Level Development ModelUpon figuring out what your game is going to be and what you’re aiming to create, you will need to consider how to structure the game levels/areas. Game levels may focus around narrative plots, game mechanics or locations and will stick to that direction but must still follow the games conception.
The following elements have been investigated and are prominent in level design, during the developmental stages some elements may have more importance than others but all have shared importance to create a well-made level.
The elements of level design
Setting – The plot, background and current location of the game will affect its level design, the setting in areas and levels must reflect upon what the games story and lore is set in, from a space adventure in a futuristic setting to a wild western setting of America’s past.
Essentially what encompasses the level must be fitting to the universe and reality of the game, Tim Ryan wrote on the subject on the setting element;
“From the moment the title screen comes up, you have their full attention. From that point on, they should see and do nothing that reminds them that they are anywhere but in the world you have them in.
You must furnish a setting and actors that meet the players’ expectations. That is, you need to design a map that not only looks like it could fit inside the world they are playing in, but contains elements that help to draw that reality in the players’ heads.” (Ryan, 1999, P. 2)
Theme – Relates to the element of the games setting in which themes is a ‘type’ of game, not directly a genre but a theme would be the games embellishment such as cyberpunk, post-apocalyptic and alternate history with the environment in levels reflecting to these themes.
Although that would relate to the background of a game, themes can also relate to game mechanics and function of a players character such as a detective, spy or ninja. Knowing this, levels would have to cater to the various types of themes the characters and mechanics of the game contain.
Although it may reflect environments it also directly affects the gameplay, by somewhat wrapping the themes around the game and its content, for example a spy game would have stealth elements by either using a special equipment to go invisible, utilizing the environment to hide from enemies or being able to interact with the environment to bypass security to access different areas.
Objectives – For what purpose would a player be playing in this level for? Objectives are set goals or personal achievements that a player aims to complete. Normally a player will aim to fulfil a quest, for example one level or area (and other playable game space) may be suited to kill certain types of creatures to gain an item and perhaps the environment will reflect these creatures, like harpies nesting on a mountain environment. Maybe the level will be a marketplace, various open ended objectives would be available and this would require a large open area with enough room for various stalls and non-player characters for the player to interact with to gain necessary information or exchange goods.
“Does not rely on words to tell a story – Aside from the explicit narrative called out by story and objectives, good level design delivers implicit narrative through the environment, and provides players with gameplay choice from which to create their own emergent narrative.” (Taylor, 2013)
Aesthetic – The emotion that a player feel from a levels design and how they interact with the level. One example would be the feeling of being lost in a hospital, dazed and confused the player will have to walk through many corridors, hallways and rooms. A lack of a map and no sense of direction will give the player a disorientated emotive response, the feeling of being lost - perhaps through the visuals of the level will the player be able figure out their placement and find an exit to progress.
“Armed with knowledge of dynamic composition and traditional art principles, we can begin designing games based on aesthetic qualities, while additionally incorporating dynamic gameplay, to create experiences with more emotional depth.” (Solarski, 2013)
Size – Size is simply the area of a level; it might not sound like the most in depth element, but is very necessary for planning the length of the level and its designers must set boundaries and parameters in their proposal.
Comparisons of multiplayer and single player levels will differ; an example of a multiplayer FPS game that focuses on fast paced action would typically shy away from a huge levels. Focus on short distances to firefights and chokepoints that are filled with action keeps players engaged in multiplayer games. If there were long distances of just walking around then that would be considered boring so smaller levels are favoured, another option that could be available would be use of speed enhancement to get around a level faster.
Single player levels don’t have to cater to player vs player gameplay, this leads to a lot of solo gameplay and a change of playable game space in which resources tend to become a part of a players survival like collecting ammo or collecting health enhancers. Generally resources would be kept at distances to prevent the game from becoming too easy and should not be kept too far away otherwise the game may become too hard for the players, this can be considered in multiplayer games that use resources but most would just have infinite ammo.
Catering to resource availability, places to use as cover for player protection against enemies and optional routes to get through a level differently will affect a levels overall size. It is a design element that allows itself to be changed continuously until a designer is happy with their level after playtesting or will keep adding/cutting content until they or the people playing the game are satisfied.
Architecture – Related to setting, theme and size – Architecture can’t be initiated until those 3 elements have been confirmed. Architecture could be considered as a sub element, but considering its relation to most of the other elements leaves it as a good indication that it itself important enough to be treated as an element.
Architecture of buildings must comply with the setting of the game, let’s say there is a futuristic cyberpunk game in a rundown city then buildings and appliances would have to follow suit to the design of the world; advanced technology, androids and floating vehicles. Now let’s implement the themes of the game, let’s say it’s a spy or assassin based game, so the player will probably be playing a game with stealth mechanics, therefore the level will have to have various different options to navigate through the level instead of being a straightforward linear level.
ExampleDuring my placement year I developed a game called ‘Fabrication’, a top down roguelike stealth game, with my student company. The game was based around a grid based movement system where players would control thieves on heists of varying locations and use different types of clothing and gadgets to avoid guards and find loot.
With the game concept and mechanics figured out, now is the appropriate time to begin level creation. The core part of the game has been decided and the many levels can reflect upon that in various designs.
Level Design Element ExplanationSetting
Where? (Location, Universe) – Can be reflected from Game concept
When? (Time period, Time of day)
As previously mentioned, the game revolves arounds 3 thieves based in a fictional town in England attempting to pull off a series of heists using special clothing and gadgets. This may refer to the games concept, but of course a game level must always be ensured it sticks to what the concept suggests.
To start, the setting is based upon the where and when, the example used will be based on a modern day dockyard. This dockyard level is intended to take place at night with several guards roaming around with flashlights.
Theme
Identity - Styles
Again referring to the concept, the game is a based around crime caper films and stealth gameplay. Themes can be considered as the games identity, in which Fabrication takes place in a modern day crime spree.
All levels will accommodate the stealth, clothes and gadget mechanics, for instance the dockyard will be based at night with several lamp posts providing light for the guards.
Objectives
What am I trying to do? What should a player be navigated
towards?
Each level in Fabrication was set to have notable loot that must be retrieved to complete it; however there was the idea to have additional treasures to be found.
For this dockyard level, the player would have to navigate from a gate to the main office building to retrieve a key and shut down the electricity and sneak past unsuspecting guards to find the right loot.
Mood – What am I supposed to feel?(Emotive response)
Music/Sound Effects Visuals (colour) Lighting
When the level is played, how do you want the player to feel? Many players don’t realise that every component added to the game will influence their feelings and mood.The level of a dimly lit, decrepit building at night with a distorted soundtrack and echoing sound effects would be scary to the majority of players.Compared to a fast paced platformer with bright visuals, a high beat soundtrack and constant positive feedback, which would keep players in high spirits and engaged in the action.
The dockyard level was set to take place at night with several lamp posts lighting to road through the middle of the map.
Size
Size of level layout Size of objects and assets Player movement time to key points
Not too hard to understand, but the length of how long a level will be played on in a single player mode does differentiate from a multiplayer level.Character/Player movement will also have to be taken into consideration, much like fabrication which uses a grid based system for movement.The dockyard level is 34 x 54 gridded squares, wherein a player will occupy one square.
Architecture
What objects? (Furniture, Vehicles, Containers)
What buildings and objects will be in the level, better yet – what should be there?A dockyard will consist of large industrial crates and containers of goods, small office buildings and vehicles…
