Preproduction Blueprint: How to Plan Game Environments and Level Designs, 2nd Edition, A. Galuzin

PREPRODUCTION BLUEPRINT: BLUEPRINT: HOW TO PLAN GAME ENVIRONMENTS & LEVEL DESIGNS By Alex Galuzin www.WorldofLevelDesign.com

copyright © 2016 World of Level Design LLC and Alex Galuzin All Rights Reserved

LEGAL: COPYRIGHT, TRADEMARKS AND DISCLAIMERS “Preproduction Blueprint: How to Plan Game Environments and Level Designs” Copyright ©2016 World of Level Design™ LLC All rights reserved.  No part of the material protected by this copyright notice may be reproduced or utilized in any form, electronic or mechanical, including photocopying, recording by any information storage and retrieval system, without written permission from the copyright co pyright owner. Every effort has been made to make this book as complete and accurate as possible, but no warranty of  fitness is implied. The information is provided on an as-is basis. The author a nd World of Level Design LLC shall have neither liability nor responsibility to any person or en tity with respect to any loss or  damages arising from the information contained in this book. Limit of Liability/Disclaimer of Warranty: Warranty: The publisher and the author make no representation or  warranties with respect to the accuracy or completeness of the content of this work and specifically disclaim all warranties, including without limitations warranties of fitness for a particular purpose. No warranty may be created or extended extend ed by sales or promotional materials. The advice and strategies contained herein may not be suitable for every situation. This work is sold with the understanding that the author is not engaged in rendering legal, accounting or other professional services. If professional assistance is required, the services of a competent professional person should be sought. Neither the  publisher nor the author shall be liable for damages arising herefrom. The fact that an organization or  website is referred to in this work as a citation and/or a potential source of further information does not mean that the author or the publisher endorses the information, the organization or website may provide or recommendations it may make. Further, readers should be aware that internet websites listed in this work may have changed or disappeared between when this work was written and when it is read. World of Level Design LLC is an independent inde pendent company and not no t associated, affiliated or endorsed by any products, vendors or companies mentioned in this book. Trademarks: All terms mentioned in this book that are known to be trademarks or service marks have been appropriately capitalized. World World of Level Design LLC cannot attest to the accuracy of this information. Use of a term in this book should not be regarded as affecting the validity of any trademark or service mark. Half-Life, Team Fortress, Counter-Strike: Global Offensive are trademarks and/or registered trademark  of Valve Corporation. Adobe® Photoshop® and its logos are registered trademarks of Adobe Systems Inc in the United States and elsewhere.

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ACKNOWLEDGEMENTS I want to thank Stacey, my Mom and Dad and my sister Olesya for their continuous support. I want to thank all of my fans, readers, subscribers who have visited World of Level Design.com and learned from its tutorials. I want to thank everyone who has purchased and supported World of Level Design throughout the years, including you – reader of this book. Without you I would not be doing this. I promise to continue to create high-quality tutorials for you to become the best level designer and game environment artist.

TABLE OF CONTENT: Inner Cover  Legal: Copyright, Trademarks, Disclaimers Acknowledgements Table of Content: The Secret Behind Preproduction Blueprint 11 Step Planning Overview How to Follow “Preproduction Blueprint” Playable Level or Stand-Alone Game Environment Step 1: Ideas Step 2: Setting, Location and Theme Step 3: Project Purpose Step 4: Features Step 5: Photo/Video Reference and Research Step 6: Story Step 7: Objectives, Obstacles and Set Pieces Step 8: Focal Point Step 9: Top Down Layout Step 10: Visual Development Step 11: Making Lists Final: Preproduction Blueprint Thank You! Reference Preproduction Blueprint Worksheet Preproduction Blueprint Checklist

THE SECRET BEHIND PREPRODUCTION BLUEPRINT

WHAT IS PREPRODUCTION BLUEPRINT Preproduction Blueprint is a complete system for planning your game environments and level designs. This could be for a playable playab le level or a game environment exploration exp loration to show off in a portfolio. Planning process is called pre-production and what you end up with is a Preproduction Blueprint. It is an essential step to finishing your projects. Unfortunately, planning tends to be a rushed part of the p rocess or completely ignored. When a house is built the owner must decide on a budget, find a building lot (land), create house plans, obtain all the permits and insurance, hire subcontractors, clearing the land and excavate, order and an d arranging utilities (plumbing, electric, water), lay foundation and deal with soil treatment, not to mention constant surveying and inspection of the land. All this before a single wall for the house goes u p. Up until this point, nothing is built that resembles a house. If an y of the steps are ignored or rushed through, there is a higher chance of a faulty construction.

 Lot of planning is required required before a single wall goes up in this house (Photo (Photo by Paul Brennan) Creating a game environment or a level design is very similar. Once you have an idea you have to go through the steps of:

• knowing what you are going to create • knowing what you are going to create • how it’s going to look  • how it will play • location where your environment takes place • creating a top-down layout • defining objectives • setting a project purpose • collecting photo reference • creating a story • visual development • prototyping

Rushing into a project without planning will most likely result in unfinished game e nvironment. Good news is you don’t have to worry about permits, land, utilities and excavation. All you need is a solid plan of what your environment is going go ing to look like and play prior to creating it.

4 ESSENTIAL ELEMENTS OF CREATION Level design and game environment creation can be broken down to 4 essential elements: follow. The vision of an idea to go 1. Planning or Preproduction : having a proper plan to follow. after that is concrete and worthwhile to pursue. 2. Gameplay: this includes BSP block-in and prototyping level design elements such as  pacing, flow, flow, objectives, set pieces, scripting, player progression, player’s experience and  play-testing. It is the game level mechanics. 3. Visuals/Artistic : this includes 3d models, textures, materials and lighting. The aesthetics of the game environment. 4. Technical : knowledge of the 3d modeling software, level editors and art theory; this makes the first 3 elements possible.

We are going to focus on the first element – planning process or preproduction.

WHY I FAILED FOR YEARS AT LEVEL DESIGN AND GAME ENVIRONMENTS I used to rush into creating a game environment as soon as I had an idea. I didn’t plan or research. I would jump inside the level editor or a 3d modeling software and begin building. bu ilding. For a few hours it was fun. The idea would begin to take shape and become real. But then the entire project would begin to collapse. As I encountered my first problem with the environment, I wouldn’t k now what to do next. I would make “in the moment” decision since I had no larger vision or a plan to follow. As I continued to work through the project, more “cool” ideas would come to me. Instead of sticking to a plan and a specific theme, I would try to incorporate new ideas into my current environment. It would add more complexity to the project and a nd make the environment lack consistency. c onsistency. I would become overwhelmed and frustrated. I would then think if I change the layout, update the theme and incorporate more ideas it would work. Soon after, the entire environment would fall apart and I would end up abandoning the project. Without figuring figuring out why I failed, I would start on a new idea – new level design or game environment e nvironment  project. Thinking this time will be different. I will push through and finish. Of course nothing different happened, because I didn't change my process. This persisted for few years. I would often get mad at myself that every project I started did not get finished. It came to a point where I stopped creating maps and game environments. I gave up. I reached a point where I walked away from level design and game g ame environments. I told myself I should  pursue other things. I began to believe that level designing and game environment art wasn't for me. Over the next few years I studied filmmaking, drawing, painting, architecture, programming, web design, photography, business and management. I ended up graduating with B.F.A in Computer  Animation from Ringling College of Art and Design. But my love for level design and game environments never left. Throughout my 4 years in college I wanted to design game environments. I would wo uld always get ideas I wanted to create, environments I wanted to see come to life. I was obsessed about level design and game environments. I just suppressed it and pushed it away. For our senior thesis in Computer Animation, we had to create a 2-minute animated short film. Before anything could be modeled, textured or animated, we had to spend an entire semester during junior year  in preproduction. Preproduction or prepro as it was often called, was a full semester class where we had to create a story, design characters, props, visual style and all the env ironments prior to doing anything in 3d.

In addition we had to create a storyboard of the final film, while presenting everything worked on to faculty for feedback. No modeling, no lighting, no animation. Only preproduction for a 2 minute short for an entire semester.

Concept Art From Animation Thesis If this is what I had to do for a 2 minute animation then I should be doing the same for level designs and game environments. Perhaps not a full semester but enough time should be dedicated to planning before to starting any new level design or game environment. A lot of questions need to be answered when you create a game environment or a level design. • Is the idea worth my time? • Is the idea interesting and unique? Has it bee n done before and if yes, y es, can I make it better  and put my own vision into it? • Where does the environment take place? What location? • How am I going to pull this off? What would I need to learn and improve on? • What is the story of the environment? Does it make sense for the game and/or game type to take place in this location? • Is it a single player map? Multiplayer map? Stand-alone game environment?

• Do I need to create custom assets? Textures? Does the engine or the level editor include everything I need? • Which game engine and level editor will I use? • What is the time period? Environment setting?

abo ut the story and location I want to make? • Have I done my research about • What is the theme of the environment? • What is the color palette I want to use to convey the emotional impact of this environment? • Do I have a top-down layout to follow? • What do I want the player to experience in this environment? • What are the objectives for the player to complete, if any? • How will the flow and pacing play out in the map? • How will I tackle the project? What will I do during the production stages? • Have I collected photo reference for architecture, lighting, props, loca tion and setting of  the environment? • What is the purpose of this project? Why am I working on this?

There are many more questions. Figuring these out has to be done before opening up a level editor.

THE TRIP THAT CHANGED EVERYTHING After a full semester of preproduction class it was summer time. I had 3 months to reflect and collect my thoughts before beginning my animation thesis in September. To relax and recharge I took a 19-day trip to Switzerland. While in Switzerland, I kept seeing ideas for level designs and game environments everywhere I went. I couldn't ignore it anymore. I realized I didn’t didn’t want to be an animator. animator. I thought I did when I first first got into college but the more I animated, the less I enjoyed it. I never wanted to animate anything again. Level design and game environments was something I had to do. After I came back from the trip, I started and finished a fan-made map DM-IcyApex in only 3 weeks (with provided assets). For me this was huge revelation.

 Reference Idea and Finished Fan-Made Map (Stock Assets from from UT2k3) During these 3 weeks I spent first week planning and two weeks creating the map.  Next breakthrough happed a few months later. I was half way through my senior year during my winter   break. I created a fan-made playable deathmatch map (some custom assets) in 11 days called DMLighthouse.

 Planning Idea Drawings

 Finished Fan-Made Map (Stock Textures Textures from from UT2k3) For both of these levels I began to follow the planning process I learned in preproduction semester, but heavily modified and expanded to level designs and game environments. This was the beginning of  Preproduction Blueprint.  Now,  Now, planning my projects did not make me finish all of my maps and game environment. It will not make you finish everything you start either. either. But planning provided a sense of purpose, a clear goal to aim for and to know exactly ex actly what I wanted to create before opening o pening a level editor or a 3d 3 d application.

PREPRODUCTION BLUEPRINT You are now holding this planning system in your hands. These are the same steps that I use to design environments and levels. It took me yea rs to refine but you don’t have to figure it out yourself. I laid everything o ut for you to use in a step-by-step process. After going through the book, you’ll be able to close your eyes and walk through the environment. The level will be finished in your mind. The next step will be to open up u p a level editor and begin construction. Let’s get started.

11 STEP PLANNING OVERVIEW

11 STEPS OF PREPRODUCTION BLUEPRINT Before we get into each chapter chap ter and a step-by-step workflow, let me outline the entire process for you here so you know what to expect. Overview of each step:

STEP 1 - IDEAS First step covers your ideas for a project. You will learn how to generate ideas, how h ow to keep track of them and how to pick one to work on.

STEP 2 - SETTING, LOCATION, THEME In step 2 you will come up with an environment setting, location and theme.

STEP 3 - PROJECT PURPOSE In step 3 you will learn how to define a project purpose – why you want to create this game environment.

STEP 4 - FEATURES Step 4 will have you c reate a set of features to aim for. Features are your bulleted point list of what will make this project unique and different. Think of this as a “unique selling proposition” for your level design or environment.

STEP 5 - PHOTO/VIDEO PHOTO/VIDEO REFERENCE AND RESEARCH In step 5 you will collect photo reference and research your environment setting.

STEP 6 - STORY In step 6 you will create a story behind your environment or level design. There are two types of stories within the environment. 1. What happened in the environment prior to the player getting there? What is everyday life like in this environment? 2. The story of how and why the character has come to this location. What are they doing there?

STEP 7 - OBJECTIVES, OBSTACLES AND SET PIECES: In step 7 you will define objectives, obstacles and set pieces for playable level design or a stand-alone game environment. Objectives are goals for player to achieve, obstacles are challenges to overcome and set pieces are scripted events to make the world seem alive.

STEP 8 - FOCAL POINT Step 8 you will set a focal point in the environments. It is often a dominant piece of architecture or  landscape. Focal points are used for visual landmark locations and to help the player orient themselves in the world.

STEP 9 – TOP-DOWN GAMEPLAY In step 9 you will design a top-down layout. Top-down layout is a schematic drawing of your level.

STEP 10 - VISUAL DEVELOPMENT In step 10 you will spend time in visual development. It is the style and art direction of the game environment. The concept art behind how the environment will look. You’ll define color, lighting and overall atmosphere of the world.

STEP 11 - MAKING LISTS In step 11 you will make lists. This is everything you need to create, collect and set into motion in order  to begin creating your playable level or stand-alone game environment.

HOW TO FOLLOW “PREPRODUCTION BLUEPRINT”

WHAT TO DO AS YOU GO THROUGH THIS BOOK? Preproduction Blueprint is a book and a workbook. It’s meant to be read and put into practice right away. Each chapter contains action steps to do. By the end of the book you would have done all the  preliminary preproduction work for your level design or game environment project. Overview: • The book contains 11 primary Preproduction steps or chapters • At the end of each chapter, there are action steps to do • After reading each chapter/step, perform the action step items for your own level design or  game environment project • Follow each chapter/step in sequence; each step builds upon the previous step

Some ideas throughout this book may not apply to your project. This is due to what type of a project you are working on – playable level or stand-alone game environment. The difference between the two will  be explained in next section. Your workflow for preproduction will change from project to project and with experience. But to start things off here are the steps to maintain until you modify Preproduc tion Blueprint to fit your needs and experience. Preproduction Blueprint Worksheet:

Begin with “Preproduction Blueprint” sample worksheet. This is a blank document that you use to fill in all the action steps as you go through the book. This worksheet will make things easier to start with “Preproduction Blueprint”. You can access acc ess “Preproduction Blueprint” sample worksheet: 1. At the end of this book in resource section 2. Download as a .PDF, .DOC and .DOCX to enter data into or to print out.

Download both (.PDF, .DOC and .DOCX) files – compressed/zipped: www.worldofleveldesign.com/preproductionblueprint/worksheets.zip View online .PDF: www.worldofleveldesign.com/preproductionblueprint/worksheet.pdf  Project Folder:

Before you begin any level design or game environment project, create a folder on your computer where all the content for that project will go into. Inside this folder you will store all files for the entire project. I named mine “Level Design-Game Environment Project”

Creating a “Project Folder”  Now,  Now, inside “Level Design-Game Environment Project” folder, create create another folder and name it “Preproduction Blueprint”. Inside this folder you will store all planning or preproduction files that you will acqu ire from this book.

Creating a “Preproduction “Preproduction Blueprint” Folder Inside the Project Folder  So: • Inside “Project” folder, store all project files including planning steps from this book and future production work such as textures, models, map files etc. • Inside “Preproduction Blueprint” folder store all planning files that you will acquire from this book. Next Step:

As you go through each chapter/step of the book, do the action steps that follow it. 1. Place any files (images, drawings, reference, scans etc.) that you will collect for your  ongoing level design or game environment en vironment project into “Preproduction Blueprint” folder  within your Project folder. 2. Enter all the answers into “Preproduction Blueprint” sample worksheet from “Action Steps” at the end of each chapter. 3. Place “Preproduction Blueprint” sample worksheet into “Preproduction Blueprint” folder  within your “Project” folder.

 Now you are ready to begin.

PLAY PLAYABLE LEVEL OR ST STANDAND-ALONE ALONE GAME ENVIRONMENT

CHOOSE BETWEEN A STAND-ALONE GAME ENVIRONMENT OR A PLAYABLE LEVEL Before you begin Preproduction Blueprint, there are two questions you want to answers: 1. Do you want to create a full playable level for a specific game?

Or  2. Do you want to create a stand-alone game environment to explore and showcase with no gameplay?

The answer will help you choose which game engine you want to work with and which game level editor you will use. Playable level includes gameplay mechanics, scripted events, obstacles and ob jectives for the player to complete. This may be a single-player or a multiplayer map. • Playable map for a specific game • Requires player interaction and participation • Contains gameplay (objectives, obstacles, puzzles, enemy or friendly AI, story) • If multiplayer map, requires a specific gametype (Deathmatch, Capture the Flag, Search and Destroy, Hostage Rescue or Defuse) • Must be optimized for performance and for gameplay • Requires scripting • Part of an already created game; it’s an extension of the game's world; a new map • End result is for others to download, play and experience your map for a specific game Stand-alone game environment does not include any playable mechanics and does not require player   participation. Stand-alone game environments are usually created for a portfolio, a scene to admire, to explore, to showcase or to learn the software. • Not a playable level • Can be created in any game engine and are only limited by your current skill and what the game engine can do • No gameplay elements, no player paths, no objective. Other players will not be interacting with the environment but may include scripted elements such as a walkthrough or camera fly-through. • Environment created for a portfolio, to get a job, to showcase your skill or to learn and expand a specific skillset

• Usually involves creation of custom models, textures, materials • No need to optimize, primary focus is on visuals • End result will be a fly-through video or screenshots to showcase game art, models, textures, materials and your skill

Once you know if you want to create a stand-alone game environment or a playable level going through this book will be a lot easier.

LEVEL DESIGNER VS. GAME ENVIRONMENT ARTIST Level designer and game environment artist are two different disciplines with a lot of overlap between each one. The outcome of both is to create a game environment for a player to play in and experience. Level designers are responsible for creating gameplay experience of the playable level. The map, in which the player walks through, fights through, p articipates in the story and explores the world.

Level designers create the layout, script events, set up leve l gameplay mechanics, place props and assets that game environment artist created then finalize and o ptimizing final playable map. Game environment artists are responsible for aesthetics of the level by creating game a ssets (3d models) that level designer will use to place and detail the world with. These assets or props have to be modeled, sculpted, UVed, UVed, textured and exported from a 3d modeling application such as Maya, 3DSMax, Blender, Modo and imported into a game engine.

Level designers and game environment artist work very closely with each other to create the final level. Level design and game environment art is often split between different individuals. Level designer  focuses on gameplay; game environment artist focuses on c reating 3d models. But this depends on the gaming studio you are in. Larger studios or larger projects will have a set of artist working on level design and another set of artist working on environment art. Smaller studios or smaller projects may combine these two disciplines into one and assign both roles to one person. If you are the only person working on the project, you will be doing both.

STEP 1: IDEAS

DIGITAL ARCHITECT Every object, building or city was once an idea. It started out as only a thought in a mind of an artist, an engineer or an architect. Game environments and level designs are no different. Every game and level was once on ce an idea. An intangible thought thoug ht in the mind of the artist. That idea eventually became a game environment, a level design or a playable game. You must begin to think of yourself you rself as a digital architect and as the creator of playable spaces. It doesn’t matter if you create game environments and level designs as a hobby or as a profession. You You are the creator of worlds. You bring ideas to life. A thought can become a ga me environment for others to experience. To begin thinking as a digital architect you must shift your perception to look at the world a bit different. To do this you must become an observer of playable game space everywhere you go.

HOW TO BECOME AN OBSERVER OF PLAYABLE SPACES You are about to learn a technique that will help you generate gene rate hundreds of ideas. Ideas are everywhere. Everything around you has a potential of becoming a stand-alone game environment or a playable level. Here is an image of water valve pipes p ipes I took near where I live. These are regular pipes, nothing special. These pipes are very common near residential and public buildings. So common that I don’t notice them anymore; but within everyday objects and locations are unique ideas.

