Level design work

With the introductory mine section finished last week, it was now time to start working with the Nordic kit, to make the dungeon proper. I knew that I wanted the player to be immediately met with a feeling of awe and mystery when entering this section, almost as if they had stumbled across this place by complete chance. To achieve this feeling I decided to use the ‘Temple’ section of the kit to create a vast hall for the player to traverse through (fig. 1). In the main game, these temples are meant to serve as the above ground entrance point for dungeons, however I feel that it’s inclusion deep underground adds to the feeling of a mysterious lost community. This large, ‘prospect’ space also creates a sense of relief from the overly claustrophobic mine system that the player will have moved through prior to this point.

Following on from this, I made a windy corridor that leads up to the first ‘Crypt of Refuge’ that the player will discover (fig. 2). I intend for the level design to follow a generally consistent alternation between form and void (large and narrow spaces), so as to maintain engagement and keep spaces feeling distinct.

Crypts of Refuge

The ‘Crypts of Refuge’ are meant to serve as a point of solace for players in the game, where they can upgrade their weapons, and store resources for the adventure ahead. When a player comes across one, they are supposed to feel a sense of safety and familiarity. To enhance this feeling, I knew that I wanted their interior space to be round and flowing, to juxtapose the more harsh and angular tone of the rest of the level. To start with, I used ‘NorBurialShaft01’ as a template (fig.3). However, I feel that while they certainly provided the circularity that I desired, the overall profile was rather ominous, with a deep pit in the center of the room. Instead, I opted for the less remarkable, but far more fitting ‘NorCustomChamber01’ which I feel has a more friendly and relieving atmosphere (fig. 4) This room also has the benefit of featuring four exit points, meaning that I have the option for these areas be far more connected to the rest of the level, with multiple routes through which the player can enter them.

My next step for the Crypts of Refuge was to create the persistent ‘Crypt Chest’ that the player will be able to store and access all of their equipment through. I was unsure of how I would go about implementing this, or indeed if it was even possible within the Creation Kit. I anticipated that whichever way it would work, some Papyrus scripting would be required so I decided to try and find some online tutorials that would help with this. To my surprise, I was able to find a Creation Kit tutorial focused around ‘cloud chests’ which told me everything I needed to know (Darkfox127 2013). Cloud chests are a persistent chest that can be accessed and updated in multiple locations using connected triggers, and require no script writing at all! When a player interacts with a Crypt Chest, they are actually activating a trigger that is connected to the ‘real’ Crypt Chest, located in a completely different scene, through which they can access and store items. With the help of this tutorial, I was able to quickly make multiple functional Crypt Chests that are all connected and work exactly as intended. This is fantastic news, as I anticipated these posing more of a challenge to implement, which means I may be able to begin looking at some stretch goals for my project if everything stays on track.

Chest design

In certain areas, I have begun to place treasure chests for the player to discover throughout their exploration of the level. I am not fully certain on how these will function in gameplay, however my current plan is that these will give the player varying amounts of gold that can then be spent in Crypts of Refuge to purchase items and upgrade equipment. A key design philosophy of mine for this project is that the player should be constantly incentivised to explore and almost always be rewarded for that – whether it be through an interesting piece of lore, a new shortcut, or gold.

My design and creation process behind these chests was relatively straightforward. I began by duplicating a Norse chest in the object window and renaming it to ‘SJCChestBase’. My naming convention of using the prefix ‘SJC’ (my initials) for all unique objects means that I can easily filter the object window to see which items I have created for the purpose of the mod. From this base I was able to make multiple duplicates, and filled each chest with a differing amount of gold. The low-value chests had 25 gold in them, the medium-value chest had 50 gold, and the high-value chests contained 100 gold. I intend for the low-value chests to be relatively common and easy to find, whereas mid-value and high-value chests will require a keen eye and challenging traversal to access.

