Slashdot Mirror
Level Design For Games
Aeonite writes "As a content writer I was not heavily involved in the level design process at my last game industry job, but Phil Co's Level design For Games: Creating Compelling Game Experiences accompanied me to work every day. Not only is it a good introduction to the world of level design, but it also provides an excellent overview of the entire game design process." Read below for the rest of Michael's thoughts on this book.
Level Design For Games: Creating Compelling Game Experiences
author
Phil Co
pages
352
publisher
New Riders
rating
10
reviewer
Michael Fiegel
ISBN
0321375971
summary
An excellent introduction to the art of game level design
In the past I've been rather verbose when reviewing books about game design, as I wished to provide evidence that justified the often less than stellar score I gave the book in question. I'm pleased that I don't have to do that with this book, which as far as I can tell is a nearly flawless introduction to level design. As such, this review will be more of a recap, so as to help you decide if the book's content is right for you.
Chapter 1, "How Do You Make a Game?," discusses the game development process from Pre-Production through Gold Master by way of showing how level design fits into the overall scheme of things. Also discussed are design documents, basic level geometry, and the difference between alpha and beta, and A, B, C and D bugs (A being "fix this now" and D being "nice to have, maybe later").
Chapter 2, "Defining the Game," focuses on the various types of games on the market and the differences between them, from first-person shooters to platformers, action RPGs to MMORPGs. Also discussed in some depth are themes (fantasy, sci-fi), ESRB ratings and audience age, and system limitations.
Chapter 3, "Enemies and Obstacles: Choosing Your Challenges," is where the book really begins to get into the nitty-gritty of the level design process. This third chapter covers the placement of enemies ("mobs") and objects within the level, the types of levels (hubs, boss levels, etc.), skill trees and the application of skills to obstacles within each level.
With an idea of what needs to go where, Chapter 4, "Brainstorming Your Level Ideas," delves into the creation of concept sketches and reference images, the creation of a level's storyline, the drafting of a level description and the design of the puzzles and scripted sequences within the level (which incorporate the mobs and objects discussed previously).
Chapter 5, "Designing With a Diagram," is where all those ideas and brainstorming begin to take concrete shape. A primary concern here is the scope and order of levels within the game, particularly in terms of a player's progress through each level. Once you know where your level fits into the overall schema, the author tells you to lay it out in diagram format by creating a grid; this is not unlike a Dungeon Master carving out 10' by 10' dungeon corridors on graph paper for a D&D game. You know who you are.
Chapter 6, "The Template," introduces the reader to UnrealEd, a level editor for which a demo is provided in the back of the book. The author walks through the basics of using UnrealEd, from the basic creation of a room and the placement of an NPC within it to slightly more advanced topics such as vertex editing and static meshes. It's a fairly technical chapter, but is laid out clearly with numbered instructions and plenty of screenshots to guide the reader along.
Chapter 7, "Improving Your Level," jumps ahead in time a bit, assuming that you've already mastered the basics from Chapter 6 and have created a level template that can now be play-tested. It focuses mostly on that play-testing process and how to adjust and balance one's level based on feedback in order to make it fun and functional.
The next chapter, "Taking It to 11," is more concerned with polish and quality. Topics include architectural style, the addition of details like trim and borders, the appropriate use of textures and props, and the like. The second third of the chapter takes the reader back into UnrealEd to practice some of these skills, including the creation of new shapes and a radial building technique to create curved hallways an rounded rooms. Finally, the chapter discusses the addition of other game elements, including scripted sequences, ambient sounds and music, and other special effects such as fog.
The final chapter, "Ship It!," revisits the concept of Alpha, Beta and Gold Master in more depth, discussing optimization, the creation of zones (with an UnrealEd tutorial to help the reader along), game balance, and bug testing. It closes off with some discussion of helpful skills and practices one might pick up, including how to file a good bug, why you should archive data, and how to take good screenshots.
On the subject of screenshots, it is worth noting here that the book contains one such shot from Flagship Studio's Hellgate: London, a game which I am downloading from the EA store as I write this review, and which is scheduled for official release on Halloween, 2007. In my experience, many books on game design tend to incorporate screenshots and examples from older games, and it's rare to find a book that includes a screenshot from a game that is not only current, but as of the book's publication was yet unreleased. Indeed, most of the examples in the book are of games released in the past several years (Psychonauts, Half-Life 2, Doom 3), and this gives the book added relevance, appeal and longevity.
