A Practical Guide to Level Design: From Theory to Practice, Diplomacy and Production

Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
Acknowledgment
Section I: Book and Level Design Introduction
1. Book Introduction
1.1 Preface
1.2 Chapter Overview
1.2.1 Book and Level Design Intro
1.2.2 Production and Social Skills
1.2.3 Level Design Theory
1.2.4 Practical: How to Get Started
1.2.5 Practical: Layouts
1.2.6 Practical: Technical and Game Design
1.2.7 Closing Topics
1.3 About Myself
1.3.1 How It All Started
1.3.1.1 Before the Internet
1.3.1.2 Joining the Mod Community
1.3.2 My Professional Career
1.3.2.1 Joining Crytek
1.3.2.2 Joining Ubisoft
1.3.2.3 Joining Plan a Collective
1.3.3 Other Side Gigs
2. Definition of Level Design and Level Designers
2.1 The Level Designer
2.1.1 Introduction
2.1.2 What Is a Level Designer?
2.1.3 Variants of Level Designers
2.1.3.1 Introduction
2.1.3.2 Generalist Level Designer
2.1.3.3 Layout Level Designer/Level Builder
2.1.3.4 Mission/Quest Designer
2.1.3.5 Script Level Designer
2.1.3.6 “No Art” Level Designer
2.1.3.7 Technical Level Designer
2.1.3.8 Cinematic Scripter
2.1.4 Level Design Senioritis
2.1.4.1 Introduction
2.1.4.2 Intern/Junior Level Designer
2.1.4.3 Regular/Intermediate Level Designer
2.1.4.4 Senior Level Designer
2.1.4.5 Expert/Principal Level Designer
2.1.4.6 (Team) Lead Level Designer
2.1.4.7 Level Design Director
2.2 Level Designers as Experts
2.2.1 Introduction
2.2.2 Experts in Architecture
2.2.3 Experts in Landscape Architecture and City Planning
2.2.4 Experts in Geography
2.2.5 Experts in Biology
2.2.6 Experts in Chemistry, Physics, Engineering, Mechanics, etc.
2.2.7 Experts in Culture, History, Geo Politics, etc
2.2.8 Experts in Level Design Tools
2.2.9 Experts in Scripting
2.2.10 Experts in Layout and Arrangement
2.2.11 Experts in Progression and Difficulty
2.2.12 Experts in Art and Technology
2.2.13 Experts in Creativity and Fun
2.2.14 Experts in Time and Work Management
2.2.15 Experts in Diplomacy
Section II: Production and Social Skills
3. Level Design Production
3.1 Overview of Level Design Production
3.1.1 Introduction
3.1.2 Initial or Pitch Phase
3.1.3 Pre-Production Phase
3.1.4 High-Level Phase
3.1.5 Document Phase
3.1.6 Production
3.1.7 Skeleton Phase
3.1.8 First Intention Pass
3.1.9 Alpha
3.1.10 Beta
3.1.11 Closing
3.1.12 Until Gold
3.1.13 Closing Words
3.2 Work Pace and Effort
3.2.1 Introduction
3.2.2 When to Push and When Not
3.2.2.1 The Premise
3.2.2.2 When Not to Push
3.2.2.3 Leadership Responsibility
3.2.2.4 When to Push
3.2.3 About Crunch or Overtime
3.2.4 Let’s Talk Burnout
3.2.5 About Work-Life Balance
4. Diplomacy of Level Design
4.1 Level Design in the Center of Production
4.1.1 Introduction
4.1.2 Departments Level Designers Work With
4.1.3 Closing Words
4.2 How to Work with Different Departments
4.2.1 Introduction
4.2.2 Game Developer Diplomacy 101
4.2.2.1 Do Not Treat People How You Like to Be Treated
4.2.2.2 We All Sit in the Same Boat
4.2.2.3 About Empathy
4.2.2.4 About Teamwork
4.2.3 How to Work with Artists
4.2.3.1 Environment Artists
4.2.3.2 Concept Artists
4.2.4 How to Work with Narrative
4.2.4.1 Narrative Designers
4.2.4.2 Cinematic Scripters
4.2.5 How to Work with QC/QA
4.2.6 How to Work with Other Level Designers
4.2.7 How to Work with Managers
4.2.8 How to Work with Game Designers
4.2.9 How to Work with Programmers
4.2.10 How to Work with Audio
5. Teamwork and Leadership Tools
5.1 Basic Leadership Principles
5.1.1 Introduction
5.1.2 Make Others Better Than You
5.1.3 Own Your Failures
5.1.4 Acting Under Stress
5.2 About Feedback
5.2.1 Introduction
5.2.2 Giving Feedback
5.2.2.1 Clarify Feedback and Opinion
5.2.2.2 Feedback as Questions and Problems
5.2.2.3 Direct Tasks
5.2.3 Receiving Feedback
5.2.3.1 Introduction
5.2.3.2 Written Feedback
5.2.3.3 Verbal Feedback
5.3 About Making Decisions
5.3.1 Introduction
5.3.2 No Decision
5.3.3 A Decision
5.3.4 The Right Decision
5.3.5 About Acting
5.4 Emotions as a Common Language
5.4.1 Introduction
5.4.2 The Problem
5.4.3 The Solution and Process
5.4.4 Additional Hints
5.5 “The Triumvirate of Practical World Building”
5.5.1 Introduction
5.5.2 The Application
5.5.3 Closing Words
5.6 “The 10th Man”
