Title: Z-Axis Gameplay and its Affects on Level Design
N.B. The project proposal is still work in progress. I have yet to finish the work driven rationale, project timeline and milestone sections. With that in mind, onto the work in progress version of my Project Proposal.
Brief Outline of Work
A series of BSP (Binary Space Partitioning) levels created
using Unreal Editor 3 to explore Z-axix gameplay in regard to level design. Followed by a final polished artefact
demonstrating my understanding of these concepts.
Rationale
I am undertaking this project, because:
a. I have always
been interested in how height influences level design in FPS (first person
shooter) games. I believe this project will allow me to explore the subject,
and hopefully draw some useful conclusions from it. It will also teach me
useful skills such as texture creation and manipulation which will be invaluable
when I get a job at company X as a level
designer.
A large part of my rationale for this project comes from
other similar works that I admire. The following three levels from Unreal
Tournament 2004 demonstrate Z-Axis gameplay in a FPS Deathmatch game-mode
environment.
DM-1on1-Rougheniery –
Set in an abandoned refinery. This map forgoes a less realistic setting in
favour of intricate height based design. Most of this map is map up of ramps,
allowing the player to constantly change their elevation to get the drop on
their opponent. Additionally the player can use the advanced “Dodge Jump”
manoeuvre to climb up metal sheets. (This is the quickest way of
gaining height in the level). (The level also contains small fast lifts. If
the player jumps at the apex of one of the lifts, they can reach many areas of
the map).
Pro’s – Focuss on map
layout over realism allows for a crazy collection of ramps, platforms etc.
Cons – Feels like a game environment not a real
place/environment.
Sulphur – Set on an oil
rig. Sulphuric rain. Mostly made up of metal walkways and platforms. Powerful
jump-pads in the corners allow the player to quickly traverse to the highest
point of the map. The walkways are positioned so a player can easily jump down
from one to another without taking fall damage. Three main levels of height,
plus a ledge near the top of the oilrig which houses a Redeemer. (Reached via
Jump-pad).
Pro’s – Player's can easily traverse the map, using
Jump-pads and well played walkways that can be jumped down on.
Cons – Graphically the
Map is dated since it was released in 2004. The rain effect in particular goes
through the metal floor of the level. This somewhat breaks the immersion in the
level.
Metallurgy – This map is
set in a futuristic abandoned forge and the area immediately outside. Open
pipes transport lava across different areas of the map. Metal walkways, stairs
and ramps compose most of the forge itself. The ground around the forge is made
up of hills of varying heights. This creates interesting sightlines for players
to take advantage of.
Pro’s – Great sense of atmosphere. The lava moving through the pipes create an additional sense of danger. Players must watch their footing.
Cons – Enviromental hazards such as lava make the map more difficult for newcomers to the series.
b. Creating this
finished artefact will serve as an excellent example of level design work which
will help me get a job at X company. I am still looking through several job possibilities, I will update once I've chosen the most achievable options.
Annotated Bibliography
Sjoerd “Hourences” De Jong (29 August 2011). The Hows and
Whys of Level Design – SE. N/A: Sjoerd De Jong. N/A.
This book serves as an excellent overview of level design in
both singleplayer and multiplayer environments. It covers key concepts such as:
floorplans, theme, lighting, sound effects, and more. I read most of this text
over the summer so I am already familiar with many of the ideas discussed.
Feil, J. and Scatterwood, M. (2005) Beginning game level
design. Boston: Thomson.
This book covers the theory of level design. It approaches level design in a
generalised fashion, not focussing on one particular program or game engine.
Ahearn, L. (2008) 3D game environments; create
professional 3D game worlds. Oxford: Focal Press/Elsevier.
After having a quick look through this book I am positive
that it will be extremely useful when creating my final artefact. In particular
the sections on creating high quality textures using photographic references
will greatly improve the look and feel of my level.
Gahan, A. (2011) 3ds max modeling for games : insider's
guide to game character, vehicle, and environment modeling. 2nd ed.