Street Water Valve Pipes Reference All I need to do is to shift my perception for how I am looking at my surroundings. I need to stop labeling things as I see them and ask myself: How can I turn this into a game environment? You must change your perception and begin looking at locations as a potential game environment. It’s It’s a change of perspective. pe rspective. A shift at how you look at the world around you. Become aware of shapes, forms and player paths. As you do, the ideas for playable worlds will begin to appear. Begin to see everything around you as playable space. For the street water valve pipes I inserted a player scale reference into an image, which instantly transformed everyday object into a possible game environment. You have already done this shift hundreds or even thousands of times. If you ever had an idea for a game environment or a level design, then you’ve shifted your perception to the world around you as playable space. You just may not have realized it.

 Adding Character Silhouette Into An Image Reference Every time you looked at concept art, a painting or a photo you already saw that environment as a game environment. As you do this, ideas will begin to emerge. It’s It’s a habit you must cultivate. On my trip to Switzerland back in 2008, 2 008, I took a photo on top of Jungfrau, a Swiss Alps summit. This image inspired me to create DM-IcyApex, fan-made Unreal Tournament 3 level.

 Reference from from Swiss Alps

 Finished, Fan-Made Map (Stock Assets from from UT2k3) Another photo I took of a hotel up in the mountains in a very dense mist, which later turn into a fanmade Left4Dead level.

 Hotel/Diner in Very Very Dense Mist Reference

 Finished Fan-Made Map (Stock Assets from from L4D2) Develop a habit of continuously seeing the world around you as playable space everywhere you go and in everything you see. Make it into a daily practice to look at everyday environments and locations as  possible ideas. Do the same with movies and tv shows you watch, games you play, magazines and boo ks you read. While watching movies or shows take a moment and shift your perspective to seeing locations, themes, setting and playable spaces for game environments. Work on shifting your perspective all the time. At first you’ll have to make a conscious effort to remind yourself. Eventually it will become a habit and you’ll do it automatically. Begin to see game playable space everywhere you go and at everything you look. Within a week you’ll hundreds of ideas to browse through.

RECORDING YOUR IDEAS As you begin to explore every day spaces as possible level designs and game environments you have to start recording your ideas. If you don’t write down you r ideas, you usually won’t remember them. 4 ways to capture ideas and inspiration: 1. Write Write it down in a journal or sketchpad 2. Do a quick sketch of the location or a top-down layout 3. Take a photo 4. If you are browsing the web, save the images you find into “Ideas” folder 

WRITE & SKETCH Purchase a 5x8 or smaller sketchpad to carry with you. Anytime you get an idea as you practice  perspective shift to seeing playable game spaces - write it down or sketch it. it.

 Level Design/Game Environment Sketchpad and Journal  Carrying a sketchbook helps with: • A way to record your ideas • You will always remember your ideas • You will capture things you find interesting, that are unique to you • It helps you to develop looking and analyzing environments

an d level designer everywhere you go • You become an environment and yo u are away from a computer  • It is a way to continue improving while you If you are short on time, write the idea down or take a photo. If you have a bit more time, do a quick  sketch of the environment. • Do a sketch of the location as you see it • Do a top-down layout sketch

These sketches should not be beautiful works of art. They are only for you to record an idea.

 Idea Sketch on Location and Idea Sketch as Top-Down Layouts

4 WAYS TO SKETCH FOR UNIQUE IDEAS Sketching is one of the best ways to develop your design skillset for game environments and level designs. designs. Saying the word word “drawing or sketching” sketching” often often stops people. people. I used to think “I have to learn how to draw first before I start sketching anything.” It was a wrong mindset. Remember, sketching doesn't have to be pretty p retty or refined. It is only a way to capture c apture your ideas so you have them. Start sketching no matter how bad you think you are. If it is something you want to improve then spend time learning how to draw. But start sketching, regardless of your current skill. Here are 4 ways to help you develop and sketch unique ideas. Sketch from Life

Drawing teaches how to look at the world around you as it really is and not as you wish or want it to be. It makes you pay attention to the details of your surroundings. It trains your mind to avoid symbols and representations of an object and forces you to observe what’s in front of you.

 Drawing from Life – Environment Environment Focus You learn how to pay attention to shapes (positive and negative), light values, shadows, line quality, mass and composition. Drawing teaches you focus and discipline.

Quick Sketches Drawing from life is a very active and focused process. Because of such intense observation you will recall environments and locations better in your mind an d on paper. To become a level designer or game environment artist, you do not need to know how to draw, but the benefits of drawing greatly improve you as an artist. artist. Carry a small small sketchbook with you. Sketch things that will improve you as a level designer and game environment artist such as architecture, props, object detail, foliage and location layouts. Sketch from Life, Then Build On It

A technique I really like is to sketch from life, then build on it. If you see an interesting building, house or a prop, sketch it as you y ou see it. Then continue to build on it from imagination. Objects and locations you draw will be grounded in reality which then you can make them unique by expanding the sketch using your imagination. Pull from experiences you remember, games you played, movies y ou watched, art work you've seen. You may add some futuristic or historic element to the object. Maybe add additional functionality to the  building, merge different elements from from one building to another 

Sketch from Life then Build on it  Sketch from Imagination

You will have glimpses of images in your mind during the day. Sometimes right before you fall asleep and many times in your dreams.

Sketch from Imagination Salvador Dali has been known to take naps throughout the day. Some stories have him hold a pencil under his chin, so it would slip right before he dosed off to sleep. Other stories have him hold a skeleton key in his hand, which he would drop onto the floor right before he fell asleep, waking him up. He would then sketch the images he saw right before dozing off. The idea is the same; Dali used images from imagination to construct his artwork. Another method I like is to sketch random lines an d shapes on paper then go from there. I don't have anything in mind what I want to draw ahead of time. I let the lines, shapes and scribbles define objects and architecture for me, which g uide me to refine the next shape. Sketch on the right was done this way. You can see the messy lines behind the drawing. This is called pareidolia.

Sketch Using “Pareidolia” Technique Technique Pareidolia is a psychological phenomenon of recognizing and seeing shapes, patters, objects, bodies and faces in random patterns of clouds, scribbles, ink blots, food, tree knots etc. Use this to your advantage and try to recognize architecture, environments, props, and layouts from these random patterns. Drawing from imagination is very intimidating if you have never done it. Three things that helped me are: • Practicing drawing from life; this will help you to draw from imagination. • Draw from imagination anyway, but know that this isn't to show anyone; but a way to visually capture ideas from your mind and expan d your imagination. • Use Pareidolia, recognizing shapes in random patterns, scribble, painting blobs etc.

Sketch Top-Down Layouts

Top-Down Sketch Layouts Every level design and game environment you do should start with a top down floor plan. A layout of  how a map will play, player paths, spatial relationships of architecture, locations of rooms, items, spawns, important story elements, AI zones etc. By sketching top-down layouts you begin to visualize the playable space in your y our mind. You see it, you walk through it, and you imagine it. This will teach you to begin seeing environments already completed in your mind’s eye. Two ways to capture c apture top-down layouts for ideas: • Record top-down layouts from life as you observe locations for playable spaces • Create top-down layouts from imagination

Also, sketching top-down layouts is often less intimidating to start with than drawing from life or from imagination.

TAKING PHOTOS TO CAPTURE IDEAS Your memory of an object changes chang es after the moment you are no longer looking at it. The mind creates symbols and representations of what something should look like when trying to remember it. The longer  the span of time you experience exp erience between being in a specific location and remembering it what it looked like, the more distorted that memory becomes.

Without a lot of practice, it is difficult to remember a location with all the intricate details, shapes, imperfections, dirt and grime that makes the environment unique. Taking a photo will help you to remember and collect ideas from life.

Carry a Camera to Take Your Own Reference Carrying around a digital camera or a phone with a camera will help you to capture reference ideas. Many of environments and level designs began be gan from a single image. Reference image ideas are visual inspiration images, to remind and to show you what an environment en vironment looks like. Just like the two examples before of a Swiss Alps peak and misty hotel. Each photo led to a completed game environment. You can take reference ideas of o f architecture, props, prop placement, lighting, time of day, and detail on an object, etc. Anything you find interesting and that will help you to remember the environment. Reference idea I took in Oklahoma during a trip. This would make an interesting game environment. Collect reference image ideas from life with your camera and from images you find on the web.

 Photo Reference for a Possible Environment  Environment  To take it a step further, record a video. Most, if not a ll cameras allow for some type of video recording. Video will allow you to capture sound, mood and the layout of the space better than a still photo can. can . So when you see something that may be used for an idea, record it. Film it for 10-15 seconds and continue with your day. After you get back to your office or home, move photos and videos v ideos you took into an “Ideas” folder. I usually let the photos collect inside the camera for a week and then move them all at once. Renaming and organizing in the process.

3 TECHNIQUES TO GENERATE ORIGINAL AND UNIQUE IDEAS There are three techniques you can use to expand beyond a photo you captured or collected from the web. Both techniques require a 2d image editing software. I personally use Adobe Photoshop; which is standard software for environment and texture artist. These three techniques are:

1. Including a character reference scale into a photo 2. Doing a photo paint-over  3. Combine different photos 1. Include a Character Reference Scale

In this technique, you take a photo and introduce a quick q uick sketch of a character reference into it - a silhouette of a player character. The key to character reference silhouette is the size of it. It needs to help you to judge scale of the environment. For example, the pipe image shown earlier; in Photoshop, I included a silhouette of a character and it instantly changed the perception of the environment to playable space. This technique works best when you take everyday objects, props or close-up images of environments. Another photo I took of palm tree branches wrapping around the ground, then introduced a human reference scale. Photo was taken at a low angle to get the player’s point of view. Introduction of a silhouette character reference changes how you see the environment.

 Including a Character Reference Scale 2. Image Paint-Over

In this second technique, you open an image in Photoshop, create a new layer and use simple round  brush to paint over the photo with your own ideas.

You build onto an existing image with your own ideas. You can introduce new architecture, props and change lighting. As you can see, I used simple shapes for architecture and props while using one of the default round brushes.

 Image Paint-Over Before

 Image Paint-Over After  It is important to note that you are not creating concept art. Avoid spending a lot of time here. The focus is to explore, expand and re-imagine a photo as a unique game environment by introducing your own ideas into it. 3. Combine Images

In this third technique, you start with a base ph oto of the environment, then bring in other photos and image elements into it. You are copying, pasting and erasing to include different props, architecture elements and objects from one existing image into another. To the right is an image of low angle foliage (base photo). I then brought a single element of a statue from another image and also added a character reference silhouette for scale. Combining images technique offers a visual way to composite elements together for a new and unique idea to prototype. Instead of relying on a single photo to provide you with the idea, you are creating your  own original idea by combining different images.

Combining Images (Vines and Statue) Just as with sketching and photo paint-overs do not focus on completing this “combining images” as work of art. Sole purpose is to expand e xpand on your ideas to create something original and unique.

11 WAYS TO GENERATING EVEN MORE IDEAS The following is a reference list of where to go for more ideas. Remember to shift your perspective to look at everything as playable game world. Movies/TV : movies and TV offer a never-ending supply of ideas.

Watching movies is great way to reference shots, ideas, and environment setting. Reference all kinds of  film genres such as action, drama, horror, thriller, suspense, independent, blockbusters, documentaries, foreign etc. Watch educational channels such as Discovery Channel, History Channel and National Geographic. Always keep a sketchpad next to you for capturing ideas. It is important to be an active viewer, meaning you are looking for ideas while shifting your perspective to look at locations as playable spaces. Books: books offer great image reference for architecture, nature, history, composition, color and lighting of the environments. Single image is often enou gh to inspire to create a game environment. Games: you create game environments and level designs, so it is only natural to look at games for  inspiration and idea generation. Take screenshots of locations, props and environments that appeal to

you as you play. Also make sure to play variety of d ifferent games to expand your frame reference of art styles and game mechanics. There are so many games being released on weekly basis and not enough time to play them all. If you y ou are short on time but still want to reference games, you can watch gameplay videos, browse through game news websites and collect screenshots of environments you find interesting. Strategy Guides : strategy guides are great for top-down layout ideas. They often show you all the item  placements, spawn locations and player paths with obstacles to overcome. You You can learn a lot from strategy guides on how developers designed such environments. Comic Books: great reference for ideas into story, characters, color, value, lighting, drama and composition. Architecture : architecture is an important part any game environment you create. No house or a  building was ever built without prior thought of which architecture style style to use.

Start collecting various architecture books for reference to browse through. Visit websites that are focused on architecture and research the web for specific architecture styles you are going to use for  your environment. History : history is full of stories. All stories are ideas. There is a whole genre of games based on history. It doesn’t have to be history hundreds or thousands of years ago. It could be historic events that happened just a few decades or few years ago.

A way to make historical setting unique is to start with a real life historic event and then build on it with your own ideas. Take an example of “Gladiator” a film released in 2000. It took real events and then created fictional characters and story within a historic context. Use history as a backdrop then create your own story and environment. Travel: traveling has been consistent inspiration and idea generation for many designers. Every time I travel, I always come back with more ideas than I will ever have time to do. d o. Traveling opens you up directly to new experiences and environments.

Travel to new places. Schedule a trip every year to a new place in your y our city, another state or another  country. Traveling Traveling will help you to become a better environment artist and a better designer. Photography : one single image can communicate co mmunicate so much emotion and story. Photography is one of the  best resources for environment reference. Art: paintings, photography, sculpture, filmmaking, theater are some of the art forms that introduce you to new ideas. Best way to see art is to visit museums and art galleries. Music: listening to different kinds of music will evoke a certain emotion. Many screenwriters and authors write while listening to music. It helps to set the mood, pacing, atmosphere and mood.

The type of music you listen to will dictate the kind of environment you create. It could c ould help you or it could limit you. For example listening to heavy heav y metal as you are creating serene, fantasy environment setting isn’t your best option; however listening to soundtracks, new age or classical music can help.

Use music that will set the pace and mood to the type of environment you are creating.

COLLECT IDEAS Begin collecting images, photos, game screenshots, artwork, concept art and sketches. Connect ideas to a visual image. To do this, start a folder on your computer and name it ‘IDEAS’. Inside this folder create subfolders of  various topics or subjects. Such as: • Architecture • Interiors • Lighting • Color  • Videogames • Film • Concept Art • Sketches • Top-Down Layouts

Anytime you see an image or a screenshot online, capture your own photo or scan a sketch - place them into an appropriate subfolder. Over time you will see this ‘IDEAS’ folder evolve and grow.

HOW TO CHOOSE YOUR IDEAS Your Own Ideas:

 Now that you have unlimited ideas to pull from, it is time time to decide which you going to pursue. Pay attention to what you find interesting, what y ou are naturally drawn to and what do you find interesting, exciting and inspired by. Things you enjoy doing, TV shows and movies you watch, games you play and books you read - all are hints to game environments that have a very good potential to becoming a project. These are unique things you like and find interest in. They are the ideas you want to pay attention to. • What games do you love to play? • What movies do you watch, what shows do you like? Why? What is it about a bout them you like? • What books do you read? What magazines do you enjoy? • What places would you like to visit? Which locations would you want to explore?

For example, some of the things I feel drawn to are overcast days, rain, snow, abandoned locations (houses, buildings, cities), modern contemporary architecture, realistic, dark and gritty movies. Most of  my environments I create reflect that. Of course that doesn’t mean you should only do those types of  environments. It is important to develop yourself as a full artist and explore variety of styles that you aren’t comfortable with. But, I initially pick ideas on things I am interested in and feel passionate about. If I don’t feel a high level of interest it won’t be long before I abandoned that idea. Whatever the idea you are naturally being pulled to explore is the ideas you should pursue. Ask yourself: • Are you excited about this idea? • Do you feel passion for this idea? As if you have to create this environment and play p lay it or  to explore it? • When you look at reference for that idea, are you inspired to see this environment env ironment come to life? • Which ideas do you feel natural inclination to pursue?

These should be your deciding factors to work on an idea. If you don’t feel anything, then maybe you should let that idea go. Inspiration and excitement are an invisible force that pulls you into a certain direction. Pay attention to your first gut reaction when you see an image, watch a TV show or a movie, play a game or observe  playable spaces in real life. When you have an idea, do you hear you inner voice saying “Oh, that’s cool”? If you do, that is a good indicator that you may want to pursue that idea further. Excitement, passion and inspiration are very hard to bea t. These will show through to the final product. At the same time, I don’t want to disillusion you to thinking that passion, excitement and inspiration is all you need. They are only indicators to pursue an idea, but they will not make your project p roject easier or  faster to complete. Persistence, discipline and continues work will still be required to finish any project, but the initial excitement, passion and inspiration for the idea will keep you going when the project gets difficult. Working with Someone Else’s Ideas

You may find yourself working for a client or in a studio where you are working on someone else’s idea. You have specs to follow and an art director to answer to. It could be difficult to find excitement and inspiration to continue working on ideas that are not what you would choose. The key is finding something about that idea you can be excited and inspired about. It doesn’t matter  what it is and it can be a very small aspect of the bigger picture. Maybe you like the lighting within the environment or you care about abou t the story being told. Whatever it is, find that aspect o f the environment in any way you can. When I was in my fourth year working on animation thesis, I already decided that I didn’t like or wanted to animate. But to get through the project and graduate I had to complete my thesis. One thing that kept

me inspired, persistent and moving forward is the story I wanted to tell. My animation thesis story was about a Russian astronaut stuck on a Space Station who just realized that he ran out of Vodka. Vodka. The story  became my purpose to continue with animating. So if you working on other people’s ideas, which will be very common if you work in a studio or  freelance – find an aspect of the idea that you can be excited, inspired and persistent about.

LET IDEAS INCUBATE If you are struggling with multiple ideas and cannot p ick one or if you are not sure the idea you picked is the right one - there is a solution. Walk Walk away and give some time for your mind to figure it out. Let your  you r  subconscious do the work while you disconnect and do something else. Anywhere from 24 to 72 hours hou rs will often give you enough clarity to decide d ecide which idea to pursue. So let it go for a day and revisit tomorrow. If you still feel the idea you picked is the right one, then you should go through and create that environment.

121 GAME ENVIRONMENT AND LEVEL DESIGN LOCATION LOCATION IDEAS ID EAS In the back of this book you will find 121 different location ideas. If you ever get stuck and need help, he lp, flip to Reference section for location ideas.

ACTIONS – STEP 1: IDEAS It is time to put everything in this section to work and begin to develop your Preproduction Blueprint. Let’s get started. Step 1.1: Get a sketchpad to carry around with you everywhere you go. Step 1.2: Record one idea right now by shifting your perception to see the location you are in as  playable space.

Ask yourself: • What type of game could you see this environment in? What specific game? • How would the player navigate through it?

It’s helpful to put the environment within a context of a game you may want to design this level for. Step 1.3: Before today is over, record 10 ideas in your sketchpad. You may write it down, sketch them out or take reference idea image. You may use any idea generation techniques we discussed in the chapter. Step 1.4: Choose one idea you want to see come to life as a playable level or a game environment. Step 1.5: Decide if this is going to be a stand-alone game environment or a playable level. Step 1.6: Choose game engine or a game to develop this idea for.

If it is a stand-alone game environment without any g ameplay mechanics: • What game engine do you want to use to create this idea? Will you use Unreal Engine 4? CryEngine? UDK? Unity3D? Other?

