Intuitive level design

Name: Intuitive level design
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Author: Mikhail Kadikov
ISBN: 9785006991743

Mikhail Kadikov

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For example, in God of War (2018, SCE Santa Monica Studio), the developers use an interactive suspension bridge as part of a puzzle. After crossing it and reaching the control wheel, the player can rotate the entire structure and easily turn it into a ramp, gaining access to the upper level (Fig. 20.1).

In Tomb Raider (2013, Crystal Dynamics), one of the challenge tombs features a counterweight puzzle. To stabilize the swinging structure, the player must weigh down one side of the platform with objects. As a result, the platform forms a proper ramp that allows the protagonist to build momentum and jump to the required ledge (Fig. 20.2).

Fig. 20

A steep slope is used to serve two main purposes: defining the boundaries of the playable area and creating one-way movement.

The boundaries of the playable world in Red Dead Redemption 2 (2018, Rockstar Games) appear highly natural thanks to the smart use of landscape features. In the northern part of the map, players eventually encounter towering mountains with steep slopes that cannot be climbed. When attempting to ascend them — either on foot or on horseback — the protagonist inevitably slides back down. This approach creates a natural boundary without relying on invisible walls or out-of-place fences, which could otherwise break immersion (Fig. 21).

Fig. 21

A steep descent is often used in combination with a water barrier. When players see a steep slope leading down into the water, they immediately understand that trying to swim across the river is pointless, since they would not be able to climb back onto land on the other side anyway (Fig. 22).

In urban environments, steep rooftops are often used to limit the playable space.

For example, in the Dishonored series (2012—2016, Arkane Studios), the choice of city architecture with sloped roofs was not accidental. If the player tries to teleport to the very top of a building, they will immediately slide back down. In this way, the boundary of the level appears as a natural and impassable obstacle (Fig. 23).

Fig. 22

Fig. 23

A steep descent is an effective way to organize one-way movement within a location.

In the Uncharted series (2007—2017, Naughty Dog), movement is often designed as a loop: the player runs toward a designated objective and then returns to the starting area via the shortest one-way route. To enforce movement in only one direction, designers use steep slopes that cannot be climbed upward but allow the player to quickly slide down (Fig. 24).

Fig. 24

From a gameplay perspective, a steep descent can be used as a type of acrobatic puzzle.

For example, in the episode with the cathedral ruins in Scotland from Uncharted 4: A Thief’s End (2016, Naughty Dog), the protagonist encounters an obstacle in the form of a steep slope. To reach the other side, the player must calculate the timing of a jump while sliding downward and grab onto ledges on the stone pillars located in the center of the slope (Fig. 25.1).

In the plane crash scene from Tomb Raider (2013, Crystal Dynamics), the main character slides down a steep slope while maneuvering between tumbling pieces of a burning airplane. The gameplay is built around finding a safe path and avoiding dangerous objects, collisions with which result in the character’s death (Fig. 25.2).

Fig. 25

Round or cylindrical objects are inherently unstable. They can be easily pushed or rolled.

This feature is actively used by designers at Nintendo to create interesting ways for players to interact with the environment. For example, in The Legend of Zelda: Skyward Sword (2011, Nintendo), a huge stone sphere allows the protagonist to move across scorching lava. Meanwhile, a massive cylindrical log can easily be pushed down a slope to knock down several enemies at once (Fig. 26).

Fig. 26

Rounded shapes are often used as natural spatial barriers.

For example, in the train level from Uncharted 2: Among Thieves (developed by Naughty Dog), the developers use tanker train cars in places where they want to prevent the player from climbing up (Fig. 27.1).

In the museum episode from Uncharted 3: Drake’s Deception (2011, Naughty Dog), semi-circular roofs serve as barriers (Fig. 27.2).

In Shadow of the Colossus (2018, Team Ico), rounded shapes are used to indicate areas on the colossi’s bodies that the player cannot grab onto (Fig. 27.3).

Fig. 27

If sharp objects are associated with danger, rounded shapes are their complete opposite. They subconsciously attract and evoke a sense of safety.

Therefore, if you want certain environmental elements to be perceived by the player as harmless, use objects with smooth, rounded shapes (inflatable rings, pillows, mattresses, etc.) or “fluffy” vegetation (leafy trees, lush bushes, haystacks, etc.).

For example, one of the signature features of the Assassin’s Creed series (2007—2020, Ubisoft) is the leap from rooftops into piles of hay or leaves (Fig. 28.1).

In Dying Light (2015, Techland), the protagonist can safely jump from dizzying heights onto plastic garbage bags and mattresses without taking damage (Fig. 28.2).

As soon as a player sees a soft, rounded object, it becomes immediately clear that the surface is not only harmless but may also cushion a fall from height.