5.6.1 Introduction
5.6.2 Origins
5.6.3 Step 1
5.6.4 Step 2
5.6.5 Step 3
5.6.6 Closing Words
Section III: Level Design Theory
6. About Vision, Pillars, and Direction
6.1 Vision as a Starter
6.1.1 What Is a Vision?
6.1.2 How to Create a Vision?
6.1.2.1 Step by Step
6.1.2.2 Idea Creation
6.1.3 How to Use a Vision
6.1.4 Closing Words
6.2 Pillars as a Safety
6.2.1 Introduction
6.2.2 How to Create and Use Pillars
6.2.2.1 Introduction
6.2.2.2 The Use
6.2.2.3 The Creation
6.2.2.4 Hints for the Creation
6.2.3 Closing Words
6.3 Direction as Guidance
6.3.1 Introduction
6.3.2 When to Create Direction
6.3.3 How to Create Direction
6.3.3.1 Step 1: Start with Mistakes to Avoid
6.3.3.2 Step 2: Observe the Team
6.3.3.3 Step 3: Add Your Vision
6.3.3.4 Step 4: Spot Patterns and Fill the Grid
6.3.3.5 Step 5: Bring It to Paper
6.3.4 How to Use Direction
6.3.5 Closing Words
7. Abstract Level Design
7.1 About Theory
7.1.1 Introduction
7.1.2 Creation of Theory
7.1.2.1 Introduction
7.1.2.2 Step 1: Stating the Problem
7.1.2.3 Step 2: Simplify
7.1.2.4 Step 3: Patterns
7.1.2.5 Step 4: Repeat
7.1.2.6 Closing Words
7.1.3 Balance between Theory and Practice
7.1.3.1 Introduction
7.1.3.2 When and How to Use Theory
7.2 Success for the Player
7.2.1 Introduction
7.2.2 The Player and the Developer
7.2.3 Player Options and Choices
7.2.3.1 Introduction
7.2.3.2 Make the Player Feel Clever
7.2.3.3 Closing Words
7.2.4 Fairness, Frustration, and Difficulty
7.2.4.1 Introduction
7.2.4.2 About Random and Luck
7.2.4.3 Blame Yourself—Not the Game
7.3 Abstract: High-Level
7.3.1 Introduction
7.3.2 Thinking High-Level
7.3.3 Getting Started with Simplification
7.3.4 Closing Words
7.4 Abstract: Mid-Level
7.4.1 Introduction
7.4.2 Cover Your Tracks
7.4.3 Basic Layout Considerations
7.4.3.1 Number of Options
7.4.3.2 Frequency of Options
7.4.3.3 Right Place for Options
7.4.3.4 Rhythm of Options
7.4.4 Options Are Key
7.4.5 Basics of Additional Paths
7.4.6 Game Mode Considerations
7.4.7 Think 3D
7.4.8 Balance of Complexity
7.4.9 Closing Words
7.5 The Concept of “Points of Advantage”
7.5.1 Introduction
7.5.2 What Is a Good Level Layout for Me?
7.5.3 Player Motivations
7.5.4 Arenas
7.5.5 Linear Structures
7.5.6 Connections
7.5.7 Filling the Gaps
7.5.8 Meta Level and Scale
7.5.9 Closing Words
8. The Big Picture
8.1 The Game as a Progression of Levels
8.1.1 Introduction
8.1.2 Progression in the Big Picture
8.1.2.1 Introduction
8.1.2.2 Progression Table Creation
8.1.3 Patterns in a Progression Table
8.1.3.1 Introduction
8.1.3.2 Too Many Ingredients per Level
8.1.3.3 Dominating Patterns per Row