If it is a playable level for an existing game: • For what game do you want to create this game environment? Is it Counter-Strike: Global Offensive? Left4Dead2? UT2k4? Team Fortress 2? Other? Step 1.7: In one single sentence describe the idea. Example of some ideas I have in my sketchpad: • A modern or contemporary apartment interior during a snow storm (CryEngine 3 SDK) • A modern thermal bath complex (stand-alone game environment) • An abandoned apartment complex during a zombie apocalypse (Left4Dead2)

STEP 2: SETTING, LOCATION AND THEME

DECIDING ON SETTING, LOCATION AND THEME Develop your idea further and decide on three main aspects of your environment: • Environment Setting • Location • Theme

ENVIRONMENT SETTING Environment setting is a general, physical location of where your game environment takes place. Where does your environment take place? A list of environment settings to choose and decide on: • Artic, Winter, Snow, Glaciers, Ice, Tundra • Caves, Dungeons, Underground, Earth’s Earth’s Structure

City, Urban, Streets • City, • Desert, Sand • Forest, Woods • House, Building, Structure • Indoors, Interior  • Industrial, Commercial, Residential • Jungle, Tropical, Islands, Rainforest • Lake, River, Sea, Ocean • Landmark  • Marshlands, Wetlands, Wetlands, Swamps, Grasslands

Military, Government • Military, • Mountains, Hills, Rockland • Post-Apocalyptic, Destroyed, Abandoned • Psychological, Dreams • Rural, Farm, Country • Solar System, Space/Planets

• Specific City, State, Country • Town, Village

Here is the same list with visuals for inspiration and ideas:

 Artic, Winter Winter,, Snow, Snow, Glaciers, Ice, Tundra Tundra (Photo by Anders Jilden)

Caves, Dungeons, Underground, Underground, Earth’s Earth’s Structure (Photo by Justin Luebke)

City, Urban, Streets (Photo by Stacey Hines)

 Desert, Sand (Photo by Tim de Groot) Groot)

 Forest, Woods Woods (Photo by Paul Summers)

 House, Building, Structure (Photo by Bonnie Meisels) Meisels)

 Indoor,  Indoor, Interior (Photo by Stacey Hines)

 Industrial, Commercial, Commercial, Residential (Photo by Andre Robillard) Robillard)

 Jungle, Tropical, Tropical, Islands, Rainforest (Photo by Love Maldives)

 Lake, River, River, Sea, Ocean (Photo by Quino Al)

 Landmark (Photo by John Towner) Towner)

 Marshlands, Wetlands, Wetlands, Swamps, Grasslands (Photo by Justin Cron) Cron)

 Military,  Military, Government (Photo by Zac Nielson)

 Mountains, Hills, Rockland (Photo by Yang Yang Song)

 Post-Apocalyptic, Destroyed, Abandoned (Photo by Hoshino Ai)

 Psychological, Dreams (Photo by Sweet Ice Cream Cream Photography)

 Rural, Farm, Country (Photo by Stacey Hines)

Solar System, Space, Planets (Photo by NASA)

Specific City, State, Country (Photo by Thomas Bormans)

Town, Village (Photo by Stacey Hines) This should get you started but feel free to add more categories to the Environment Setting.

LOCATION Location is the actual place where your you r idea is set. It is a more specific than an environment setting. • Environment setting is the starting point, a general physical location • Location is the specific place within the environment setting

For example: if an environment setting you chose cho se is “Specific City, State, Country” then make this more specific by defining an exact location such as New York City. City. Then narrow it down even further to a specific location within NYC. Which part of NYC? To choose Manhattan would be too broad. Where in Manhattan? Which location? A landmark location in NYC – Grand Central. So once you have hav e chosen a general environment setting, narrow it down to a specific location.

THEME Theme is the subject matter of your location. It is a unifying and dominant idea that brings your  environment together. You You will find some overlap between an environment setting and theme. Theme is more abstract such as a particular design style, time of day, time in history, weather, atmosphere, mood, feeling or an event, where and environment setting is a general but physical p lace. Examples of environment setting, location and theme: • Environment Setting: Woods, Forest

• Location: Cabin • Theme: Ghost, Haunting, Paranormal • Environment Setting: Urban/City – New York City • Location: NYC Grand Central • Theme: Historic, construction of the Grand Central Station • Environment Setting: Landmark – Paris • Location: Eiffel Tower  • Theme: WW2 (Historic Event) • Environment Setting: Landmark/Structure • Location: Coliseum in Rome • Theme: Abandoned, modern

You can also begin to stack themes. • Environment Setting: Urban/City – New York City • Location: NYC Grand Central • Theme: Abandoned, overgrown, post-apocalyptic, dawn

With just a few of these examples, your mind already begins to create the environment. It is either an image of something you’ve seen or your mind created a new image. Even a possible story begins to reveal itself. itself. That That is the creativ creativee power of environment environment setting, setting, location location and theme. There are hundreds of themes you could choose. Each will give the environment a different atmosphere, story and gameplay opportunities. In “Resources” section at the end of this book you will find a large list of themes yo u can use to get started.

SETTING, LOCATION, THEME ORDER  Be specific in choosing your environment setting, location and theme. Once you define these three critical elements, your environment begins to shape itself. Sometimes the order can be reversed based on initial idea. You could start with a theme as an idea and then decide on environment setting and location. Some of the settings can be used as themes and vice versa. Just remember that an environment setting and location are actual physical places. Theme is a unifying and dominant idea, a subject matter or an event within the environment - a description.

By choosing an environment setting, location and theme you are ready to begin. You now know what kind of references you may need, what kind of story the environment may have, and why the characters might be in this location. To summarize: • Pick an Environment Setting • Pick a Location • Pick a Theme

ACTIONS – STEP 2: SETTING, LOCATION, THEME Step 2.1: Choose an environment setting for your idea from the list.

Will it be in an Urban setting? A city? A mountains? Rural area? Use the Environment Settings list in this chapter to help you. Step 2.2: Narrow down the environment setting to a certain location. The more specific you are about the location and more defined your idea will be.

d esign or game Step 2.3: Choose a theme for your environment. What is the unifying idea of your level design environment? Remember: theme is a description, style and feel o f your environment.

STEP 3: PROJECT PURPOSE

PROJECT PURPOSE  Nothing great has ever been done without a sense of purpose and a vision for desired outcome. You You must know the purpose of why you want to create this stand-alone game environment or level design. Every project you begin should have a sense of purpose behind it. Definition of purpose is “a result, end, aim, or goal of an action intentionally undertaken, or of an object  being brought into use or existence.” (source: en.wikipedia.org/wiki/Pur e n.wikipedia.org/wiki/Purpose) pose) Project Purpose: • Why do you want to create this level/map? • Why do you want this idea to become as a game environment? • What is your purpose behind this project? • What do you want the final outcome to be? • When it is all done and over with, what are key elements you want to take away from this  project?

You always want to strive to become better b etter and purpose gives you that aim. Without purpose, you are stumbling in the dark, hoping that an idea will be enough to carry the project forward. During production you will encounter technical glitches, crashes and constant problems. It is just part of  the process. Being able to center yourself on the purpose of your environment helps you keep the bigger   picture in mind and to keep working.

HOW TO IDENTIFY PROJECT PURPOSE Identifying project purpose is not difficult. The core question to ask is: • What is the reason you want to create this environment?

Here are some examples of project purpose: • A portfolio piece for xyz studio • A map for a ‘Mod’ (modification for an existing game) you are working on • To enter a competition or a challenge

p rize • To win a contest, challenge, ‘xyz’ prize • To learn better organic modeling techniques • To learn how to create open ended urban environment

• To learn interior lighting for architectural visualization walkthrough • To create a 3 map/level campaign set in your hometown • Improve texturing process of weathered metallic surfaces • Create a full game to enter into an Independent Game Contest • To create and post something cool on the forums and online for recognition

You don’t have to limit yourself to one single project purpose. It could be a combination of the above. It makes no difference if your project purpose is internal (to become better) or external (get a job, recognition, make money); the important part is that you have one. Project purpose will set you on a path, pa th, it will give you a reason to fulfill the idea and see it to completion. It will help you keep the bigger picture in mind.

KEY QUESTIONS TO SET PROJECT PURPOSE Answer the following two questions to define your Project Purpose: en vironment or level design… (Describe why you want • “Reason I want to create this game environment to work and finish this project)” • “From completing this project, I want to achieve...”

Project Purpose can be a single sentence or a short bulleted list. For example, my project purpose for DM-IcyApex map I created after coming from Switzerland was: • To create my first UT3 fan based map that I can be proud of  • To capture the isolation atmosphere being up in Alps • To complete a playable map in 3 weeks

ACTIONS – STEP 3: PROJECT PURPOSE Step 3.1: Answer the following question: • What is the reason you want to create this environment? Step 3.2: Answer the following two questions to define your Project Purpose:

en vironment or level design… (Describe why you want • “Reason I want to create this game environment to work and finish this project)” • “From completing this project, I want to achieve...”

Write a single sentence or few bulleted points describing your project purpose of why yo u Step 3.3: Write want to pursue and create this game environment or level design. What are you after? What is your  desired outcome?

STEP 4: FEATURES

SET OF FEATURES Features are a list of 3-5 defining elements in your level design or stand-alone game environment that lets the player or viewer know what to expect. It is a “selling point” of your project. USP or Unique Selling Proposition is a term that is used in business to identify what makes your   product or service stand out from everyone else.

For you, it will be to identify what makes your level design or stand-alone game environment stand out from everyone else, what makes it different and what your project will feature. A “features list” helps to focus on what to aim for in your project. Features become milestones or goals that you incorporate into your environment. They help to define how your environment will be different and unique. Features lists tend to be focused on visuals, story, gameplay and technical. Features become the primary focus of your environment. To give you an example of features in recent games: “Grand Theft Auto 5” – Product Features: • “The biggest, most dynamic and most diverse open world ever created and now packed with layers of new detail.” • “Grand Theft Auto V blends storytelling and gameplay in new ways as players repeatedly  jump in and out of the lives of the game's three lead characters, playing all sides of the the game's interwoven story.” story.”

e ver• “Grand Theft Auto V also comes with Grand Theft Auto Online, the dynamic and everevolving Grand Theft Auto universe for multiple players.” “Skyrim” – Product Features: • “Re-imagines the open-world fantasy epic, pushing the game play and technology of a virtual world to new heights.” • “Play any type of character you can imagine, and do whatever you want; the legendary freedom of choice, storytelling.” • “Skyrim's new game engine brings to life a complete virtual world with rolling clouds, rugged mountains and ancient dungeons.” • “Choose from hundreds of weapons, spells, and abilities; the new character system allows you to play any way you want.” “Unreal Tournament 3” – Product Features:

• “Vast “Vast Arsenal of Weapons: Unreal Tournament has always a lways been known for brutal weaponry, and now the arsenal is even bigger and badde r. Detonate your opponent from a distance with the ever popular Shock Rifle or blast away at close range with the Flak  Cannon.” • “New Single Player Campaign: Unreal Tournament like you've never seen it before! The  Necris invasion has begun, and your clan was one of the first to be slaughtered. Join this Epic battle to defend humanity while taking yo ur revenge.” • “New and Favorite Characters: Fight side-by-side with or compete against new and returning characters from the Unreal universe, all with enhanced abilities, extremely detailed designs, and distinct personalities.” • “Enhanced Popular Game Types: Deathmatch, Team Deathmatch, Capture the Flag, and all-new Warfare Warfare mode and more.” • “PC version bundled with the award-winning Unreal Engine 3 Toolset. Build your own levels, game types, and more, or download the latest mods from the massive Unreal community.” “Left 4 Dead 2” – Product Features: • “On day one, Left 4 Dead 2 features more co-operative campaigns, more campaigns and maps for the versus game modes than the original Left 4 Dead did, plus support for Survival Mode right out of the box.” • “Left 4 Dead 2 features quality co-op action gaming from the makers of Half-life, Portal, Team Fortress and Counter-Strike.” • “Updated “AI Director 2.0" technology expa nds players’ ability to customize level layout, world objects, weather, and lighting to reflect different times of day, creating fresh gameplay every time.” • “Put a whole slew of melee weapons weapo ns including axes, chainsaws, frying pans and baseball  bats to use which allow you to get up close with the zombies.” • “The game features four different survivors, a new storyline and new dialog.”

The examples above are from full games. But, these can be directly applied to stand-alone game environment and level design project. Instead of focusing on the entire game, you are focusing on one game environment. Features list should make the player want to buy your game, download your map or experience your  environment. It should describe in a phrase o r a sentence how different and unique your environment is and what you want the player to experience. Features fall into five categories: 1. Visual 2. Technical

3. Gameplay 4. Story/Emotional 5. World

You can pick one or all five categories to focus. • What does your environment feature? • What do you want the player to experience? • How will this stand-alone game environment or level design be different from anything else out there? • How will this stand-alone game environment or level design be unique from what has been done before in the same genre, location or theme? How does it improve upon u pon an existing genre, location or theme? • How will you define the environment and create a unique world for player to experience? Note: The more features you include in your project, the longer the production stage may take. The  production process will lengthen depending on how much you know, how much you’ll have to learn and test as you are implementing these features.

Here is an example of a custom c ustom stand-alone game environment features. The idea is set in New Orleans, French Quarter: • Explore New Orleans, deep into the French Quarter  • Experience what happens after the party is over and everyone goes home

Witness what lurks in the darkest corners in one of the most famous party street in the • Witness world • Features all new custom textures, materials, and 3d models to create the atmosphere and authenticity that hasn’t been seen before • Download and use these custom assets in your project to construct and to re-imagine your  own French Quarter experience

Feature list help to set goals for you to achieve a chieve for your project before you get g et started. It defines a larger   picture for you to achieve. It also gives the player a reason why they should download your map or buy your game. With hundreds of maps, game environments and g ames being created - this will give you a unique position to stand out from the rest.

ACTIONS – STEP 4: FEATURES Step 4.1: Create 3-5 features that will be the defining elements of you r stand-alone game environment or playable level. Focus on the following categories: • Visual

• Technical • Gameplay • Story/Emotional • World Step 4.2: Answer some of the questions below to help you start defining features: • What does the environment feature that is unique to your idea? • What do you want the player to experience? • How will this stand-alone game environment or level design be different from anything else out there? • How will this stand-alone game environment or level design be unique from what has been done before in the same genre, location or theme? How does it improve upon u pon an existing genre, location or theme? • How will you define the environment and create a unique world for player to experience?

STEP 5: PHOTO/VIDEO REFERENCE & RESEARCH

FIRST FOUR STEPS First 4 steps had you dealing with a lot of writing, thinking, visualizing and deciding on the direction of  your environment. Once you picked a setting, location, theme and features – the idea is set. Begin collecting photo reference for your level design or stand-alone game environment. Every step from here only strengthens the idea a nd narrows it down to what you are going to create. It  becomes more difficult to change ideas and switch themes without having to start start over with the first 4 steps.

VISUAL REFERENCE IMAGES Based on the work you’ve done so far (first 4 steps) you have a basic concept of what the environment is going to look like.  Next step is to collect visual reference. Collecting visual reference is one of the most important parts of preproduction. Reference helps you to create more believable and authentic environments en vironments – from object placement, to architecture, to style, and texture detail. There are 2 types of visual reference: • Photo Reference • Video Reference

The human brain is not very good at remembering details. The mind categorizes and forms symbols based on what something may look like and it’s rarely an accurate representation of the real object or a real location. If you were to create a building bu ilding as a game environment right now, your mind would form various images from memory of what a building may look like. It would be a general representation or a symbol of that  building. Perhaps you would try to remember a building from your life or a building you recently saw. saw. Maybe you would incorporate an architectural style you know. But when it comes to creating game environments, this is not practical. There are hundreds of v arious details you would miss, from weathered surfaces, to human contact to natural n atural decay of the materials. Creating authentic and realistic interpretation of environments comes from intense research and observation from life, photo and video reference. Collecting and using visual reference for your level designs an d stand-alone game environments is the key to creating believable worlds. Photo Reference

Photo references are images or photos of your environment setting, theme and location. Photo reference is the most common type of reference. It is easily accessible and simple to collect. Most of your photo reference research will be done online. There are many websites you will find for photo reference research, but the one you should start with is: http://images.google.com/ Type in the location or environment setting you are after into search and begin going through hundreds of images available. Video Reference

Video references are video footage of your ideas on location. It provides you with a better sense of space and layout of the environment. You can often find a movie or a TV show that took place in a similar  location. In addition to video reference, you can use Google Maps with street view. This will provide you with more specific reference of environment space and layout.

5 VISUAL REFERENCE CATEGORIES Each visual reference can be broken broke n down into five distinct category types that you want to collect: • Architecture reference • Environment reference • Light reference • Prop reference • Inspiration reference

After collecting these five types of reference you’ll be able to piece together a story of your environment en vironment through images. Architectural Reference

Architectural reference are specific architecture styles. These include: • Design and construction of buildings • Architectural detail • Interior and exterior of architecture style

 Example of Architecture Architecture Reference Environment Reference

Environment references are visual images of the environment setting. It is an ov erall idea for your  environment. This includes but not limited to: • Location of the streets • Cityscapes • Mountains • Terrain, Landscapes, Skies • Atmosphere

 Example of Environment Reference Reference (Photo by Stacey Hines) Think of environment reference as wide-angle shots of the entire environment – locations and atmosphere. Lighting Reference

Lighting is probably the most important element to creating mood a nd atmosphere for a game environment. With lighting reference you will need to collect images that are similar to the type of  lighting scenario your environment takes place in. You may have already collected c ollected some lighting images during architecture and environment reference,  but now you are focusing on collecting specific images of how your level will be lit.

 Example of Lighting Reference These should include both interior and exterior lighting, if your environment has both. Focus on collecting color, shadow and the time of day you environment takes place in. Look and collect images that evoke specific feelings within your environment. Remember: lighting creates mood and atmosphere. env ironment take place in? • What time of day does your environment • What is the lighting color palette? • What are the light and shadow patterns you want to use? • How much light and how much shadow ratios are you after?

What do you want the player to feel within your level? Prop Reference

Props are individual objects within your environment (furniture, set dressing, scene detail). What are the objects that will make up your scene? • Collect visual reference of all the props to be within your scene • Collect prop placement ideas; how are props placed in similar locations

 Example of Prop Reference Reference Inspiration/Style Reference

Inspirational/Style reference is art direction. The focus is to inspire and to maintain the vision you have for the project. This type of reference includes color palette, visual style, and visual quality of your environment. One of the common inspiration and style reference is concept art. In studio setting, there will be a concept artist who creates inspirational and style environment reference. But if you are working on the project by yourself and digital painting is not your strength, then you will have to collect those references yourself. Collect concept art you find online, look through traditional paintings, and watch movies with a specific art style. You You aren’t trying to re-create other artists’ work but only use it to inspire you a nd guide your  art style direction. As you collect inspirational and style reference, focus on the visual and the emotional impact. Certain reference images will evoke “This is cool” response. If the image doesn’t evoke that response, find the one that does.

 Example of Inspiration/Style Reference

REFERENCE FOLDER INSIDE PROJECT FOLDER  You want to collect visual reference for the cu rrent project you are working on. Whatever the idea you decided to pursue, collect reference for that idea only. Begin collecting images from the five visual reference categories. You You will need to organize them in one o ne place and keep them accessible. Create a “Preproduction Blueprint” folder inside the main “Project” folder if yo u haven’t done so yet. Inside “Preproduction Blueprint” folder create another folder called “Reference” to collect all photo references for your project.

1. Create a new “Reference” folder inside “Preproduction Blueprint” folder  2. Place all collected visual references into “Reference” folder  3. *Optional: you can create subfolders to help you organize for each visual reference category (architecture, environment, lighting, props, style)

CONDUCTING ENVIRONMENT RESEARCH As you collect visual image references, questions will begin to pop up. • What is this architecture style? • Why is this prop damaged? What caused it? • What types of foliage grows in this environment setting? • At what elevation do these types of trees stop growing? • How many traffic lanes does a major downtown area have? • Why do pavement roads have a slight elevation in the middle and taper off on the sides? • Etc.

Write Write down these questions as they come c ome up. Then, spend some time researching and answering them. The more you know about your environment, more believable the game world will be. I was working on a “Winery Project” where I had to create a small scene with rustic old props. One of the props I had to design was a wooden barrel. ba rrel. The type of barrel they store wine in. Some of the questions that came up from research were: • Why do wooden barrels have a curve in them? (Curve in the barrels was created to make them easier to transport by rolling them on the ground.) • What is the wood commonly used to create these barrels? (White oak.) • How heavy are the standard wooden barrels? (125-140lbs.)

Wooden Barrel Research These questions and answers helped me to create the scene. I had a deeper understanding about the  props and environment there were in. You don’t need to do deep research about the history and construction of each objects but focus on widening the knowledge of your game world beyond what you think you know.

ORGANIZING REFERENCE AND RESEARCH All visual reference images and research you collect should go into “Preproduction Blueprint” folder  within your main “Project Folder”. Whether you organize all images by folder category, place all images into one “Reference” folder or  arrange images on a single image sheet – that is up to you. Personally, Personally, I place all image reference into “Reference” folder. Often, I rename those images to organize them better be tter..

Organizing Reference and Research For research, start a “Project Management” document. Create a Word document and name it “Project Management” or something similar. We We will use more of  “Project Management” document in Step 11 for making lists, notes, to do items, bugs, errors, changes and various outlines. But for right now use this for collecting environment research notes.