Fig. 28

In games with stealth elements, vegetation is often used as islands of safety where the player can hide from enemies. This works because, in dangerous situations, people instinctively run to hide in the nearest bushes.

For example, in Horizon Zero Dawn (2017, Guerrilla Games), the protagonist hides from mechanical dinosaurs in patches of tall, lush grass (Fig. 29.1).

In the underwater levels of Shadow of the Tomb Raider (2018, Eidos-Montréal), it is easy to hide from schools of piranhas in underwater plants (Fig. 29.2). On combat arenas, the player can also take cover from enemies by pressing against walls covered with dense vegetation (Fig. 29.3).

Fig. 29

In shooters, vegetation is often used as cover that blocks the line of sight. It does not provide physical protection, but in different configurations it can create interesting gameplay experiences.

For example, locations in Red Dead Redemption 2 (2018, Rockstar Games) feature various types of vegetation, each creating a unique combat experience. In wheat fields, the player can hide by moving while crouched (Fig. 30.1). Orchards with bushes form multiple islands of safety, and moving between them exposes the player to the risk of being detected (Fig. 30.2). Cornfields with rows of corn, meanwhile, provide an excellent environment for a game of hide-and-seek (Fig. 30.3).

Fig. 30

Bars or horizontal rails are ideal for indicating places the player can grab onto.

In Assassin’s Creed Unity (2014, Ubisoft), crossbars in the form of sign mounts on building facades are part of acrobatic routes (Fig. 31.1).

In levels from The Legend of Zelda: The Wind Waker HD (2013, Nintendo), crossbars are used to visualize points that the player can latch onto with the whip (Fig. 31.2).

Meanwhile, the developers of The Legend of Zelda: Skyward Sword (2011, Nintendo) turned a crossbar into an interactive switch that can be activated by hanging from it (Fig. 31.3).

When several bars are arranged vertically in a row, they form the familiar shape of a ladder. This approach is typically used in situations where a traditional staircase wouldn’t fit the context and needs to be substituted with other objects. (Fig. 32).

Fig. 31

Fig. 32

Bars are also commonly used in the visual design of objects that can be pulled or pushed. A bar-shaped handle sends a subconscious signal that it can be grabbed in order to move the object.

That’s why in virtually every puzzle involving pushable objects, a handle is always present (Fig. 33).

Fig. 33

An opening of any shape naturally draws attention, encourages exploration, and is often perceived as a safe space.

Level designers of the Uncharted series (2007—2017, Naughty Dog) and the The Last of Us series (2013—2020, Naughty Dog) often block the main entrances to buildings, forcing the player to search for an alternative route, which frequently begins with a breach in a wall or a giant shattered window (Fig. 34).

Fig. 34

An empty window frame without glass is an effective way to communicate gameplay possibilities.

In the virtual London of Assassin’s Creed Syndicate (2015, Ubisoft), all interactive windows lack window frames. This detail helps the player quickly identify which of the many windows on a building’s facade can be climbed through — and which cannot (Fig. 35.1).

To hint where enemies might appear, the designers of Call of Duty: Warzone (2020, Infinity Ward) made all interactive windows single-pane, while static windows that block the line of sight are double-pane (Fig. 35.2).

The developers of Uncharted 3: Drake’s Deception (2011, Naughty Dog) also use the window-without-a-frame technique to show the only correct way to enter a building (Fig. 35.3).

Fig. 35

Openings of any shape visually invite the player to throw something through them. The shape of the opening itself often hints at which object is the right size or shape to fit through.

Designers at Nintendo use the language of shapes to visualize enemies’ weak points. For example, the animated statues in The Legend of Zelda: The Wind Waker HD (2013, Nintendo) periodically open their mouths, hinting to the player that a bomb can be thrown inside (Fig. 36.1).

In the puzzle design of The Legend of Zelda: Breath of the Wild (2017, Nintendo), the developers deliberately add circular funnel-shaped openings in places where the player is expected to throw a round bomb (Fig. 36.2).

Fig. 36

Rectangular shapes convey a sense of confidence and stability because their physical characteristics allow for positive interaction. Platforms can be run across, ledges can be grabbed, and boxes can be used as cover.

Unlike spheres and cylinders, rectangular blocks are difficult to move and cannot be rolled. Because of this, they are subconsciously perceived as stable objects that can provide protection in dangerous situations.

In most shooters, rectangular blocks are the primary elements used to construct combat arenas. The rectangular shape of an object visually suggests to the player which objects can be used as cover and provide safety (Fig. 37).

Fig. 37

Rectangular platforms communicate to the player which areas of a level can be walked on.

