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Practical Guide to Level Design: From Theory to Practice, Diplomacy and Production [Minkštas viršelis]

4.17/5 (6 ratings by Goodreads)
  • Formatas: Paperback / softback, 348 pages, aukštis x plotis: 254x178 mm, weight: 1100 g, 13 Tables, black and white; 105 Line drawings, color; 19 Halftones, color; 124 Illustrations, color
  • Išleidimo metai: 28-Feb-2023
  • Leidėjas: CRC Press
  • ISBN-10: 1032230894
  • ISBN-13: 9781032230894
Kitos knygos pagal šią temą:
Practical Guide to Level Design: From Theory to Practice, Diplomacy and ProductionDidesnis paveikslėlis
  • Formatas: Paperback / softback, 348 pages, aukštis x plotis: 254x178 mm, weight: 1100 g, 13 Tables, black and white; 105 Line drawings, color; 19 Halftones, color; 124 Illustrations, color
  • Išleidimo metai: 28-Feb-2023
  • Leidėjas: CRC Press
  • ISBN-10: 1032230894
  • ISBN-13: 9781032230894
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781032230894.html
Raktažodžiai:
Written by an AAA industry expert with over 20 years of experience, this book offers comprehensive coverage of the practical skills that all successful level designers need to have. It covers everything from practical production skills to the social and soft skills required to thrive in the gaming industry.

This book begins with a theoretical and abstract approach that sets a common language for the later hard-skill applications and practical examples. These later chapters cover a wealth of practical skills for use during the concept phase, while creating layouts, scripting, and working with AI. This book includes essential chapters on topics such as social skills, soft skills, world-building, level design direction, production, as well as how to gain employment in the industry.

This book will be of great interest to all level designers, content leads, and directors looking to enhance their skillset. It will also appeal to students of level and game design looking for tips on how to break into the industry.

Recenzijos

Ben Bauer is one of the top-level designers in the business. His deep knowledge of flow, game space and environment creation and refinement has resulted in some of the most exciting experiences in games. This book gives readers a look into what makes a level great and how to do it the right way.

--Jack Mamais, Director, Impeller Studios.

Mr. Bauer has achieved something truly rare in a book on specialized game development methodology: He delivers a rigorous framework for the various interconnected practices of Level Design and does it with a witty conversational style that makes you feel like Ben is there coaching you in person. He also takes the time to bring our collective attention to some oft-neglected aspects of the LDs craft. An outstanding primer for new designers and experienced game devs alike.

--Patrick Redding, Creative Director, Warner Bros. Games.

This book will be a fantastic read for level designers of all skill sets and experience. Entertainingly written, it shows great insights into how to practically develop levels, but also covers how level designers can excel within a larger game development environment, with many anecdotes from Ben's own work experience in his 20+ years in the industry. "

--Sten Huebler, Senior Level Designer, Microsoft.

Acknowledgment xxv
Section I Book and Level Design Introduction
1 Book Introduction
3(6)
1.1 Preface
3(1)
1.2
Chapter Overview
4(1)
1.2.1 Book and Level Design Intro
4(1)
1.2.2 Production and Social Skills
4(1)
1.2.3 Level Design Theory
4(1)
1.2.4 Practical: How to Get Started
4(1)
1.2.5 Practical: Layouts
5(1)
1.2.6 Practical: Technical and Game Design
5(1)
1.2.7 Closing Topics
5(1)
1.3 About Myself
5(4)
1.3.1 How It All Started
5(1)
1.3.1.1 Before the Internet
5(1)
1.3.1.2 Joining the Mod Community
5(1)
1.3.2 My Professional Career
6(1)
1.3.2.1 Joining Crytek
6(1)
1.3.2.2 Joining Ubisoft
6(1)
1.3.2.3 Joining Plan a Collective
7(1)
1.3.3 Other Side Gigs
7(2)
2 Definition of Level Design and Level Designers
9(14)
2.1 The Level Designer
9(5)
2.1.1 Introduction
9(1)
2.1.2 What Is a Level Designer?
9(1)
2.1.3 Variants of Level Designers
10(1)
2.1.3.1 Introduction
10(1)
2.1.3.2 Generalist Level Designer
11(1)
2.1.3.3 Layout Level Designer/Level Builder
11(1)
2.1.3.4 Mission/Quest Designer
11(1)
2.1.3.5 Script Level Designer
11(1)
2.1.3.6 "No Art" Level Designer
12(1)
2.1.3.7 Technical Level Designer
12(1)
2.1.3.8 Cinematic Scripter
12(1)
2.1.4 Level Design Senioritis
12(1)
2.1.4.1 Introduction
12(1)
2.1.4.2 Intern/Junior Level Designer
12(1)
2.1.4.3 Regular/Intermediate Level Designer
13(1)
2.1.4.4 Senior Level Designer
13(1)
2.1.4.5 Expert/Principal Level Designer
13(1)
2.1.4.6 (Team) Lead Level Designer
13(1)
2.1.4.7 Level Design Director
14(1)
2.2 Level Designers as Experts
14(9)
2.2.1 Introduction
14(1)
2.2.2 Experts in Architecture
14(1)
2.2.3 Experts in Landscape Architecture and City Planning
15(1)
2.2.4 Experts in Geography
15(1)
2.2.5 Experts in Biology
16(1)
2.2.6 Experts in Chemistry, Physics, Engineering, Mechanics, etc.
16(1)