Amsterdam; London: Focal.
This book contains plenty of information on modelling in 3ds
Max.
Specifically the sections covering: environment modelling, mapping, and
texturing will be very useful in realising my project. My texture work has
always been lacking, so I hope by reading this and I can improve the overall
standard of my textures.
Busby, J., Parrish, Z. and Wilson, J. (2009) Mastering
unreal technology; Volume 1. Introduction to Level design with Unreal engine 3.
Indianapolis: Sams Publishing.
This book covers how to apply level design principles using Unreal Engine 3.
The sections on Kismet scripting will be very useful to my project.
Busby, J., Parrish, Z. and Wilson, J. (2010) Mastering
Unreal technology; vol II: Advanced level design concepts with Unreal Engine 3.
Indianapolis: Sams Publishing.
This book builds on the concepts introduced in the first volume, while
introducing more complex ideas such as particle effects creation, post
processing tricks to make a level shine and advanced material editing using the
Material Editor. This information will be invaluable to polish my final level
to the industry standard.
This article analyses how players experience game spaces,
focussing particularly on LOS (Line of sight) and GFOV (Geometric field of
view). This is the view players see while playing the game. Increasing the
width of the viewing angle allows a player to have more situational awareness
in a game and vice versa.
Portals are "any game device that allows for
greater-than-usual line of sight." The concept or "portals" will be crucial to my project. I plan to have many instances of ledges overlooking different parts of my level.
This is extremely relevant to my project. Ultimately I want
to create a level that allows players to quickly move between many different
heights thus creating many exciting combat and evasion vectors.
I will build my level around the default FOV amount in
Unreal Tournament 3. (100 FOV).
Christopher W. Totten . (2011). Designing Better Levels
Through Human Survival Instincts.
Available:
http://www.gamasutra.com/view/feature/6411/designing_better_levels_through_.php?print=1.
Last accessed 02/11/2012.
This article uses several well known games (Half Life 2, Metroid Prime, Zelda) to reference it's concepts. (This is very useful since I have played many of these games, and can therefore remember moving through these game-spaces and how it felt).
The main concepts discussed are the differetnt kinds of spaces that combine to form a gamespace. The section on height, how it affects players perception/sense of safety will be particualarly useful to my project.
Mike Stout. (2012). Learning From The Masters: Level Design In The Legend Of Zelda. Available: http://www.gamasutra.com/view/feature/134949/learning_from_the_masters_level_.php. Last accessed 02/11/2012.
This article may seem like an odd choice for my project. Afterall it uses the original 2D Legend of Zelda adventure game as its template. Much of the article however can be transfered to a 3D scenario. The sections on level flow and variety can be well applied to a 3D environment, even a Deathmatch level. Levels in multiplayer have several different paths, and ultimately an "optimal" path moving from the best weapons and power-ups in the shortest time. This is similar to the articles concepts of "critical" and "optional" paths.
Tim Ryan. (1999). Beginning Level Design Part 2 Rules to Design by and Parting Advice. Available: http://www.gamasutra.com/view/feature/131739/beginning_level_design_part_2_.php. Last accessed 02/11/2012.
This article is the second of a two-part series that covers
theories behind level design and suggests a set of design rules. It contains many tips and tricks which are useful to keep in mind while planning out and creating my game-spaces. Keeping these ideas in mind will help me make the most of my time while developing my level.
Project Timeline
First Two Weeks: Experiment with simple BSP level designs. Choose three possible designs.
Spend 1 week choosing a final BSP Design.
Spend 1-2 weeks reading and practing texturing/unwrapping.
Texture 1 3D model
I'm aiming to finish 99% of my project before the deadline, so I can spend two weeks or so continually polishing the level, perhaps adding sound effects, to make the map more impactful as a portfolio piece.
Milestone Deliverables
Create simple BSP Design 1
Create simple BSP Design 2
Create simple BSP Design 3
Choose my final BSP Design.
Texture a 3D asset for the level.
Final Level Artefact: (Clocktower level).
Word Count: 1471
