http://books.google.co.uk/books?id=Gtv62NnHrOcC&printsec=frontcover&dq=Casual+Game+Design:Designing+Play+For+The+Gamer+In+All+Of+Us&hl=en&ei=OuDETufsF4ik8gPpr-GCCw&sa=X&oi=book_result&ct=result&resnum=1&sqi=2&ved=0CEEQ6AEwAA#v=onepage&q&f=false
Page 41 talks about level design, I hadn't seen this before but thought it best to save the link for use later.
Thursday, 17 November 2011
Wednesday, 16 November 2011
RPG level research
The concept drawing of my design is taking a little longer than anticipated, it should not be a problem since I still have till Monday next week to finish it. The problem I am finding is designing a 3D level on a 2D piece of paper. Top down view is all well and good however it is proving difficult to draw more 'organic' shapes for the level which represent the cave pieces.
I will continue on with it for now and see where it is on Monday.
On with the main body of this post however. This blog post talks about some practical research that I have undertaken over the past week on and off.
The level I am designing for Fallout: New Vegas is what is commonly referred to in RPG terms as a 'dungeon'. Dungeons are contained levels in an interior location that has two very common elements: Monsters (or enemies) and Loot (or prizes). Unlike FPS games and more liniar games, the levels/dungeons in RPG games are a more free roaming experience allowing the player to take whatever path they may choose, as long as they navigate said dungeon to get to the end and get the loot.
While navigating the dungeon the player may come accross a variety of obstacles that they must pass. Whether it be a puzzle, a monster/enemy or a trap. While designing my level it is important to note that I must allow for one of these possibilities to properly call it a 'dungeon'.
Over the week i have player Mass Effect 2, Fallout 3, Fallout New Vegas, The Elder Scrolls IV: Oblivion, The Elder Scrolls V: Skyrim, Dungeon Siege II, Borderlands, Dragon Age and Star Wars: Knights of the Old Republic.
All these games share one common trait: They are RPG games although they may reside within different subcategories of the RPG genre. All these games have a dungeon of some kind located within them. However the approach to how dungeons are designed can be very different. One thing I definately noticed, the games distributed by Bethesda Softworks: Fallout 3, Fallout New Vegas, The Elder Scrolls IV: Oblivion, The Elder Scrolls V: Skyrim, all have a very specific feature to a majority if not all of their dungeons.
The dungeons in said games have a design niché that the others do not. At the end of the dungeon there is an exit which brings the player out of the dungeon more or less instantly, or reveals a shortcut which brings the player back to the start of the dungeon quickly. I feel the reason for this is as followed.
In a game when you complete a level, it ends. That is a very simple observation, however in these games the game continues even once the quest is over, they stay within the game world and go on to their next quest. Because of the lack of an 'end' to the level. A substitute is given, a 'placebo' ending which creates the feeling that the level is at and end and provides the player with a means of getting out of the dungeon to the 'overworld' quickly without having to retrace their steps through a very lengthy dungeon.
As such this is one design feature I will attempt to include in the level if it is needed.
I will continue on with it for now and see where it is on Monday.
On with the main body of this post however. This blog post talks about some practical research that I have undertaken over the past week on and off.
The level I am designing for Fallout: New Vegas is what is commonly referred to in RPG terms as a 'dungeon'. Dungeons are contained levels in an interior location that has two very common elements: Monsters (or enemies) and Loot (or prizes). Unlike FPS games and more liniar games, the levels/dungeons in RPG games are a more free roaming experience allowing the player to take whatever path they may choose, as long as they navigate said dungeon to get to the end and get the loot.
While navigating the dungeon the player may come accross a variety of obstacles that they must pass. Whether it be a puzzle, a monster/enemy or a trap. While designing my level it is important to note that I must allow for one of these possibilities to properly call it a 'dungeon'.
Over the week i have player Mass Effect 2, Fallout 3, Fallout New Vegas, The Elder Scrolls IV: Oblivion, The Elder Scrolls V: Skyrim, Dungeon Siege II, Borderlands, Dragon Age and Star Wars: Knights of the Old Republic.
All these games share one common trait: They are RPG games although they may reside within different subcategories of the RPG genre. All these games have a dungeon of some kind located within them. However the approach to how dungeons are designed can be very different. One thing I definately noticed, the games distributed by Bethesda Softworks: Fallout 3, Fallout New Vegas, The Elder Scrolls IV: Oblivion, The Elder Scrolls V: Skyrim, all have a very specific feature to a majority if not all of their dungeons.