2.2.7 Experts in Culture, History, Geo Politics, etc.
17(1)
2.2.8 Experts in Level Design Tools
17(1)
2.2.9 Experts in Scripting
17(1)
2.2.10 Experts in Layout and Arrangement
18(1)
2.2.11 Experts in Progression and Difficulty
18(1)
2.2.12 Experts in Art and Technology
19(1)
2.2.13 Experts in Creativity and Fun
19(1)
2.2.14 Experts in Time and Work Management
19(1)
2.2.15 Experts in Diplomacy
20(3)
Section II Production and Social Skills
3 Level Design Production
23(10)
3.1 Overview of Level Design Production
23(5)
3.1.1 Introduction
23(1)
3.1.2 Initial or Pitch Phase
23(1)
3.1.3 Pre-Production Phase
24(1)
3.1.4 High-Level Phase
24(1)
3.1.5 Document Phase
25(1)
3.1.6 Production
25(1)
3.1.7 Skeleton Phase
25(1)
3.1.8 First Intention Pass
26(1)
3.1.9 Alpha
26(1)
3.1.10 Beta
27(1)
3.1.11 Closing
27(1)
3.1.12 Until Gold
28(1)
3.1.13 Closing Words
28(1)
3.2 Work Pace and Effort
28(5)
3.2.1 Introduction
28(1)
3.2.2 When to Push and When Not
29(1)
3.2.2.1 The Premise
29(1)
3.2.2.2 When Not to Push
29(1)
3.2.2.3 Leadership Responsibility
30(1)
3.2.2.4 When to Push
30(1)
3.2.3 About Crunch or Overtime
30(1)
3.2.4 Let's Talk Burnout
31(1)
3.2.5 About Work-Life Balance
32(1)
4 Diplomacy of Level Design
33(10)
4.1 Level Design in the Center of Production
33(2)
4.1.1 Introduction
33(1)
4.1.2 Departments Level Designers Work With
33(2)
4.1.3 Closing Words
35(1)
4.2 How to Work with Different Departments
35(8)
4.2.1 Introduction
35(1)
4.2.2 Game Developer Diplomacy 101
35(1)
4.2.2.1 Do Not Treat People How You Like to Be Treated
35(1)
4.2.2.2 We All Sit in the Same Boat
36(1)
4.2.2.3 About Empathy
36(1)
4.2.2.4 About Teamwork
37(1)
4.2.3 How to Work with Artists
37(1)
4.2.3.1 Environment Artists
37(1)
4.2.3.2 Concept Artists
38(1)
4.2.4 How to Work with Narrative
38(1)
4.2.4.1 Narrative Designers
38(1)
4.2.4.2 Cinematic Scripters
38(1)
4.2.5 How to Work with QC/QA
39(1)
4.2.6 How to Work with Other Level Designers
39(1)
4.2.7 How to Work with Managers
40(1)
4.2.8 How to Work with Game Designers
40(1)
4.2.9 How to Work with Programmers
40(1)
4.2.10 How to Work with Audio
41(2)
5 Teamwork and Leadership Tools
43(16)
5.1 Basic Leadership Principles
43(2)
5.1.1 Introduction
43(1)
5.1.2 Make Others Better Than You
43(1)
5.1.3 Own Your Failures
44(1)
5.1.4 Acting Under Stress
44(1)
5.2 About Feedback
45(4)
5.2.1 Introduction
45(1)
5.2.2 Giving Feedback
45(1)
5.2.2.1 Clarify Feedback and Opinion
45(1)
5.2.2.2 Feedback as Questions and Problems
45(1)
5.2.2.3 Direct Tasks
46(1)
5.2.3 Receiving Feedback
47(1)
5.2.3.1 Introduction
47(1)
5.2.3.2 Written Feedback
47(1)
5.2.3.3 Verbal Feedback
48(1)
5.3 About Making Decisions
49(2)
5.3.1 Introduction
49(1)
5.3.2 No Decision
49(1)
5.3.3 A Decision
49(1)
5.3.4 The Right Decision
50(1)
5.3.5 About Acting
50(1)
5.4 Emotions as a Common Language
51(1)
5.4.1 Introduction
51(1)
5.4.2 The Problem
51(1)
5.4.3 The Solution and Process
51(1)
5.4.4 Additional Hints
52(1)
5.5 "The Triumvirate of Practical World Building"
52(2)
5.5.1 Introduction
52(1)
5.5.2 The Application
53(1)
5.5.3 Closing Words
53(1)
5.6 "The 10th Man"
54(5)
5.6.1 Introduction
54(1)
5.6.2 Origins
54(1)
5.6.3 Step 1
54(1)
5.6.4 Step 2
55(1)
5.6.5 Step 3
55(1)
5.6.6 Closing Words
55(4)
Section III Level Design Theory
6 About Vision, Pillars, and Direction
59(10)
6.1 Vision as a Starter
59(2)
6.1.1 What Is a Vision?
59(1)