Aside from the more technical language involved with the UnrealEd tutorials, the book's clear language and friendly tone makes it quite accessible, even for those not of a technical persuasion. While I can't speak to how much the book would help a more experienced LD, it definitely seems appropriate for a beginner who's eager to learn the craft, or anyone interested in the game industry as a whole. I highly recommend it.
You can purchase Level Design For Games: Creating Compelling Game Experiences from amazon.com. Slashdot welcomes readers' book reviews -- to see your own review here, read the book review guidelines, then visit the submission page.
Chapter 1, "How Do You Make a Game?," discusses the game development process from Pre-Production through Gold Master by way of showing how level design fits into the overall scheme of things. Also discussed are design documents, basic level geometry, and the difference between alpha and beta, and A, B, C and D bugs (A being "fix this now" and D being "nice to have, maybe later").
Chapter 2, "Defining the Game," focuses on the various types of games on the market and the differences between them, from first-person shooters to platformers, action RPGs to MMORPGs. Also discussed in some depth are themes (fantasy, sci-fi), ESRB ratings and audience age, and system limitations.
Chapter 3, "Enemies and Obstacles: Choosing Your Challenges," is where the book really begins to get into the nitty-gritty of the level design process. This third chapter covers the placement of enemies ("mobs") and objects within the level, the types of levels (hubs, boss levels, etc.), skill trees and the application of skills to obstacles within each level.
With an idea of what needs to go where, Chapter 4, "Brainstorming Your Level Ideas," delves into the creation of concept sketches and reference images, the creation of a level's storyline, the drafting of a level description and the design of the puzzles and scripted sequences within the level (which incorporate the mobs and objects discussed previously).
Chapter 5, "Designing With a Diagram," is where all those ideas and brainstorming begin to take concrete shape. A primary concern here is the scope and order of levels within the game, particularly in terms of a player's progress through each level. Once you know where your level fits into the overall schema, the author tells you to lay it out in diagram format by creating a grid; this is not unlike a Dungeon Master carving out 10' by 10' dungeon corridors on graph paper for a D&D game. You know who you are.
Chapter 6, "The Template," introduces the reader to UnrealEd, a level editor for which a demo is provided in the back of the book. The author walks through the basics of using UnrealEd, from the basic creation of a room and the placement of an NPC within it to slightly more advanced topics such as vertex editing and static meshes. It's a fairly technical chapter, but is laid out clearly with numbered instructions and plenty of screenshots to guide the reader along.
Chapter 7, "Improving Your Level," jumps ahead in time a bit, assuming that you've already mastered the basics from Chapter 6 and have created a level template that can now be play-tested. It focuses mostly on that play-testing process and how to adjust and balance one's level based on feedback in order to make it fun and functional.
The next chapter, "Taking It to 11," is more concerned with polish and quality. Topics include architectural style, the addition of details like trim and borders, the appropriate use of textures and props, and the like. The second third of the chapter takes the reader back into UnrealEd to practice some of these skills, including the creation of new shapes and a radial building technique to create curved hallways an rounded rooms. Finally, the chapter discusses the addition of other game elements, including scripted sequences, ambient sounds and music, and other special effects such as fog.
The final chapter, "Ship It!," revisits the concept of Alpha, Beta and Gold Master in more depth, discussing optimization, the creation of zones (with an UnrealEd tutorial to help the reader along), game balance, and bug testing. It closes off with some discussion of helpful skills and practices one might pick up, including how to file a good bug, why you should archive data, and how to take good screenshots.
On the subject of screenshots, it is worth noting here that the book contains one such shot from Flagship Studio's Hellgate: London, a game which I am downloading from the EA store as I write this review, and which is scheduled for official release on Halloween, 2007. In my experience, many books on game design tend to incorporate screenshots and examples from older games, and it's rare to find a book that includes a screenshot from a game that is not only current, but as of the book's publication was yet unreleased. Indeed, most of the examples in the book are of games released in the past several years (Psychonauts, Half-Life 2, Doom 3), and this gives the book added relevance, appeal and longevity.