The dungeons in said games have a design niché that the others do not. At the end of the dungeon there is an exit which brings the player out of the dungeon more or less instantly, or reveals a shortcut which brings the player back to the start of the dungeon quickly. I feel the reason for this is as followed.
In a game when you complete a level, it ends. That is a very simple observation, however in these games the game continues even once the quest is over, they stay within the game world and go on to their next quest. Because of the lack of an 'end' to the level. A substitute is given, a 'placebo' ending which creates the feeling that the level is at and end and provides the player with a means of getting out of the dungeon to the 'overworld' quickly without having to retrace their steps through a very lengthy dungeon.
As such this is one design feature I will attempt to include in the level if it is needed.
Monday, 7 November 2011
Research: G.E.C.K
http://geck.bethsoft.com/index.php/Bethsoft_Tutorial_Navmesh
This past weekend I have been looking through the G.E.C.K to get to grips with it while comming up with concept for the level.
During my investigation of the G.E.C.K I discovered the whole process of 'Navmesh"-ing a level. The point of Navmesh is to place plane on the worldspace that you create, this is represented by a semi-transparent red floor. This tells the NPCs in the environment that this is the place in the game that you can walk. Going by the description on the GECK wiki it seems that it is only necessary if you intend to include NPC's in a level.
However my project is that of level design, more specifically the design of the worldspace, not NPC and quest design. The question I am asking myself is as followed:
"Should I Navmesh my level or not?"
If I were to Navmesh said level it would mean that should I wanted to expand my project to include a quest with NPCs and enemies I would be all set from the get go to start scripting and placing down AI characters.
However, Navmeshing the level would take time, time that could be considered wasted if the project is not then expanded upon.
I personally believe it is worth the extra time to Navmesh the level, it is worth attempting to get it in the level. Furthermore it would mean it is all prepared for NPCs and AI characters to be placed in the environment should they need to. If I am pushed for time or resources I can easily miss out the process if I need to.
This past weekend I have been looking through the G.E.C.K to get to grips with it while comming up with concept for the level.
During my investigation of the G.E.C.K I discovered the whole process of 'Navmesh"-ing a level. The point of Navmesh is to place plane on the worldspace that you create, this is represented by a semi-transparent red floor. This tells the NPCs in the environment that this is the place in the game that you can walk. Going by the description on the GECK wiki it seems that it is only necessary if you intend to include NPC's in a level.
However my project is that of level design, more specifically the design of the worldspace, not NPC and quest design. The question I am asking myself is as followed:
"Should I Navmesh my level or not?"
If I were to Navmesh said level it would mean that should I wanted to expand my project to include a quest with NPCs and enemies I would be all set from the get go to start scripting and placing down AI characters.
However, Navmeshing the level would take time, time that could be considered wasted if the project is not then expanded upon.
I personally believe it is worth the extra time to Navmesh the level, it is worth attempting to get it in the level. Furthermore it would mean it is all prepared for NPCs and AI characters to be placed in the environment should they need to. If I am pushed for time or resources I can easily miss out the process if I need to.
Monday, 31 October 2011
References 10 and 11
my final references are two very short reference pieces. The first is "Unlocking the Gameworld: The Rewards of Space and Time in Videogames"
http://gamestudies.org/1101/articles/gazzard_alison
by Alison Gazzard
The article mainly focuses on how the player is 'rewarded' through the game either by their time on the game increasing (with reference to arcade gaming) or space, or the world being unlocked for them to explore.
According to the article the game rewards the player by allowing them access to a new location. This has a rather simple effect of producing short term feelings of acomplishment for the player, this makes them invest more time in the game and continue exploring the environment. This is called giving the player an 'illusion reward' there is no goal or reward set..however the player believes they have acomplished something.
The article calls this the "Cycle of Reward + Exploration".
This is useful to me because it offers an example of how I can design my level to further entice players to keep on playing by offering new locations and areas in the map that are unlocked as you literally find a key or complete an objective.
--
This is linked loosely with reference article 11: "Balancing Risk and Reward to develop an optimal hot-handed game."
http://gamestudies.org/1101/articles/williams_nesbitt_eidels_elliott
by Paul Williams, Keith V. Nesbitt, Ami Eidels and David Elliott.