6.1.2 How to Create a Vision?
59(1)
6.1.2.1 Step by Step
59(1)
6.1.2.2 Idea Creation
60(1)
6.1.3 How to Use a Vision
60(1)
6.1.4 Closing Words
61(1)
6.2 Pillars as a Safety
61(2)
6.2.1 Introduction
61(1)
6.2.2 How to Create and Use Pillars
61(1)
6.2.2.1 Introduction
61(1)
6.2.2.2 The Use
61(1)
6.2.2.3 The Creation
62(1)
6.2.2.4 Hints for the Creation
63(1)
6.2.3 Closing Words
63(1)
6.3 Direction as Guidance
63(6)
6.3.1 Introduction
63(1)
6.3.2 When to Create Direction
64(1)
6.3.3 How to Create Direction
65(1)
6.3.3.1 Step 1: Start with Mistakes to Avoid
65(1)
6.3.3.2 Step 2: Observe the Team
65(1)
6.3.3.3 Step 3: Add Your Vision
65(1)
6.3.3.4 Step 4: Spot Patterns and Fill the Grid
65(1)
6.3.3.5 Step 5: Bring It to Paper
66(1)
6.3.4 How to Use Direction
67(1)
6.3.5 Closing Words
67(2)
7 Abstract Level Design
69(22)
7.1 About Theory
69(3)
7.1.1 Introduction
69(1)
7.1.2 Creation of Theory
69(1)
7.1.2.1 Introduction
69(1)
7.1.2.2 Step 1: Stating the Problem
69(1)
7.1.2.3 Step 2: Simplify
70(1)
7.1.2.4 Step 3: Patterns
70(1)
7.1.2.5 Step 4: Repeat
70(1)
7.1.2.6 Closing Words
70(1)
7.1.3 Balance between Theory and Practice
71(1)
7.1.3.1 Introduction
71(1)
7.1.3.2 When and How to Use Theory
71(1)
7.2 Success for the Player
72(4)
7.2.1 Introduction
72(1)
7.2.2 The Player and the Developer
72(1)
7.2.3 Player Options and Choices
73(1)
7.2.3.1 Introduction
73(1)
7.2.3.2 Make the Player Feel Clever
73(1)
7.2.3.3 Closing Words
74(1)
7.2.4 Fairness, Frustration, and Difficulty
74(1)
7.2.4.1 Introduction
74(1)
7.2.4.2 About Random and Luck
74(1)
7.2.4.3 Blame Yourself---Not the Game
75(1)
7.3 Abstract: High-Level
76(2)
7.3.1 Introduction
76(1)
7.3.2 Thinking High-Level
76(1)
7.3.3 Getting Started with Simplification
77(1)
7.3.4 Closing Words
77(1)
7.4 Abstract: Mid-Level
78(5)
7.4.1 Introduction
78(1)
7.4.2 Cover Your Tracks
78(1)
7.4.3 Basic Layout Considerations
78(1)
7.4.3.1 Number of Options
78(1)
7.4.3.2 Frequency of Options
79(1)
7.4.3.3 Right Place for Options
79(1)
7.4.3.4 Rhythm of Options
79(1)
7.4.4 Options Are Key
79(1)
7.4.5 Basics of Additional Paths
80(1)
7.4.6 Game Mode Considerations
81(1)
7.4.7 Think 3D
81(1)
7.4.8 Balance of Complexity
81(1)
7.4.9 Closing Words
82(1)
7.5 The Concept of "Points of Advantage"
83(8)
7.5.1 Introduction
83(1)
7.5.2 What Is a Good Level Layout for Me?
83(1)
7.5.3 Player Motivations
84(1)
7.5.4 Arenas
85(1)
7.5.5 Linear Structures
86(1)
7.5.6 Connections
87(1)
7.5.7 Filling the Gaps
88(1)
7.5.8 Meta Level and Scale
89(1)
7.5.9 Closing Words
90(1)
8 The Big Picture
91(12)
8.1 The Game as a Progression of Levels
91(7)
8.1.1 Introduction
91(1)
8.1.2 Progression in the Big Picture
91(1)
8.1.2.1 Introduction
91(1)
8.1.2.2 Progression Table Creation
92(1)
8.1.3 Patterns in a Progression Table
93(1)
8.1.3.1 Introduction
93(1)
8.1.3.2 Too Many Ingredients per Level
93(1)
8.1.3.3 Dominating Patterns per Row
94(1)
8.1.3.4 Dominating Patterns per Column
94(1)
8.1.3.5 Too Many Ingredients too Early
95(1)
8.1.3.6 Ingredients Late in the Game
95(1)
8.1.3.7 About Rational Design
96(1)
8.1.4 Mission Progression in Open Game Types
96(1)
8.1.4.1 Introduction
96(1)
8.1.4.2 Progression Table for Open Games
96(1)
8.1.4.3 Progression Sheet for Open Games
97(1)
8.2 About Tutorial Levels
98(5)
8.2.1 Introduction
98(1)
8.2.2 Gameplay, Art, and Narrative Considerations
98(1)
8.2.2.1 Introduction
98(1)
8.2.2.2 Gameplay Teaching: Basics
98(1)
8.2.2.3 Art and Narrative Introduction
99(1)
8.2.3 Level Design Considerations
100(1)
8.2.3.1 Linearity
100(1)
8.2.3.2 Combining Art, Narrative, and Gameplay
100(2)
8.2.3.3 Tutorial Level: Production Issues and Solutions
102(1)
9 High-Level Layouts
103(16)
9.1 Circle to Complex Arena
103(5)
9.1.1 Introduction
103(1)
9.1.2 The Circle
103(1)
9.1.3 More Circles
104(1)
9.1.3.1 Introduction
104(1)
9.1.3.2 Circle Size, Weight, and Density
105(1)
9.1.3.3 Bottlenecks
106(1)
9.1.4 Dead-Ends
107(1)
9.1.5 Closing Words
108(1)
9.2 Sandbox, Multiplayer, and Boss Arenas
108(7)
9.2.1 Introduction
108(1)
9.2.2 Surrounding Circle Layouts
108(1)
9.2.2.1 Introduction
108(1)
9.2.2.2 Open
109(1)
9.2.2.3 Enclosed