ACTIONS – STEP 5: PHOTO/VIDEO PHOTO/VIDEO REFERENCE AND RESEARCH Step 5.1: If you haven’t done so yet, create: 1. Project folder and rename it to your project name 2. Inside that folder, create another folder and name it “Preproduction Blueprint” 3. Inside “Preproduction Blueprint” folder, create another folder and name it “Reference” Step 5.2: Begin collecting visual image reference for your environment.

Go online and search for your environment setting, location and theme. Place all of the images you collect co llect into “Reference” folder. If available to you, go on location that is similar to the environment you are creating a nd take on location photo reference. Step 5.3: Collect all five category references you need for your project: • Architecture reference • Environment reference • Light reference • Prop reference • Inspiration/Style reference

As you are collecting reference images, write down qu estions that come up in your mind. Step 5.4: Research your environment. Answer the questions you wrote down when you were collecting reference images.

Step 5.5: Start a document and name it “Project Management”. Record answers from researched questions into this document.

STEP 6: STORY

STORY IS KING Storytelling is one of the most effective ways to communicate your ideas. It is what holds the game world together. Story is a universal way to communicate between people. We tell stories to our family; to friends and to  people we just met. Best way to connect with someone is to share stories. Stories create connection. As a level designer and game environment artist you are telling a story of an environment. Broken door to a building, blood splatter in the bedroom apartment or a crashed vehicle that blocks the way to a location – all communicate a story.

TWO OPTIONS FOR STORYTELLING When it comes to storytelling for a game environment and level design you will have two options to choose from: • First: if you are creating a level or stand-alone game environment for an existing game that already contains a storyline to follow.

g ame environment that is not part of an already • Second: if you are creating a stand-alone game established game or a mod. You would not need to follow a pre-existing storyline of the game world. Existing Storyline to Follow:

You will experience an existing storyline to follow that has already been written if you are working on a game or a mod for which you are creating level designs and game environments for. Main storyline for a game will probably be the first thing created for a game. Just as a screenplay written for a movie wou ld  be completed before locations picked out and set design built. For example if you are working in a game studio as a level designer and game environment artist. You are working on a game that already has a story. Your Your job is to create levels and environment env ironment assets that fit that narrative. Another example is if you are creating a custom level campaign for an existing game such as Left4Dead2 for example. The game’s storyline already has been written. You have to survive zombie apocalypse by fighting through a horde of infected with 3 other survivors. Your job here is to create level designs and game environments that are within the narrative of Left4Dead2 story. So, when working on a level design or a game environment for an already established game, a lot of  questions have been answered by writer, designers and programmers. Such as gameplay mechanics, storyline and character arcs. It provides an existing context within which you will create environments and level designs.

If you are creating your own game, you will have to write the game’s main storyline prior to designing or creating any game environment or level design. Non-Existing Storyline to Follow:

You will experience a non-existing storyline to follow for stand-alone game environments you are creating that are not a part of any game or pre-existing game worlds. Your purpose here is to create your own context within which you design game worlds in. You would not attempt to create a main storyline as you would for a game but only focus on creating a visual story of the environment for the player or viewer to experience.

TWO WAYS TO TELL A STORY WITHIN YOUR GAME WORLD There are two ways to tell a story within your game environment and level design: • Explicit • Implicit Explicit : explicit environment storytelling is told through character dialogue or monologue, c inematic, text on screen and game or level objectives. Explicit storytelling is told to you, leaving no room for  confusion or doubt.

Half-Life 2: Lost Coast is an additional level for the 2004 first-person shooter video game Half-Life 2. Right from spawn, you encounter an older man that you cannot avoid. He tells you “explicitly” why you are there and what your mission is.

 Explicit Storytelling from from Half Life 2: Lost Coast, ©Valve ©Valve Corporation, All rights reserved. reserved.

Implicit : implicit environment storytelling is implied. Blood smudge on the walls, dead body next to an electric fence or specific prop placement – all communicate story. You You don’t know exactly what happened but you figure out what may have happened.

In Counter-Strike: Global Offensive level cs_militia cs_militia (left), if you make your way to the attic you will find a chair, ax and a milk jug that may have had something other than milk in it. Great implicit storytelling.

 Implicit Storytelling from from Counter-Strike: Global Offensive Offensive ©Valve ©Valve Corporation, All rights reserved. reserved. Implicit storytelling is subtle and indirect, without telling you explicitly what is going on. There is some cross-over between both types but to keep this simple: • explicit is told • implicit is shown

Explicit environment storytelling would be if a character in-game tells you that the building you are about to explore was destroyed by fire. Implicit environment storytelling would be to show you the damage of the building, allow you yo u to explore it and piece it together yourself. You’ve experienced both of these environment storytelling techniques in all the games you’ve played. As you played, the ga me’s and environment’s environment’s story is revealed to you through these two types of  storytelling techniques. Explicitly through cinematic, game events, game objectives and character   participation through dialogue; and implicitly through environment, prop placement and atmosphere of  the world. Explicit and implicit environment storytelling is how you would tell the story of your game world.

TWO TYPES OF ENVIRONMENT STORIES There are also two different types of stories for game environments and level d esigns. They are: • Story of the environment • Story of the characters within that environment

The following is a set of questions that will help to guide you defining your environment story. You You should be able to answer all these questions by the end of this chapter: • What is the overall story of your game, stand-alone ga me environment or level design? • What happened in the environment prior to the player arriving here? • How did the player arrive in the environment? What events brought the player there? • How will you show what happened in and to the environment? How will you tell the story of the environment to the player? • Why is the character here? What purpose or what goal are they to achieve?

Let’s break down the What, How and Why in more detail. What:

The “What” is a first set of questions that deal with the e nvironment itself. Your Your goal for this section is to create a background story of the environment’s location. Environments and locations exist whether the player is there or no t. The player just happens to pass through this location but eventually he/she will leave, yet the environment will continue to exist. Streets,  building, cars, closed down shops and prop placement all tell a story. story. Everything in the environment gives you clues to what type of environment it is and what happened happen ed there prior to the player arriving there. • What is the overall story of your game, stand-alone ga me environment or level design? • What happened in the environment prior to the player arriving here?

Write Write a short story (2-4 paragraphs) or a list explaining what this location is like. This will help you to create more believable environment through prop placement, materials/textures, architecture style, detail to include and atmosphere. • What types of people live here? • What do they do on daily basis? • What is a normal, routine day look like? • Has any events happened in this location that changed the physical or psychological landscape?

• Anything else significant happened prior to the player a rriving there that may change the normal and daily routine?

Write Write a description of this environment from point of view of a character that lives there. It helps to imagine that you met someone who lives in this location and they are telling you their  experience of it. How it was created, what happened to it, which places p laces to visit and which to avoid, etc. When the time comes to create textures/materials, model environment assets and place props – you will know exactly what to do for this location. The environment will tell you if it’s a proper prop placement, enemy pathway, how the player should navigate and wha t the objectives will be, all based on the history you created. How:

The “How” is a second set of questions dealing with the player arriving into this environment. There tends to be a linear progression that yo u experience throughout the day. If you had to explain to a friend what you did all day yesterday, you would probably tell them how you woke u p, went to the  bathroom, had breakfast, got dressed, got in your car, drove through traffic, traffic, arrived at work and so on in a step-by-step linear process. There may have been things that happened along the way. Perhaps there was an accident that was caused  by an alien invasion and you had to fight to survive. These things happen; at least they do in games. So, as you create you game environments, you need to know: env ironment’ss location? • How did the player arrive into this environment’ • What were the events that brought them there? • What events happened in the environment e nvironment or to the player prior to him/her arriving into this location? • How will the player navigate through the environment?

These questions and your answers create a set of actions and consequences that influence your  environment, how that location may look and obstacles the player will need to overcome based on where they came from. For example, if you are creating an a n environment set in a prison: • How did the player get there?

ye s, what is he or she there for? What crime did they commit? • Was he or she a prisoner? If yes, • If not, then is this an abandoned prison that the player has to get through? What was the  player doing right before they arrived at the prison environment? Why are they near the  prison to begin with? • Are there any prisoners that escaped and are currently around in this area?

 Prison Story Setting (Photo by Bedazelive) All these questions will help to create depth in the story and the environment itself. The “How” may not always be apparent and you will not always have to show or explain every single event that happened. But you still need to know everything about the environment and the character’s  participation in it – even if it is never going to be shown to the player. player. Why:

The “Why” is a third and final set of questions which deal with purpose of the c haracter being in this location. The “why” question will help to define an objective for the player to achieve. ach ieve. The reason they are in this environment and what do they have to do in it. Why question is closely tied to the “How” qu estion. • You know how the player got to the environment but why are they here, in this location? • What purpose or what goal are they to achieve? Is it to fulfill an objective? Collect something? Escape? Loot? Explore?

The “why” will help to establish a relationship between the environment and player character.

SHOW, DON'T TELL Once you have developed dev eloped the background story of the environment and its location, it is time to show it.

You want to let the player or the viewer to experience the environment through visuals rather than through summarization of text on screen or character ’s dialogue and description. • How will you show what happened to the environment? • How will you tell the story of the environment to the player?

For example, if you yo u are creating World War War 2 destroyed city c ity,, show this through: • Destroyed buildings through mortars, tanks and air raids • Props placement through debris, destroyed vehicles, bodies and emptiness of the streets • Fire and smoke • Sounds of gunfire and engines in the distance

WW2 Destroyed City Every prop placement in the environment is telling a story to the player. The more thought you spend on creating background story of the environment, env ironment, more believable the environment will become. Every  prop will have a reason to exist. Make a list of how you will show what happened in the environment through design, prop placement, texture creation, lighting, mood, enemy placement, or friendly AI.

When you have to make a decision on what you should do, such as “is this prop or this texture is appropriate to the location”? The background bac kground story will tell you if it is fitting for this environment or  not.

CREATING CREATING A STORY OF THE PLA P LAYER YER WITHIN WITHI N THE ENVIRONMENT ENVIRONMEN T AS THEY NAVIGA NAVIGATE TE THROUGH IT Every location in the environment and player within it is telling a story. This is done through architecture, textures, lighting, props and player ’s actions. actions. If a player arrives to a location and sees a car parked outside, it tells them you one story; same car with a hood opened and a flat tire tells another. If a player continues through a location and sees a building that is freshly painted, grass mowed and foliage landscaped, it tells them one story; but the same building with few broken windows, trash outside and graffiti on the wall tells them a nother. You are to create a brief story, a description of your environment and player’s participation in it. To do this you can choose one of two options: de scribing as the player navigates through your  1. You can write out few (2-4) paragraphs describing environment 2. You can write a list describing as the player navigates through your environment

Use the questions you have already answered in the What, How and Why sections to create a story of a  player character navigating through your level from beginning to end. Note: If you are creating a stand-alone game environment then you do not have to create a story of the  player navigating through the environment. Option 1: Writing 2-4 Paragraphs

Write out few (2-4) paragraphs describing as the player navigates through your  1. Write environment The following example is how I approached a single-player fan based custom campaign for Left4Dead2. The game’s story is already established by the game. But I created a story of the environment and what the player will experience in the level from start to finish. In this option I wrote out the description as a linear story. “Survivors spawn in a 3-story, car parking garage. It used to be a safe place to rest and wait to be rescued, but since then it has become another abandoned location. Upon spawning in the car garage, survivors find out the location of the meet up has been changed to a nearby mountain hotel called Hotel Swiss. Previous survivors left signs to let anyone who arrives in the car garage to head for Hotel Swiss. These signs are shown with graffiti on the wall, spray paint text and   Hotel Swiss poster. poster. Survivors have to start moving due to night closing in.

 Hotel Swiss is a popular tourist location. location. It’s It’s up in the mountains and the only way to get there is ride a cable car to the top. Hotel contains a pool and a gorgeous view of the surrounding mountains.  As the survivors travel through through the town in order to arrive at the cable car ride, they will continuously  see Hotel Swiss advertising posters to reinforce reinforce the end location.  Before survivors can make to Hotel Swiss, they will have to navigate through shops, restaurants restaurants and  coffee shops of the downtown area. Downtown location used to be busy with tourist, now it is full of  infected. The downtown is straightforward straightforward from start to finish. There are various horde panic events that take  place such coffee shop massacre, bridge collapse and last dash to the finish finish line rescue room room which takes the survivors through a highway tunnel into the second map. Second map is set in suburban area which changes the scenery into residential and rural landscape. This location is full of houses and few apartment ap artment buildings. The setting is more open than the tight  closed spaces of the downtown area. Due to night time coming up, the visibility is now low. The area is  full of infected which are former residents residents whom used to live in the area. The supermarket is the center location of this small town. It is currently empty and dangerous to enter. enter. The survivors must reach the supermarket in order to make through to the cable car controls. There will  be a supermarket panic event to make the survivors fight through a horde of infected in order to get  through the store. Once the survivors make it through the supermarket, they arrive at the cable car station. Unfortunately the cable car is at the top due to previous survivors never sending it down. If activated, the cable car  controls light up producing loud noise, which attracts hordes of infected. There will be at least 2-3 minutes of waiting for cable car to arrive down on the ground and the survivors will have to fight off a horde after horde of infected until they make it to into the car to leave. Once the cable car arrives, the survivors can make the short safe trip up the mountain and arrive at   Hotel Swiss. Third and final map is at Hotel Swiss. Upon arrival, the players discover that previous survivors died in attempt to start up the generator that lets the rescue helicopter know wh ere to land. After getting ready by loading up on ammo, health and supplies - the survivors must activate the generator. generator. Once done, they have to maintain the generator running and wait for the helicopter rescue, while fighting off hordes of  infected.” Option 2: Writing a List

Write a list describing as the player navigates through your environment 2. Write The following example is using the same story but instead of writing out a narrative paragraph structure, I opted out to make a list. The idea here is the same as the first option, but offers a different approach. • Survivors spawn in a 3-story, car parking garage, a former rescue location • Car garage is abandoned

• Survivors must travel to a new rescue location at Hotel Swiss, set in the mountains • Graffiti on the wall, spray paint text and Hotel Swiss poster foreshadow where to go and what the final location goal is • Survivors must start moving due to night closing in • To reach Hotel Swiss, survivors must traverse through downtown area and a small rural town to reach a cable car  • In downtown area, survivors must fight and navigate through shops, restaurants and coffee shops • Downtown location features 3 panic level events; coffee shop massacre, bridge collapse and last dash to the finish line rescue room through a highway tunnel • Due to urban setting, downtown location contains more close-quarter combat areas

a rea which changes the scenery into residential and rural • Second map is set in suburban area landscape • Second location is full of houses and few apartment buildings and features more open spaces • The supermarket is the center location of this small town • The survivors must reach the supermarket in order to make through to the cable car  controls. • Supermarket location contains a level panic event to make the survivors fight through a horde of infected in order to get through the store • Arrival at the cable car location also features a level panic event • Survivors must call for the cable car to arrive to the bottom station; and while it is in transit, players must fight non-stop horde of infected • Once the cable car arrives, the survivors make the short safe trip up the mountain and arrive at Hotel Swiss • Final map is at Hotel Swiss, location set at the mountains • Previous survivors died in an attempt to start up the ge nerator which calls for a rescue helicopter  • Survivors must start up the generator and they have to maintain the generator running • The rescue will arrive but in the meantime, survivors must fight off a horde of infected in a continuous steam until the helicopter arrives Should I Use a List or Write The Story?

It does not matter which option you choose. c hoose. Written out paragraph description allows for more detailed and descriptive information. As if you were writing a story. If you are a good writer then longdescriptive story format (option 1) might be better for you. If you are short on time or writing descriptive stories isn’t your strong point, then you can go with the list option. List option allows you to focus on the facts in chronological order. Sometimes I use a list to quickly outline what the p layer will experience. Other times I spend a bit more time on describing in detail, painting a visual picture with words.

ACTIONS – STEP 6: STORY Some of the questions may not pertain pe rtain to you. This depends if you are creating a stand-alone game environment (no gameplay, no player participation) or if you are creating a level design (playable map for a game). Answer the questions that apply to your project type. Step 6.1: Write the answers to the following questions about your environment. What? • What is the overall story of your game, stand-alone ga me environment or level design? • What happened in the environment prior to the player arriving here?

Write Write a short story (2-4 paragraphs) or a list explaining what this location is like: • What types of people live here? • What do they do on daily basis? • What is a normal, routine day look like? • Has any events happened in this location that changed the physical or psychological landscape? • Anything else significant happened prior to the player a rriving there that may change the normal and daily routine?

Write Write a description of this environment from point of view of a character that lives there or someone who has already been through it. How? • How did the player arrive into this environment’s location? What were the events that  brought them there? • What events happened in the environment e nvironment or to the player prior to them arriving into this location? • How will you show what happened to the environment? How will you tell the story of the environment to the player? • How will the player navigate through the environment?

Why:

Why question is closely tied to the “How” qu estion. • You know how the player got to the environment but why are they here, in this location? • What purpose or what goal are they to achieve? Is it to fulfill an objective? Collect something? Escape? Loot? Explore?

The “why” will help to establish a relationship between the environment and player character. Step 6.2: Show, Don't Tell

How will you show what happened to the environment? How will you tell the story of the environment to the player? Make a list of how you will show how, why and what in the environment? Step 6.3: Creating a story of the player within the env ironment as they navigate through it.

You are to create a brief story, a description of your environment as the player participates and travels through it. Choose one of two options: Write out few (2-4) paragraphs describing as the player navigates through your  1. Write environment Write a list describing as the player navigates through your environment 2. Write Use the questions you have already answered in the What, How and Why sections and create a story of a  player character navigating through your level from beginning to end.

STEP 7: OBJECTIVES, OBSTACLES AND SET PIECES

OBJECTIVES Objectives are goals for the player to achieve within a level. • What does the player need to do in order to finish the map? • Where do they need to go? • What do they have to accomplish?

The game environment may contain one single main objective or multiple objectives.

OBSTACLES Obstacles are opposition for the player to overcome. Obstacles follow objectives. • What stands in the way of the player to completing an objective?

For example: Objective could be to reach a castle on top of a mountain. Obstacle to complete this objective could be to fight 10 AI enemies. Enemy AI is an obstacle that stands in the way of completing the objective. Most objectives in games have obstacles for the player to collect, overcome or defeat. These could be  puzzles or enemy AI battles.

SET PIECES/SCRIPTED EVENTS Set pieces are events that happen in the environment. They are also known as scripted events. Set pieces help to immerse the player into the game by providing an interactive game environment. e nvironment. These events come from direct and indirect response from the player ’s actions or are part of the world itself. Set pieces or scripted events may happen from direct action of the player such as placing an explosive next to a closed gate which would open a path to a new location. The explosion and destruction would  be a set piece. Player completes an objective and that causes a scripted event to happen. Set pieces can also be indirect which cause an obstacle for the player to overcome such as an alien drop d rop ship arriving into a location where the player is traveling through. The player did not cause the indirect event to happen, other than just exploring a location. Set pieces can also be a non-player participating environmental events. These scripted events help the environment to be more believable such as traffic, people living out their own lives, day and night cycles, or random events such as weather and natural disasters. These set pieces do not create an obstacle or an objective. Half Life 2 is full of set pieces or scripted events that happe n to progress the story forward. Some of the events happen from player ’s participation, participation, others happen without any input from the player. Call of Duty series is full of epic set pieces, and a good study of scripted events.

These are just a couple of games with heavily scripted set pieces, but of course there are many games out there you could look at and study. Set pieces can be very large elaborate scripted events or subtle detail of the environment: • Building destruction by enemy AI helicopter (Uncharted 2)

Warfare 3) • Crashing helicopter (Call of Duty: Modern Warfare • Submarine sinking as the player has to escape (Crysis 2) • AI Boss fights

Or a subtle detail of the environment: • AI character interacting with the environment • Birds flying overhead • Day changing to night For gameplay level design : objectives, obstacles and set pieces (scripted events) is an important part of  the process during the production. You will be designing various scripted events that support the story and provide objectives for the player to complete. For stand-alone game environment without any gameplay : an objective could be as simple as to explore the environment, or a fly-through the environment to showcase its features. You won’t have much of objectives and obstacles to create and you mostly will be dealing with environmental en vironmental scripted events.