8.1.3.4 Dominating Patterns per Column
8.1.3.5 Too Many Ingredients too Early
8.1.3.6 Ingredients Late in the Game
8.1.3.7 About Rational Design
8.1.4 Mission Progression in Open Game Types
8.1.4.1 Introduction
8.1.4.2 Progression Table for Open Games
8.1.4.3 Progression Sheet for Open Games
8.2 About Tutorial Levels
8.2.1 Introduction
8.2.2 Gameplay, Art, and Narrative Considerations
8.2.2.1 Introduction
8.2.2.2 Gameplay Teaching: Basics
8.2.2.3 Art and Narrative Introduction
8.2.3 Level Design Considerations
8.2.3.1 Linearity
8.2.3.2 Combining Art, Narrative, and Gameplay
8.2.3.3 Tutorial Level: Production Issues and Solutions
9. High-Level Layouts
9.1 Circle to Complex Arena
9.1.1 Introduction
9.1.2 The Circle
9.1.3 More Circles
9.1.3.1 Introduction
9.1.3.2 Circle Size, Weight, and Density
9.1.3.3 Bottlenecks
9.1.4 Dead-Ends
9.1.5 Closing Words
9.2 Sandbox, Multiplayer, and Boss Arenas
9.2.1 Introduction
9.2.2 Surrounding Circle Layouts
9.2.2.1 Introduction
9.2.2.2 Open
9.2.2.3 Enclosed
9.2.3 Inner Circle Layouts
9.2.3.1 Introduction
9.2.3.2 Open
9.2.3.3 Enclosed
9.2.4 Incomplete Loops
9.2.5 Center Axis Layouts
9.3 Linear Levels
9.3.1 Introduction
9.3.2 Compartmentalizing
9.3.3 Linear Branching
9.3.3.1 Introduction
9.3.3.2 Wide Branching
9.3.3.3 Tight Branching
9.3.3.4 Branch Connection Angles
10. Connective Tissue
10.1 Inner-Level Connections
10.1.1 Introduction
10.1.2 Connection within Linear Levels
10.1.2.1 The Classic Usage
10.1.2.2 Control and Hide the Transition
10.1.3 Connect between Sandboxes Arenas
10.1.3.1 Introduction
10.1.3.2 Foreshadowing and Leading
10.1.3.3 Where and How to Connect
10.1.4 Connection between Open-World Locations
10.1.4.1 Introduction
10.1.4.2 How to Embrace No Control
10.1.4.3 How to Embrace Long Distances
10.1.5 Connection between In-Game and Cutscenes
10.1.5.1 Introduction
10.1.5.2 Intro Cutscenes
10.1.5.3 Mid-Level Cutscenes
10.1.5.4 End-Level Cutscenes
10.2 About Verticality
10.2.1 Introduction
10.2.2 Importance of Verticality
10.2.3 Planning Vertical Levels
10.2.4 Controller, Height, and Angle Considerations
10.2.4.1 The Controller
10.2.4.2 Anything Up There
10.2.4.3 Angles
10.2.5 Types of Verticality
10.2.5.1 Introduction
10.2.5.2 Plain Height/Steep Slopes
10.2.5.3 Stairs, Ramps, and Slopes
10.2.5.4 Interior Staircases
10.2.5.5 Ladders, Vines, and Pipes
10.2.5.6 Ledge Climbing
10.2.5.7 Free Climbing
10.2.5.8 Elevators/Moving Platforms
10.2.5.9 Rope Actions
10.2.5.10 Long Falls
10.2.5.11 Jump Pads
10.2.5.12 Zero Gravity
10.2.5.13 Wall Walking
10.2.5.14 Wall Running
