Last week I talked about symmetric level design so this week I decided to look at the other side of the coin. Asymmetric levels offer unique design challenges, the biggest pit fall is having one side of the map be more desirable then the other. This can be a big issue in a team based game type, if one team spawns on a side with better weapons or power-ups the balancing will be off and one team will have a much easier time winning. If an asymmetric level is balanced well it can be a very interesting experience for the player, since each side of the map is different the players must come up with different strategies depending on where they spawn.
Escalation – Gears of War 1
The map Escalation from Gears of War is an excellent example of fantastic asymmetric level design. The map takes place on a large stair case one team spawns at the bottom and has to work their way up the stairs, the other team spawns at the top of the stairs and works their way down. This map may seem unbalanced but Epic Games used weapon spawns and the geometry of the level to keep things balanced. The team that starts at the top (the Estate Spawn in the picture above) has the advantage of being able to see the surrounding area better as well as superior firing positions. Since Gears of War is about taking cover during combat the players at the top of the map have positions that allow them to shoot down at the other team allowing them to get around the attacking teams cover. Their elevated position also makes it hard for the team coming up the stairs to hit the opposing team. The team that is advancing up the stairs (the team that starts at the Allfather Spawn) is given two sniper rifles to help even the odds. The team moving up the stairs has almost all the weapons spawn close to them, this helps them fight against an enemy with a superior position. The sparsity of weapons is very intentional, besides the sniper rifles there are only three other weapon pick-ups two of which are pistols and the last is some grenades. This makes the sniper rifles very powerful on this map since there aren’t any weapons to counter the snipers. Gears of War’s multiplayer works on a round system, when everyone on a team is killed the round ends and the teams trade spawns. This makes it so both teams have opportunities to take advantage of the high ground and the snipers respectively.
Asymmetric maps can live and die based on the balancing, its very compelling as a player to have two different sides that require different strategies to attack and defend. The biggest challenge that one must overcome when designing a asymmetric level is making sure one side is not more overpowered then the other, if one side is clearly at an advantage nobody is going to want to start on that side which can lead to players quitting early.
There are many different types of levels in video games, two very popular types of multiplayer levels are Symmetric and Asymmetric. Both of these types of maps have advantages and disadvantages depending on what kind of experience you want your players to have. Symmetric maps are very common in team based objective game types (such as capture the flag) since neither side will have an advantage due to where they spawn. This post will explore symmetric maps and the ways they can be compelling.
Figure 1 Halo 3 – The Pit
The Halo 3 map The Pit is one of my personal favorite symmetric maps of all time, This map is a great example of why symmetric maps are so compelling. This level was used for both deathmatch and objective game modes and was widely considered one of the best maps in Halo 3. The areas that both teams spawn in (represented below by the red and blue boxes) offer the players three major routes for player to get to the opposing teams base, there are more ways to get across the map however but the examples I am going to talk about are the most direct.
Figure 2 The Pits Spawning Areas
The spawns offer more then just a base for the teams to start in, both teams have sniper rifles at the towers beside their spawns. This allows skilled players to quickly begin an offense play or a defense play. The areas in front of the sniper towers are very open however there are many safe ways to maneuver around snipers. Each side also has a shotgun that can be used to defend in the close quarters of the spawn area.
Figure 3 Routes
Figure 3 shows three of the many routes to get from one side of the map to the other. The purple path takes the player from the base past a sniper rifle, they then have two options: take the lower path witch is a long hallway with no cover or take the upper path which is a small square room. The hallway route is dangerous but also has a Overshield (a health power up), the hallway route is very quick and direct but it leaves the player exposed to a lot of enemy fire. The room route has very close quarters and also has an energy sword (one of the most powerful close quarters weapons in the game), this route offers more cover but it can be easily held down by one player with a close quarters weapon. The Green path shows the routes that bring the player through the center of the map. The center of the map has a rocket launcher in the middle of a hallway, this area is easy for both sides to see and is often the area where the first kill of the game happens. The other hallway next to the rocket launcher has an invisibility power up which is very useful in objective game types. The blue route is the quickest way to get to the other side of the map but it requires the player to run at the other teams sniper tower this is very dangerous and there is not much cover available. This route has a few weapons but no super powerful ones, this route is more about speed then getting equipment. The thing that these routes all have in common is the center of the map has weapons and power ups that the players will fight over. The best symmetric maps (in my opinion) create reasons for the players to fight in the center of the map.
