Completing a bonus level might provide a further
  reward, like a special weapon, item, and so on,
  depending on the game.
• Bonus levels should be the lowest priority on any
  project, and are one of the first things cut if
  time runs short.

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Types of LevelsBonus Levels
Screen shot from Mario Bros. This is a bonus
level in which the playermust grab as many coins
as possible before time runs out.
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Where to Begin?

• As a level designer, you must keep in mind the
  premise and flow of the game.
• Before beginning work on a level, consider why it
  is there in the first place.
• What type of level is it?
• What function does it fulfill in the grand
  schemeof things? How does it relate to other
  levels?
• Does it introduce a new character, weapon,
  monster, or skill to play the game?
• How does it advance the story of the game?
• When does it show up in the game?
• Is it part of a single player or multiplayer game?

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Where to Begin?

• With those considerations in place, it is time to
  select the single idea as the focus of the level.
• It can be a gameplay idea, based around some
  activity that must be completed.
• It can be a visual idea, based around how the
  level will look and feel.
• It can be a gimmick idea, based on some
  interesting concept to be used in the level.
• Whatever the idea, it must become the unifying
  theme for the level.
• If there are too many ideas, it loses focus and
  the player becomes confused instead.

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Where to Begin?
Screen shot from Unreal Tournament. The single
premise of this level a castle on an island
floating in space.
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Where to Begin?

• Although each level has a single focus, ensure
  there is variety from level to level.
• Change type of objectives, obstacles, setting,
  mood, enemies faced, and so on.
• Without changes from level to level, the user
  will quickly become bored and disinterested in
  the game, as each level just provides more of the
  same.

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Where to Begin?

• Each level should be planned out in great detail
  in advance.
• Do this on paper to allow for more iterations and
  more refinements in less time.
• This includes textual descriptions, sketches,
  maps, models, photographs from real world
  locales, and whatever else is need.
• Do not go to the computer and level tools until
  you have a really good idea on what exactly to
  build.

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Designing the Level

• When designing a level, a designer will
  ultimately be creating the following
• The space in which the game takes place.
• The initial conditions of the level.
• The set of challenges faced within the level.
• The termination conditions of the level.
• The linkages between the level and the games
  story.
• The overall aesthetics and mood of the level.

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Designing the Level

• To this end, we will examine three main
  categories of issues relating to
• The spatial or physical characteristicsof the
  level.
• The temporal characteristics of the level.
• The interplay between the levels designand the
  gameplay that is contained within the level.

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Spatial Characteristics

• Spatial characteristics include the physical
  elements of the game environment.
• It is important to ensure that these elements are
  well thought as they not only affect the look and
  feel of the game, but can also affect the
  gameplay in the level.
• More on this soon

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Spatial CharacteristicsPerspective

• There are a wide variety of perspectives that can
  be used to view the levels inthe game world.
• This can affect how levels are constructed and
  where attention to detail should be focused in
  the level.
• First person perspective
• The game is viewed from the perspective of the
  player character in the game world.

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Spatial CharacteristicsPerspective
Screen shot from F.E.A.R. This first person
title is known forits spectacular visuals and
effects.
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Spatial CharacteristicsPerspective

• Third person perspective
• In this perspective, the player character is
  visible on screen, and the game world is viewed
  through some other camera observing the scene.
• This can be from an over-the-shoulder
  perspective, or from fixed cameras withinthe
  scene recording the action.

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Spatial CharacteristicsPerspective
Screen shot from Devil May Cry 3. In this game,
you get a thirdperson perspective to view all
the action.
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Spatial CharacteristicsPerspective

• Specific third person perspectives
• Omnipresent Provides the ability to view all
  over the game world, usually from above, with
  great control over the cameras position.
• Isometric The player can look slightly across
  the landscape at a 30 to 45 degree angle to be
  involved in the action.
• Top-down The game is viewed straight from
  above, possibly with some form of scrolling.
• Side-view The game is viewed from the side,
  possibly with some form of scrolling.