Research

This week I watched another fantastic level design talk from GDC, this time recommended to me by Steven, my design colleague (Davis 2019). Given by Sony Santa Monica’s Rob Davis, the talk discussed the many learnings of designing levels for God of War (2018). Throughout the talk, Rob provided multiple rules that designers used to help create effective levels within the game. A foundational rule seemed to be that all levels must accommodate for the game’s three established core pillars: combat, narrative, and exploration. These pillars were evenly and naturally distributed throughout the levels, ensuring for a consistently engaging player experience. Another key rule was the inclusion of clear exploration breaks soon after a new mechanic has been introduced to the player at the end of a level. This would then allow the player to re-enter the hub area of the game and use their new abilities in various areas. He also discussed the concept of theming each level around particular mechanics, using the example of ‘shock arrows’ in relation to God of War. By having levels focus largely on a particular mechanic (normally one that has been recently introduced during gameplay), they can be kept fresh and engaging, as well as allowing the player time to master the new mechanic and add it to their skillset. If I were to examine my current project through this lens, it could be said that my central theme for my level are the Crypts of Refuge, along with everything that they afford the player (item management, gear improvement, a point of respite). Most other aspects of the level have been designed in service of this feature, and serve to accentuate their utility.

References

Darkfox127. 2013. Creation Kit (Cloud Chests) [YouTube video tutorial]. Available at: https://www.youtube.com/watch?v=KsB4e8isB28 [accessed 23 February 2022].

DAVIS, Rob. 2019. The Level Design of God of War [GDC talk]. Available at: https://www.youtube.com/watch?v=eSB29qx6sWw [accessed 24 February 2022]. 

God of War. 2018. Santa Monica Studio, Sony Interactive Entertainment.

The Elder Scrolls V: Skyrim. 2011. Bethesda Game Studios, Bethesda Softworks. 

Statement of intent

Having finished the body of my statement of intent last week, at the beginning of this week I spent time reading over and critically analysing the document for grammatical mistakes and areas for improvement. On the whole, I was satisfied with my writing, however there were some areas that were reworked for conciseness and clarity. In my research section, I was able to cut down on a great deal of words by simply including an image that conveyed my point far better than I could in writing. I also made sure my referencing was in line with Falmouth-Harvard guidelines. While not the most exciting job to undertake, it was important to take the time to ensure my written communication was to a high standard. This is not just because it is part of the marking rubric, but more importantly because communication is possibly the most important skill for a game designer to have, whether it be through a conversation with a teammate, or an extensive game design document.

Level design work

With the statement of intent completed and submitted, I am now able to turn my full attention for this module onto the level’s creation.

To start with, I added some scenery to the large open room that serves as the final mining area before the player enters the Nordic crypt proper. As the player enters the room at an elevated position, I needed a way for them to naturally reach ground level. To do this, I used the ‘scaffolding’ kit, placing a platform connected via a bridge, as well as a staircase (fig.1). Next I decided to make the space feel more natural by placing structures that help to add elevation and reduce the amount of flat surfaces resulting from modular pieces. I added an exit at the opposite side of the room, in direct line-of-sight of the player. I think that the final shape of the space feels far more natural and irregular than it originally did (fig. 2).

As I continue to become more proficient with the Creation Kit, understanding which pieces fit together and memorising naming conventions, I hope to be able to create level spaces at a quicker pace. I want to be able to have the flow and pacing completed with enough time for me to do some FX, lighting and clutter passes. This will not only make the level much more visually attractive, but can also be used to direct the player through deliberate signposting and lighting decisions, making it a crucial part of the development process. As a disclaimer, I do not intend to detail every single step of my level creation process for this project, as I feel that would make for a rather dull and lengthy blog. Instead, I intend to write about any parts of the development process through which I have learnt new techniques or faced unique challenges that have led me to grow as a game designer and developer.

Transitions

From here, I knew that I had to somehow transition from the mines into the Nordic crypt. This posed a challenge as they are formed of two separate “kits” (how Bethesda refers to modular sets) and I was unsure how to blend between them. In some cases, the artists have planned for this event, and included custom transitions that allow a level designer to seamlessly transition between different aesthetics. However in this case, I would be unable to rely on such a technique, as I wanted it to look as if the miners had accidentally broken through into the crypt. As far as I’m aware there is no custom transition for something like this, which meant I would have to get creative.

