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Architectural Approach to Level Design: Second edition 2nd edition [Minkštas viršelis]

4.31/5 (127 ratings by Goodreads)
(American University, Washington, DC, USA)
  • Formatas: Paperback / softback, 626 pages, aukštis x plotis: 234x156 mm, weight: 1380 g, 3 Tables, black and white; 361 Line drawings, color
  • Išleidimo metai: 10-May-2019
  • Leidėjas: A K Peters
  • ISBN-10: 081536136X
  • ISBN-13: 9780815361367
  • Formatas: Paperback / softback, 626 pages, aukštis x plotis: 234x156 mm, weight: 1380 g, 3 Tables, black and white; 361 Line drawings, color
  • Išleidimo metai: 10-May-2019
  • Leidėjas: A K Peters
  • ISBN-10: 081536136X
  • ISBN-13: 9780815361367
Written by a game developer and professor trained in architecture, An Architectural Approach to Level Design is one of the first books to integrate architectural and spatial design theory with the field of level design. It explores the principles of level design through the context and history of architecture.

Now in its second edition, An Architectural Approach to Level Design presents architectural techniques and theories for you to use in your own work. The author connects architecture and level design in different ways that address the practical elements of how designers construct space and the experiential elements of how and why humans interact with that space. It also addresses industry issues like how to build interesting tutorial levels and how to use computer-generated level design systems without losing the player-focused design of handmade levels. Throughout the text, you will learn skills for spatial layout, evoking emotion through gamespaces, and creating better levels through architectural theory.

FEATURES











Presents case studies that offer insight on modern level design practices, methods, and tools





Presents perspectives from industry designers, independent game developers, scientists, psychologists, and academics





Explores how historical structures can teach us about good level design





Shows how to use space to guide or elicit emotion from players





Includes chapter exercises that encourage you to use principles from the chapter in digital prototypes, playtesting sessions, paper mock-ups, and design journals