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Spatial CharacteristicsPerspective
Clock-wise, from top leftBlack White
2(omnipresent), Starcraft(isometric), Metal
Slug (side-view), and1942 (top-down).
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Spatial CharacteristicsPhysical Layout

• The physical layout of a level will be heavily
  influenced by its gameplay type.
• Single player levels should create a flow that
  leads the player from goal to goal. There should
  be a linear flow of nonlinear areas, perhaps with
  branches to the flow.
• Multiplayer levels should be more open, but
  simpler so the player does not get lost. There
  should be no safe places, but perhaps some hard
  to reach ones.

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Spatial CharacteristicsPhysical Layout
Screen shot from Unreal Tournament 2004. The
Gael level is nice and open. Throw in some rocket
launchers and some friends, and its good times!
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Spatial CharacteristicsInterior versus Exterior

• Interior spaces often work differently in games
  than exterior spaces.
• In essence, an interior space is a space with a
  ceiling constrained by walls.
• Interior spaces also tend to be smaller, more
  confined, and easier to control.
• Exterior spaces tend to be more open, with the
  player able to see much farther.
• Consequently, interiors tend to have more details
  than exteriors, in which detail must be used with
  great care and a lot of consideration.
• These issues can limit the gameplay elements and
  design decisions for both types of area.

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Spatial CharacteristicsInterior versus Exterior
Screen shot from Resident Evil 4. This game
featured a good combinationof interior and
exterior locales in its world.
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Spatial Characteristics Materials and Terrain

• In game levels, there are two types of
  structures man-made and organic.
• Man-made structures are not naturally occurring,
  constructed from a variety of materials like
  concrete, brick, metal, glass, wood, and so on.
• Organic structures are the terrain of the game
  world, composed of water, earth, rock, sand,
  plant-life (like grass and trees), and so on.
  This also includes what is visible in the sky in
  exterior levels, like clouds, and so on.
• Both types of structures can influence the
  overall look and feel of a game.

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Spatial Characteristics Materials and Terrain
Screen shot from Far Cry. This level has lots of
lush terrain, withplenty of organic elements to
it. Nicely done.
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Spatial CharacteristicsScale

• The scale of the game includes the total size of
  physical space and relative sizes of objects in
  the game.
• For realism, it is best to scale most objects to
  accurately reflect their size in the game.
• Scale exaggeration might be necessary to make
  sure elements of the game are harder to miss, or
  easier to manage or manipulate.
• Scale distortion might also be necessary to make
  traversal of the world quicker and easier to the
  player.

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Spatial CharacteristicsScale
Screen shot from Civilization IV showing scale
exaggeration. Either that,or we dont stand a
chance against those giant Americans!
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Spatial CharacteristicsBoundaries

• Since a game cannot contain a limitless, infinite
  world, developers have to provide some boundaries
  to the levels they create.
• At the same time, these boundaries must make
  sense when they are visible in the context of a
  game, or else player immersion might be lost.
• Boundaries can include locked doors, walls,
  impassable mountains, thick vegetation, and so
  on, depending on the game, of course.
• Some games do not contain boundaries, but have a
  game world that is wrapped around itself.

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Spatial CharacteristicsBoundaries
Screen shot from Grand Theft Auto III. To
provide boundaries, the islands inthe game world
were surrounded by water. To prevent boats from
going toofar, obstacles like pipelines were used
to contain the player.
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Spatial CharacteristicsBoundaries
Screen shot from Mercenaries. This game took an
interesting approach toboundaries. The playable
game world was bounded by forbidden zones.
Ifyou strayed into one for too long, death was
surely on its way
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Spatial CharacteristicsStyle

• The style of a level influences its structure and
  also its appearance.
• This includes
• The architecture of man-made structures.
• The layout of terrain elements.
• The placement and types of objects tobe found in
  the levels.
• The colouring, texturing, and shading of
  everything in the level.

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Spatial CharacteristicsStyle
Screen shot from Red Ninja End of Honor. This
game captures the architecture and appearance of
feudal Japan in its levels quite well.
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Spatial CharacteristicsLandmarks

• Visually distinctive landmarks should be provided
  to help orient the player as they navigate the
  level.
• Landmarks can be anything in the level as long as
  it is unique.
• Usually, landmarks are memorable either by size,
  position, or appearance.
• Landmarks can also be the focal points for levels
  as well, so make them interesting and evoke
  emotion from the player.