I started by placing a ‘MineCLHall1Way01’ and ‘NorHallBg1Way01’ in the same location. Then, I turned grid-snapping off and carefully aligned their floor sections, allowing for them to somewhat blend together. However this transition was far from perfect – as you can see from the images there are visual seams on both the floor and walls where the assets overlap (fig. 3 & fig. 4). Even more noticeable is the void above the Nordic hallway, resulting from the cave hall piece being far taller. Luckily, there are a number of tools at my disposal within the Creation Kit to help counteract these issues.

Firstly, I filled in the gap above the transition by placing a variety of ‘boulder’ assets arranged to look like a naturally sloping ceiling. Next, I covered over the floor seams by placing some ‘dirt mounds’ into the corridor, making the floor look more uneven and gradual in its transtion. Finally, in order to cover up the wall seams, I placed two ‘cave pillars’ at either side of the hallway, making a natural archway for the player pass through. I think that the transition is now relatively seamless and believable, rather than abrupt and sudden (fig. 5 and fig. 6).

Research

This week, I watched another GDC lecture, all about incorporating narrative into level design (Menzel 2017). The talk provided some interesting insights into narrative delivery through deliberate level design. This extends past environmental storytelling, and into all aspects of a game with the lecturer arguing that all elements that make up a game contribute to storytelling. I found the section on pacing to be particularly insightful and beneficial. Good pacing is a very difficult aspect of game design to achieve, as games are inherently interactive and variable in their pacing. Menzel offered ‘movement incentives’ and ‘movement deterrents’ as techniques through which a game designer can attempt to better control the pace of their experience. Movement incentives include threats, objectives and time limits, whereas movement deterrents include tension, obstacles, and puzzles. I will endeavour to use what I have learned from this talk within my own level’s design moving forward.

References

MENZEL, Jolie. 2017. A Narrative Approach to Level Design [GDC talk]. Available at: https://www.youtube.com/watch?v=FhKjv7CPUqw [accessed 18 February 2022].

The Elder Scrolls V: Skyrim. 2011. Bethesda Game Studios, Bethesda Softworks. 

Learning Creation Kit

I have spent some more time learning the Creation Kit this week, trying to extend myself into areas of scripting. Hopefully, my mod won’t require very much scripting in order to be functional, however some features will certainly require it. For instance, I want to limit the player’s carry capacity and allow them to spend resources in order to purchase new equipment and items. For this I will need at least rudimentary knowledge of Papyrus, the language used by the editor. I have been recently learning a large amount of C# in an effort to be a more T-shaped developer and help out with technical aspects of my current team project. Because of this, I am confident that I will be able to learn enough Papyrus to get my intended features to work.

I have also learnt a great deal of keyboard shortcuts within the Creation Kit that will help to speed up the development process of my level design. I will learn many more throughout development, but here are a number of keyboard shortcuts I have learnt so far:

• Zoom in/out (scrollbar).
• Pan/orbit camera (shift + mouse).
• Quick focus on an object (shift + f).
• Rotate tool (w).
• Move tool (e).
• Scale tool (s).
• Turn grid snapping on/off (q).
• Turn rotation snapping on/off (ctrl + q).
• Select snap reference in render window (shift + q).
• Top-down view (t).
• Orthographic view (0).
• Turn lighting on/off (a).

Statement of intent

As the deadline for the statement of intent approaches, my focus has been largely focused on continuing to develop the document. Having written both the ‘project outline’ and ‘rationale’ sections last week, my attention was first turned to the project’s scope. Planning for scope is a crucial part of any development process so I tried to write this section with an objective and critical perspective. I began by outlining reasons why I am confident in my project’s scope, including the rapid iteration afforded by the modular kits, and being able to rely on a lot of pre-existing scripting found in the game. Next, I listed potential risks to development, discussing the size of my level and the time it may take for me to learn the intricacies of the Creation Kit. After that, I wrote a list of contingencies that should mitigate these risks, such as cutting content and focusing on the core hook of the mod. Finally, I created a timeline for the project, bullet-pointing what I intend to complete each week of the module.