THE OBJECTIVES, OBSTACLES, SET PIECES SEQUENCE Objective leads to obstacles, which leads to set pieces or scripted events. Objectives > Obstacles > Set Pieces (Scripted Events)

First begin by defining the map’s objectives, then define set of obstacles for the player to overcome and then design set pieces (scripted events) around it. Basically, Basically, the player has an objective to complete. There are obstacles in the way. The player must complete an objective by overcoming ove rcoming these obstacles which trigger a scripted event (set piece). 1. Define the objectives for your map 2. Define obstacles to overcome 3. Define direct or indirect set pieces (scripted events) that will support the game’s story, environments story and objectives

Feel free to reverse the order of this sequence. Such as an obstacle that creates an objective or a scripted event. 1. Player arrives into a location

2. Indirect scripted event within the environment creates an obstacle to o vercome 3. Player now has a new objective to complete

CREATING OBJECTIVES Objectives are goals for the player to achieve to complete a level and advance adv ance to the next stage. Most if not all games contain a set of objectives ob jectives that you need to accomplish to beat b eat the game. Objectives are usually created from the story of the game being told. If you know your game’s story and you already crafted environment’s story then you can create objectives that hav e a sense of purpose in the world. Key factors to creating level’s objectives: • Objectives should have obstacles to overcome • Objectives have to reflect and push the story forward • Objectives have to be believable for the game world

Objectives can be communicated through scripted even ts, on-screen menus, AI character dialogue, through character’s inner dialogue or props picked up (such as books or notes – e.g. Elder Scrolls series). One question you need to answer to help you create objectives is: • What does the player need to do in order to complete the map?

Half-Life 2 is a good study for indirect events that cau se objectives for the player as well as AI character  dialogue based objectives. Alan Wake Wake is a good study of for inner dialogue based objectives. Main character ’s inner voice guides the player forward to what they need to do to complete the objective of the level. Elder Scrolls (Morrowind, Oblivion, Skyrim) is a good study for AI and prop based objectives.

CREATING OBSTACLES Once an objective has been set and the player knows what they need to do to accomplish a level –they now needs an obstacle to overcome that stands in the way. • What does the player need to do to overcome this obstacle?

Example of obstacles can be: • Defeating enemy AI or Boss fight • Evade and escape the police • Steal an item without being caught • Solve a puzzle in order for the door to open

• Items to find and collect to bring back to an AI character  • Explore and gather information about a location in the world

Obstacles can be as easy or as difficult as you need to make them for a given skillset of the player and how far they are in the game.

CREATING SET PIECES You will now have to decide what set pieces (scripted events) to include in your level or stand-alone game environment. These set pieces should either e ither create a new obstacle or be a result of a completed objective. Unless of course it is environmental scripted event which hap pen outside of player ’s control and do not create an obstacle or objective. Scripted events fall under 3 categories: player ’s action action or participation. Player does something then a 1. Direct: happens from player’s scripted event happens. 2. Indirect: happens due to the player being in the environment but did not do anything directly to cause an event (e.g. reinforcements arrive because player is in a wrong part of  town or reached a checkpoint checkpo int location). Indirect scripted events create an obstacle and an objective for the player, without the player doing anything directly to make it happen. 3. Environmental : events that happen by themselves in the environment. Timed or cycle scripted events (traffic, night/day, other game characters living in the world etc.) These by themselves do not create an obstacle or an objective. Environmental scripted events are there to create a more believable world and help to immerse the player in it.

Both direct and indirect closely tie themselves to an existing obstacle or objective by creating one or  accomplishing one. The questions you want to answer are: • What set pieces (scripted events) could come from this objective or obstacle? • What direct scripted events would you need to set up? • What indirect scripted events would you need to setup? • What environmental scripted events do you need to create to help immerse the player in the world? • What do you want the player to experience in your environment?

HOW TO CREATE SET PIECES & OBJECTIVES FOR  PLAY PLAYABLE LEVEL LEVE L Creating objectives, obstacles and set pieces for gameplay is where y ou will be spending quite a bit b it of  time during production. So it’s important to set very clear objectives and set pieces in preproduction.

Objectives, obstacles and set pieces you create will depend on the story of your environment and the story of the game. How will the player navigate through the environment? What do they need to do in order to achieve their goal of the map? Focus on designing objectives o bjectives and set pieces that immerse the  player and add to the atmosphere of the world. Follow the game’s main storyline storyline and environment’s story that you created to define a set of objectives for your map. Simplest way to begin is on a piece p iece of paper. Start by drawing objectives progression chart. Define where the player will start and where they will end up. Then in the free empty space write what do they have to do in order to complete the map. Visually design the the objectives. Here is an example of Objectives Progression Chart created for  Left4Dead 2 fan based custom map. First define a set of objectives, a set of actions the player needs to do to complete the map. There are no obstacles or scripted events planned just yet.

Set of objectives can be reaching a certain locations, finding an item or meeting up with friendly AI. During this step you may also begin designing decision trees (red text). These are different responses depending on the choices a player makes.

 Next, create a set of obstacles for each of the objectives. What are the obstacles the the player will encounter  for each objective? The obstacles are written in blue text, below the objectives.

Once you write out objectives and obstacles – begin to define set pieces that yo u want the player to experience. An AI boss fight, helicopter crash or vehicle chase. These will need to be scripted for obstacles that happen along the way to completing your environment’s objective (scripted events are written in green text color). Also note: not all objectives and obstacles need a scripted event.

The Formula:

Objectives > Obstacles > Set Pieces (Scripted Events)

The Objectives Progression Chart helps to get a visual on what is important in the map and what wha t you want the player to do. It defines important aspects to focus on within your playable environment. Create objectives that fit within the world and progress the story forward. Each objective has to make sense within the game’s story and its world. Examples of questions when designing Objectives Progression Chart: • Where does the player need to go? What areas do they need to navigate to? • Will there be enemy AI, puzzles, exploration or other?

simply getting to a check point p oint in the map complete an objective or will the player  • Will simply have to do something in direct participation to c omplete an objective? • Are there any alternate objectives or optional quests that will be created to offer choice? • Once you have objectives planned out, what are the obstacles if any for each objective? • What scripted events for obstacles and objectives will you create to a dd depth of  immersion and participation from the player?

There is a difference between setting objectives for single-player maps and multiplayer maps. Usually, you wouldn’t need to create an Objective Progression Chart for multiplayer maps. Single-player maps tend to be linear and story driven. There is a lot more involvement between the  player, game world and game’s game’s story. story. Multiplayer maps usually have one simple objective that is clearly clearly defined. Such as capture the flag, rescue the hostages, get the most kills or plant a bomb. Setting up objectives for single-player will take a bit longer than for multiplayer. Here is an example of Objective Progression Chart for multiplayer map. It is more straightforward than it is for single player maps and everything flows into eac h other.

HOW TO CREATE SET PIECES & OBJECTIVES FOR  STAND ALONE GAME ENVIRONMENT Stand-alone game environment usually do not contain any gameplay, objectives or obstacles for the  player to complete and they are not a part of an existing level structure of a game. These environments tend to be created for exploration, ex ploration, portfolio or beauty scene to learn the ga me engine. Since stand-alone game environments will not have a player spawning into your map, you do not need to create objectives and obstacles. The only thing you would need to focus on is environmental env ironmental set pieces (scripted events). • Environmental : events that happen by themselves in the environment. Timed or cycle scripted events (traffic, night/day, other game characters living in the world etc.) These by themselves do not create an obstacle or an objective. Environmental scripted events are there to create a more believable world and help to immerse the player in it.

Look over your environment’s story and create a list for what kind of set pieces (scripted events) will happen to make the world see more alive and unique. Two important questions to help you define which scripted events you want to include: • What events could you script to help your stand-alone game environment come to life

• What do you want the viewer to experience? What emotional response do you want the viewer to have?

Some examples of environmental set pieces (scripted events): • Simple cloud movement in the sky • Sounds effects of traffic and dogs barking in the distance • Day to night cycle and as it turns into night the interior lighting inside the house turns on • Sunny day turns to overcast and it begins to rain • Subway train arrives at the station, doors open, few seconds later doors close and subway train leaves the station.

ACTIONS – STEP 7: OBJECTIVES, OBSTACLES AND SET PIECES Playable Level Step 7.1: Following the game’s main storyline and environment’ en vironment’ss story, begin to define a set of  objectives for your map.

Start by drawing objectives progression chart. Visually design the objectives. Define where the player will start and where they will end up. Then in-between, come up with objectives for what the player has to do in order to complete the map. • What does the player need to do in order to complete the map?

You may want to open reference images you collected. Seeing photo ph oto reference will help you to define various set pieces and objectives for your env ironment that will be unique to your level. ob jectives push the story of the game and its environment forward. Step 7.2: Check to make sure that all objectives Step 7.3: For each of the objectives, define obstacles the player has to overcome. Obstacles are con flicts that stand in the player player’s ’s way in a form of opposition from AI enemies, puzzles or environment exploration. Step 7.4: For each objective or obstacle, begin beg in to define direct set pieces (scripted events) which are caused from player’s actions and participation. Player does something then a scripted event happens. Step 7.5: Also begin to define indirect set pieces (scripted events) if any. These will happen due to the  player being in the environment but did not do anything directly to cause an event. Indirect scripted events could create an obstacle and an objective for the player to complete. Remember these happen without the player doing anything directly to make them happen. Step 7.6: Define environmental set pieces (scripted events) if any, to add atmosphere and interactivity along the way in the environment. Timed or cycle scripted events (traffic, night/day, night/day, other game characters living in the world etc.)

Step 7.7: Create Objective Progression Chart for your playable level. Stand-Alone Game Environment Step 7.1: Following the environments story, begin to define a set of environmental set pieces (scripted events) that happen by themselves in the environment. Timed or cycle scripted events (traffic, night/day, other game characters living in the world etc.)

Browse through collected photo reference. Seeing them will help you to come up with environmental scripted events unique to your world. • What events could you script to help your stand-alone game environment come to life • What do you want the viewer to experience? What emotional response do you want the viewer to have?

STEP 8: FOCAL POINT

FOCAL POINTS Focal point is environment’s landmark. It is something that a player can identify an individual locations or the entire game environment by. It is the focus of your game environment location. Focal points can be anything that draws attention of the viewer or the player to a certain section of the environment, a contrasting element within your level such as a dominating piece of architecture, landscape or pathway. For example: in a playable map, a focal point can be either a physical element such as an architectural structure, a landscape section or it can be an element within a section of a map that directs the player  where to go – a well-lit doorway or headlights on a car in a dark alley. If you could only show one screenshot of your environment, you would wan t to show off your focal  point. Every game environment should have a focal point. Focal point is your map’s location identity. identity. It is how the player remembers the level and as visual reference of player’s orientation within the world. Examples of Focal Points/Landmarks:

Windmill Windmill Focal Point (by Willem Willem Roelofs 1822–1897)

 Architecture  Architecture and Lighting Focal Point (by Carl Blechen 1798–1840)

• Specific architectural structure (statue, house, building, bridge) • Specific physical element within architecture (broken window with light on, the only red door in a house) • General area (street block, hallway, base) • Contrast of lighting, architecture or landscape silhouette (fire or a light in a dark cave, contrast of lighting and color) • Landscape (certain section of it)

You will use focal points in two ways: • For visual aesthetics ; to define composition for the viewer to experience, to make the environment stand-out and become identifiable • For functional gameplay importance ; to draw attention for the player to examine a location, an item, navigate towards an objective and to help the player orient themselves in the environment so they know exactly where they are and where they should go.

CREATING FOCAL POINTS Whether you are creating a gameplay level or a stand-alone game environment, focal point is a very important part of the environment location. Every environment should have a focal point. It is: • It is a way to make your environment visually stand out and become identifiable iden tifiable • It is the landmark of your environment • It is your level’s location identity • It is how the player will remember the environment • It is a reference point for player ’s orientation in the world • It is a way to draw player ’s or viewer’s attention to an item, objective or obstacle

Your approach for creating focal points in playab le level or in stand-alone game environment without any gameplay will be different. In playable level you will use focal points for visual aesthetics and for gameplay. To help the player  orient themselves within a location and as aesthetic beauty to make your location stand-out. In stand-alone game environments , you will only need visual focal point for compositional aesthetic.

With a location already chosen for your environment, begin to identify a specific landmark to use as a focal point. Questions to help choosing the focal point:

• What would make your environment stand out? ou t? • How will the player remember the environment? • What would help the players orient themselves in the environment? • What would make your location interesting? Visually and functionally. • Does the focal point support the story of the game and the environment?

Go through your game’s story, story, environment’s story, story, setting, theme and an d location, objectives and set  pieces. Come up with one or multiple focal points for your environment. Use photo reference you collected in Step 5 to help choosing the focal point of your environment.

SINGLE OR MULTIPLE FOCAL POINTS Depending if you are creating a playable level or stand-alone environment, you may have one single focal point or multiple focal points in each section of your level. General guideline to follow: • Stand-Alone Game Environments : one single focal point used for compositional aesthetic purposes • Playable Level Design : one large dominating focal point in the level, then multiple focal  points in each location or section that help to guide the player from one location within the level to the next

The size of each focal point may also vary. You You can have large, grand focal points (bridge, skyscraper) that dominate an area or small focal point po int within a location such as a lit up doorway, or a vehicle on fire at night. Will the environment have a single focal point?

Single focal point is often used in smaller level designs and especially in stand-alone game environments. In stand-alone game environments you are creating a non-playable environment to showcase a specific area for portfolio, to learn the game engine eng ine or to prototype a location. So for stand-alone game environments focus on o ne single dominating landmark as a traditional artist would for a painting. Single focal point in level design is usually done in linear single-player and multiplayer maps. Single focal point creates contrast, visual interest and player orientation in the map. It also helps to guide the player towards this location. It draws player’s attention towards this specific structure. You would then reinforce e verything around the environment to help the player towards this location.

Single Focal Point from Half-Life 2: Lost Coast. ©Valve ©Valve Corporation, All rights reserved. The map “Launch” in Call of Duty: Black Ops contains single dominating focal point of a space shuttle that can be seen anywhere in the map. It is a very powerful and dominating focal point p oint that is referenced and seen almost anywhere within the map. Player always knows where they are upon spawning in relation to this focal point. Focal point also helps to set up a visual theme and landmark to make the map stand out.

Single Focal Point from Call of Duty: Black Ops ©2010 Activision® Publishing, Inc All Rights  Reserved. Will the environment have multiple focal points?

Multiple focal points are mostly used in single player, multiplayer and in some cases for stand-alone game environments. Single player levels or worlds will often contain multiple focal points guiding the player from one location to another. For example, you could have a village, cave and castle focal points all within one map. Mountainous landscape could be the setting, which makes these structures stand out. Each one would need to be spaced apart so they don’t dominate the landscape and making focal points less important. The castle could be the final place the player would need to get to and it would be far off in the distance guiding the  player, while the village and the cave would be along the way. Most open-world games contain multiple focal points that help the player orient themselves and to identify sections within the world. Some open-world games that do this are Grand Theft Auto series, Fallout 3 and 4, The Elder Scrolls V: V: Skyrim. Multiple focal points help to reinforce the player ’s direction direction to a location. Left4Dead2 is a great game to study multiple focal points within its levels and campaign. For example, Dark Carnival campaign contains distant roller coaster silhouette and sky spotlights at the start of the campaign.

Then within each map you progress from one focal point (highway, hotel, woods, parking lot) to another  to reach roller coaster landmark.

 Multiple Focal Points from from Left4Dead 2. ©Valve ©Valve Corporation, All rights reserved. reserved. Multiplayer maps can have single or multiple focal points. This helps eac h player reference themselves in the environment after they spawn. If you yo u want to include multiple focal points in a multiplayer map, make sure they are different enough so the player knows within the first second of spawning where they are in the level. In “Modern Warfare: Warfare: Black Ops”, Hanoi multiplayer map contains multiple focal points. As the p layer  spawns in various positions within the map, these focal points help orient the player within the level. Some of these multiple focal points include watch tower, search light with guillotine, water well and gallows.

 Multiple Focal Points from from Call of Duty: Black Ops ©2010 Activision® Publishing, Publishing, Inc All Rights  Reserved. For stand-alone game environments it is best to stick with one focal point. In some cases you may have multiple focal points, in which you would have one focal point for each location. For example an environment that contains an interior and exterior location.

FOCAL POINTS FOR PLAYABLE LEVEL DESIGNS In playable level design, you will either have one or several focal points. This depends on how large and involved your environment is. Three Options are: 1. One main focal point for the entire level 2. One dominating focal point within the level then smaller several focal points within each important location

Several main focal points points but each each should be given given enough space space to dominate dominate its own 3. Several area, then smaller focal points within each important location (good for o pen world levels) Each Focal Point Will Serve One or More Functions: • Visual graphic to make the location stand out • As a functional gameplay element to help the player orient themselves in your level

• To guide the player to their next nex t location • To call player’s attention to a specific location, an objective or an obstacle.

How to distinguish if you should use large scale focal po ints or small scale focal points? Of course this will be dictated by your project’s theme, setting, locations, objectives and obstacles but a simple guideline to start with is to use large to small approach. You have one large dominating landmark in your level. It is the main focal point. Let’s say it is a large  building in a suburban area. The player sees that and they are drawn to it. It is contrasting the entire landscape, provides a theme to your y our level and it helps the player orient o rient themselves within your  environment. When the player arrives to the building and enters inside, they are now in the lobby. What is the focal  point inside the lobby? Is there anything inside the interior of the lobby you want to highlight and let the  player know that this is an important location or area within this lobby that player needs to go to? Within Within each location and section of your level, you can provide additional smaller focal points that guide the player to their next location, objective or obstacle. It tells the player that this is a location of interest that needs to be explored. Look at your environments story created earlier and visualize how the player would navigate. Think of  how you want the player p layer travel through your level and how ho w will you highlight important locations? As you play games, pay attention to focal points throughout the level and how they are used to guide you to the next section, location, objective or obstacle within a map. Left4Dead2 is a great study for level design focal points. Most campaigns contain a large overall focal  point, and then each level guides you from one location to the next with variety of focal points. • The Parish: Bridge • Dark Carnival: Amusement park’s distant lights and roller coaster  • Dead Center: Mall

Then each location within a campaign campa ign contains their own focal points to guide the player to their next section of the level.

FOCAL POINTS FOR STAND-ALONE GAME ENVIRONMENTS (NO GAMEPLAY) As we discussed before, stand-alone game environments are not playable levels and will likely contain a single focal point. It helps to treat stand-alone environments as a traditional artist would treat his painting. It is all about composition, visual impact and telling a story through an image. Compositionally, Compositionally, every painting has a focus. When you see it, your eye jumps to it.

It could be the castle in the distance, a bridge across a 2 mountain peaks or contrast of a camp fire at night. It is the subject matter of the painting. As you play videogames, look at screenshots and concept art – pay attention to what the focal point is in these environments.

 Focal Point for Stand-Alone Game Environment (By Albert Bierstadt Bierstadt 1830–1902)

ACTIONS – STEP 8: FOCAL POINT Step 8.1: Take your idea and look over the work we’ve already done. Extract a specific landmark in your map that could be your focal point. • Look over your Setting, Theme and Location from Step 2. • Look over image reference from Step 5. • Look over the game’s story and environments story from Step 6. • Look over Objectives, Obstacles and Set Pieces from Step 7.

All these are going to reveal to you yo u what the focal points of your environment e nvironment should be. Remember: your approach to stand-alone game environment focal point is going to be different than for   playable level design. Step 8.2: Here are some questions to help decide on the focal point of your map. Some may not apply depending on if you are creating a playable level or a stand-alone environment.

• What would make your environment stand out? Look at your reference and all the previous steps that you have done. • What focal point would make your location interesting? Aesthetically, Aesthetically, visually and architecturally? • Does the focal point support the story of the game and the environment? • How will the player or viewer remember the environment? • Will you have one focal point or multiple? • How will the players reference and orient themselves in your environment? • How will they know where they are within a second upon spawning? What will help them know where they are? (important in multiplayer maps) • How will they move from one location to another? Step 8.3: Choose what the focal point or focal points are going to be within your environment. Have an image reference for each one.

STEP 9: TOP DOWN LAYOUT

TOP DOWN LAYOUT Top down layouts are schematic drawings or designs of what a stand-alone game environment or   playable level design is going to look and play like.