The article starts by discussing the Risk VS Reward mechanic that most video games use. Players constantly think about the risks attributed to performing a gruling action and decide if the risk is worth taking for the supposed reward. Sometimes this reward is not overtly displayed to the player and sometimes this can lead them to be disappointed as the reward is not in proportion to the risk involved. The reward should match the risk. Why is this linked to the previous article? Well the previous article talks about enticing the player to explore by unlocking and discovering new locations. The non essential parts of the map that the player can explore could lead to possible rewards, such as a new weapon which is guarded by a powerful beast that must be overcome. The risk vs reward here is backed by the players being influenced to explore.
Furthermore the article also offers a chance for alternate solutions. "Give the player the chance to play it safe for a low reward or take a risk for a big reward. Again this is a good way to make the game interesting and exciting. In RPG games characters construct characters with both strengths and weaknesses meaning that alternative paths, while not necessary, are encouraged due to how different types of players approach different problems.
Say you are a character with a high lockpicking skill. You may be able to pick the lock on the door in order to get into the reactor chamber beyond. However if you do not have the lockpick skill level needed you may have to go into the irradiated water and swim around into the chamber while encountering some adversaries along the way. Both have different elements of risk and different kinds of rewards.
The player who picked the door gets some XP and gets into the room quicker without the risk of being hurt..only breaking bobby pins. However, if the player is dependant on those bobby pins due to their limited number they may wish to forgo this incase a more important door comes up later.
The player who took the long way around is rewarded with more XP and as such may be able to level up sooner. However there is an increased risk of dying while taking the path or dying in the long run from radiation sickness. I believe it is important for me to balance the risk vs reward element in games while enticing players to explore through the environment.
http://gamestudies.org/1101/articles/gazzard_alison
by Alison Gazzard
The article mainly focuses on how the player is 'rewarded' through the game either by their time on the game increasing (with reference to arcade gaming) or space, or the world being unlocked for them to explore.
According to the article the game rewards the player by allowing them access to a new location. This has a rather simple effect of producing short term feelings of acomplishment for the player, this makes them invest more time in the game and continue exploring the environment. This is called giving the player an 'illusion reward' there is no goal or reward set..however the player believes they have acomplished something.
The article calls this the "Cycle of Reward + Exploration".
This is useful to me because it offers an example of how I can design my level to further entice players to keep on playing by offering new locations and areas in the map that are unlocked as you literally find a key or complete an objective.
--
This is linked loosely with reference article 11: "Balancing Risk and Reward to develop an optimal hot-handed game."
http://gamestudies.org/1101/articles/williams_nesbitt_eidels_elliott
by Paul Williams, Keith V. Nesbitt, Ami Eidels and David Elliott.
The article starts by discussing the Risk VS Reward mechanic that most video games use. Players constantly think about the risks attributed to performing a gruling action and decide if the risk is worth taking for the supposed reward. Sometimes this reward is not overtly displayed to the player and sometimes this can lead them to be disappointed as the reward is not in proportion to the risk involved. The reward should match the risk. Why is this linked to the previous article? Well the previous article talks about enticing the player to explore by unlocking and discovering new locations. The non essential parts of the map that the player can explore could lead to possible rewards, such as a new weapon which is guarded by a powerful beast that must be overcome. The risk vs reward here is backed by the players being influenced to explore.
Furthermore the article also offers a chance for alternate solutions. "Give the player the chance to play it safe for a low reward or take a risk for a big reward. Again this is a good way to make the game interesting and exciting. In RPG games characters construct characters with both strengths and weaknesses meaning that alternative paths, while not necessary, are encouraged due to how different types of players approach different problems.
Say you are a character with a high lockpicking skill. You may be able to pick the lock on the door in order to get into the reactor chamber beyond. However if you do not have the lockpick skill level needed you may have to go into the irradiated water and swim around into the chamber while encountering some adversaries along the way. Both have different elements of risk and different kinds of rewards.
The player who picked the door gets some XP and gets into the room quicker without the risk of being hurt..only breaking bobby pins. However, if the player is dependant on those bobby pins due to their limited number they may wish to forgo this incase a more important door comes up later.
The player who took the long way around is rewarded with more XP and as such may be able to level up sooner. However there is an increased risk of dying while taking the path or dying in the long run from radiation sickness. I believe it is important for me to balance the risk vs reward element in games while enticing players to explore through the environment.
The Garden of Eden Creation Kit (G.E.C.K)
http://geck.bethsoft.com/index.php/Main_Page
The website above is a wiki that is monitored internally by the creators of Fallout 3 and Fallout New Vegas, Bethesda Softworks. I understand that a wiki is a very unreliable form of reference for most academic subjects. However, the wiki is one of the best places to look at resources related to the GECK. Given that the GECK is the program I am using to assemble the level. I believe that it is worth referencing.