I chose to leave the research section of the statement until last as I have been continually conducting research into level design and the Creation Kit engine, so as to best prepare myself for the project. Luckily, I have been making a note of many of the GDC talks, tutorials and texts that I have accessed by recording them on this blog, meaning I was able to extract points and repurpose them for this assignment. I split the section into two parts: one for more academic research that has elevated my understanding of level and systems design, and one for inspirations and case studies that have informed my ideation and development. Finally, I filled out all references, which was again made easier by the fact that I have referenced many of the texts on this blog. I hope that this section of the statement is able to reassure markers that I understand the importance of research and market awareness when developing personal projects.

With all sections of the statement of intent written up, I will now be able to move into full production of my Skyrim (2011) level mod. I am excited to get the ball rolling and learn some new skills. Next week, I will make sure to read over the statement for any grammar or formatting issues before submission.

Level design

I have also continued to develop the level space itself, extending the mines to be more labyrinthine and representative of real mine systems (fig. 1). As can be seen in the image, there are now dead-ends, and an area that loops back on itself, to promote the feeling of claustrophobia and confusion that I am intending to initially instil in the player. My intention is to use narrow space in order to “create tension by giving space scarcity, limited amounts such that space becomes a valuable resource” (Totten 2014: 118). I want to build anticipation and intrigue in the player by initially leading them through narrow winding tunnels, that eventually disorient them, before they are met with the relief of a larger ‘prospect space’ that signifies the entrance into the crypt proper. After some iteration through playtesting to evaluate pacing, and look for visual seams, I am happy with how this initial level space and feel it serves as an intriguing set-up for the bulk of the level. I look forward to next week when I can advance the development of my level.

 

Research

As my project develops, research will be crucial to creating an effective and engaging level design. This week I watched a lecture discussing the design of “radically non-linear single player levels’ (Aubrey 2019). Many interesting points were raised, including the idea that non-linearity allows for deeper gameplay as a more open level allows the gameplay systems more room to breathe. This design approach gives the player more room for self-expression through engaging with the various mechanics. The lecturer also went on to discuss the different layout types of non-linear level design including symmetrical layout (low tension center line with a left-right choice), concentric layout (increasing danger as you move towards the center), node layout (a series of interconnected clearings), and field layout (a large area of increasing risk). While my level design is not intended to be “radically non-linear”, I would like to incorporate elements of non-linearity with multiple paths that offer elements of risk vs. reward for the player so this talk was beneficial in ideating that.

References

SERR, Aubrey. 2019. Designing Radically Non-Linear Single Player Levels [GDC talk]. Available at: https://www.youtube.com/watch?v=R75g3elj7y4 [accessed 10 February 2022]. 

The Elder Scrolls V: Skyrim. 2011. Bethesda Game Studios, Bethesda Softworks. 

TOTTEN, Christopher W. 2019. An Architectural Approach to Level Design. Boca Raton: CRC Press. 

Sketching level designs

Having settled on a premise for the project, this week I set about sketching up top-down diagrams of the level’s design and flow. I prefer to do work initially using pencil and paper as it means that I can quickly mock-up level designs, ideating and iterating before beginning any work in-engine. My method for creating these plans has altered slightly, following a GDC talk I watched last week (Burgess, 2014). In it, Joel Burgess stated that Skyrim‘s (2011) level designers use simple top-down maps resembling flowcharts to convey “beats, and pacing, and a general feeling of connectivity” (Burgess, 2014). Taking cues from how the actual development team created levels, I have made a similar diagram to help me organise thoughts and remain consistent through development.

Continuing Creation Kit

I have been continuing my self-directed learning of the Creation Kit. Having followed along with Bethesda’s official tutorials (Bethesda, 2012), I looked for further content to engage with in order to solidify my knowledge and proficiency in the engine. I found an excellent series of tutorials that went even further in-depth with the engine’s tools (BestInSlot, 2012). Through these tutorials I have learnt how to script quest objectives, create unique equipment and weapons, and even make the level accessible through the game’s overworld. The entrance to my level can now be found in-game, just outside the town of Riverwood (fig. 1).