Top down layouts help you to figure out how a player is going to play the map or walk-through the stand-alone environment. You You are visualizing the game environment and planning the player ’s interaction and experience before creating it inside the editor. It is important to create a top-down layout  before you jump inside the game engine. You You will decide on many aspects such as: • Boundaries of the world • Spacing of the environment • Boundaries of the map • Player spawn locations • Item placement • Weapon placement • Player pathways

• Alternative routes • Cover  • Choke points or various confrontational battle areas • Sight lines • Starting and ending areas of the map • Landmark/focal point locations • Level progression • Objectives, obstacles and set piece positions (scripted events) • Friendly or enemy AI locations • Storyline plot points • Placement of buildings, objects, and landscape

Top-down layout is the thought process behind what you are going to do and why. You You will use this as a starting point template for BSP block-in. In this chapter we’ll cover a lot of important theories and principals behind level design and what it takes to create top-down layouts. Although a single chapter cannot describe the depth of creating  playable game environments. However, we will focus on the common threads in designing gameplay and we’ll go deep enough for you to begin understanding what it takes to create a playable map. Most of this chapter is focused on gameplay principles for playable level designs, but we will still cover  how to create top-down layouts for stand-alone game environments. Stand-Alone Game Environment : top down layout will focus on spacing and spatial relationship of  architecture, objects and landscape. These may also include focal points for detail, screenshots or  camera pathways for a fly-through video. Playable Level Design : top down layouts for playable level will include elements from the list on  previous page. Playable levels require more thought process and ability to think of all possible ways the the  player may play your level. There are issues of balance, skill, strategy, strategy, flow and pacing that will need many iterations and gameplay testing. We will cover these topics in Gameplay Overview section.

Whether you are creating a playable level or a stand-alone game environment, you want to create a top down layout. The rest of the chapter is broken down into 2 sections: 1. Gameplay Overview 2. Generating Top-Down Layouts

GAMEPLAY OVERVIEW The following section will detail gameplay theory and principles for level design. If you are creating a stand-alone game environment that will be used for exploration or portfolio and will not include any gameplay you yo u may skip this section and begin at “Creating Top-Down Layouts”. Single-Player or Multiplayer Maps

Creating maps for single player or multiplayer games is very different. Single-player map experience is focused on story and objectives for the player to complete. What does the player need to do in order to move on to the next location or mission and progress the story forward? For single-player games, story is very important and often drives gameplay of each level. It also tends to  be very linear in progression and its design.

Player will go from point A to point B within the environment. There are some variations within the level by using alternative routes, but overall it is a very straightforward progression to the finish line. Even in open-ended world games, you still have a goal and an d a location to reach for the story to progress; you are just given the freedom to approach the location on your terms. For single player maps you will not be choosing a game mode or o r gametype to design for. Single player  maps are focused on moving the story forward. You You will use already defined storyline, objectives, obstacles and set pieces from an earlier chapter to create your top-down layout. on line gameplay. You You are participating against other realMultiplayer map experience is focused on online life players in a single or multiple objective map. These objective maps tend to be Deathmatch, Capture the Flag, Search and Destroy, Destroy, Demolition, Defusal, King of the Hill, Capture Point Domination, Conquest, etc. Multiplayer maps are usually self-contained and closed o ff maps. Like a figure eight, never ending loops. Gametypes or game modes are used for multiplayer maps to define an objective the player or the team has to complete. You will have to choose a gametype for a multiplayer map. • Choosing a gametype will be determined by the game you are designing d esigning for.

Counter-Strike is primarily focused on hostage rescue and defusal gametypes. Unreal Tournament Tournament is primarily focused on deathmatch and capture the flag gametypes (often with vehicles). Battlefield 3 also has many gametypes, but most popular tend to be Conquest, Conquest Assault, Rush and CTF. Each game has a dominant gametype that you need to decide your map design on. What is the gametype you are designing for? • Free-For-All • Deathmatch (DM)

• Team Deathmatch (TDM) • Capture the Flag (CTF) • Vehicle Capture the Flag (VCTF) • Search and Destroy or Defusal • Demolition • Hostage Rescue • Escort/VIP • Domination, Conquest, Onslaught ,Base Point Control

There are more options and variations than what’s listed, but most gametypes stem from the basic game modes above. Specific gametype will dictate the experience, flow and pacing of the map. If you have a map that plays p lays and flows well in Deathmatch then it may not translate into the same “fun” experience if yo u convert it into Capture The Flag (CTF). Focus designing your maps for one specific gametype. It is better to have a great Capture The Flag map, rather than the same map layout used u sed for three different game modes such as a CTF, CTF, DM and Domination. If you are going to convert a map to another game mode then make sure to spend time on constructing a layout for that specific gametype. Often this will require redesigning the map’s paths, objectives and geometry. Strategy, Skill and Challenge

Strategy, Strategy, skill and challenge are very hard h ard to define gameplay concepts. The idea is to create a playable level that gives a player power to: • Choice of strategy for how they want to approach a specific area • The execution of that strategy • While maintaining a level of challenge without being too easy or too frustrating for the  player  • And providing satisfaction when that strategy is executed Strategy: is plan of action or a decision what the player wants to do about ab out a given situation Skill: is the player’s execution of that strategy Challenge : how difficult is the task to complete that challenge

Let’s take a look at a possible scenario. The player arrives at an enemy base. b ase.

Strategy would be a choice the player has to make on how they want to approach this section of the map. They might have only a single option or multiple options depending on the design of the level. Do they want to confront or to avoid? The player has some freedom to choose which strategy they want to use.

If the player decided to engage the enemy, then the environment needs to support that with proper cover, interesting AI placement, weapons, ammo, power ups. If the player decided to hide in the shadows, use cover and sneak around then the level should also support that option. Of course what the player can do d o or cannot is determined by the game mechanics; but the outcome is the same. The player is presented with a challenge c hallenge to overcome. Skill comes from execution of the choice made by the player. Skill often comes from experience playing the game and learning the game mechanics. This can be a skill with a certain weapon, aim or they know the best hiding and sneaking spots in the map. It is the ability that player uses to overcome the obstacle. Challenge is how difficult the obstacle is. It can’t be too easy and it can’t be frustrating or impossible to overcome.

For each encounter, for each obstacle, for each section and for each choke point of the map you have to consider and balance these three elements. As the player arrives at a location within your map where an obstacle or a choke c hoke point is, spend time designing these three aspects into your layout: 1. Strategy: give the player multiple options of how they want to approach a given situation; in multiplayer maps, think of how a player on both teams would approach this section of the map 2. Skill: give the player necessary tools (weapons, items etc.) to execute the plan with their  own experience 3. Challenge: provide an obstacle that is difficult yet achievable, it should be satisfying to overcome the obstacle and move on to the next one

In order to understand and incorporate these three elements into your map, you have hav e to intimately know the game you are designing d esigning for. You You should have a lot experience playing the game or o r a game with similar game mechanics. Constant testing and iteration of gameplay layout will be a common theme during production to achieve a proper balance and integration of strategy, skill and challenge; especially at the beginning stages of  your map development. In single-player maps you want to progressively increase difficulty of each objective. This may include environment obstacles, enemy AI battles or puzzles. By increasing the complexity and introducing certain player abilities, new weapons and power ups while focusing on the storyline is not easy to do but achievable with proper planning.

Strategy, Strategy, skill and challenge in multiplayer are about creating a map that is easy to learn but difficult to master. master. Longer you play a map the better you become be come at it, but at the same time a new player can also  play this map and learn it within just a couple of rounds. Multiplayer maps require deliberate thought for each section so that one play style does not dominate the level. If you play Counter-Strike, maps such as Dust 2 and Inferno are two maps that come to mind that have routes that could be dominated by long-range weapons but alternate routes provide assault with medium to short-range weapons and are a disadvantage to long-range. That kind of balance is achieved through  planning, play testing and iteration during production. No single player class should dominate the map. All maps have some form of strategy, skill and challenge. Well-designed maps are planned with all three in mind. Think through each section of the map and how ho w can you integrate all three -strategy, skill and challenge. Balance

Balance is a very important element for single player and multiplayer player maps. To achieve balance in your level designs you have hav e to plan for and integrate all three aspects mentioned before: strategy, skill and challenge. In level design, balance is not equality equ ality.. It is not 50/50. It is about offsetting o ffsetting one section of the map against another. If you have a map that only contains long open areas, this map is unbalanced towards one type of   playing style – long-range weapon sniping. All other classes or playing styles are at a disadvantage. disadvantage. They don’t have any strategy to allow a llow the player to succeed. But if you introduce one or two additional routes that are tight, close-quarter interiors that allows the player to come behind sniping positions then you just balanced your layout. Certain areas of your map should offer a disadvantage to specific playing type or playable class type, while another section should encourage it. Focus on balancing your maps where gameplay does not cater to one specific type of player (sniper, close-quarters, run-n-gun, explorer etc.) Balance must be achieved. This can only be done through  proper planning, continuous play-testing and iteration of the layout; tweaking and changing layout geometry during production. Balance also needs to be achieved with weapon and item placement. For example too many weapons and too much ammo can make it easy for the player to win, while running out of the ammo will increase their frustration. Flow

Flow refers to the player’s movement or progress within the level from one area to another. Good map flow helps the player navigate your environment without explicitly telling them where to go next. It happens intuitively and the player p layer just “knows” where to go and what to do next. But in reality, you are guiding the player playe r through the environment using focal points, lighting, geometry, props, objectives, landmarks and other navigational design tools.

The goal is to have the player move from one area to another without becoming lost, knowing where to go and what to do d o next. Your Your job is to fine tune entire layout to keep the player on main paths by eliminating dead ends and areas that confuse the player and guide them off main path for no reason. It is important to provide illusion of freedom within your level to allow the players to explore and to  provide strategic options for the player to use within each section of the level – at the same time time player  needs to know where they should be going next. The process of achieving a good goo d flow starts with a top down layout. Designing pathway direction from start to finish will give you an idea how you want the player to travel through your world.  Next is to design ways of helping the player navigating from one location to another without being lost. Here are some ways that help to guide g uide the player through your world: • Lighting: use of contrast in lighting, silhouette, colors; having lights on versus lights off –   players tend to go towards lit areas rather than into darkness. • Color: warm colors attract and invite; cool colors repel. • Game’s interface; this is programmed into the game by showing the direction on screen where the player should be going. Sometimes it is in a form of distance meter (Call of Duty Series) other times it is shown through in-game map, highlighting the location. • Begin actively playing through your favorite games. Notice how you are being guided from one area to another. Keep notes on what you find and how you are being guided through the game environment. Pacing

Pacing is the rhythm or tempo of the level. A repeated pattern of intensity, tension and difficulty for how each level or campaign plays out. Let’s Let’s look at an example of pacing. The level starts off with a few minutes of e xploration and walking to a location to reach an objective. Upon reaching the location few bad guys pop up. This obstacle introduces the player to combat and to gets them familiar using a weapon. In the process the player may  pick up a better weapon from the enemies after killing them. Following the first battle you allow the player to regroup, collect more items, gather health and explore a  bit further without any conflict. Then another obstacle comes their way. This time it is little bit more challenging with more enemies. Once the player defeats this set of enemies, it is another calm moment. You then lead the player into a final obstacle – the boss fight. The slow rise of challenges that increase in difficulty and frequency provides proper pacing. Introducing obstacles in the players’ paths while providing exploration or non-combat events in-between to calm and regroup. In-between obstacles o bstacles the character can explore, talk to other characters, collect items, weapons, solve puzzles etc.

In the following diagram is an example of rising tension an d pacing. This formula is often used in movies and games. As the player progresses through the level – difficulty, tension and pacing increases until a final boss  battle and resolution. This creates a rising action of events, building up slowly slowly until a steep fall off (boss  battle). Think of a roller coaster, coaster, slowly rising until the first drop.

You can find examples of this in many man y games. The example I like to use is Half-Life 2: Lost Coast, which is a stand-alone level that was originally planned to be a part of the full game, but ended up being a graphical showcase demo. Half-Life 2: Lost Coast is a small, self-contained playable level with rising difficulty, difficulty, tension and  pacing. The map contains a short exposition, some exp loration, objective, obstacles, scripted events, rising conflict, rising tension, point of no return, boss battle and resolution. All this in just 10-15 minutes of gameplay. It follows the formula perfectly and it is a great way to learn tension/pacing quickly.

 Level Progression Progression from Half-Life Half-Life 2: Lost Coast. ©Valve ©Valve Corporation, All rights reserved. reserved. The tension and pacing diagram on o n this page is one of the ways to introduce a rising set of events and to  pace your level. But you can play around with different methods. You You can set variety of tension and  pacing of your level. Some examples: • Progression Based • Slow/Fast • Easy/Difficult • Long Distance/Short Distance • Open/Enclosed • Stealth/Direct Encounters

For example first level starts off slow where nothing happens. The player collects items, weapons, and explores. Second level puts the player right into intense battle and doesn’t let you breathe for the entire map. Third level brings you back to a slow pace and exploration, allowing the player to catch their   breath. Rewards

A reward is a way to satisfy player’s actions for exploring, engaging in a fight, attempting to grab a  better weapon in a high-risk combat area or completing an objective.

If a player takes a risk to explore an alternate route, then provide a reward for their exploration into uncharted territory. territory. This can be a weapon, more ammo, skill points, leveling up, a new landmark to scavenge or an interesting experience etc. If the player decided to engage in a fight with some enemies but they could cou ld have avoided them, what is the reward for confronting them? Reward ideas: • Ammo • Health • Special items • Life (e.g. Mario 1-Up mushroom) • Weapons • Fun, engaging experience • New area to explore, new landmark to scavenge • Side story or side quest • Leveling up • Skill/Experience points

Reward players for certain actions or taking risk. You can even make the player play a certain way due to how you structure your rewards. Max Payne 2 is a third-person shooter where you play as a NYPD detective. The most notorious feature of the game is bullet time; where you could slow down time as you enter a room full of bad guys. Due to this feature I looked forward to every encounter with the bad guys. Every gunfight battle is unique and interesting. I try to run and jump jump into a room room full of bad guys activating bullet time and attempt to take every one out before landing on the floor.

 Example of Rewarding Gameplay from from Max Payne 2. ©Rockstar Games. Dev: Remedy Entertainment.  All rights reserved. reserved. In Max Payne 2 game the reward was the experience of taking out bad guys in a cool, stylistic and unique way.  No One Lives Forever 2 is a first-person shooter set set in the 70’s as you play a super-spy super-spy protecting the world against an international criminal organization called H.A.R.M. The game gives you options how you want to play (direct confrontation or stealth). Stealth was rewarded by allowing you to listen to AI characters dialogue as they talked among each other. The dialogue is funny, funny, well written and it is one of the most entertaining parts of the entire game.

 Example of Rewarding Gameplay from from No One Lives Forever 2. ©Sierra Entertainment Entertainment Dev: Monolith  Productions. All rights rights reserved. Listening often revealed information about where you needed to be and things you needed to accomplish. You You could have gotten go tten the information other ways, but stealth was rewarded with information, entertainment and experience. There are many other game examples similar to above. If you play through some of your favorite games, notice the reward system they use.  Now here is an interesting thing about rewards. You You should not provide a reward every single time and in every single situation. For example, don’t reward the player with a health pack or ammo every time they choose to explore a side room; or every time the player accomplishes an objective you reward them with a cut scene and experience points. Use intermittent reinforcement. Intermittent reinforcement or intermittent rewards is a principle that was discovered by behavioral  psychologists. Intermittent Reinforcement is when rewards are handed out inconsistently and occasionally. This usually encourages the player to keep pushing until they get what they want. If you give the player a reward every single time, for the same action then your level and your game  becomes predictable. You You will dull player’s experience. Aim to give reward some of the the time but not all

of the time. So if the player chooses to do a side-quest the reward might be a worthless item, but the next side-quest offers an expensive and useful weapon. With intermittent reinforcement you impellent hope, anticipation and unpredictability into your level. One of the best examples of intermittent rewards I’ve seen is in Left4Dead2. The game uses AI Director  within each level that controls how often infected zombies spawn and which items spawn throughout the map. So you may end up fighting a horde of infected in a specific area but in the next play-through the horde of zombies doesn’t attack in that same location. You may find a health pack p ack in a hotel room in one  play-through but in your next time play-through, it isn’t there. Same with weapons, special items items and special boss infected. The unpredictability and not knowing makes you keep pushing through to the next location in hopes for  a better weapon, a health pack, or a special item – but it isn’t guaranteed. Choke Points/Bottle Necks

Choke points or bottlenecks are important gameplay elements where you can force a player to engage in combat with another player or AI. It is a point of congestion that channels flow o f players into a particular narrow area of the map and forces them to battle for control or advancement into the next area. Some examples of choke points are: • Corridor/Hallways • Tunnels • Doors/Doorways • Alleyway/Street

Choke points are used in both single player and multiplayer maps. Here is a diagram showing the idea of a choke point:

Counter-Strike game is probably one of the best examples to study for choke point design. Every official o fficial map has stood the test of time and tweaked to perfection. Here are two most played maps with outlined choke points. De_Dust contains two primary choke points: tunnels and bridge:

Choke Point Examples from Counter-Strike: Source. ©Valve ©Valve Corporation, All rights reserved  De_Dust 2 contains four primary choke points: tunnel, double doors, doors, side stairs, long long alleyway:

Choke Points Examples Exa mples from Counter-Strike: Source. ©Valve ©Valve Corporation, All rights reserved  Choke points are also very important in single player maps. They are used to control pacing pa cing and force a  player down a path to their next objective. With choke points you can control when and where you want the player to engage an enemy or progress a story forward. Choice

Choice refers to having two or more options for the player to choose. These options can be in a form of  an alternative route to take, or how ho w the player wants to approach a specific problem. We discussed this a bit in strategy, skill and challenge section – giving the player multiple ways of  entering an area, approach an obstacle or confront the opposing team. Having no choices limits the  player to only follow one path, which creates a game environment that is very linear and feels restrict restricted; ed; unless it is deliberate such as a choke point. Give the player a choice of what they want to do by providing a couple of options for how they want to approach a given area. Choice can be: • Playing style (long range, close-quarter combat, stealth, direct, hacking) • Multiple entries into an area (basement, window, door, back door, rooftop) • Weapon or item selection

Most games are linear, but just providing 2-3 options will allow the player to choose which gives an illusion of freedom.

Cover

Cover is an important aspect of gameplay and level’s flow. flow. Cover is a physical object in the level that allows the player to hide behind increasing their chances of  survival and provide strategy to a situation. This is mostly used in first-person shooters and third-person action games. In 3d or 2d platform games, physical objects ob jects are often used to aid the player to get to higher ground or  these objects help to solve environment puzzles. For example in first-person shooter, a crate would be used to help the player hide behind to avoid av oid getting shot at. In a platform game, same crate would be used to make the player jump higher or the player could move this crate to bridge a gap in a level to jump longer distance. In this section we’ll focus on cover being used for the player to hide behind to increase their chances of  survival, e.g. 1st/3rd person action games.

Cover Example from Counter-Strike: Global Offensive ©Valve ©Valve Corporation,All rights reserved. Cover provides a way to minimize risk of getting killed. It is a strategy for the player to use to hide  behind from incoming fire, for stealth, to reload and to figure out their next plan of action. action.