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Spatial CharacteristicsLandmarks
Screen shot from Halo. Beautiful scenes with
distinctive landmarks are the norm in levels in
this game.
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Spatial CharacteristicsConsistency

• The look of a level should be consistent.
• Although larger levels can contain a series of
  smaller locations that look different, each
  location should be consistent within its
  boundaries.
• This to again promote immersion.
• Levels should also be consistent with other
  elements of the game.
• With the games story, with its characters, and
  so on.

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Temporal Characteristics

• We have already thought of time in games in
  terms of real-time versus turn-based games.
• We can also think of time in the context of
  real world or wall clock time.
• In the end, time in levels of the game world can
  pass slower, faster, or not any different than
  time in the real world.
• In some games, time does not pass at all, at
  least until the player does something.

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Temporal CharacteristicsAuthentic Time

• Some games try to portray time authentically and
  use the passage of time as a gameplay mechanic
  in the game world.
• In some cases, time is synchronized with time in
  the real world or something else like the
  presence of light to track time passage.
• In other cases, time is not synchronized but
  still plays an important and authentic role in
  various elements of the game.

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Temporal CharacteristicsAuthentic Time
Screen shots from Boktai. This interesting game
for the Game Boy Advancefeatures a light sensor
and a real-time clock, both of which play into
thegame in a variety of ways. Certain levels
and level characteristicschange depending on the
presence of sunlight or the time of day, for
example.
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Temporal CharacteristicsAuthentic Time
Screen shot from Nintendogs. Time in the game
world is kept in sync withtime in the real
world. So, you can walk your dog during the day
or nightdepending on the time in the real world.
Fortunately, all the stores are open24 hours
for those of us playing late at night!
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Temporal CharacteristicsAuthentic Time
Screen shot from Prisoner of War. Time in the
game world was not in syncwith the real world,
but did play an authentic role in the game. For
example,a missed roll call in the morning or
evening would bring out a search party.
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Temporal CharacteristicsLimited Time

• Even when time is not authentically represented
  in a game world, it still might affect gameplay
  in its levels.
• If a player can do the same things at night as
  during the day in the game world, game time feels
  very artificial.
• Instead, sometimes the player is given a limited
  amount of real-world time to accomplish something.

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Temporal CharacteristicsLimited Time
Screen shot of the Legend of Zelda Ocarina of
Time. At night time duringthe game, some
characters are not around and certain places are
closed. Plus, monsters roam the wild at night
too
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Temporal CharacteristicsVariable Time

• If time is significant, time in the game world
  tends to run faster than in reality.
• Time also tends to jump around in many games,
  skipping over or completely cutting out periods
  when nothing interesting is happening.
• Instead of skipping or cutting out these
  elements, other games speed up time to accelerate
  through them.

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Temporal CharacteristicsVariable Time
Screen shot from Grand Theft Auto III. After a
hard days work and youneed to save your game,
several hours pass in the game world, presumably
while your character rests. This rest sequence,
however, is skipped,and you can resume the
action with no time passage in the real world.
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Temporal CharacteristicsPlayer-Adjusted Time

• In many games, players have the chance to modify
  the game time associated with game levels.
• In sports games, the player can adjust the length
  of periods, quarters, and so on.
• In fighting games, you player adjust the amount
  of time per round.
• In some simulations, the player can control the
  rate at which time passes.
• But, this cannot be done in all games.

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Temporal CharacteristicsPlayer-Adjusted Time
Screen shot from NHL 2007. Like most versions of
this game over the years, this edition allows
players to adjust the length of periods in a game
and controlthe passage of time to create as long
or short an experience as they want.
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Temporal CharacteristicsAltered Time

• Several games incorporate altered time as a
  gameplay mechanic.
• In these games, time can be slowed down, frozen,
  reversed, repeated, and so on.
• This allows for interesting interactions with
  elements in the various levels ofthe game world.