110(1)
9.2.3 Inner Circle Layouts
111(1)
9.2.3.1 Introduction
111(1)
9.2.3.2 Open
111(1)
9.2.3.3 Enclosed
112(1)
9.2.4 Incomplete Loops
113(1)
9.2.5 Center Axis Layouts
114(1)
9.3 Linear Levels
115(4)
9.3.1 Introduction
115(1)
9.3.2 Compartmentalizing
115(1)
9.3.3 Linear Branching
116(1)
9.3.3.1 Introduction
116(1)
9.3.3.2 Wide Branching
116(1)
9.3.3.3 Tight Branching
117(1)
9.3.3.4 Branch Connection Angles
118(1)
10 Connective Tissue
119(26)
10.1 Inner-Level Connections
119(6)
10.1.1 Introduction
119(1)
10.1.2 Connection within Linear Levels
119(1)
10.1.2.1 The Classic Usage
119(1)
10.1.2.2 Control and Hide the Transition
120(1)
10.1.3 Connect between Sandboxes Arenas
120(1)
10.1.3.1 Introduction
120(1)
10.1.3.2 Foreshadowing and Leading
121(1)
10.1.3.3 Where and How to Connect
121(1)
10.1.4 Connection between Open-World Locations
122(1)
10.1.4.1 Introduction
122(1)
10.1.4.2 How to Embrace No Control
122(1)
10.1.4.3 How to Embrace Long Distances
123(1)
10.1.5 Connection between In-Game and Cutscenes
124(1)
10.1.5.1 Introduction
124(1)
10.1.5.2 Intro Cutscenes
124(1)
10.1.5.3 Mid-Level Cutscenes
124(1)
10.1.5.4 End-Level Cutscenes
125(1)
10.2 About Verticality
125(5)
10.2.1 Introduction
125(1)
10.2.2 Importance of Verticality
126(1)
10.2.3 Planning Vertical Levels
126(1)
10.2.4 Controller, Height, and Angle Considerations
126(1)
10.2.4.1 The Controller
126(1)
10.2.4.2 Anything Up There
127(1)
10.2.4.3 Angles
127(1)
10.2.5 Types of Verticality
127(1)
10.2.5.1 Introduction
127(1)
10.2.5.2 Plain Height/Steep Slopes
128(1)
10.2.5.3 Stairs, Ramps, and Slopes
128(1)
10.2.5.4 Interior Staircases
128(1)
10.2.5.5 Ladders, Vines, and Pipes
128(1)
10.2.5.6 Ledge Climbing
128(1)
10.2.5.7 Free Climbing
128(1)
10.2.5.8 Elevators/Moving Platforms
129(1)
10.2.5.9 Rope Actions
129(1)
10.2.5.10 Long Falls
129(1)
10.2.5.11 Jump Pads
129(1)
10.2.5.12 Zero Gravity
129(1)
10.2.5.13 Wall Walking
130(1)
10.2.5.14 Wall Running
130(1)
10.2.5.15 Portals and Teleportation
130(1)
10.3 Progression within a Mission
130(6)
10.3.1 Introduction
130(1)
10.3.2 Basic Building Blocks and Objectives
130(1)
10.3.2.1 Introduction
130(1)
10.3.2.2 Attack
131(1)
10.3.2.3 Defend
131(1)
10.3.2.4 Interact
132(1)
10.3.2.5 Navigation
132(1)
10.3.2.6 Narrative Blocks
132(1)
10.3.2.7 No Blocks
133(1)
10.3.3 Modifiers
133(1)
10.3.3.1 Introduction
133(1)
10.3.3.2 Time
133(1)
10.3.3.3 Forced Stealth and Stealth
133(1)
10.3.3.4 Limited Tools
133(1)
10.3.3.5 Specific Order
134(1)
10.3.3.6 Other Modifiers
134(1)
10.3.4 How to Mix Them
134(1)
10.3.4.1 Basics of a Good Mix
134(1)
10.3.4.2 Monotonous Block Usage
135(1)
10.4 About Pacing and Timing
136(9)
10.4.1 Introduction
136(1)
10.4.2 The Beat and Intensity
137(1)
10.4.2.1 Introduction
137(1)
10.4.2.2 Intensity Estimation
137(1)
10.4.3 The Pacing Graph
138(1)
10.4.3.1 Introduction
138(1)
10.4.3.2 Basic Rules
138(2)
10.4.3.3 How to Create a Pacing Graph Using Excel
140(1)
10.4.4 Alternative Pacing
141(1)
10.4.4.1 Introduction
141(1)
10.4.4.2 Narrative Graph
141(1)
10.4.4.3 Coop Graph
141(4)
Section IV Practical: How to Get Started
11 Concept Phase
145(28)
11.1 It All Starts with Research and Reference
145(3)
11.1.1 Introduction
145(1)
11.1.2 Searching Correctly
145(1)
11.1.3 Research the Why
146(1)
11.1.4 Collecting Reference Correctly
147(1)
11.1.4.1 Introduction
147(1)
11.1.4.2 Pictures
147(1)
11.1.4.3 Links and Articles
148(1)
11.2 Documentation Basics
148(9)
11.2.1 Introduction
148(1)
11.2.2 Document Purpose and Audience
149(1)
11.2.2.1 Introduction
149(1)
11.2.2.2 Intentions
149(1)
11.2.2.3 For Externals
149(1)
11.2.3 Documentation for Linear Levels
150(1)
11.2.3.1 Introduction
150(1)
11.2.3.2 Tab One: High-Level
150(1)
11.2.3.3 Tab Two: Level Sketch
150(1)
11.2.3.4 Tab Three: Medium-Level
151(1)
11.2.3.5 Tab Four: Detail/Low-Level
152(1)
11.2.4 Documentation for Open World Missions
152(1)
11.2.4.1 Introduction
152(1)
11.2.4.2 Intro Page: High-Level
153(1)
11.2.4.3 World Map
153(1)
11.2.4.4 Mission Blocks: Mid-Level
154(1)
11.2.4.5 Detailed Location: Low-Level
154(1)
11.2.4.6 Supporting Pages
155(1)
11.2.5 Documentation for Multiplayer Maps
