In early days of video games, a
single programmer would create the maps and layouts for a game, and a
discipline or profession dedicated solely to level design did not exist. Early
games
often featured a level system of ascending difficulty as opposed to progression
of story-line.
The first game genre that required
significant amounts of time to design areas were text-based games,
1983's Lode
Runner was
one of the first titles to ship with a level editor, and
its designer, Douglas Smith, reputedly paid neighbourhood children
to design levels for the game.
Level design for each individual level in
a modern game typically starts with concept art, sketches, renderings, and
physical models. Once
completed, these concepts transform into extensive documentation, environment
modelling, and the placing of game specific entities.
But not only this, there are other
factors like: What
technology will be used for this project?, What kind of project will we be building
with this technology?
These are factors that need to be answered along side budgets and time scales. Taking
a master deathmatch level
designer and asking him to create sprawling landscapes for an Everquest
style Massively Multiplayer Role-Playing Game would be a big mistake. Even if
the designer were able to adapt and create great content then the time and
overhead taken to train him in the new design and direction would not be worth
the effort.
When designing a level, much like
designing a concept, there must be an iterative process, the very first idea
nine times out of ten will not be the best, changes must be made in the same
way as altering clothing style, colour variances with level design,
whiteboxing, concepting and overall ‘Gameflow’, the mystical "life force" that
makes a good game fun and it is very much a reward-response system that
challenges the gamer and then provides a "treat" for completing tasks.
Multiplayer gameflow varies
quite a bit from Single Player gameflow; it is more about rationing risk and
reward in a social environment. A Level Designer who is building for a
Multiplayer-oriented title is much like a playground architect. He’s
building the space where real people will be driving the game and experiencing
the action firsthand,
the
gamers themselves largely dictate the gameflow. Designers also use placed elements like
AI or using the story to prod the gamer along for similar results.
Another process in level design is to
create a sense of freedom, to Let the player think he has a choice in
where to go and what to do but gently guide him to his destination.
However in reality it is
controlled freedom and in level design this topic surrounded by much debate, if a player gets the freedom to go
anywhere and do anything then they will rapidly get lost and frustrated. By
utilizing the level design and creating a more linear experience it will give
the illusion that there are multiple paths to choose which the player will then
get the best of both worlds, the seemingly open world freedom he desires,
however still feel like he made the decisions to get there.
One final part I want to mention on the
topic would be sound.
Designers must work closely with sound
technicians to assure a compelling and exciting audio experience.
No
matter how good the talent is, the monster that is in the gamer’s head is
always scarier than what is seen onscreen. The sound for scenes can ultimately
immerse the player within the generated world, great designers use this like a
drug, using short sequences that match the moment, horror, war, peaceful etc.
to really emphasize the scene and create a want to continue for the next ‘hit’.
All in all, level design is most
certainly an iterative process of planning, construction and testing repeated
over and over through each iteration until the end result is satisfactory.
External References From:
https://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CC8QFjAA&url=http%3A%2F%2Fwww.arts.rpi.edu%2Fpublic_html%2Fruiz%2FEGDSpring08%2Freadings%2FThe%2520Art%2520and%2520Science%2520of%2520Level%2520Design.doc&ei=bz-aUo3mNsrNhAfOlYDoAw&usg=AFQjCNGcNLppqnQfbC9vJnYoyY1Qc8v10A&sig2=ccXKC32qshQFSvTLrVLevg&bvm=bv.57155469,d.bGQ&cad=rja
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