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Temporal CharacteristicsAltered Time
Screen shot from Max Payne. With its
revolutionary bullet time, you canhave John
Woo style animations with slow motion action,
bullets zippingover your head, and so on. Just
like the movies!
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Temporal CharacteristicsAltered Time
Screen shot from Blinx The Time Sweeper. This
game had revolutionarycontrol over altering time
elements, with rewind, fast forward, slow down,
and replay controls. Very interesting.
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Temporal CharacteristicsAltered Time
Screen shot from Viewtiful Joe. This stylish
action game had a varietyof interesting controls
to let the player alter the flow of time.
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Temporal CharacteristicsAltered Time
Screen shot from Full Auto. This racing game on
steroids includes aninteresting unwreck
feature to rewind time to avoid potentiallynasty
situations in a second lease on life.
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Gameplay

• Some designers underestimate the impact level
  design can have on gameplay.
• If this is not considered, level design could
  have an adverse and unintended impact on the way
  the game is played.
• With care, however, level design can reinforce
  and augment the design goals of the game as a
  whole.

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GameplayGoals

• Make sure the player knows the goals and
  objectives to complete in each level.
• Give them a cut scene or scripted action.
• Provide an easily accessible mission screen.
• The players should be given some way of measuring
  their progress and success within a level as
  well.
• The design of a level should also reflect the
  goals the player is to complete.

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GameplayGoals
Screen shot from Warcraft III. A quest is
assigned. Notice how a map of the level is
available, as well as a quest listing to keep
goals clear.
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GameplayObstacles

• With goals in place, obstacles must be created to
  prevent the player from easily achieving those
  goals.
• Simple roadblocks
• These obstacles slow the player down and add to
  player interaction with the game world to spice
  up the experience.
• These obstacles can also enhance other obstacles,
  making them more interesting or challenging.
• Examples include locked doors, pits to jump over,
  barriers to smash through, and so on.

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GameplayObstacles
Screen shot from Super Mario 64. This game
contained a varietyof simple roadblocks, from
gaps to jump, fences to hurdle, blocks tosmash
open, and so on.
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GameplayObstacles
Screen shot from God of War. They could have
just had more combatin the game, but mixing it
up by having combat on obstacles, like arope
ladder, makes things more interesting and
provides variety.
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GameplayObstacles

• Enemies
• Games that involve combat will have enemies that
  either need to be defeated or avoided to reach
  the games goals.
• Enemies can vary in size, movement (speed, method
  of movement), and attack style. These factors
  must be taken into consideration in level design
  to accommodate the enemies within.
• Each level should likely only introduce one or
  two new types of enemies at a time. The number
  of enemy types can be limited, and players like
  to see variety throughout the game.

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GameplayObstacles
Screen shot from Quake II. Levels were designed
very well consideringthe capabilities of
enemies, and enemy variety was introduced in a
staggeredfashion so there was always something
new to face in each level.
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GameplayObstacles

• Traps
• Traps are obstacles that can ensnare or do damage
  to the player that are part of the environment in
  the game world.
• Traps can include hidden pits, closing walls,
  falling objects, and so on.
• The use of traps can heighten tension, fear, and
  apprehension in a game level, and can be
  effective in controlling the flow and adrenaline
  of the player.

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GameplayObstacles
Screen shot from Aztec. This classic game for
the Apple II and Commodore 64 featured some
really excellent classic traps. This includes
the room filling with water (shown above), walls
closing in on you, explosives rigged in boxes,
and many more!
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GameplayObstacles
Screen shot from Spy vs. Spy. This game allowed
you to place traps tocatch your opponent as they
searched for the items necessary to win the
game.The sequels were also well received, except
perhaps for the latest versionupdated with a 3D
look and feel.
79
GameplayObstacles
Screen shot from Trapt. In this quirky and
interesting game, insteadof getting caught in
traps, you were again usually the one setting
them.Unless of course you got caught in your own
traps
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GameplayObstacles

• Puzzles
• Puzzles are obstacles that require some
  brainpower to solve and remove.
• Puzzles can provide a break in action in games by
  shifting to a different form of gameplay.
• Sometimes this is good, but sometimes puzzles do
  not fit in with the game either.
• Since puzzles can be a key element to a game, we
  will take a closer look at them later.