155(1)
11.2.6 Time Estimates
156(1)
11.2.7 Closing Words
156(1)
11.3 Approaching Location Ideas
157(1)
11.3.1 Introduction
157(1)
11.3.2 The Generic Location
157(1)
11.3.3 The Overly Complex Location
158(1)
11.3.4 The Right Location
158(1)
11.4 World Building: Translating
158(6)
11.4.1 Introduction
158(1)
11.4.2 The Four Steps
159(1)
11.4.2.1 Step 1: Reference
159(1)
11.4.2.2 Step 2: Note Coherences
159(2)
11.4.2.3 Step 3: Delete, Adjust, or Close
161(1)
11.4.2.4 Step 4: Translate
161(2)
11.4.3 Fictional Locations
163(1)
11.4.3.1 Introduction
163(1)
11.4.3.2 How to Create Fictional Coherences
163(1)
11.5 World Building: Working in Layers
164(9)
11.5.1 Introduction
164(1)
11.5.2 Start with Vision
164(1)
11.5.3 The Layers
164(1)
11.5.3.1 Introduction
164(1)
11.5.3.2 Basic Layer Use
164(1)
11.5.3.3 Always Start with the Timetable
165(1)
11.5.3.4 The Second Layer Is a Map
166(1)
11.5.3.5 The Next Layers
166(1)
11.5.3.6 Multiple Layer Constructs
167(1)
11.5.4 Example Layer Workflow
168(1)
11.5.4.1 Step #1: Vision
168(1)
11.5.4.2 Step #2: Layer 1---Timetable
168(1)
11.5.4.3 Step #3: Layer 2---Map
168(1)
11.5.4.4 Step #4: Layer 3---Reason of Existence
168(1)
11.5.4.5 Step #5: Layer 4---Economy (Tertiary Sector)
169(1)
11.5.4.6 Step #6: Layer 5---Factions
170(1)
11.5.4.7 Step #7: Layer 6---Unique Events
170(1)
11.5.4.8 Final Observations
171(1)
11.5.5 Final Worlds
171(2)
12 First Steps
173(18)
12.1 From Plan to Reality
173(7)
12.1.1 Introduction
173(1)
12.1.2 Layers and Teamwork
173(1)
12.1.3 Layout Skeleton: First Scale Impressions
174(1)
12.1.3.1 Introduction
174(1)
12.1.3.2 Open World: First Steps and Early Scaling Estimates
174(1)
12.1.3.3 Interiors and Complex Locations: First Steps and Early Scaling Estimates
175(1)
12.1.4 Skeleton Script
176(1)
12.1.4.1 Initial Block-Out
176(1)
12.1.4.2 Further Skeleton Scripts
177(1)
12.1.5 From Skeleton to First Intention
177(1)
12.1.5.1 Initial Priority List
177(1)
12.1.5.2 How to Use the Priority List
178(1)
12.1.5.3 Must Haves---Should Haves---Can Haves
179(1)
12.1.6 Iteration and Post First Intention
179(1)
12.2 Product Management
180(5)
12.2.1 Introduction
180(1)
12.2.2 About MVPs and Backup Plans
180(1)
12.2.2.1 MVP and Level Design
180(1)
12.2.2.2 Backup Plans for Level Design
180(1)
12.2.2.3 Example for Backup Plans and My General Approach
181(2)
12.2.3 About Benchmarks and Prototypes
183(1)
12.2.3.1 Introduction
183(1)
12.2.3.2 Benchmarks
183(1)
12.2.3.3 Prototypes
184(1)
12.3 Third- and First-Person Perspectives
185(6)
12.3.1 Introduction
185(1)
12.3.2 Scale for Perspectives
185(6)
Section V Practical: Layouts
13 Cover, Flow, and Player Leading
191(32)
13.1 Cover Mentality
191(6)
13.1.1 Introduction
191(1)
13.1.2 The Corner
191(1)
13.1.3 The Wall
192(1)
13.1.4 The Hallway
192(1)
13.1.5 The T-Junction
193(1)
13.1.6 Concave Spaces
194(1)
13.1.7 Convex Spaces
194(1)
13.1.8 The Door Frame Problem
195(1)
13.1.9 Cover Placement in the Open
196(1)
13.1.10 Closing Words
196(1)
13.2 Cover Types
197(5)
13.2.1 Introduction
197(1)
13.2.2 Block, Medium, and High Cover
197(1)
13.2.3 Cover at Slopes
198(1)
13.2.4 Thin Cover
199(1)
13.2.5 Soft and Penetrable Cover
200(1)
13.2.6 Destructible Cover
200(1)
13.2.7 Bulletproof Glass
201(1)
13.2.8 One-Sided Cover
201(1)
13.3 Cover Flow
202(7)
13.3.1 Introduction
202(1)
13.3.1.1 Cover Flow Definition
202(1)
13.3.1.2 When and Why Is Cover Flow Important
202(1)
13.3.2 Cover Transition
202(1)
13.3.2.1 Connecting Angle
202(1)
13.3.2.2 Orientation at Cover
203(1)
13.3.2.3 Cover Placement Considerations
204(1)
13.3.2.4 Transitioning between Covers
204(1)
13.3.2.5 Flow with Frontlines
205(1)
13.3.3 Cover Difficulty
206(1)
13.3.3.1 Introduction
206(1)
13.3.3.2 Connecting Distance
206(1)
13.3.3.3 Connecting Threat
207(1)
13.3.4 Cover Speed
207(1)
13.3.4.1 Introduction
207(1)
13.3.4.2 Why Control Speed
207(1)
13.3.4.3 Abstract Understanding
208(1)
13.4 Player Leading
209(14)
13.4.1 Introduction
209(1)
13.4.2 Moving and Looking
210(1)
13.4.3 "Sins" of Player Leading
210(1)
13.4.3.1 Introduction
210(1)
13.4.3.2 Waypoints
210(1)
13.4.3.3 Compass
211(1)
13.4.3.4 Minimap
211(1)