10.2.5.15 Portals and Teleportation
10.3 Progression within a Mission
10.3.1 Introduction
10.3.2 Basic Building Blocks and Objectives
10.3.2.1 Introduction
10.3.2.2 Attack
10.3.2.3 Defend
10.3.2.4 Interact
10.3.2.5 Navigation
10.3.2.6 Narrative Blocks
10.3.2.7 No Blocks
10.3.3 Modifiers
10.3.3.1 Introduction
10.3.3.2 Time
10.3.3.3 Forced Stealth and Stealth
10.3.3.4 Limited Tools
10.3.3.5 Specific Order
10.3.3.6 Other Modifiers
10.3.4 How to Mix Them
10.3.4.1 Basics of a Good Mix
10.3.4.2 Monotonous Block Usage
10.4 About Pacing and Timing
10.4.1 Introduction
10.4.2 The Beat and Intensity
10.4.2.1 Introduction
10.4.2.2 Intensity Estimation
10.4.3 The Pacing Graph
10.4.3.1 Introduction
10.4.3.2 Basic Rules
10.4.3.3 How to Create a Pacing Graph Using Excel
10.4.4 Alternative Pacing
10.4.4.1 Introduction
10.4.4.2 Narrative Graph
10.4.4.3 Coop Graph
Section IV: Practical: How to Get Started
11. Concept Phase
11.1 It All Starts with Research and Reference
11.1.1 Introduction
11.1.2 Searching Correctly
11.1.3 Research the Why
11.1.4 Collecting Reference Correctly
11.1.4.1 Introduction
11.1.4.2 Pictures
11.1.4.3 Links and Articles
11.2 Documentation Basics
11.2.1 Introduction
11.2.2 Document Purpose and Audience
11.2.2.1 Introduction
11.2.2.2 Intentions
11.2.2.3 For Externals
11.2.3 Documentation for Linear Levels
11.2.3.1 Introduction
11.2.3.2 Tab One: High-Level
11.2.3.3 Tab Two: Level Sketch
11.2.3.4 Tab Three: Medium-Level
11.2.3.5 Tab Four: Detail/Low-Level
11.2.4 Documentation for Open World Missions
11.2.4.1 Introduction
11.2.4.2 Intro Page: High-Level
11.2.4.3 World Map
11.2.4.4 Mission Blocks: Mid-Level
11.2.4.5 Detailed Location: Low-Level
11.2.4.6 Supporting Pages
11.2.5 Documentation for Multiplayer Maps
11.2.6 Time Estimates
11.2.7 Closing Words
11.3 Approaching Location Ideas
11.3.1 Introduction
11.3.2 The Generic Location
11.3.3 The Overly Complex Location
11.3.4 The Right Location
11.4 World Building: Translating
11.4.1 Introduction
11.4.2 The Four Steps
11.4.2.1 Step 1: Reference
11.4.2.2 Step 2: Note Coherences
11.4.2.3 Step 3: Delete, Adjust, or Close
11.4.2.4 Step 4: Translate
11.4.3 Fictional Locations
11.4.3.1 Introduction
11.4.3.2 How to Create Fictional Coherences
11.5 World Building: Working in Layers
11.5.1 Introduction
11.5.2 Start with Vision
11.5.3 The Layers
11.5.3.1 Introduction
11.5.3.2 Basic Layer Use
11.5.3.3 Always Start with the Timetable
11.5.3.4 The Second Layer Is a Map
11.5.3.5 The Next Layers
11.5.3.6 Multiple Layer Constructs
11.5.4 Example Layer Workflow
11.5.4.1 Step #1: Vision