Bringing together topics in game design and architecture, this book helps you create better spaces for your games. Software independent, the book discusses tools and techniques that you can use in crafting your interactive worlds.
Foreword xix
Acknowledgments xxv
About the Author xxvii
Introduction xxix
Chapter 1 A Brief History of Architecture and Level Design 1(50)
Breaking The Rules Of Level Design
2(3)
An Experiential History Of Architecture
5(24)
Elements of Architecture and Level Design
7(1)
Functional Requirements
7(1)
Usability
7(1)
Delight
7(1)
The Beginnings of Architectural Sight Lines
8(2)
Architecture as Representation in Ancient Mesopotamia
10(1)
Architecture as Statement in Ancient Egypt
11(2)
Spatial and Symbolic Relationships in Greek Architecture
13(4)
Indian, Southeast Asian, and Asian Representational Architecture
17(2)
Linear Experiences in Roman Architecture
19(2)
Medieval Christian and Islamic Symbolic Architecture
21(2)
The Renaissance Return to Human-Centered Architecture
23(2)
Ornamental Reformations and Material Revolutions
25(4)
The History Of Gamespaces
29(8)
Board Design for Early Games
30(1)
Physical Gamespaces and Architecture
31(1)
Digital Gamespaces
32(5)
Ways Of Seeing For Level Design
37(3)
Summary
40(1)
Exercises
40(1)
Endnotes
41(3)
Industrial Perspectives
44(7)
Umran Ali
Chapter 2 Drawing for Level Designers 51(58)
Level Design Goals
51(8)
Adjusting Player Behavior
53(3)
Transmitting Meaning
56(1)
Augmentation of Space
57(2)
Non-Digital Level Design Techniques
59(29)
Basic Drawing Techniques
60(5)
How to Draw a Line
61(1)
Contours and Line Weights
62(1)
Drawing with References
63(1)
Shading
63(1)
Hierarchical Drawing
64(1)
Types of Architectural Drawings
65(8)
Plan
65(2)
Section
67(1)
Elevation
68(1)
Axonometric
69(2)
Perspective
71(2)
Sketching and Journal Writing
73(2)
Designing on Paper
75(2)
Notation Methods for Level Design
77(11)
Proximity Diagrams
77(2)
Concept Diagrams
79(3)
Game-Mapping
82(1)
Flow Charts
83(2)
Mark Brown's Boss Keys diagrams
85(3)
Digital Level Design Tools
88(12)
CAD Programs
89(3)
Digital Art Programs
92(1)
Engine Primitives and Placeholder Art
93(4)
3D Modeling Programs
97(3)
Summary
100(1)
Exercises
100(1)
Endnotes
101(2)
Industrial Perspectives
103(6)
Robin-Yann Storm
Chapter 3 Level Design Workflows 109(36)
Form Follows Function
109(6)
Form Follows Core Mechanics
110(4)
Level Progression with Scaffolding Mechanisms
114(1)
Level Design Workflows
115(20)
Level Design Parti
115(9)
Non-Digital Prototypes
124(1)
Digital Prototypes with Grayboxing
125(1)
Pacing Your Levels with the Nintendo Power Method
126(4)
Iterative Design with Playtesting
130(2)
Modular Level Design
132(3)
Level Design Scheduling
135(5)
The Toy Box
136(1)
Building from the Middle
137(2)
Building in Order
139(1)
Summary
140(1)
Exercises
141(1)
Endnotes
142(3)
Chapter 4 Basic Gamespaces 145(68)
Architectural Spatial Arrangements
146(9)
Figure-Ground
146(5)
Form-Void
151(1)
Arrivals
151(2)
Genius Loci
153(2)
Historic Gamespace Structures
155(6)
Labyrinth
155(1)
Maze
156(3)
Rhizome
159(2)
Spatial Size Types
161(7)
Narrow Space
161(2)
Intimate Space
163(3)
Prospect Space
166(2)
Molecule Level Spaces
168(6)
The Basics of Molecule Design
168(1)
Spatial Types as Molecule Nodes and Edges
169(5)
Hub Spaces
174(2)
Sandbox Gamespaces
176(10)
Pathfinding with Architectural Weenies
177(2)
Organizing the Sandbox: Kevin Lynch's Image of the City
179(7)
Landmarks
180(1)
Paths
180(2)
Nodes
182(1)
Edges
183(2)
Districts
185(1)
Working With Camera Views
186(12)
3D Views
187(4)
First Person
188(1)
Third Person
189(2)
2D Views
191(14)
Side-Scrolling Space
192(2)
Top-Down Space
194(2)
Axonometric/Isometric Views
196(2)
Enemies As Alternative Architecture
198(2)
Summary
200(1)
Exercises