You’ve seen cover used in most games you play. These are everyday objects within a level such as crates, walls, doorways, boxes, columns, turned over tables, v ehicles, ac units, vending machines etc. The list can go on. Absence of sufficient cover is often frustrating. If a player has to run through a large open area without any cover to achieve an objective, while being targeted by anyone with a sniper rifle, there is no strategy or skill required. It’s pure luck if the player gets across or not. Player might as well close their eyes a nd hopes to make it to the other side. You want to eliminate luck providing sufficient cover which gives choices for strategy and player ’s application of skill. By using cover in your level, you are balancing out gameplay. Cover has to serve a function of aesthetics and gameplay. It has to be a functional object you can hide  behind and at the same time it has to be believable for the idea and theme of the game environment. Wooden crate doesn’t make sense in a high-luxury apartment building, unless it is remodeled and there is construction going on. As you work on your level, leve l, think first in terms of gameplay and functionality by using co ver to guide the  player forward to an objective and offering strategy that would facilitate facilitate map flow. This is is done by using BSP or simple geometry to block-in a layout of the level. Then, once you’ve tested a simple blocked out level, you move on to focus on aesthetics by replacing simple geometry with architecture and prop models that will be u sed as cover. • Cover is to provide gameplay functionality by offering choices of strategy where the player  can go and what they can use for cover  • Focus on facilitating map flow by designing cover that moves the player forward from one cover element to another. a nother. • Use props and world geometry that fits the theme and location • Keep cover simple. Don’t over populate your e nvironment with unnecessary props and architecture. • Playtest level gameplay with simple boxes and simple geometry first; then you can do a  beauty pass by adding props and architecture models but only after you are satisfied with gameplay pass. Symmetrical Layouts

Symmetry is when two sections of a level are facing each other and are exactly the same. One half of the map is a mirror image of the second half. Symmetrical layouts are very common in multiplayer maps, Capture the F lag gametype. Capture the Flag (CTF) is a gametype where wh ere two teams each have a flag and the objective is to capture cap ture the other team's flag, located at the team's " base" and to bring that flag back to their own base. Symmetrical maps tend to be very balanced for each team and it is easy for a new player to learn the map’s layout. These maps are also simpler to create than asymmetrical layouts, since all you have to do is create once half of the layout layou t and mirror to the other side.

But the difficult part is making each half of the map stand out and be different from the other. This often requires having a visual theme for each side of the map. Hot vs cold, wood vs metal or day vs night etc. Team Fortress 2 CTF maps are great study of this. The downside of symmetrical maps is they are not realistic. Usually there aren’t any real world location layouts that are an exact mirror image of themselves. Also outside of Capture the Flag gametype, symmetrical layouts are not ideal for other gametypes such as defusal, demolition, domination or rescue. Although with a bit of work on visual theme and changing few things in the layout can reduce the  perception of the map being symmetrical, while maintaining the advantage of balanced gameplay. For successful symmetrical layout focus on: • Visual theme for each side (day/night, cold/hot, sci-fi/primitive, complimentary color  scheme of each base such as orange/blue etc.) • Focal point for each side of the layout so the player recognizes where they are within the map quickly • Change the layout enough to reduce the perception of the mirrored layout, while maintaining advantages that symmetrical layouts provides • Make sure symmetrical layout works for the game and g ametype you are creating for 

Some examples of symmetrical maps: • Call of Duty: Black Ops – Nuketown and Launch • Team Fortress 2: ctf_2fort Asymmetrical Layouts

Asymmetrical layouts are unique and lack any symmetry. symmetry. No section of the map mirrors the other. You will find asymmetrical layouts in majority of multiplayer maps but they are also more challenging to pull off due to balancing issues for each team. Most Defusal, Onslaught, Rescue, Assault etc. gametypes tend to be asymmetrical layouts. In single player, most levels are going to be asymmetrical but remember single player maps are more about story, experience and progression rather than gameplay balance. There are many examples of asymmetrical map, some are: Counter-Strike: • de_dust 2 • cs_office • de_inferno

Call of Duty: Black Ops

• Havana • Firing Range Arena Based Maps

Arena based maps are ideal for deathmatch and free-for-all gametypes. These maps are usually small in size and contain one o r two areas where majority of fighting happens. When designing arena based deathmatch maps, most of the time will be spent balancing locations, item and weapon placement. One single player shouldn’t be able to dominate any point of the map while having a powerful weapon. The balance has to be achieved with risk vs reward locations and weapon/ item placement. Deathmatch maps should also flow from one location to another, giving the player freedom of  movement – this means DM layouts should not have any dead-ends. Dead-end are pathways which contain no exits. It is an abrupt stop that forces the player to go back  where they came from. This disrupts flow and pac ing of the level. Many Unreal Tournament and Quake games contain deathmatch and arena-based maps. Both should be a requirement to study and learn from. Z-Axis (Height)

Z-axis is the height aspect of gameplay. Layouts created on a flat plane can c an often be boring and uninspiring. With introduction of height, players have to be aware of not only what is around them but also what’s above and below them. This changes strategy and provides additional tactical challenges. Height variation tends to provide players with more choices, discourages ca mping and prevents one area  being dominated. But of course this doesn’t happen automatically when you add z-axis to a layout. The map has to be constantly play-tested and refined due to additional areas of threat. There are some disadvantages to including height variations in the map. Player can become paranoid due to so many spots to check every time they play. It becomes too easy to get shot from places you don’t even see. Player becomes too worried about checking all locations rather than playing the game. Some games benefit from a lot of z-axis in the map (e.g. Quake series, Unreal Tournament series). While in other games, height variation is kept to a minimum (e.g. Counter-Strike series). To add z-axis element into your map you can use: • Landscape (hills, mountains, trees, cliffs, caves) • Buildings with two or more floors • Basements, underground tunnels • Rooftops • Ladders

• Bridges • Ledges • Balconies • Low-gravity • Vehicles (planes, helicopters) Open-World vs. Non-Linear vs. Linear Environments

The scale and experience of game environments can be broken down into 3 categories. • Open-World Open-World environments • Non-linear environments • Linear environments Open-World environments are also known as sandbox or free-roaming. The player is given the freedom of the entire game world to choose how they want to play.

It is basically unrestricted exploration based environment where the player gets to p lay how they want, go where they want and do what they want. The player can focus on the main storyline, choose to do side quests for a while or just explore the entire world and see what happens. Some examples of open-world environment games are: Grand Theft Auto 3 – 5, Red Dead Redemption, Skyrim, Fallout 3 and 4 and Witcher 3. Non-Linear environments give player the freedom of choice how to complete an objective within a closed-off section of the game world.

Some examples of non-linear environment games are Dishonored, Deus Ex Human Revolution, The Witcher 2, Far Cry 1 and 2, Crysis and Hitman Absolution.  Non-linear environments are not open-world, although sometimes it may may seem like they are. You You are given the freedom of choice within one section but it isn’t a free-roaming game world. The player can choose to use stealth to sneak into a building through an air vent, they could choose to hack the computer system without ever entering a building or they could choose the direct route of guns blazing. Sometimes the player can even ignore igno re a particular objective and find something else to d o. There are various degrees of open-world qualities in various self-contained non-linear sections of the game world. Linear environments contain a fixed sequence of challenges: every player sees every challenge and sees them in the same order.

Linear environments are sequential and usually don’t offer a lot of cho ice for variation. Games that are  primarily focused on story-telling and scripted events often often benefit from linear environments. You You have full control of when and how the player experiences the game’s events.

Some examples of linear environment games are: Mirror’s Edge, Call of Duty: Modern Mod ern Warfare Warfare series, Super Mario Brothers, Doom, Portal series, Max Payne series. Linear environments offer one pathway that the player must take to finish the level. Some linear  environment games offer multiple paths, so at times certain sections offer you a non -linear approach to an objective. Super Mario Brothers offered you hidden pipes to skip sections of the level or an entire world. But it is still a very linear game. Another example is Uncharted 2. Within some levels there are multiple paths to take, yet it is still a very linear environment game. There is some overlap between all 3 categories. Most open-world environments will contain non-linear  and linear sections. Many non-linear environments will contain qualities of open-world and linear  sections. Some linear environments may contain non-linear sections but unlikely to offer open-world free-roaming. All three categories have their advantages and disadvantages. There are trade-offs between choosing open-world vs non-linear vs linear environment. Your choice will depend depe nd on: • Idea • Story of the game • Experience you want the player to have • Time to complete the project (deadline) • Game engine and its limitations • Technical and artistic skill

many people you have on on your team team to work work on the the project project • How many Open-world environments require a lot of time to plan and to create. Giving the player an open op en world to run around in is not enough. There must to be something for the player to do within the world. Linear environments tend to be heavily focused on story and scripted events.  Non-linear environments are usually a mix between open-world and linear approach.

CREATING TOP DOWN LAYOUTS It is time to create a top-down layout of your y our game environment. We’ll cover a variety of options for you to choose from. Creation of top-down layouts can be broken down into two categories: way, away from a computer (e.g. pen/paper) • Traditional way,

• Using a computer (software)

Traditional or away from a computer includes: • Pen and paper (sketchpad or grid paper) • White board • Legos, building blocks or other rudimentary physical objects

On computer using software includes: • Sketchup™ • Adobe® Photoshop® • Adobe® Illustrator® • Google Maps™

As we covered before, top-down layout is a schematic design of what a stand-alone game environment or playable level design is going to look and play like.

Primary focus while designing a top-down layout is to figure o ut the following: • Boundaries of the world • Spacing of the environment

• Player spawn locations • Item placement • Weapon placement • Player pathways • Alternative routes • Cover  • Choke points or various confrontational battle areas • Sight lines • Starting and ending areas of the map • Landmark/focal point locations • Level progression • Objectives, obstacles and set piece positions (scripted events) • Friendly or enemy AI locations • Storyline plot points • Placement of buildings, objects, and landscape

You must visualize how a level is going to play or how a stand-alone game environment is going to look  as you create the top-down layout. It is going to be your template to follow during block-in stages of   production. Remember, the top-down layout is only a starting point to help begin creating inside a 3d modeling software or level editor. The layout will probably change based on play-testing and feedback during  production.

TRADITIONAL WAYS OF CREATING LAYOUTS Most common way to create top-down layouts is to use traditional tools such as pen and paper, whiteboard, Legos or similar physical, primitive building blocks. With pen and paper being used the most. Your approach to creating a layout layou t will vary depending on if you are creating a stand-alone game environment or a level design for multiplayer map o r single player map. What to include and what to focus on will be different for each option. We will go through 4 examples of creating a layout later in this chapter. But right now to keep this simple let’s distill to important elements to start with. Level Design (Playable Map) – start with to include: • Boundaries of the level

• Main player pathways • Choke points • Objectives, obstacles, set pieces • Placement of buildings, objects, and landscape • Landmark/focal point locations

For Stand-Alone Game Environments – start with to include: • Boundaries of the game environment • Player paths (only if it is a walk-through) • Placement of buildings, objects, and landscape • Landmark/focal point locations

I usually start with player pathways and boundaries of the map but it varies. Sometimes I may start with the most clearly defined area that I’ve thought about a lot or a landmark location. There are 3 ways for creating traditional layouts – pe n and paper, whiteboard and building blocks. b locks. Pen/Paper Top-Down Layouts

The fastest and simplest way to create a top-down layou t is to use pen and paper. p aper. It is one of my favorite ways to start a layout and one I use 90% of the time. For pen and paper layouts use: • Pen or pencil

pap er (grid lines) • Sketchbook paper (no lines) or grid paper Creating a layout on paper, you have to start with a rough sketch. Draw shapes and pathways of what you think the layout should be. Do not edit this rough draft or attempt to make it clean and perfect. Document your thoughts and ideas on paper. You You will refine this layout later, but right now – don’t edit.

Once you have a rough drawing done, begin to refine and redraw the layout.

You may go through multiple iterations to arrive at a final paper layout.

Remember top-down layouts are only a starting point to follow inside the level editor. At this point your  layouts are not set in stone and will most likely change by the time you are done with your game environment. Whiteboard

Whiteboard is an erasable board with a white surface used for teaching or presentations. It is similar to a school blackboard but instead of using chalk, you use dry-erase markers which are ea sier to erase and redraw with. Start your layout, erase, redraw and refine. Using whiteboard is very liberating because you can draw and in the same moment erase and redraw. Allowing you to refine and iterate in the moment. After you’ve gone through multiple iterations and drew a layout that you are happy – take a photo of it and store this image inside your project folder. Since you may ne ed to re-use your whiteboard for  another layout.

Whiteboard Layout  Building Blocks

Another way to create top-down layouts is to use physical objects such as Legos, similar toy building  blocks or even paper cut-outs.

The one main advantage of using this method is working in3rd-dimenions. With pen and paper and whiteboard you are working in 2d 2 d – a flat surface. With Legos or other toy building blocks you are  physically manipulating the space in all 3 dimensions. Legos® are plastic construction toys which consist of colorful interlocking plastic bricks. Pieces can be assembled and connected in many ways, to construct variety of props and architecture. Similar to Legos are any other toy building bu ilding blocks which are simple wooden blocks of various sizes and shapes that you arrange around to construct a simple top-down layout.

 Legos® and Wooden Wooden Blocks To experiment with another method of top-down layouts you could also use paper cut-out shapes to design with. Which Method to Use?

Experiment with all three but most accessible method is going to be pen, paper and whiteboard.

5 EXAMPLES OF HOW TO CREATE TOP-DOWN PAPER  LAYOUTS In the following section we’ll go through 5 ex amples of creating top-down layouts using pen / p aper  approach. Examples include: • Deathmatch (DM) Map Layout • Capture the Flag (CTF) Map Layout • Search and Destroy or Defusal Gametype Layout • Single-Player Map Layout • Stand-Alone Game Environment

Process of designing top down layouts for single-player, multiplayer or stand-alone game environments are very different. Single-player layouts are focused on story, objectives and flow/pacing. Multiplayer 

map layouts are focused on balance, b alance, pacing and flow. Stand-alone game environment layouts are focused on spatial relationships between geometry and showcasing y our work in best way possible. Sometimes all elements must be kept in mind when creating a top-down layout: story, objectives, flow, flow,  balance, pacing and spatial relationships between geometry. Examples below are various ways you can begin creating top-down layouts, but they are not the only way. Sometimes I start with with a single section or area and an d expand to the entire layout, layou t, other times I have an idea for the entire level at once. I may also start with just pathway flow of the layout or I may jump right into defining boundaries of the map and a nd working with landmarks. The point is to start with the layout where you feel the most clarity on. As you create layouts, be mindful of gameplay ga meplay mechanics you are creating the layout for and all the work you have done up until now. So the idea, reference, locations, focal points, story, objectives and so on – all will guide you to the map’s layout and what it should play like. Deathmatch Multiplayer Map Layout

Deathmatch or Free-For-All (DM and FFA) FFA) map’s goal is to kill (or frag) as a s many other players as  possible until the map’s map’s kill limit or time time limit has been reached. Deathmatch map layouts should have highly refined sense of flow throughout the map, balanced item  placement and no dead-ends. Think of Deathmatch map layouts as figure 8 – constant flow without any abrupt stops. Location used for this example layout map is a train station. 1. Start with the rough draft of the map’s sections or areas. Deathmatch maps can have one or more sections. Keep this to one or two sections for simple DM maps and more than 2 sections for complex DM maps. Each section will usually contain a focal point or landmark.

 Map Layout Sections

2. Define player’s pathways as they move through-out the map; map; this is the map’s flow flow.. It’s It’s important to avoid dead-ends in the layout. Remember figure 8 pattern.

 Layout Pathways 3. Create a side view of the layout to note height variations (if any).

 Height Variations Variations 4. Refine the layout.

 Refining the Layout  5. Include boundaries of the map. These are placement of buildings, objects, landscape that surround the map. The following boundaries are n on-playable areas.

 Map Layout Boundaries 6. Decide on focal point/landmark locations. Note this map’s 2 focal points are non-playable areas. Remember focal points/landmarks help the player to identify the area and where they are within the map. So the focal points do not have to be b e within the player ’s reach.

 Focal Points 7. Identify placement for player starts, weapons, health, items; these will likely change during play-testing. Although it is good idea to start thinking abou t where they are going to  be placed within the map. In the example below I only placed Player Start locations.

 Player Starts, Items, Weapons Weapons 8. Breaking down floor plans for more clarity (optional). First floor layout.

 Breaking Down Each Floor (1st) 9. Breaking down floor plans for more clarity (optional). Second floor layout.

 Breaking Down Each Floor (2nd) 10. Breaking down floor plans for more clarity (optional). Third floor layout.

 Breaking Down Each Floor (3rd) (3rd) Refine any part until you have clear understanding of the map’s layout:

Capture the Flag (CTF) Multiplayer Map Layout

Capture the Flag (CTF) is a team based map scenario gametype where two teams each have a flag and the objective is to capture the other team's flag, located at the team's "base" and to bring that flag back to their own base. Symmetrical layouts are most common in CTF maps. It is where b oth sides of the map are identical or  “mirrored”. The way to tell a difference between each base is through an environment e nvironment theme such as color, architecture or lighting.

Asymmetrical layouts are also used in CTF maps but they are harder to balance and to design for; although if done correctly tend to stand out from symmetrical layouts. In this example we will create a symmetrical CTF map layout using the same location used in Deathmatch example (train station). The steps are very similar to DM map layou t. 1. Start with the rough draft of the map’s flow and few main paths. This is the p layer’s  pathways as they will move through-out the map. Keep it very simple.

 Main Path Layout  2. Refine the flow and add few more paths. Note the mirrored layout for both sides.

 Path Layout Refinement 

3. Outline pathway boundaries of the map.

 Defining Boundaries of the Layout  4. Refining boundaries of the map.

 Refining Layout Boundaries 5. Identify focal points/landmarks within the map. For this CTF map, the foca l point is in the middle of the layout.

 Focal Point Identification this example I 6. Note any important locations or height variations and write it down. In this used Photoshop and painted dark gray for lower floors and light gray for upper floors and I slightly modified the layout.

 Height Variation Variation Player Spawns and weapon load-outs for CTF maps tend to be at each team’s base. So I did not do these in the layout.

Continue to refine and redraw until you have a good starting point of the map’s layout to use.

Search and Destroy Multiplayer Map Layout

Search and Destroy is elimination based gametype. It includes two teams, one is the attacking attacking team and the other is the defending team. Goal Goa l for attacking team is to plant a bomb in certain locations in the map or to eliminate the defending team. The goal for defending team is to prevent the attacking team from completing their objective of planting the bomb b y eliminating the attacking team, preventing them from planting the explosive or defusing already planted explosive. Each player only gets one life per round and if killed has to wait for new round to start in order to play again. Another term used for Search and a nd Destroy gametype is defusal. The layout co nsideration for such a gametype has to be very carefully planned out. Most important consideration for Search and Destroy or defusal gametypes are c hoke points, pathways,  bomb site locations and spawn positions. The arrival of each team to the choke point (battle of control areas) and bombsite locations has to be timed out to the second to make sure proper balance of the map is maintained. For Search and Destroy or defusal gametype start with basic pathway layout. Think of how each team will go and arrive at choke point position in order to defend it or fight through it to the bombsite. 1. Start with team spawn positions and draw out 2 to 4 pathways for the player to take. Each  pathway has to lead to a choke point and to the objective of the map. Begin with initial  player spawn for attacking team first (T). (T). Reason to begin with attacking team first is  because the attacking team is the aggressor and has to complete an objective. All the defending team (CT) has to do is hold their position and defend the bombsites (objective).

 Pathway Layout; CT/T = Team Team Spawns 2. Identify choke points and objective locations.

3. Add alternative or connective pathways to allow each team for variation in strategy (choices).

 Alternative Pathways 4. Identify focal points or landmarks.

 Focal Points (FC) 5. Begin to add boundaries of the map; still figuring things out.

 Map Boundaries 6. Refine and redraw until you have a working layout you can use as a starting point for   blocking in the layout inside the level editor. editor.

 Refine the Layout  7. Continue to refine and redraw until you have a good starting point of the map’s layout to use.

Single-Player Map Layout

Single player map level design is about story, story, progression and exploration. For single-player map layouts you can start in many various ways – pathway routes, individual map section/area, boundaries of the map or focal point and story progression. As mentioned before, start with the layout where you have the most clarity on. Most important to keep in mind for single-player layouts are storyline beats. There are specific story plot elements you have to implement in the level which are dictated by the game’s script. The layout example below is based on single player story covered in Step 6. Instead of flipping the  pages back, here is the storyline. “Survivors spawn in a 3-story, car parking garage. It used to be a safe place to rest and wait to be rescued, but since then it has become another abandoned location.  First map is set in downtown, urban location of a small town. Upon spawning in the car garage, survivors find out the location of the meet up has been changed to a nearby mountain hotel called Hotel Swiss. Previous survivors left signs to let anyone who arrives in the car garage to head for Hotel Swiss. These signs are shown with graffiti on the wall, spray paint text and   Hotel Swiss poster. poster. Survivors have to start moving due to night closing in.  Hotel Swiss is a popular tourist location. location. It’s It’s up in the mountains and the only way to get there is ride a cable car to the top. Hotel contains a pool and a gorgeous view of the surrounding mountains.