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GameplayObstacles
Screen shot from Lemmings Revolution. This game
is all about the puzzle,with many interesting
levels designed around the whole Lemmings theme.
82
GameplayObstacles

• Levels must be designed with their obstacles in
  mind.
• The obstacles must fit with the setting and
  styles used in the level.
• The obstacles must be easily identifiable from
  other level background.
• Clues to obstacles should be given in the level
  in advance.
• The amount of foreshadowing, or number of clues
  can help to determine difficulty.

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GameplayObstacles
Screen shot of Rune. Clues to traps can help the
player avoid situations like this one.
84
GameplayStructure and Progression

• Ease the player into each level and build up the
  difficulty as they go along.
• Build conflict in a series of ascending arcs.
• Give hints and teases of what is to come.
• Vary the pace of action in the level.
• Some frantic periods of action.
• Some exploration time.
• Some safe time when the player can take a
  breather, think, and absorb the situation.
• Make sure there is enough to do!
• Do not let the player get bored. Ensure there
  are enough challenges to keep the player occupied.

85
GameplayStructure and Progression
Screen shot from Oni. This is an action shot
from late in the game, but there are plenty of
stealthy moments and breathers as well.
86
GameplayStructure and Progression
87
GameplayFlow Control

• Good level design will control the flow of action
  in the game.
• Must contain the player until they have
  accomplished what they need to do, and then
  channel them off to their next challenge.
• Must prevent the player from returning to the
  area if that is not desired.
• Containing the player can be difficult when
  freedom is given to provide nonlinearity.
• Create natural barriers that are removed as a
  by-product of the player achieving goals.
• Create choke-points in the level geometry that
  cannot be passed until an obstacle is overcome or
  a certain enemy is defeated.

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GameplayFlow Control
Screen shot from Rune. Rune does a good job of
directing the player, enforcing the completion of
goals, and blocking off return to completed areas.
89
GameplayFlow Control

• Closing off areas can be necessary for many
  reasons
• Better management of resources.
• Reducing player paranoia.
• There are many ways to accomplish this.
• The simplest is the creation of a one way barrier
  that prevents the player from going back once it
  has been crossed.
• Remember that your player can try to do the
  unexpected.
• Play testing again is needed to ensure that game
  flow is being controlled properly.

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GameplayFlow Control
Screen shots from World of Warcraft. In the fall
of 2005, a plague swept acrossthe game world.
This plague stemmed from a spell called Corrupted
Bloodcast by the blood god Hakkar in an instance
of the world. The results of thisspell were not
supposed to leave that part of the world, but
players escapedand continued to escape
quarantine measures put in place as well.
Eitherpoor design, or a brilliant move by
Blizzard, depending on who you talk to.
91
GameplayDuration and Availability

• Game levels should neither be too short nor too
  long to play through.
• A good rule of thumb is that a player should be
  able to complete at least one level of a game in
  a single session.
• Can range from 15 minutes to a couple of hours,
  depending on the game and audience.
• If your level is going to for long play sessions,
  be sure to provide milestones of achievement on
  a regular basis.

92
GameplayDuration and Availability

• Be prepared to provide sufficient levels to
  cover all of the gameplay goals of the game being
  created.
• You also want to provide enough content that the
  player feels satisfied after finishing the game.
• A side issue is to also consider how many levels
  will be accessible to the player at once one at
  a time or many?

93
GameplayDuration and Availability
Screen shot from Super Monkey Ball Deluxe. In
traditional play mode, mostof the levels were
short, but there sure were a lot of them to
makeup for it! Very satisfying in the end!
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GameplayDegree of Difficulty

• A level should not be so hard that only an expert
  can make it through.
• Challenge is good.
• Even a little frustration is good.
• Dying again and again for no reason is not.
• How can you satisfy the challenges of all
  different types of players?
• Multiple kinds of challenges at different levels
  of difficulty must be built into each level.
• No one is offended by challenges that do not suit
  themselves, as long as there are some that do.