201(1)
Endnotes
201(4)
Industrial Perspectives
205(8)
Jerry Belich
Chapter 5 Communicating through Environment Art 213(44)
Teaching Theories For Game Levels
214(8)
Behavior Theory and Operant Conditioning
214(2)
Montessori Method
216(3)
Constructivism
219(3)
Symbols And Visual Design In Games
222(14)
Implementing Symbols in Games
223(2)
Teaching with Symbols in Games
225(5)
Introducing Symbols
225(2)
Symbols as Guides
227(3)
Designing and Placing Symbols for Effective Communication
230(8)
Basic Color Theory
230(2)
Contrast
232(1)
Framing
233(1)
Rule of Thirds
234(2)
Architectural Forms And Types
236(2)
Controlling Information In Memory Palaces
238(7)
Certainty
239(1)
Uncertainty
240(2)
Risk
242(1)
Putting It All Together in a Memory palace
243(2)
Summary
245(1)
Exercises
245(1)
Endnotes
246(3)
Industrial Perspectives
249(8)
Chapter 6 Building Exciting Levels with Dangerous Architecture 257(42)
Survival Instincts And Game Complexity
258(7)
Maslow's Hierarchy of Needs
261(1)
"Bad Spaces": Vulnerability as a Game Mechanic
261(4)
Vulnerability as a Game Structure
262(1)
Vulnerability in Individual Game Challenges
263(2)
Prospect And Refuge Spatial Design
265(12)
Creating Paths with Refuges, Prospects, and Secondary Refuges
266(2)
Prospects and Refuges in Architecture
268(4)
Prospects and Refuges in Video Games
272(5)
Shade, Shadow, And Ambiguity
277(10)
Shade
279(3)
Shadow
282(3)
Negative Space
285(2)
Loving And Hating Height
287(3)
Summary
290(2)
Exercises
292(1)
Endnotes
292(3)
Industrial Perspectives
295(4)
Camden Bayer
Chapter 7 Rewards in Gamespaces 299(26)
The Purpose Of Rewards
300(4)
Incentivizing In-Game Behaviors
300(1)
Enticing Exploration
301(1)
Creating a Sense of Curiosity
302(2)
The Types Of Rewards In Gamespaces
304(5)
Reward Vaults
305(1)
Rewarding Vistas
306(1)
Meditative Space
307(1)
Narrative Stages
308(1)
Making Rewards Exciting Through Denial
309(9)
Zen Views
309(3)
Frank Lloyd Wright's Hanna House
312(1)
Religious Structures and Eastern Garden Design
313(3)
Layered Walls
316(1)
Oku
317(1)
Goals And Reward Schedules
318(3)
Long- and Short-Term Goals
319(1)
The Rod of Many Parts
320(1)
Reward Schedules
320(1)
Summary
321(1)
Exercises
322(1)
Endnotes
322(3)
Chapter 8 Level 1-1: The Tutorial Level 325(62)
The Many Functions Of First Levels
326(4)
Architectural Arrivals
326(2)
Interactive Arrivals
328(2)
Building Blocks For Tutorial Design
330(20)
Spatial Building Blocks
331(9)
Scenes
331(3)
Portals and Thresholds
334(3)
Controlled Approaches
337(1)
Meeting Spaces
338(2)
Behavioral building blocks
340(5)
Rewards in Tutorials
340(3)
Access as a First Level Reward
343(2)
Montessori Building Blocks
345(3)
Constructivist Building Blocks
348(4)
Proximity of Checkpoints
348(2)
Determining Player Needs
350(2)
Playtesting In-Game Teaching
352(9)
A Literature Game for Those Who Have Not Read the Book
352(3)
Teaching Molecular Immunology in Only Four Levels
355(1)
Developing Concepts into Challenges in a Math Game
356(5)
Puzzles as Problems, Levels as Lessons
357(1)
Four-Step Tutorial Design
358(3)
Tutorial Assets And Media
361(7)
Effective Visual Elements
362(2)
Audio Elements
364(4)
Teaching Gameplay Through Advertising Methods
368(6)
Demonstrative Advertising with Scripted Events and Triggers
368(2)
Illustrative Advertising through Environmental Narrative
370(1)
Associative Advertising as Deconstruction
371(3)
Summary
374(1)
Exercises
374(2)
Endnotes
376(3)
Industrial Perspectives
379(8)
Melanie Stegman
Chapter 9 Storytelling in Gamespaces 387(42)
Expressive Design
388(5)
Narrative Design and Worldbuilding
390(1)
Narrative Worldbuilding in Games
391(2)
Mechanics vs. Motif
393(5)
Narrative as a Generator of Design
393(1)
Mechanics vs. Story Narrative
394(2)
Mechanics vs. Gameplay Narrative
396(2)