In one of the levels from Shadow of the Tomb Raider (2018, Eidos-Montréal), the protagonist runs through the streets of a flooded city while escaping a powerful water stream. Here the developers skillfully use the language of shapes: rectangular platforms form the only correct path, while sharp, pointed objects create a dangerous zone, thus limiting the playable space (Fig. 38.1).

In Assassin’s Creed Syndicate (2015, Ubisoft), platforms are used to mark routes that help the player quickly cross the virtual River Thames. Floating platform-crates guide the player toward points from which they can jump onto a passing ship and then continue moving toward the opposite bank (Fig. 38.2).

Fig. 38

In combination with blocking walls, platforms are an effective way to show the player a way out of the water.

In the “El Dorado” episode from Uncharted: Drake’s Fortune (2007, Naughty Dog), the protagonist finds himself in a flooded courtyard. He can escape the trap only by climbing onto a platform that serves as the only accessible way back to land. Meanwhile, the surrounding walls rising from the water visually deny any possibility of positive interaction (Fig. 39.1).

A subconscious reading of the rough landscape shapes in Far Cry (2004, Crytek) allows the player to instantly understand which parts of the tropical island are accessible from the water and which are not. Here, white sandy beaches act as platforms, while steep cliffs descending into the water serve as barriers (Fig. 39.2).

Fig. 39

To summarize: by combining different shapes effectively, a designer can convey information about accessible and inaccessible areas, guide player movement, and mark safe or dangerous objects. When prototyping a level, begin communicating with the player using the shape language — and only then, if needed, add other types of visual language.

Symbol language

The symbol language is the second type of visual language that uses symbols to convey information to the player about their gameplay possibilities.

When the shape language is not enough, the symbol language comes into play. It allows designers to convey any information through three types of signals: signs, markers, that confirm interaction and markers that deny it.

The first type of signal is the sign. Signs are the simplest and most effective tools for visually conveying information. This category includes text and icon signs, maps, diagrams, murals, graffiti, and similar elements.

When it comes to designing the visual content of signs, using icons is usually the most effective approach. This is because someone who can’t read or doesn’t speak the game’s language won’t be able to understand textual information. In contrast, familiar visual symbols in the form of icons can be understood even by a child.

In The Legend of Zelda: Breath of the Wild (2017, Nintendo), there is a unique fictional writing system that appears on many signs throughout the game world. However, all gameplay-relevant information is conveyed through icons. Each shop features signs with recognizable symbols that reflect the goods sold there. As a result, players can easily determine which building contains the item they are looking for (Fig. 40.1).

A similar technique is used in The Witcher 3: Wild Hunt (2015, CD Projekt RED), where signboards include icons alongside text written in a fictional language. For example, at the location with the tavern “Seven Cats”, players can see the familiar silhouette of a cat (Fig. 40.2), which serves as the symbol of that location.

The faster the pace of the game, the more beneficial it becomes to replace text with icons. This explains why the developers of Team Fortress 2 (2007, Valve) designed supply lockers using icons. Reading text requires mental effort and immediate concentration, whereas a visual image is processed almost instantly on a subconscious level (Fig. 40.3).

Fig. 40

Conveying information through embedded text messages in the environment works best in slower-paced games. Players are more likely to read signs if they serve a function. That is, if they provide useful gameplay-related information.

The world of Red Dead Redemption 2 (2018, Rockstar Games) is an excellent example of the use of text-based signs. Here, every signboard provides the player with information about available gameplay opportunities. By simply scanning the facades of buildings, players can easily understand what activities await them inside.

At a roadside hotel, you can rent a room for the night; in a shop, you can buy supplies and weapons; and in a saloon, you can have a meal, play cards, or even get a haircut (Fig. 41).

In open-world games, signs are used to simplify navigation. Road signs and settlement nameplates help players avoid constantly checking the map (Fig. 42).

Fig. 41

Fig. 42

Signs with embedded maps help players form a mental image of the location’s layout and the positions of key objects.

In the “The Bank Job” mission from Dishonored: Death of the Outsider (2017, Arkane Studios), the developers placed a sign with a building layout above a switch that remotely unlocks several doors at once. After interacting with the button, the player can immediately see where each door has opened thanks to glowing indicator lights on the map (Fig. 43.1).

In BioShock Infinite (2013, Irrational Games), there is no in-game interface that provides a map. For this reason, the levels often feature signs with location diagrams, allowing players to better understand the scale and layout of the game world (Fig. 43.2).

Fig. 43

Just like in real life, signs in games can be used to warn players about danger. This gives attentive players a chance to avoid trouble or accidental death.

Each level in Hitman (2016, IO Interactive) is divided into zones that are extremely difficult to enter without the proper disguise. The boundary of a restricted area is always marked with special “No Entry” signs (Fig. 44.1).

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