11.5.4.2 Step #2: Layer 1—Timetable
11.5.4.3 Step #3: Layer 2—Map
11.5.4.4 Step #4: Layer 3—Reason of Existence
11.5.4.5 Step #5: Layer 4—Economy (Tertiary Sector)
11.5.4.6 Step #6: Layer 5—Factions
11.5.4.7 Step #7: Layer 6—Unique Events
11.5.4.8 Final Observations
11.5.5 Final Worlds
12. First Steps
12.1 From Plan to Reality
12.1.1 Introduction
12.1.2 Layers and Teamwork
12.1.3 Layout Skeleton: First Scale Impressions
12.1.3.1 Introduction
12.1.3.2 Open World: First Steps and Early Scaling Estimates
12.1.3.3 Interiors and Complex Locations: First Steps and Early Scaling Estimates
12.1.4 Skeleton Script
12.1.4.1 Initial Block-Out
12.1.4.2 Further Skeleton Scripts
12.1.5 From Skeleton to First Intention
12.1.5.1 Initial Priority List
12.1.5.2 How to Use the Priority List
12.1.5.3 Must Haves—Should Haves—Can Haves
12.1.6 Iteration and Post First Intention
12.2 Product Management
12.2.1 Introduction
12.2.2 About MVPs and Backup Plans
12.2.2.1 MVP and Level Design
12.2.2.2 Backup Plans for Level Design
12.2.2.3 Example for Backup Plans and My General Approach
12.2.3 About Benchmarks and Prototypes
12.2.3.1 Introduction
12.2.3.2 Benchmarks
12.2.3.3 Prototypes
12.3 Third- and First-Person Perspectives
12.3.1 Introduction
12.3.2 Scale for Perspectives
Section V: Practical: Layouts
13. Cover, Flow, and Player Leading
13.1 Cover Mentality
13.1.1 Introduction
13.1.2 The Corner
13.1.3 The Wall
13.1.4 The Hallway
13.1.5 The T-Junction
13.1.6 Concave Spaces
13.1.7 Convex Spaces
13.1.8 The Door Frame Problem
13.1.9 Cover Placement in the Open
13.1.10 Closing Words
13.2 Cover Types
13.2.1 Introduction
13.2.2 Block, Medium, and High Cover
13.2.3 Cover at Slopes
13.2.4 Thin Cover
13.2.5 Soft and Penetrable Cover
13.2.6 Destructible Cover
13.2.7 Bulletproof Glass
13.2.8 One-Sided Cover
13.3 Cover Flow
13.3.1 Introduction
13.3.1.1 Cover Flow Definition
13.3.1.2 When and Why Is Cover Flow Important
13.3.2 Cover Transition
13.3.2.1 Connecting Angle
13.3.2.2 Orientation at Cover
13.3.2.3 Cover Placement Considerations
13.3.2.4 Transitioning between Covers
13.3.2.5 Flow with Frontlines
13.3.3 Cover Difficulty
13.3.3.1 Introduction
13.3.3.2 Connecting Distance
13.3.3.3 Connecting Threat
13.3.4 Cover Speed
13.3.4.1 Introduction
13.3.4.2 Why Control Speed
13.3.4.3 Abstract Understanding
13.4 Player Leading
13.4.1 Introduction
13.4.2 Moving and Looking
13.4.3 “Sins” of Player Leading
13.4.3.1 Introduction
13.4.3.2 Waypoints
13.4.3.3 Compass
13.4.3.4 Minimap
13.4.3.5 Text Briefings
13.4.3.6 Cutscenes
13.4.3.7 Audio
13.4.3.8 The One Solution
13.4.3.9 “Left Corner”