Narrative Spaces
398(8)
Evocative Spaces
399(2)
Staging Spaces
401(1)
Embedded Spaces
402(2)
Resource-Providing Spaces
404(2)
Environment Art Storytelling
406(5)
Storytelling with Modular Assets
407(2)
Environment Art and Cinematography
409(2)
Materiality And The Hero's Journey
411(5)
Pacing And Narrative Rewards
416(4)
The Dramatic Arc as a Pacing Tool
416(2)
Rewarding Exploration with Embedded Narrative
418(1)
Rewarding Exploration with Optional Narrative and Easter Eggs
418(2)
Summary
420(1)
Exercises
420(1)
Endnotes
421(4)
Industrial Perspectives
425(4)
Kew Dunlap
Chapter 10 Possibility Spaces and Worldbuilding 429(46)
Understanding Immersion And Player Individuality
430(3)
The Immersive Fallacy
431(1)
Player Personalities
432(1)
Architectural Phenomenology And Play
433(3)
Emergent Spaces
436(3)
Emergence
437(1)
Possibility Spaces
438(1)
Miniature Garden Aesthetic
439(10)
Overviews
441(4)
Overviews in Historic Games
442(1)
Overviews in 3D
442(3)
Tours
445(1)
Possibility Space and Procedural Literacy
446(3)
Japanese Garden Design And Worldbuilding
449(9)
Points of View in Japanese Gardens
451(2)
Scenic Effects
453(1)
Sensory Effects
454(4)
Offering Experiential Choice
458(9)
Introducing Choice
458(1)
Intelligible Choice
459(1)
Shaping Choice, Risk, and Reward
460(2)
"Metroidvania": Worlds of Rewards and Possibility
462(5)
Degenerative Design
467(1)
Summary
468(1)
Exercises
469(1)
Endnotes
470(5)
Chapter 11 Working with Procedurally Generated Levels 475(28)
How I Learned To Stop Worrying And Love PCG
476(4)
Pattern Languages
480(4)
Patterns in Game Design
481(1)
Working with Patterns in Level Design
482(2)
Blending Handmade Design With Procedural Generation
484(9)
Scenes as Patterns
485(2)
Combining Handmade Design and PCG
487(1)
Night of the Living Handmade/PCG Case Studies
488(20)
PCG Alternative Architecture in Left 4 Dead
488(1)
Mixing Methodologies in Dead Man's Trail
489(4)
Summary
493(1)
Exercises
494(1)
Endnotes
494(2)
Industrial Perspectives
496(7)
Chapter 12 Influencing Social Interaction with Level Design 503(26)
Emergence And Social Interaction
504(4)
Learning From Urban Emergence
508(11)
Modernism and Non-Emergent Cities
509(3)
Jane Jacobs and Mixed-Use Emergent Neighborhoods
512(2)
Integrating Urban Design into Multiplayer Gamespace
514(5)
The Importance Of Spawn Points And Quest Hubs
519(4)
Shaping with Spawn Points
519(1)
Shaping Player Interaction with Quest Hubs
520(1)
Enticing Exploration with Side Quests
521(2)
Houses, Homes, And Hometowns In Games
523(2)
Summary
525(1)
Exercises
525(1)
Endnotes
526(3)
Chapter 13 Sound, Music, and Rhythm in Level Design 529(26)
The Role Of Rhythm In Games And Buildings
530(12)
Mood and Music
531(4)
Rhythm and Interactive Sound
535(2)
Rhythmic Entrainment in Games and Spaces
537(1)
Varying Structural Rhythms
538(4)
Complementing Level Design With Ambient Sound
542(3)
2D Sound
542(1)
3D Sound
543(2)
Enhancing Gameplay Experiences With Sound Design
545(5)
Sound as Gameplay Feedback
547(1)
Sound as Reward
548(2)
Sound as Narrative Indicators
550(1)
Summary
550(1)
Exercises
551(1)
Endnotes
552(3)
Conclusion 555(2)
Index 557
Chris Totten is Game Artist in Residence at American University. He has contributed to several independent game productions as an artist, animator, level designer, game designer, and project manager. Totten is also an active writer in the game industry, with articles featured on VideoGameWriters.com, GameCareerGuide, and Gamasutra. He has also published a book entitled Game Character Creation with Blender and Unity. Totten's writings on interdisciplinary approaches to game design have earned him guest speaking appearances at GDC China, Dakota State University's Workshop on Integrated Design in Games, and East Coast Game Conference.