Game Development Reference
In-Depth Information
Level designers have for some time tried to define a set of principles to guide the
level design process so that new games will avoid the errors of older ones.
Considerable debate surrounds this issue, because not everyone agrees on which, if
any, principle is truly universal. Examining the important principles constitutes a
valuable exercise in any case, so we present a brief list here. Some principles apply
as much to game design generally as they do specifically to level design, but
because the level designer constructs the play environment and sets the challenges,
she will be the one who puts these principles into practice.
Make the early levels of a game tutorial levels.
The entire section “Tutorial
Levels” is devoted to this extremely important topic later in this chapter.
Vary the pacing of the level.
This is also critically important. The “Progression
and Pacing” section addresses this later.
When the player surmounts a challenge that consumes his resources, pro-
vide more resources.
This may seem obvious, but you might be surprised at how
many games fail to do it. This, too, is addressed in “Progression and Pacing.”
Avoid conceptual non sequiturs.
Unless your level is either intentionally sur-
real or meant to be funny, you shouldn't build elements that make no sense, such
as rooms accessible only via ventilation shafts. Even more important, don't put
dangers or rewards in places in which no sane person could possibly expect to find
them. See the section “Avoid Conceptual Non Sequiturs” later in the chapter.
Clearly inform the player of his short-term goals.
At any given time, the
player is working to achieve a whole hierarchy of challenges, from the overall vic-
tory condition of the game down to the problem occupying his attention (How do I
get across this chasm?) at the immediate moment. (Chapter 9, “Gameplay,” dis-
cusses the hierarchy of challenges at greater length.) While you do not always have
to tell the player exactly what he needs to do to win (he may have to discover the
long-term goal through exploration or observation), you should never leave him
wondering what to do next; the current or next short-term goal should be obvious.
Be clear about risks, rewards, and the consequences of decisions.
When fac-
ing a challenge, the player should always have some idea of the benefits of success
and the price of failure or, if the player has to make a decision, the likely conse-
quences associated with his options. Old video games used to implement a
learn by
dying
approach, which gave players no means of knowing what elements of the
game world were dangerous and what weren't, so the avatars died repeatedly as the
players learned. Industry professionals now consider this extremely bad design
practice. Although the player should not necessarily know every detail of what con-
sequences his decisions will produce, he should be able to make a reasonable guess
based on the context in which you present the decision. If you give him a door-
knob, it should open the door. It may
also
release a giant killer robo-camel into the
room, but it should open the door first.