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GameplayDegree of Difficulty

• You should design multiple ways for a player to
  complete a level.
• Experts should be able to take a high risk, high
  reward strategy.
• At the same time, there should be a relatively
  safe path for novices.
• Both paths should lead to satisfaction.
• Build secrets and extras into levels.
• Experts will enjoy finding and dealing with them.
• Average players might find them, but not be able
  to properly deal with them.
• Novice players might miss them totally.

96
GameplayDegree of Difficulty
Screen shot of Quake II. Id Software always
placed lots of secrets for experts to find in all
of their games. Novice players usually
just skipped past them. (Hint courtesy of Planet
Quake.)
97
GameplayBalance

• Stocking a level requires very careful thought
  and planning.
• Too many or too few supplies for the player.
• Too many or too few enemies.
• Locations of supplies and enemies.
• Levels need to be carefully balanced to push the
  player to their limits, without actually pushing
  them over the edge.
• This is not as easy as it sounds

98
GameplayBalance
Screen shot of Doom. In Doom, if you were being
careful, you usuallycould find ammunition and
items just when you needed them.
99
GameplayRewarding the Player

• Speaking of balance, it is also important to
  balance risk and reward for the player.
• Something might be difficult to do in a game, so
  accomplishing it should provide some kind of
  bonus to the player for their efforts.
• Players should also be rewarded for skill,
  imagination, intelligence, and dedication.
• These qualities distinguish a good player, and
  good players should be rewarded.

100
GameplayRewarding the Player
Screen shot of Tony Hawk 2. Rewards are provided
for insanely risky stunts, like jumping buildings
to get the secret tapes.
101
GameplayRewarding the Player

• It is important to reward in a big way, and
  punish in a small way.
• Ultimately, the hope of success motivates players
  more (and in better ways) than the fear of
  failure does.
• If a game repeatedly punishes players harshly for
  making mistakes, they will likely become
  discouraged and abandon the game.
• Remember to empathize with the player!

102
GameplayRewarding the Player
Screen shot from Prince of Persia The Sands of
Time. This well designed gameclearly
demonstrates player empathy. The prince will
miss this early jump overa pit, but will not be
punished and instead can try again the correct
way.
103
Other Level Design Tips

• If you have something in a level that looks
  important, make sure that it is.
• The harder the player works for something, the
  bigger the reward should be.
• Design levels around the strengths and weaknesses
  of your artificial intelligence.
• Keep in mind the place your level has in the game
  as a whole.
• Make sure it is properly sequenced.

104
Other Level Design Tips
Screen shot from Quake. The ogre was notorious
for getting stuck in doorways in many levels
with its chainsaw, and not knowing how to get
unstuck.
105
Other Level Design Tips

• If you need to deprive a player of a previously
  acquired weapon or item, do so in a way that
  makes sense.
• Accommodate different playing styles.
• Some are cautious, and some take many risks.
  Allow both methods to enjoy success.
• Provide lots of good visuals and audio.
• Do not reveal it all at once.
• Hold some things back to reveal as the player
  progresses through the level.

106
A Word on Level Evaluation

• Level design is an iterative process.
• No one conceives a level in their head, builds
  it, and walks away, leaving it untouched.
• A level must be honed and balanced constantly.
• Evaluation is a key part of level design.
• The level designer.
• Other level designers on the project.
• Play testers.
• Public beta testers.
• Get feedback early and make use of it!

107
A Word on Level Evaluation

• When evaluating a level, there are several things
  that should be considered
• Scale. Is the level the right size?
• Pacing. Does the flow of events feel right?
• Aesthetics. Is the level attractive and
  enjoyable to inhabit and play in?
• Placement of objects, enemies, traps, puzzles,
  and so on. Are things where they need to be to
  get the experience you are looking for?
• Performance issues. Is the level too complicated
  for your target platform?
• Other code issues. Does the level call for code
  that represents a problem to the programmers?