13.4.4 Layout and Flow
13.4.4.1 Funneling, Angles, or Macro Flow
13.4.4.2 Micro Flow
13.4.4.3 Architecture
13.4.4.4 Vantage Point=Player Teaching
13.4.5 Art Elements
13.4.5.1 Lighting
13.4.5.2 Landmarks
13.4.5.3 Signs
13.4.5.4 Explosions/Animation
13.4.5.5 Indirect Guiding Elements
13.4.6 Lure and Bait
13.4.6.1 Enemies
13.4.6.2 Friendlies
13.4.6.3 Reward/Loot
13.4.7 Player Teaching
13.4.7.1 About Player Teaching
13.4.7.2 Player Language
13.4.7.3 Play Styles
13.4.8 Player Leading Context
13.4.8.1 Lighting Context
13.4.8.2 Lure and Bait Context
13.4.8.3 No Player Leading
13.4.8.4 Flow Context
13.4.8.5 Other Game Mechanics
13.4.8.6 How to Improve Waypoint Handling
14. Scenarios and Location Types
14.1 About Attack and Defense Sections
14.1.1 Introduction
14.1.2 Combat Zone Basics
14.1.2.1 Introduction
14.1.2.2 List of Considerations
14.1.2.3 Combat Network
14.1.2.4 Frontlines
14.1.3 Attack Fundamentals
14.1.3.1 Introduction
14.1.3.2 Branches
14.1.3.3 Attack Angle
14.1.3.4 Attack Layout Rhythm and Pacing
14.1.3.5 Attack Ingredients and Intensity Pacing
14.1.4 Defense Fundamentals
14.1.4.1 Introduction
14.1.4.2 Defense Angles and Difficulty
14.1.4.3 Defense Layout Types
14.1.4.4 Defense Intensity Pacing
14.1.5 Problems and Solutions
14.1.5.1 The Anti-Climax AI
14.1.5.2 The Start Is the Challenge
14.1.5.3 Players Do Not Play Correctly
14.1.5.4 Enemies Lack Purpose
14.1.5.5 Surviving Is Not Fun
14.2 About Open-World Locations
14.2.1 Introduction
14.2.2 The DNA of an Open-World Location
14.2.2.1 Surrounding Path and Vantage Points
14.2.2.2 Attack Angles and Way In
14.2.2.3 Outer and Inner Loops
14.2.3 Basic Enemy Setup
14.2.3.1 Introduction
14.2.3.2 Parameter and Overwatch AI
14.2.3.3 Inner AI
14.2.3.4 Additional AI
14.2.4 Basic Layout Types
14.2.4.1 Introduction
14.2.4.2 Single Structure
14.2.4.3 Multi-Structure Flow
14.2.4.4 Separate Structures
14.2.4.5 Spiral
14.2.5 Problems and Solutions
14.2.5.1 Not Enough AI
14.2.5.2 Players Only Stay Outside
14.2.5.3 The Reinforcement Takes Too Long
14.3 About Stealth Sections
14.3.1 Introduction
14.3.2 Stealth Foundation
14.3.3 Problems and Solutions
14.3.3.1 The Avoidance Path
14.3.3.2 The Vantage Point
14.3.3.3 The “AI Waiting to Get Killed”
14.3.3.4 The “Crazy Difficult Setup”
14.3.3.5 The “Messy Setup” Problem and Solution
14.3.3.6 The “Tools or No Tools”
14.3.3.7 Unfair AI Scripting
14.3.3.8 The “No Puzzle Puzzle”
14.3.3.9 The “Left Door Right Door”
14.3.3.10 The “Vanilla Setup”
14.3.3.11 The “One & Done”
14.3.4 Closing Words about Stealth
14.4 About Traversal Sections
14.4.1 Introduction
14.4.2 Time Challenge
14.4.2.1 Introduction
14.4.2.2 Checkpoint Types
14.4.2.3 Other Considerations
14.4.3 Chase
14.4.3.1 Introduction
14.4.3.2 Continuous Chases Considerations
14.4.3.3 Segmented Chase Considerations
14.4.3.4 General Chase Consideration
14.4.3.5 Being Chased
14.4.4 Loose Exploration
14.4.4.1 Introduction