Aside from the more technical language involved with the UnrealEd tutorials, the book's clear language and friendly tone makes it quite accessible, even for those not of a technical persuasion. While I can't speak to how much the book would help a more experienced LD, it definitely seems appropriate for a beginner who's eager to learn the craft, or anyone interested in the game industry as a whole. I highly recommend it.
You can purchase Level Design For Games: Creating Compelling Game Experiences from amazon.com. Slashdot welcomes readers' book reviews -- to see your own review here, read the book review guidelines, then visit the submission page.
For those of you who don't want to pick up nasty bookseses, pick up a copy of the Orange Box, and play through Half Life 2. Particularly pay attention to the developers commentary in HL2 Episodes One and Two, Portal, and Team Fortress. You'll have a much better appreciation for what level design is and what it means, and (IMHO) Valve is the king of it.
No I am not a Valve Employee.
A recent Slashdot post suggested that the age of levels in video games was coming to an end, that now game environments are much more open-ended. Does the book discuss how this might affect designs?
All too often, I have seen games where the level design consisted of the following cliche decisions. Level 1 should be garden-themed, level 3 should let you swim (if you're ever allowed to swim), level 4 should be slippery ice, level 6 should be raging lava which kill you if you touch it, and level 8 should be a screwed-up-gravity level that lets you walk on the ceilings or reorient yourself in space.
What's funny is that these same gameplay decisions are leaking into the storylines of modern adventure movies. For example, the plucky racing scene in Cars, or Star Wars I. Or the sidescroller robot factories in Minority Report and Star Wars II. Or the "jumping on floating bits across lava" scene in... uh, Star Wars III. The transitions in Lord of the Rings from "ice" to "fire" to "water" to "forest" areas actually seem to make sense, but only because they take place over 36 hours of video, or 1600 pages of text. Cramming it into a single game or movie with almost no transition just makes it seem ridiculous.
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TFC in my opinion has some of the best levels when it comes to design and purpose. There is a delicate balance between providing enough points of attack for the offense while providing enough cover for the defense, all while keeping the level small enough to allow users to quickly and easily get back into battle.
So this is level design for games... what about level design for non-game situations?
I can imagine using game level design for architecture:
Architect: "So I think we should have lots of cardboard boxes in this hallway"
Sr. Architect: "Why?"
Architect: "For better sniping spots during the shootouts!! And all good levels have cardboard boxes and crates!!!"
Sr. Architect: "WTF are you talking about?"
Architect: "And there should be a flamethrower canister in the Men's room"
Sr. Architect: "You're fired."
hehe... actually, I remeber hearing ages ago that Oni levels were built with architecture tools, not standard level design tools.
Pfft. Everyone knows that the quality of a game's levels depend entirely on how long you have to go before you see a crate.
"Destroy science and religion. Science would re-emerge exactly the same; but not religion." - Penn Jillette, paraphrased
Perhaps I'm just being pedantic, but I'm really tired of the concept of 'levels' in games. I don't want to see loading screens telling me "loading new level..." I'm tired of rocket launchers that don't break wooden doors (or even glass doors. yes, I've seen this) because that would ruin a design's carefully crafted puzzle. I don't want to hear on the back of the box "Twenty Action-packed Levels of Pure Mayhem". Isn't it time the game industry retires this term? I'm fed up with buildings designed like mazes because the game designer simply wants the players to run through a maze. This is what I think of when I hear about 'level design'. I'm sick of levels.
Why do I care about the term 'level' at all? Honestly, I think it encourages game designers, environmental artists (a better name than level designers) and even publishers to think too linearly, and to be intellectually lazy. Publisher: how many levels will this game have? Game designers: 30 levels. Publisher: Fantastic, that's 10 more levels than our competition has. Gamer: yawn...
So what do I want instead? Give me environments! Give me worlds! I want freedom to explore, to find out of the way nooks and crannys, and more than one way of getting from point A to B. I want to solve problems using logic, not by playing "guess what the game designer wanted me to do or go next"? Game designers: Create a living, breathing, interesting world, and then let your players enjoy their time here. Stop shoving the player along a conveyor belt.
Obviously, it's not fair to pin this on the term 'levels'. But it just seems like a term that emphasizes aspects of games I'd love to see the industry move beyond.
Irony: Agile development has too much intertia to be abandoned now.