Week Seven

Week six concluded with me further refining the moveset of the Out Of Water turtle. I tweaked the jumps, and added a slam and a glide!

Now that I have more solidified the player movement, I can now record a lot of different things, what combinations they could do to jump higher, how far the player can glide etc etc al the different possibilities. This is called Player Movement Metrics, I made a note of all the metrics for each type of jump, including the space inbetween, as if you remember that you have variable jump heights for each one of the progressive jump states.

This is vital for Level Design, knowing the size of the character and all the measurements of their abilities will allow me to create spaces that are effective at utilising the Moveset, no point me constantly having to check if I can make certain jumps every time I place a block - if I know that the player can jump say 10m, putting a 11m high jump, that the player might look at and think I can reach that ledge - and then spend 5 minutes trying it over and over again. Leads to frustrations that ruin the experience.

Let’s talk about a game franchise that does this very well, a series I have been playing since the first release, Assassins Creed. A game that has exploration focusing around parkour and climbing, the player knowing how far you can jump, how high you can jump is vital. They design the levels around this, and they do it incredibly well, players never try to climb a wall that they cannot reach - or jump a gap they cannot make. They do this by making the jumps you can reach very obvious - and the jumps you cannot, obviously out of reach. They use a host of other techniques, but the one that hosts the most repsonsibility, is the size. This is a technique I intend to use in my levels.

While I have been replaying the levels of Banjo Kazooie / Spyro - I took notes of what techniques I felt like worked for me when I was being guided around the level. Banjo and Kazooie developer Rare did a great job in there use of ‘Weenies’ which are big recognisable landmarks that give the player a indication of where they are throughout the majority of the level, so that they do not get lost. Think of the centre of Paris, the weenie of Paris would be the Eiffel Tower. Weenies can also be used to guide the player towards a destination, Super Mario always ends up fighting Bowser in his castle as an example.

Banjo and Kazooie, both the first and second games developed by Rare host a Hub World with entrances to different levels, each level having a theme of its own to help it stand out. Each one of the levels are split into sections using Hub and Spoke method. Each one of these sections of these levels are different to one another and therefore are easy to navigate.

[GMTK Banjo and Kazooie]

As you can see above, this level in particular has 3 different noticable sections, the Spawn area - the cove to the top right, deep dark greens a very confined space - very unlike the other bubbles. The next area leads into the Sphynx, which is characteristic of that particular area, which leads into the pyramids. If you are in the second bubble it is clear that you need to advance towards the pyramids (due to elevation, weenies etc) but when you are in the final zone, it is always clear that to get back to spawn you look for the weenie of the second area - the Sphynx.

These levels were created using the Bubble System, separating these sections to further figure out each one of their roles within the level. For example area one could be to get the player comfortable with the jump, whereas area two is introducing the glide. This method of designing levels can be used all the way from Paper Design to Actual Blockouts.

Nintendos’ entire Super Mario franchise has always been known for introducing the players to new mechanics without a written tutorial, without text. They introduce this throughout just gameplay. To help do this they have a 4 step level design principle. This is : Taught Developed Twisted Thrown. They introduce a mechanic, disappearing platforms for example, they test if the player can handle a dissapearing platform in a scenario where there is not any risk. After that they then test it with a slight risk, then again with a lot of risk, then decide to add multiple dissapearing platforms, then twist it completely then add rotating moving platforms. Then that entire level is now associated with that particular mechanic. Towards the end, you may see other mechanics that have been taught within previous levels appear as you get close to completetion.

When continuing my research further I came across a linkdin post from a User called Peter Lantz a Indie Developer / Game Designer / Technical artist who has released a game called Castle on The Coast a small 3D Platformer that supports Valleys Children’s Hospital in California with each purchase.

Peter explains that to design certain parts of his levels, he began by deciding on a level theme or starting point, something that makes that level stand out in particular, it could be anything from Speed / Rotating / Dont Fall. He talks about taking time to design lots of obstacles around that particular theme, that are completely unconnected. Create as many as you can. These obstacles can then be catagorised into different difficulties and interest levels. These can then be lined up in a string of obstacles and bam you have a level. Placing different catagories of obstacle at different places within the string can have a variety of effects. Placing a really unique obstacle at the beginning can peak a players interest whereas too many easy obstacles can majorly effect the entire Flow of the level.

Ofcourse a string is never straight so consider winding this string of obstacles around some level geometry, such as mountains or lava - whatever suits the overarching game theme, consider adding rest points and secrets to give players a break in the action.

As well as looking directly into 3D Platformer specific Level Design - I researched into overall Level Design Principles. I used articles and videos from Max Pears a really succesful AAA Designer that graduated from Teeside in 2014! Max runs a regular Podcast / Youtube videos that break down all his tips and tricks in regards to level design, how to frame combat, fundamental shape theory, how to strategically place cover, leading lines - the list goes on. I found and continue to find these resources extremely useful.

After spending a day watching and making notes on a rather large amount of videos / posts I decided I would try a game I have been wanting to for a while, to wind down and give myself a break. Tomb Raider has been again one of those games I remember playing way back when I was younger on the PS1 and I have always wanted to try the newer ones. I booted up and played around 3 hours of Rise of the Tomb Raider. I began taking notes as I was playing the first few sections of the game, giving focus to collectables that were optional and how they rewarded me finding them, how the levels direct me in the way that they want etc.

A scene rather early towards the Game when Lara is in a Syberia Tomb, once you have escaped a helicopter trying to kill you, and a rather selfish driver you find yourself looking for a Artifact that will allow humans to become immortal. In this level the design is focused around only climbing / interaction not combat. I took multiple screenshots of this partiular level but to save space I will talk about one.

I took this particular screenshot as soon as I arose from a small cave behind where Lara is standing now. First thing I noticed was how NO PLAYER can miss the rather large shiny golden tomb smack bang in the centre of the screen, as the camera pans to it ever so slightly without player input. The use of colour - the only things that are gold and reflective are coins, which who would not want to go pick up a coin? It is very clear where the player needs to go in this case. To the top of the tomb.

Notice the fact that there is a gap in the cave at the very top, shedding light in not only to show the player where the final goal is, but to guide the player to it. You notice that the light shines down onto some shelves, that have white paint on (Tomb Raiders Yellow Paint) which leads to a white scratched platform which you know Lara can climb, you look there and realise that you can jump to the handing platform. Every important aspect of the puzzle of climbing up to the top, is visible. Techniques are used like leading lines / framing. All these techniques come together to create a amazing level that I would expect in Tomb Raider.

I then used these notes to create a Level Design Document and many level sketches and ideas, as soon as I find a realistic way to upload these in a professional way they will be on here!