When making levels for a game it is important to document your ideas, this way if your on a team everyone is on the same page and if your working by yourself you have something to work off of. A one page level design document can make the process of creating a level much easier. The methods that I am going to discuss have worked well for me but like anything in agile game development none of these rules are set in stone.
The first thing I like to do is make an illustration of the level this can be done in any program you prefer such as: Photoshop, Adobe Illustrator, or even Google Docs. If you have created a concept sketch digitizing that will make the process easier. It’s important to remember that if your level is 3D then you are making a 2D drawing to represent it, this can lead to confusion. In the cases where I have intricate 3D levels I like to have a top down drawing and a side drawing, this will help anyone else who sees the document understand the space. Once the drawing of the level is complete I like to draw arrows to the most important parts of the level and have boxes of text explaining any special mechanics that happen in those areas. If you document is for a single player level it is important to make a golden path. The golden path is the most ideal path a player can take to complete a level. Multiplayer levels do not have golden paths because where the player needs to go changes as the match progresses. The last thing you need once your drawing is complete is to make a key to show what certain symbols represent.
Another important thing you need to have in a level design document is a asset list, this is a list of every art and sound asset that the level will need to be completed. This is very helpful if you are working with artists and other designers. The list will also give you an idea about how long it will take to complete making the level.
Level design documentation is very important if you are working on a team but it can also help you if your working by yourself. When making a level design document remember that no matter how good of a level idea you have it does not matter if your document is not readable.
This week I started working on the sound design for Space Dunk, I am not in charge of making the music but rather all the sounds effects. The sound effects in a game give the players vital feedback that they can’t necessarily get from just visuals. The sounds in the game need to accompany each interaction however it is easy to add too many sound effects and then the player will be overwhelmed. The hardest part about sound design is finding the happy medium between too much sound and not enough sound. I started this process by making a list of all the sounds we need for the game. I separated the sound into three groups: Crowd Noise, Announcer Lines, and Game play Sounds. The crowd noise is cheering and chants that you would encounter at a sporting event, these noises are essential to help immerse the player. The Announcer sounds are also used to help immerse the player but it also gives the player feedback when someone scores a point. The sounds that give the players the most feedback are Game play sounds, these sounds are what is played when there is any interaction between players. Instead of finding samples to use I am planning on recording my voice and using synths to make all the sounds. Once all the sounds are recorded I will begin mastering them so that the volume levels on all the sounds are appropriate. Sound design is a lot like programming, it requires you to keep making tiny changes until something feels right. Sound is one of the most important aspects of a game, it gives the player feedback and also helps make the world you create feel more alive.
This week I have been working on creating as many concepts as possible for potential arenas for the game Space Dunk. This process is one of my favorite aspects of game design because it allows me to flex my creative muscles and create a compelling environment for the player to explore. I wanted to use this blog post to give some insight into my process and hopefully help someone else who is stuck in the concept stage.
When starting out a new level there are a lot of things to think about and this can get very overwhelming. The first thing I like to think about is: “What is this level teaching or emphasizing to the player” this gives me a jumping off point. When thinking about what the level is emphasizing to the player I don’t necessarily mean a set piece moment (although that can work too), but rather a primary game mechanic. One example of this in Space Dunk is a level concept I created that was made to emphasize passing the ball, passing is one of the primary mechanics in Space Dunk and by making a level centered around it I can help the players master this mechanic which will help them get better at the game. Once you have an idea about what you want your level to emphasize the next step is to begin sketching.
Drawing Your Level Concept:
I like to sketch out my ideas before I make a digital version, I find it easier to get all my ideas out. The most important thing I can tell you about drawing level design concepts is: do not be afraid to start over if an idea isn’t working out, that’s the beauty of sketching things out, its supposed to be quick and rough. However if you do end up starting over NEVER throw away your old design, even if you hate it. It always good to keep things around to inspire you later or just to remind yourself what NOT to do. It’s not important for the sketch to look nice, I am not very good at drawing but this step allows you to just put down as many ideas as possible as quickly as possible.
The last step is to show it to your group members to get feedback before you continue forward. If your working by yourself show it to someone who plays games. I have always found it useful to get a second pair of eyes to look at something, sometimes they notice something obvious that you have overlooked. Once you are happy with your level concept it is time to move on to making a Level Design Document and then blocking out the level.