14.4.4.2 Player Magnets
14.4.4.3 Traces and Foreshadowing
14.4.5 Skill Challenge
14.4.5.1 Introduction
14.4.5.2 Basic Approach
14.4.5.3 Implement and Mix Them
14.5 About Puzzle Sections
14.5.1 Introduction
14.5.2 Step 1: Problem Introduction
14.5.3 Step 2: Environmental Comprehension
14.5.3.1 When, Where, What Is Going On?
14.5.3.2 How to Solve the Puzzle?: Step 2.1—Exposition
14.5.3.3 How to Solve the Puzzle?: Step 2.2—Actions
14.5.3.4 How to Solve the Puzzle?: Step 2.3—Difficulty
14.5.4 Step 3: Executing
14.6 About Escort Sections
14.6.1 Introduction
14.6.2 Systemic-Follow AI
14.6.2.1 Introduction
14.6.2.2 Risk Reductions
14.6.3 Systemic-Lead AI
14.6.3.1 Introduction
14.6.3.2 Risk Reduction
14.6.4 Conditional AI
14.6.4.1 Introduction
14.6.4.2 Risk Reduction
14.6.5 Spline AI
14.7 About Co-op Level Design
14.7.1 Introduction
14.7.2 Space in Co-op
14.7.2.1 Introduction
14.7.2.2 Options over Space
14.7.2.3 Splits at Battlefields
14.7.2.4 Front Lines in Co-op
14.7.2.5 Cover Flow in Co-op
14.7.2.6 Reset Options
14.7.3 Communication and Layout in Co-op
14.7.3.1 Introduction
14.7.3.2 Have a Break
14.7.3.3 Inner and Outer Vantage Points
14.7.3.4 Unique Locations and Landmarks
14.7.4 Gameplay in Co-op
14.7.4.1 Introduction
14.7.4.2 Classic AI Setups for Co-op
14.7.4.3 Co-op Gates
14.7.4.4 Unique Co-op Gameplay Moments
Section VI: Practical: Technical Aspects and Game Design
15. Scripting and Technical
15.1 Scripting Types
15.1.1 Introduction
15.1.2 Text-Based Scripting/Programming
15.1.3 3D-Scripting
15.1.4 Visual Scripting
15.2 Scripting and Database Basics
15.2.1 Introduction
15.2.2 Approach to Problem Solving
15.2.2.1 Introduction
15.2.2.2 Step 1: Understand the Problem(s)
15.2.2.3 Step 2: Compartmentalize
15.2.2.4 Step 3: Involve Your Team
15.2.2.5 How to Approach a Bug/Problem
15.2.3 About Databases
15.2.4 Scripting Foundation
15.2.4.1 Introduction
15.2.4.2 Continuous Left to Right
15.2.4.3 Same Time=Below
15.2.4.4 Least Amount of Overlapping Connections
15.2.4.5 Group Closed Steps
15.2.4.6 Comments
15.2.4.7 Create Templates Which Repeats a Lot
15.2.4.8 Always Have Backups in Your Scripts
15.2.4.9 Follow Conventions
15.2.5 Scripting Mindset
15.2.5.1 Introduction
15.2.5.2 Dig Deep
15.2.5.3 A Prototype Is a Prototype
15.2.5.4 Production Script Standards
16. Working with Ingredients
16.1 Basic AI and Design Rules
16.1.1 Introduction
16.1.2 Basic AI and Combat Guidelines
16.1.2.1 Never Rely on AI
16.1.2.2 AI Brings Life to the World
16.1.2.3 AI Archetype Combinations
16.1.2.4 AI Needs to Answer All Player Actions
16.1.2.5 Factions
16.1.2.6 Less Ideal AI Archetypes
16.1.2.7 AI Encounters as a Puzzle
16.1.2.8 Spawn AI Ahead of Time
16.1.2.9 Layer Your Combat Encounters
16.1.2.10 Plans Go Wrong
16.1.2.11 Surprise and Break Rules
16.1.3 Ingredient and Gameplay Pitfalls
16.1.3.1 Items as Triggers
16.1.3.2 Items as Hints
16.1.3.3 Actions and Consequences