13.4.3.5 Text Briefings
212(1)
13.4.3.6 Cutscenes
212(1)
13.4.3.7 Audio
212(1)
13.4.3.8 The One Solution
212(1)
13.4.3.9 "Left Corner"
213(1)
13.4.4 Layout and Flow
213(1)
13.4.4.1 Funneling, Angles, or Macro Flow
213(1)
13.4.4.2 Micro Flow
214(1)
13.4.4.3 Architecture
214(1)
13.4.4.4 Vantage Point = Player Teaching
215(1)
13.4.5 Art Elements
215(1)
13.4.5.1 Lighting
215(1)
13.4.5.2 Landmarks
216(1)
13.4.5.3 Signs
216(1)
13.4.5.4 Explosions/Animation
217(1)
13.4.5.5 Indirect Guiding Elements
217(1)
13.4.6 Lure and Bait
218(1)
13.4.6.1 Enemies
218(1)
13.4.6.2 Friendlies
218(1)
13.4.6.3 Reward/Loot
219(1)
13.4.7 Player Teaching
219(1)
13.4.7.1 About Player Teaching
219(1)
13.4.7.2 Player Language
219(1)
13.4.7.3 Play Styles
220(1)
13.4.8 Player Leading Context
220(1)
13.4.8.1 Lighting Context
220(1)
13.4.8.2 Lure and Bait Context
220(1)
13.4.8.3 No Player Leading
221(1)
13.4.8.4 Flow Context
221(1)
13.4.8.5 Other Game Mechanics
221(1)
13.4.8.6 How to Improve Waypoint Handling
222(1)
14 Scenarios and Location Types
223(58)
14.1 About Attack and Defense Sections
223(14)
14.1.1 Introduction
223(1)
14.1.2 Combat Zone Basics
223(1)
14.1.2.1 Introduction
223(1)
14.1.2.2 List of Considerations
224(1)
14.1.2.3 Combat Network
225(1)
14.1.2.4 Frontlines
226(1)
14.1.3 Attack Fundamentals
227(1)
14.1.3.1 Introduction
227(1)
14.1.3.2 Branches
228(1)
14.1.3.3 Attack Angle
228(1)
14.1.3.4 Attack Layout Rhythm and Pacing
229(1)
14.1.3.5 Attack Ingredients and Intensity Pacing
230(1)
14.1.4 Defense Fundamentals
231(1)
14.1.4.1 Introduction
231(1)
14.1.4.2 Defense Angles and Difficulty
232(1)
14.1.4.3 Defense Layout Types
233(2)
14.1.4.4 Defense Intensity Pacing
235(1)
14.1.5 Problems and Solutions
235(1)
14.1.5.1 The Anti-Climax AI
235(1)
14.1.5.2 The Start Is the Challenge
236(1)
14.1.5.3 Players Do Not Play Correctly
236(1)
14.1.5.4 Enemies Lack Purpose
237(1)
14.1.5.5 Surviving Is Not Fun
237(1)
14.2 About Open-World Locations
237(11)
14.2.1 Introduction
237(1)
14.2.2 The DNA of an Open-World Location
238(1)
14.2.2.1 Surrounding Path and Vantage Points
238(1)
14.2.2.2 Attack Angles and Way In
239(1)
14.2.2.3 Outer and Inner Loops
240(1)
14.2.3 Basic Enemy Setup
241(1)
14.2.3.1 Introduction
241(1)
14.2.3.2 Parameter and Overwatch AI
241(1)
14.2.3.3 Inner AI
242(1)
14.2.3.4 Additional AI
242(1)
14.2.4 Basic Layout Types
243(1)
14.2.4.1 Introduction
243(1)
14.2.4.2 Single Structure
243(1)
14.2.4.3 Multi-Structure Flow
244(1)
14.2.4.4 Separate Structures
245(1)
14.2.4.5 Spiral
245(1)
14.2.5 Problems and Solutions
246(1)
14.2.5.1 Not Enough AI
246(1)
14.2.5.2 Players Only Stay Outside
247(1)
14.2.5.3 The Reinforcement Takes Too Long
248(1)
14.3 About Stealth Sections
248(7)
14.3.1 Introduction
248(1)
14.3.2 Stealth Foundation
248(2)
14.3.3 Problems and Solutions
250(1)
14.3.3.1 The Avoidance Path
250(1)
14.3.3.2 The Vantage Point
250(1)
14.3.3.3 The "AI Waiting to Get Killed"
251(1)
14.3.3.4 The "Crazy Difficult Setup"
251(1)
14.3.3.5 The "Messy Setup" Problem and Solution
252(1)
14.3.3.6 The "Tools or No Tools"
252(1)
14.3.3.7 Unfair AI Scripting
252(1)
14.3.3.8 The "No Puzzle Puzzle"
253(1)
14.3.3.9 The "Left Door Right Door"
253(1)
14.3.3.10 The "Vanilla Setup"
254(1)
14.3.3.11 The "One & Done"
254(1)
14.3.4 Closing Words about Stealth
254(1)
14.4 About Traversal Sections
255(8)
14.4.1 Introduction
255(1)
14.4.2 Time Challenge
255(1)
14.4.2.1 Introduction
255(1)
14.4.2.2 Checkpoint Types
255(1)
14.4.2.3 Other Considerations
255(1)
14.4.3 Chase
256(1)
14.4.3.1 Introduction
256(1)
14.4.3.2 Continuous Chases Considerations
256(1)
14.4.3.3 Segmented Chase Considerations
257(1)
14.4.3.4 General Chase Consideration
257(1)
14.4.3.5 Being Chased
258(2)
14.4.4 Loose Exploration
260(1)
14.4.4.1 Introduction
260(1)
14.4.4.2 Player Magnets
260(1)
14.4.4.3 Traces and Foreshadowing
260(1)
14.4.5 Skill Challenge
261(1)
14.4.5.1 Introduction
261(1)
14.4.5.2 Basic Approach
261(1)
14.4.5.3 Implement and Mix Them
262(1)
14.5 About Puzzle Sections
263(5)
14.5.1 Introduction
263(1)
14.5.2 Step 1: Problem Introduction
263(1)
14.5.3 Step 2: Environmental Comprehension
264(1)