I also made a very small level space, in order to test out and experiment with some of the modular kit pieces (fig. 2). My level begins in a mine, before leading into a Nordic crypt, so I have begun the level’s design using the ‘Mines’ kit. This design will likely change greatly over development, and next week I look forward to further iteration and development of the blockout.

Working on statement

Primarily, work for this module has been spent on my Statement of Intent, as it is due relatively soon. After consolidating my thoughts on the project I have been able to complete the ‘project outline’ section, which I have ensured is clear and readable. I have included bullet-point breakdowns of specific details where I can, to ensure that the document is both readable and concise. Crucially, I have detailed the core gameplay loop that I intend for the project, so that the reader is able to gain a greater understanding of the player experience.

Following on from this, I began work on the ‘rationale’ section of the document which is intended to showcase my thought-process and reasoning behind the project idea. The primary reason for deciding on a level design mod has been my pursuit to become a more T-shaped developer. As my strengths primarily lie in narrative and mechanics design, I want to use this module as an opportunity to widen my skillset and therefore become more employable. I also detailed the ‘key indicators’ for assessment, for which I put a high emphasis on level pacing and structure. Following this I would like to be assessed on my employment of signposting and lighting, and finally the degree to which I am able to alter the game’s systems.

I will continue to work on the Statement of Intent next week, with an aim to finish it by the end of the week.

Research

In an effort to improve the quality of my project, I have spent more time researching theories and techniques behind effective level design. I began by watching a fantastic GDC talk titled “Ten Principles for Good Level Design” (Taylor, 2013), which provided a robust list of criteria that nearly all well-designed levels adhere to. Among others, core concepts such as visual communication, dynamic difficulty and mechanics-driven design were discussed in detail. One principle which I particularly resonated with stated that “good level design is easy, medium, and hard” (Taylor, 2013). The lecturer argued that static difficulty choices are outdated as they often ask the player to make the choice with no knowledge of their skill at the game. Instead, levels should allow the player to choose their difficulty by including elements of risk vs. reward, where the player has the option to follow more challenging routes at the prospect of heightened gameplay benefits. Throughout the development of my level, my goal will be to ensure that all ten of these principles are met.

Another beneficial GDC talk was centred around concepting levels, titled “Overcoming the Digital Blank Page” (Marinello, 2014). The lecturer discussed ways to begin prototyping and ideating levels from pen-and-paper through to ‘blockworlds’ which use primitives to capture the flow and feel of the intended design. In particular, the creation of a top-down map was encouraged as it helps to “capture the flow of the level, condense the scope into an image, [and] help to evaluate the level’s pacing” (Marinello, 2014). For this reason I am glad that I have taken the time to draw up my level’s design before its creation.

References

BestInSlot. 2012. Skyrim Creation Kit Tutorials [YouTube tutorial series]. Available at: https://www.youtube.com/watch?v=DZxuVY4dQ74 [accessed 25 January 2022].

BETHESDA. 2012. Creation Kit Tutorial Series [YouTube tutorial series]. Available at: https://www.youtube.com/watch?v=gDKivlGmia4 [accessed 24 January 2022].

BURGESS, Joel. 2014. How We Used Iterative Level Design to Ship Skyrim and Fallout 3 [GDC talk]. Available at: https://www.youtube.com/watch?v=PhW8CY8XkFg&t=1655s [accessed 25 January].

MARINELLO, Seth. 2014. Level Design in a Day: First Steps – Overcoming the Digital Blank Page [GDC talk]. Available at: https://www.youtube.com/watch?v=R75g3elj7y4 [accessed 10 February 2022]. 

TAYLOR, Dan. 2013. Ten Principles for Good Level Design [GDC talk]. Available at: https://www.youtube.com/watch?v=iNEe3KhMvXM [accessed 8 February 2022]. 

The Elder Scrolls V: Skyrim. 2011. Bethesda Game Studios, Bethesda Softworks.