16.1.3.4 Exploits vs. Making It Easy
16.1.3.5 Randomization
16.1.3.6 Ingredients Flavor Your Layouts
16.2 Working with AI Types
16.2.1 Introduction
16.2.2 Melee AI Types
16.2.2.1 Introduction
16.2.2.2 Level Design Considerations
16.2.3 Mid- to Close-Range AI Types
16.2.3.1 Introduction
16.2.3.2 Level Design Considerations
16.2.4 Long-Range AI Types
16.2.4.1 Introduction
16.2.4.2 Level Design Considerations
16.2.5 Tough AI Types
16.2.5.1 Introduction
16.2.5.2 Level Design Considerations
16.2.6 Hordes and Fast AI Types
16.2.6.1 Introduction
16.2.6.2 Level Design Considerations
16.2.7 AI Groups
16.2.7.1 Introduction
16.2.7.2 Level Design Considerations
16.2.8 Boss Fights
16.2.8.1 Introduction
16.2.8.2 Level Design Considerations
16.3 Working with Different Gameplay Ingredients
16.3.1 Introduction
16.3.2 Pickups
16.3.2.1 Small Ones
16.3.2.2 Big Ones
16.3.2.3 Collectables
16.3.3 Vehicles
16.3.3.1 Introduction
16.3.3.2 Land: Player
16.3.3.3 Land: Friendly AI
16.3.3.4 Land: Enemy AI
16.3.3.5 Water: Player
16.3.3.6 Water: Friendly AI
16.3.3.7 Water: Enemy AI
16.3.3.8 Air: Player
16.3.3.9 Air: Friendly AI
16.3.3.10 Air: Enemy AI
16.3.4 Fixed Misc Ingredients
16.3.4.1 Introduction
16.3.4.2 One-Use
16.3.4.3 Multi-Use
16.3.5 Navigation Ingredients
16.3.5.1 Introduction
16.3.5.2 Fixed
16.3.5.3 Free Use
16.3.5.4 Threats
Section VII: Closing Topics
17. Closing and Shipping
17.1 About Balancing
17.1.1 Introduction
17.1.1.1 Overview
17.1.1.2 Balancing Is Not Pacing
17.1.1.3 Details of Balancing
17.1.2 The Sum of All Parts
17.1.2.1 The Core Issue
17.1.2.2 Balancing Timing
17.1.2.3 Developers Do Not Count, Almost
17.1.2.4 Playtests and Balancing
17.2 About Bug Fixing
17.2.1 Introduction
17.2.2 Bug Fixing Approach
17.2.2.1 The Foundation
17.2.2.2 A Common and Ideal Approach
17.2.2.3 Bugs vs. Tasks
17.2.3 Etiquette
17.2.3.1 Forwarding Bugs
17.2.3.2 NAD, AD, WNF, NMI, and CNR
17.2.3.3 Bad Bugs
17.3 About Closing
17.3.1 Introduction
17.3.2 The Role of Creatives and Managers
17.3.3 The Stages between Alpha and Beta
17.3.3.1 Grace Period
17.3.3.2 Closing Phase
17.3.3.3 Polish Phase
17.3.3.4 Strict Bug-Fix Phase
17.3.4 About Tasks, Bugs, and Empathy
17.3.4.1 Still Big Tasks?
17.3.4.2 Manage Expectations and Empathy
17.3.4.3 Edge Cases
18. Becoming a Level Designer
18.1 How to Get Started
18.1.1 Introduction
18.1.2 Mod Community
18.1.3 University
18.1.4 QA/QC
18.2 A Good Cover Letter, CV, and Portfolio
18.2.1 Introduction
18.2.2 The Cover Letter
18.2.3 The Resume or CV
18.2.3.1 Basic Setup and Essentials
18.2.3.2 Work History
18.2.3.3 Skill Section
18.2.3.4 Finishing Touches
18.2.4 The Portfolio
18.2.4.1 Content
18.2.4.2 Delivery
18.2.4.3 Level Design Portfolio
18.3 The Test and Interview
18.3.1 The Test
18.3.1.1 Introduction
18.3.1.2 External
18.3.1.3 On-Site Test
18.3.2 The Interview
18.3.2.1 Preparation
18.3.2.2 The Interview
18.3.3 Rejection
Index