14.5.3.1 When, Where, What Is Going On?
264(1)
14.5.3.2 How to Solve the Puzzle?: Step 2.1---Exposition
264(1)
14.5.3.3 How to Solve the Puzzle?: Step 2.2---Actions
265(1)
14.5.3.4 How to Solve the Puzzle?: Step 2.3---Difficulty
266(1)
14.5.4 Step 3: Executing
267(1)
14.6 About Escort Sections
268(4)
14.6.1 Introduction
268(1)
14.6.2 Systemic-Follow AI
269(1)
14.6.2.1 Introduction
269(1)
14.6.2.2 Risk Reductions
269(1)
14.6.3 Systemic-Lead AI
270(1)
14.6.3.1 Introduction
270(1)
14.6.3.2 Risk Reduction
270(1)
14.6.4 Conditional AI
271(1)
14.6.4.1 Introduction
271(1)
14.6.4.2 Risk Reduction
271(1)
14.6.5 Spline AI
272(1)
14.7 About Co-op Level Design
272(9)
14.7.1 Introduction
272(1)
14.7.2 Space in Co-op
272(1)
14.7.2.1 Introduction
272(1)
14.7.2.2 Options over Space
273(1)
14.7.2.3 Splits at Battlefields
273(1)
14.7.2.4 Front Lines in Co-op
274(1)
14.7.2.5 Cover Flow in Co-op
274(1)
14.7.2.6 Reset Options
274(1)
14.7.3 Communication and Layout in Co-op
274(1)
14.7.3.1 Introduction
274(1)
14.7.3.2 Have a Break
274(1)
14.7.3.3 Inner and Outer Vantage Points
275(1)
14.7.3.4 Unique Locations and Landmarks
275(1)
14.7.4 Gameplay in Co-op
275(1)
14.7.4.1 Introduction
275(1)
14.7.4.2 Classic AI Setups for Co-op
275(1)
14.7.4.3 Co-op Gates
276(1)
14.7.4.4 Unique Co-op Gameplay Moments
277(4)
Section VI Practical: Technical Aspects and Game Design
15 Scripting and Technical
281(12)
15.1 Scripting Types
281(1)
15.1.1 Introduction
281(1)
15.1.2 Text-Based Scripting/Programming
281(1)
15.1.3 3D-Scripting
282(1)
15.1.4 Visual Scripting
282(1)
15.2 Scripting and Database Basics
282(11)
15.2.1 Introduction
282(1)
15.2.2 Approach to Problem Solving
283(1)
15.2.2.1 Introduction
283(1)
15.2.2.2 Step 1: Understand the Problem(s)
283(1)
15.2.2.3 Step 2: Compartmentalize
283(2)
15.2.2.4 Step 3: Involve Your Team
285(1)
15.2.2.5 How to Approach a Bug/Problem
286(1)
15.2.3 About Databases
286(1)
15.2.4 Scripting Foundation
287(1)
15.2.4.1 Introduction
287(1)
15.2.4.2 Continuous Left to Right
287(1)
15.2.4.3 Same Time = Below
288(1)
15.2.4.4 Least Amount of Overlapping Connections
288(1)
15.2.4.5 Group Closed Steps
288(1)
15.2.4.6 Comments
289(1)
15.2.4.7 Create Templates Which Repeats a Lot
290(1)
15.2.4.8 Always Have Backups in Your Scripts
290(1)
15.2.4.9 Follow Conventions
291(1)
15.2.5 Scripting Mindset
291(1)
15.2.5.1 Introduction
291(1)
15.2.5.2 Dig Deep
291(1)
15.2.5.3 A Prototype Is a Prototype
292(1)
15.2.5.4 Production Script Standards
292(1)
16 Working with Ingredients
293(28)
16.1 Basic AI and Design Rules
293(6)
16.1.1 Introduction
293(1)
16.1.2 Basic AI and Combat Guidelines
293(1)
16.1.2.1 Never Rely on AI
293(1)
16.1.2.2 AI Brings Life to the World
293(1)
16.1.2.3 AI Archetype Combinations
294(1)
16.1.2.4 AI Needs to Answer All Player Actions
294(1)
16.1.2.5 Factions
295(1)
16.1.2.6 Less Ideal AI Archetypes
295(1)
16.1.2.7 AI Encounters as a Puzzle
295(1)
16.1.2.8 Spawn AI Ahead of Time
295(1)
16.1.2.9 Layer Your Combat Encounters
296(1)
16.1.2.10 Plans Go Wrong
296(1)
16.1.2.11 Surprise and Break Rules
296(1)
16.1.3 Ingredient and Gameplay Pitfalls
297(1)
16.1.3.1 Items as Triggers
297(1)
16.1.3.2 Items as Hints
297(1)
16.1.3.3 Actions and Consequences
297(1)
16.1.3.4 Exploits vs. Making It Easy
297(1)
16.1.3.5 Randomization
298(1)
16.1.3.6 Ingredients Flavor Your Layouts
298(1)
16.2 Working with AI Types
299(5)
16.2.1 Introduction
299(1)
16.2.2 Melee AI Types
299(1)
16.2.2.1 Introduction
299(1)
16.2.2.2 Level Design Considerations
299(1)
16.2.3 Mid- to Close-Range AI Types