Looking at the front page there are sevearl tutorials of varying difficulty which can be used to teach me how to use the GECK effectively and efficiently. I have searched online for books that go into greater depth. However the GECK is a relatively new and very specific tool which does not have as wide applications as a program such as the Unreal Editor. As such there is very little reading material around beyond the support that Bethesda have given to the GECK as well as the community.
The Bethesda forums will also be a place where I can ask questions if i ever experience any issues.
The website above is a wiki that is monitored internally by the creators of Fallout 3 and Fallout New Vegas, Bethesda Softworks. I understand that a wiki is a very unreliable form of reference for most academic subjects. However, the wiki is one of the best places to look at resources related to the GECK. Given that the GECK is the program I am using to assemble the level. I believe that it is worth referencing.
Looking at the front page there are sevearl tutorials of varying difficulty which can be used to teach me how to use the GECK effectively and efficiently. I have searched online for books that go into greater depth. However the GECK is a relatively new and very specific tool which does not have as wide applications as a program such as the Unreal Editor. As such there is very little reading material around beyond the support that Bethesda have given to the GECK as well as the community.
The Bethesda forums will also be a place where I can ask questions if i ever experience any issues.
Sunday, 30 October 2011
lack of updates recently
I would like to go on record and state why there have been no updates from me recently on this blog. I had planned to update my blog on Thursday 27th October. However my computer had a major systems crash that day that resulted in me lossing the entire day of work trying to get it to work.
The Friday had me wipe the drive and start clean from scratch..so I had to get my PC back up to what it was before with the programs etc. Of course Saturday and Sunday I was working most of the day at my day job and as such I was unable to make a new post until Sunday night...3 days later than I planned. The unexpected problem has thrown a spanner in the machinary..however I hope to solve the problem and come out on top.
The Friday had me wipe the drive and start clean from scratch..so I had to get my PC back up to what it was before with the programs etc. Of course Saturday and Sunday I was working most of the day at my day job and as such I was unable to make a new post until Sunday night...3 days later than I planned. The unexpected problem has thrown a spanner in the machinary..however I hope to solve the problem and come out on top.
Dynamic Lighting for Tension in Games
http://gamestudies.org/07010701/articles/elnasr_niedenthal_knez_almeida_zupko
This article, was something that I found on GameStudies.org and a article that was reccomended to me by a fellow student also studying level design.
The article talks about "Game Aesthetics" and how studies have revealed that the term 'Game Aesthetics' is applied to two 'significant clusters of meaning':
1) A Sensory experience that the player goes through. (visual, auditory etc)
2) Expressed as pleasure or emotion.
The article also links it to 'flow' that is outlined in an earlier article I read.
The article goes on to talk about how illumination within the game world impacts the emotions and tension that the player feels when they play through a level. Since I am researching level design and wish to make the players feel certain ways within a level it is important that I read and understand what effects the player and how it effects the player so that I may replicate and use the techniques within my own project.
Once again the article uses Unreal Tournament as a reference point for using Dynamic Lighting. However to its credit the GECK editor in Fallout doew not have a form of Dynamic Lighting. While this may make the artcile null and void this is not true. Since the lighting principles of using lighting for tension still apply whether your using dynamic lighting or static lighting in a scene. Regardless of the type...lighting still effects the player which is the main point of the game. Thus the techniques I learn from this article shall be adapted for my use.
This article, was something that I found on GameStudies.org and a article that was reccomended to me by a fellow student also studying level design.
The article talks about "Game Aesthetics" and how studies have revealed that the term 'Game Aesthetics' is applied to two 'significant clusters of meaning':
1) A Sensory experience that the player goes through. (visual, auditory etc)
2) Expressed as pleasure or emotion.
The article also links it to 'flow' that is outlined in an earlier article I read.
The article goes on to talk about how illumination within the game world impacts the emotions and tension that the player feels when they play through a level. Since I am researching level design and wish to make the players feel certain ways within a level it is important that I read and understand what effects the player and how it effects the player so that I may replicate and use the techniques within my own project.
Once again the article uses Unreal Tournament as a reference point for using Dynamic Lighting. However to its credit the GECK editor in Fallout doew not have a form of Dynamic Lighting. While this may make the artcile null and void this is not true. Since the lighting principles of using lighting for tension still apply whether your using dynamic lighting or static lighting in a scene. Regardless of the type...lighting still effects the player which is the main point of the game. Thus the techniques I learn from this article shall be adapted for my use.
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