300(1)
16.2.3.1 Introduction
300(1)
16.2.3.2 Level Design Considerations
300(1)
16.2.4 Long-Range AI Types
300(1)
16.2.4.1 Introduction
300(1)
16.2.4.2 Level Design Considerations
301(1)
16.2.5 Tough AI Types
301(1)
16.2.5.1 Introduction
301(1)
16.2.5.2 Level Design Considerations
301(1)
16.2.6 Hordes and Fast AI Types
302(1)
16.2.6.1 Introduction
302(1)
16.2.6.2 Level Design Considerations
302(1)
16.2.7 AI Groups
303(1)
16.2.7.1 Introduction
303(1)
16.2.7.2 Level Design Considerations
303(1)
16.2.8 Boss Fights
303(1)
16.2.8.1 Introduction
303(1)
16.2.8.2 Level Design Considerations
304(1)
16.3 Working with Different Gameplay Ingredients
304(17)
16.3.1 Introduction
304(1)
16.3.2 Pickups
305(1)
16.3.2.1 Small Ones
305(1)
16.3.2.2 Big Ones
305(1)
16.3.2.3 Collectables
306(1)
16.3.3 Vehicles
306(1)
16.3.3.1 Introduction
306(1)
16.3.3.2 Land: Player
306(2)
16.3.3.3 Land: Friendly AI
308(1)
16.3.3.4 Land: Enemy AI
308(1)
16.3.3.5 Water. Player
309(1)
16.3.3.6 Water: Friendly AI
310(1)
16.3.3.7 Water: Enemy AI
311(1)
16.3.3.8 Air: Player
311(1)
16.3.3.9 Air: Friendly AI
312(1)
16.3.3.10 Air. Enemy AI
312(1)
16.3.4 Fixed Misc Ingredients
313(1)
16.3.4.1 Introduction
313(1)
16.3.4.2 One-Use
313(1)
16.3.4.3 Multi-Use
314(1)
16.3.5 Navigation Ingredients
315(1)
16.3.5.1 Introduction
315(1)
16.3.5.2 Fixed
315(1)
16.3.5.3 Free Use
316(1)
16.3.5.4 Threats
317(4)
Section VII Closing Topics
17 Closing and Shipping
321(10)
17.1 About Balancing
321(2)
17.1.1 Introduction
321(1)
17.1.1.1 Overview
321(1)
17.1.1.2 Balancing Is Not Pacing
321(1)
17.1.1.3 Details of Balancing
321(1)
17.1.2 The Sum of All Parts
322(1)
17.1.2.1 The Core Issue
322(1)
17.1.2.2 Balancing Timing
322(1)
17.1.2.3 Developers Do Not Count, Almost
323(1)
17.1.2.4 Playtests and Balancing
323(1)
17.2 About Bug Fixing
323(3)
17.2.1 Introduction
323(1)
17.2.2 Bug Fixing Approach
324(1)
17.2.2.1 The Foundation
324(1)
17.2.2.2 A Common and Ideal Approach
324(1)
17.2.2.3 Bugs vs. Tasks
324(1)
17.2.3 Etiquette
325(1)
17.2.3.1 Forwarding Bugs
325(1)
17.2.3.2 NAD, AD, WNF, NMI, and CNR
325(1)
17.2.3.3 Bad Bugs
326(1)
17.3 About Closing
326(5)
17.3.1 Introduction
326(1)
17.3.2 The Role of Creatives and Managers
326(1)
17.3.3 The Stages between Alpha and Beta
327(1)
17.3.3.1 Grace Period
327(1)
17.3.3.2 Closing Phase
327(1)
17.3.3.3 Polish Phase
328(1)
17.3.3.4 Strict Bug-Fix Phase
328(1)
17.3.4 About Tasks, Bugs, and Empathy
328(1)
17.3.4.1 Still Big Tasks?
328(1)
17.3.4.2 Manage Expectations and Empathy
329(1)
17.3.4.3 Edge Cases
329(2)
18 Becoming a Level Designer
331(12)
18.1 How to Get Started
331(2)
18.1.1 Introduction
331(1)
18.1.2 Mod Community
331(1)
18.1.3 University
332(1)
18.1.4 QA/QC
332(1)
18.2 A Good Cover Letter, CV, and Portfolio
333(4)
18.2.1 Introduction
333(1)
18.2.2 The Cover Letter
333(1)
18.2.3 The Resume or CV
334(1)
18.2.3.1 Basic Setup and Essentials
334(1)
18.2.3.2 Work History
334(1)
18.2.3.3 Skill Section
335(1)
18.2.3.4 Finishing Touches
335(1)
18.2.4 The Portfolio
336(1)
18.2.4.1 Content
336(1)
18.2.4.2 Delivery
336(1)
18.2.4.3 Level Design Portfolio
337(1)
18.3 The Test and Interview
337(6)
18.3.1 The Test
337(1)
18.3.1.1 Introduction
337(1)
18.3.1.2 External
338(1)
18.3.1.3 On-Site Test
339(1)
18.3.2 The Interview
339(1)
18.3.2.1 Preparation
339(1)
18.3.2.2 The Interview
340(1)
18.3.3 Rejection
341(2)
Index 343
Ben Bauer has been working in the gaming industry since 2003. He previously held lead roles at Crytek and Ubisoft and is currently the Creative Director at Plan A Collective.