 As the survivors travel through through the town in order to arrive at the cable car ride, they will continuously  see Hotel Swiss advertising posters to reinforce reinforce the end location.  Before survivors can make to Hotel Swiss, they will have to navigate through shops, restaurants restaurants and  coffee shops of the downtown area. Downtown location used to be busy with tourist, now it is full of  infected. The downtown is straightforward straightforward from start to finish. There are various horde panic events that take  place such coffee shop massacre, bridge collapse and last dash to the finish finish line rescue room room which takes the survivors through a highway tunnel into the second map. Second map is set in suburban area which changes the scenery into residential and rural landscape. This location is full of houses and few apartment buildings. The setting is more open than the tight  closed spaces of the downtown area. Due to night time coming up, the visibility is now low. The area is  full of infected which are former residents residents whom used to live in the area. The supermarket is the center location of this small town. It is currently empty and dangerous to enter. enter. The survivors must reach the supermarket in order to make through to the cable car controls. There will  be a supermarket panic event to make the survivors fight through a horde of infected in order to get  through the store. Once the survivors make it through the supermarket, they arrive at the cable car station. Unfortunately the cable car is at the top due to previous survivors riding it but never sending it down. If  activated, the cable car controls light up producing loud noise, which attracts hordes of infected. There will be at least 2-3 minutes of waiting for cable car to arrive down on the ground and the survivors will  have to fight off a horde after horde of infected until they make it to into the car to leave. Once the cable car arrives, the survivors can make the short safe trip up the mountain and arrive at   Hotel Swiss. Third and final map is at Hotel Swiss. Upon arrival, the players discover that previous survivors died in attempt to start up the gene rator that  lets the rescue helicopter know where to land. After getting ready by loading up on ammo, health and   supplies - the survivors must activate the generator. generator. Once done, they have to maintain the generator  running and wait for the helicopter rescue, while fighting off hordes of infected.”  Note that this is for a 3 map campaign. We We will only focus on creating a layout below for the first map. Writing Writing a list that describes and outlines some storyline beats helps to focus in on the layout you are to create. • Survivors spawn in a 3-story, car parking garage, a former rescue location • Survivors must travel to a new rescue location at Hotel Swiss, set in the mountains • To reach Hotel Swiss, survivors must traverse through downtown area and a small rural town to reach a cable car 

• In downtown area, survivors must fight and navigate through shops, streets, restaurants,  buildings, and coffee shops • Downtown location features 3 panic level events (coffee shop massacre, bridge collapse, last dash to the finish line rescue room through a highway tunnel) • Due to urban setting, downtown location contains more close-quarter combat areas

The most clarity I have with this layout are on locations and focal points of the map. Begin by outlining a sequence of storyline beats, locations or focal points the player will travel through:

Car Garage > Coffee Shop > Market > Bridge > Hotel Building > Road Tunnel  Define these locations on a blank piece of paper with some space to work with between each one. These could be randomly placed but in the example below, I’ve thought about the layo ut a lot already. So I have an idea of how everything will come together:

Using the image above, begin to create player pathway from one location to another. Think how the player will progress from one area to another. What will they encounter, what will they see and how will everything flow together?

Go through the layout and begin filling in the boundaries of the map around environment’s architecture and pathways. Also note objectives, scripted events, items, weapons or AI characters (enemy or friendly) that the storyline beats call for. You may have to go through this step a few times, refining the layout more and more each time.

The example above is fairly linear. Meaning that isn’t much for alternative routes or free-roaming opportunities. This of course all depends on the game you are designing the layout for.

Create the layout that stays true to gameplay mechanics of your game. Last step I did was scan the hand-drawn layout into Photoshop then creating a new layer to redraw and refine the layout to clean everything up.

Stand-Alone Game Environment Layout

Stand-alone game environments do not include any gameplay, no spawn points (unless it is an interactive walk-through) and no objectives. The entire focus of creating a stand-alone game environment layout is to identify spatial relationships between architecture of the world, focal points/ landmarks and set pieces (if any), and they will be very quick to create.

Start with a focal point of the environment. What d o you want to show? Where will you spend most of  your time detailing within this project? The idea is an industrial loading sea dock. The sketch below shows the focal point and the area of  interest. Nothing else will be created other than this one section.

Based on the sketch, photo reference and all the preproduction work you should already have done,  begin creating the layout. I defined the boundaries and noted any other important elements in the same layout such as light sources, camera fly-through movement, scripted events etc.

Layout Cleanup

Layout cleanup is optional. Since your top-down will change based on feedback from gameplay and working on it inside the editor, you may not need to have a cleaned c leaned up layout. But for clarity and to communicate your layout to others better, it might be a g ood idea. For layout cleanup you can: • Redraw the layout by hand referencing the rough sketch • Redraw by placing another sheet of paper over your rough draft and tracing • Redraw using “drawing lightbox” (tool traditional animators use and great way to redraw) • Scan it into Photoshop and redraw it

ADDITIONAL WAYS TO GENERATE TOP-DOWN LAYOUTS Pen and paper is the most commonly used tools to create manual top-down layou ts but there other  options to integrate into your workflow. These include using software to manually or automatically automatically generate map layouts. You can use them them as is or as a starting point to refine and adapt. Using Google Maps™ To Generate Top-Down Top-Down Layouts

Using Google Maps is a great way to get ideas for layouts and acquire photo reference. 1. Go to http://www.google.com/maps and go into a specific city or town that you want to get ideas from. You want to “Browse Street View images” using the yellow character icon. More specific you are about the location you are searching for, the better layout ideas you will get.

 Finding Location to Use “Browse Street Street View View Images”Map data ©2016 Google, Google Maps™  2. Use “Street View” to get better layout idea for your location and environment setting.

Using “Browse Street View View images”Map data ©2016 Google, Google Maps™  Some locations even contain “photo spheres” (user submitted views) or “see inside” (views of interiors). 2 Techniques for Unique Top-Down Layouts with Adobe® Photoshop®

There are two ways to generate top-down layouts with Adobe Photoshop. One is to manually draw using a drawing tablet. In the similar way you would draw pen and paper topdown layout, instead you use brushes palette in Photoshop. With use of layers and ability to erase as you go allows you to refine and iterate very quickly.

Using Drawing Tablet 

 Layout with Drawing Tablet Tablet in Photoshop

Second way is to use a couple of filters that procedurally generate top-down layout, which could be used as is or refine into your own idea. These filters are “Wave” “Wave” and “Polar Coordinates” Coordinates” filter. filter. • “W “Wave” ave” filter is great for geometric shapes for urban layouts of buildings. • “Polar Coordinates” filter is good for sci-fi futuristic layouts

“Wave” “W ave” Filter and an d “Polar Coordinates” Filter Results Technique #1: Wave Filter

Create new document by going to File > New:

Set document dimensions. I used 1024x1024 width/height. I chose square canvas and enough area to work with.

 Now use “Rectangular” or “Elliptical Marquee Tool” Tool” to create selections that look like outlines of   buildings.

• Left-Click Hold and Drag to create marquee shapes. • To add to a marquee selection hold down Shift

do wn Alt • To subtract from a marquee selection hold down

Fill the marquee marquee selections active; active; fill it it with a solid color. color. Go to Edit à Fill (Shift+F5):

Choose “Color” from drop down menu and select a solid color to use:

Here is what my marquee selection looks like filled with black color. Of course yours will be different, depending on the shapes you created.

 Now we are ready to apply Wave Wave Filter. Go to Filter Filter > Distort > Wave: Wave:

“Wave” “W ave” filter menu will pop up. Set Se t options to: • Square • Wrap Around

Move the sliders to see how the filter is distorting the layout. For best results keep “Wavelength” 2 sliders one above the other (aligned).

When you are satisfied with the preview click OK. The result is random generated shapes that could be used for an urban layout. layou t. At this point you could go  back in and clean up the shapes to get more solid structures. Left image is Wave Wave Filter generated and right image is cleaned up version.

 Default “Wave” “Wave” Filter Result (left) and Cleaned Up “Wave” “Wave” Filter Result (right)

“Wave” “W ave” filer is great for randomizing geometric shapes you crated with Marqee tool. Technique #2: Polar Coordinates

Polar Coordinates Filter is used for randomly generated circular shapes. Great for creating procedural layouts that are futuristic or sci-fi. The first few steps are very similar to Wave Filter. Filter. Create New Canvas by going to File > New and use the same dimensions for width/height (1024x1024). Then use “Rectangular Marquee Tool” to create selections that look like outlines of buildings and fill it in with a solid color.

 Marquee Selection Outlines (left) (left) and Same Marquee Selection Filled with Solid Color (right) (right) Go to Filter > Distort > Polar Coordinates:

“Polar Coordinates” filter menu will pop up. Set options to: Rec tangular to Polar. In Preview window you’ll get to see what will be the result. Click OK to apply the filter.

By playing around with the rectangular shapes you’ll be able to get variety of results. You You can also press Ctrl+I to invert the image to play with positive/negative shapes.

 Result of “Polar Coordinate Filter” Filter” (left) and   Inverted (Ctrl+I) Image for Different Different Visual Visual Result (right) Using SketchUp

SketchUp (formerly known as: Google Sketchup) is a 3D modeling program that is used for wide range of disciplines such as architectural, interior design, engineering, film, and video game visualization design. There is a free and paid version of SketchUp. For creating layou ts you would start with a free version. Using SketchUp to create layouts is more involved than using any other method mentioned. You are using a 3d program to create a layout of your game world. This adds additional layer of complexity and time but the results can be worth it. The advantage of using SketchUp is ability to visualize your game world in 3d, rather than in 2d. You can communicate your idea a lot more clearly than you can with pen and paper drawings.

Created with SketchUp (By: Zbytovsky) The disadvantage is knowledge of the program and time. If you have never used it before, it will take you a bit to learn SketchUp to freely create the layout you see in your mind. Another disadvantage, it is too easy to begin beg in detailing and get carried away with spending a lot of time on something that will be used as a guide and will inevitably change in-game during the block-out stages of your level. What I Use:

I personally tend to use pen and an d paper and whiteboard the most. I begin by looking through the idea, collected photo reference images, focal points, objectives, story and all other preliminary work that was covered in previous c hapters. The first few drafts are very rough. I start with areas of the layou t that I have more clear idea of o f what they are. I am feeling out the process of where focal points, obstacles and objectives will take place. I think   primarily of how the player is going to navigate through the environment. The experience I want the  player to have. Another thing I do is visualize the game space in my mind constantly. I close my eyes and imagine the environment as it were already done. Once I have a few rough drafts, I redraw them a few times to refine the layou t to how I think it should  be. Sometimes I scan these layouts into Photoshop to refine and clean them up.

CREATING VISUAL PROGRESSION GUIDE Visual progression guide is a top down layout with visual reference. It helps to visually define focal  points, objectives and visualize your game environment along with the top-down view. Creating a visual progression guide is simple and there are 2 techniques you can use. Technique #1: Take the top down layout you already created and scan it into Photoshop:

Use concept art or photo reference images collected c ollected to define where focal points, locations, objectives, obstacles or any other elements you want to include that you think will help you to clear up the vision of  o f  game world:

This first technique is great to use for multiplayer maps and for stand-alone game environments. Technique #2: Second technique is to only use images to help you visualize each location in sequence of how the player will travel through your yo ur level or your game environment.

This is great for single-player level designs. So instead of placing photos of focal points, objectives, obstacles over a top-down layout, you use images without a top-down layout. The following visual progression guide is for single-player zombie level mentioned in this boo k.

ACTIONS – STEP 9: TOP DOWN GAMEPLAY Step 9.1: Is this a stand-alone game environment or playable map? Step 9.2: The following questions you should already have answered based on the initial idea. • If it is a single-player gameplay map, collect a list of objectives in order of which they need to be completed by the player  • If it is a multi-player gameplay map, what gametype is your level? (DM, CTF, Defusal, Domination, Conquest, Hostage Rescue etc.) • If it is a stand-alone game environment, what is your focal point/landmark? Step 9.3: Use any of the techniques covered on how to create a top-down layouts. • Pen and paper  • Whiteboard • Building blocks • Adobe® Photoshop® • Google Maps™ • SketchUp Step 9.4: Look back at everything collected c ollected so far: photo reference, concept art, story, focal points, objectives, set pieces (scripted events).

Begin to create a top down layout. Below you will find individual lists that will help you focu s on single-player maps, multi-player maps and stand-alone game environments. Designing Top-Down Layouts for Single-Player Gameplay Maps

If you are designing top down layouts for single player maps begin by defining wh ere the level will start with a player spawn and where whe re the level will end. Everything in between will be obstacles, objectives, situations and scripted events for the player to encounter and overcome. Primary Key Elements to Include for Single-Player Layouts: • Player starts and level’s ending position • Main progression pathways – How will the player go from start to finish? • Alternative routes • Item and weapon placement • Cover placement • Side-quests or side missions

• Playable areas and non-playable areas; bound aries of the map • Objectives the player has to complete • Obstacles the player has to overcome • Focal points and landmarks • Choke points or various confrontational battle areas • AI enemy placement; where battle areas can happen • Friendly AI interactions • Set piece (scripted event) locations and what will trigger them? • Storyline or cinematic triggers

With the layout completed, scan it onto your computer and create a Visual Progression Guide. Designing Top-Down Layouts for Multiplayer Gameplay Maps

If you are designing top down layouts for multiplayer maps, begin with any of the following - spawn locations, gameplay pathway flow, boundaries of the map or choke points. Primary Key Elements to Include for Multiplayer Layouts: • Spawning locations (player starts) for each player and for each team • Pathway of flow for each team • Alternative pathways • Playable areas and non-playable areas or boundaries of the map • Choke points; confrontational combat areas • Focal points/landmarks

Map’s objectives (hostage locations, rescue locations, control points, bomb sites etc) • Map’s • Item/weapon placement (if required for the gametype) • Cover positions • Sight lines

With the layout completed, scan it onto your computer and create a Visual Progression Guide. Designing Top-Down Layouts for Stand-Alone Game Environments

If you are designing top down layouts for stand-alone game environments, begin with a focal point/ landmark or boundaries of the world. Primary Key Elements to Include for Stand-Alone Game Environment Layo uts:

• Focal points/landmarks • Placement or spatial relationships of buildings, objects, and landscape • Playable areas (if it is a walkthrough environment) and non-playable areas; boundaries of  the map • Audio in specific areas (if required) • Scripted events (if required)

With the layout completed, scan it onto your computer and create a Visual Progression Guide.

STEP 10: VISUAL DEVELOPMENT

VISUAL DEVELOPMENT Visual development is the art direction that defines the visual theme, style, lighting, and color palette of  the environment. Visual development is usually done during conc ept art stages. Concept art is inspiration and visual goal of what yo u want your environment to look like. Concept artists would create the artwork that sets the art direction of the game and its environment. If you are working as a level designer or an environment artist in a studio, or you are a part of a larger  team – you will not be creating concept art. There will be a concept artist who defines the art direction of the project and you would have to keep true to the style and theme of the art work for environments and levels you create. But if you are a one-person team or a part of a very small team then you’ll have to find a way to define your own art direction for the project. So, what to do if you don’t have a concept artist on the team or you are one-person team? First option: find a concept artist who you can work with to help you define the art direction of the  project Second option: create concept art yourself. This option is probably the most time consuming and not  practical for everyone. I am a big believer in learning and knowing how to draw and paint your own concept art as a side interest, as a secondary discipline to improve your level design and game environment skills.

Concept artists study color theory, composition, space, layout, form and shape, and how to capture the essence or emotional impact of the environment. All these will greatly improve your own environments.

 Example of Concept Art 

 Final Fan-Made Level (Some UT2k3 Stock Assets)

But the time it takes to learn how to create concept art will be taken away from creating game environments. Don’t attempt to become a concept artist but learn the d iscipline to expand your artistic knowledge. The goal would be to get good enough to define your own art direction of any future projects. Third option : find concept art, traditional paintings, photography and film that mimic the style you are trying to achieve. Use that as a guideline for your own art direction of the project. This is probably going to be the most practical and accessible option out of the three.

STYLE Style is a distinctive appearance and visual characteristic of the game environment or level design. Every game, every game environment en vironment and every level design has a particular visual style. This could be how objects are modeled, how lighting is used, how materials/textures are created and which color   palette is used. All this has to be decided on ahead of time.

 Example of Style from Team Team Fortress 2 ©V ©Valve Corporation, All rights reserved. reserved. Some examples of games that have defining visual style: Bioshock series, Mirror's Edge, Crysis, World World of Warcraft, Warcraft, Portal series, Left4Dead series, Gears of War series, Limbo, Mario series and Team Fortress 2 just to name a few. The list can go on. Lacking art direction and style often makes a game fall into “average” visual category. It does not mean the game is bad. But with so many games being released your environments e nvironments and level designs need to stand out from the rest.

Also, style does not mean the latest next-generation graphics. 2d 8-bit environments (e.g. Super Mario Brothers) have style as well as realistic first person shooter (e.g. Battlefield 4). Your game environments and level designs need to stand out from others by having a distinctive visual style. Questions to help you define visual style: • What style will your environment be? How will it be visually different? • What color palette will you use (colors of the environment)? How will the props, architecture and characters be modeled? How will you show the distinctive visual style in your environment? • Photorealism? (e.g. Battlefield 4) • Exaggerated? (e.g. Final Fantasy 7) • Stylized/Illustrative? (e.g. Team Fortress 2) • Cartoonish? (e.g. Super Mario Galaxy) • 16-Bit Pixel Art? (e.g. Minecraft) • Abstract (e.g. Tetris, Geometry Wars) • Cel-Shaded? (e.g. XIII)

EXISTING GAME AND STYLE OR BRAND NEW PROJECT WITHOUT PRE-EXISTING STYLE The main question you need to answer at this point is: • Are you creating a stand-alone game environment or a level design for an existing game that already has a visual style defined?

or  • Are you creating a stand-alone game environment or a level design that is not a part of a  pre-existing game and style and you are starting from nothing, just an idea?

If you creating for an existing game that already a lready has a visual style defined, this usually falls into several categories: • You are working in a studio on a specific game • You are working on a mod team • You want to create a custom level for one of your favorite games that contain modding tools and a level editor such as Half-Life 2, Left4Dead series, Portal series, Counter-Strike series, ARK: Survival Evolved, COD: Modern Warfare, Doom 3, Quake series or Unreal Tournament series etc.

This means the style of the game environment a nd level design you will create has to resemble game’s art direction. It doesn’t mean that you can’t create an environment that is c ompletely different, visually. visually. Of course you can. But the main purpose you’ll be working on an existing game is to create and extend that game’s world by creating new levels that fit into the universe of that game for others to play. If you are creating a brand new environment and level design that has h as no pre-existing game art direction to follow this usually means: • You are creating your own game g ame and have to define your own visual style and art direction • You are creating a single stand-alone game environment without any gameplay; for main reasons of including the work in your portfolio po rtfolio • You are creating a new and a nd original style stand-alone game environment to showcase to others and to learn a specific game engine

In this case, you are free to define de fine any style you want to follow. You You are not bounded to a pre-existing art direction and gameplay. g ameplay. You You have flexibility to explore any visual theme you want. wan t. Of course, this means you’ll have to spend more time figuring out the art direction of your project. How it’s going to look, color palette, lighting, how objects/props are going to be modeled, which textures and what material properties you are going to use etc.

VISUAL DEVELOPMENT FOR LEVEL DESIGN AND STAND-ALONE GAME ENVIRONMENTS FOR A PREEXISTING GAME In many projects you will create environments and leve l designs for already established games or mods. The art direction and visual style has already been defined by the game ga me for you to follow. The way textures and materials look, how objects o bjects are modeled, the way game looks and plays – all already set by existing mechanics and graphics. You You would only focus on the visual development of  each level and game environment to stay true to the art direction and visual style of the game. This means you would focus on the layout, theme, architecture, lighting, focal points, objectives, obstacles and set pieces. As an example, if you are creating a custom map for Team Fortress 2 you have to stay within the game’s art direction and visual style. The level has to fit into the game world of Team Fortress 2. So a Middle East setting with photorealistic texturing and real-world layout would not fit into the Team Fortress 2 universe. Your goal is to create a stand-alone game ga me environment or a level design that fits into an existing visual style of the game. So if the game already defines a visual style for you, what do you need to focus on? You still have a lot of artistic flexibility within a pre-existing game world style. Focus on defining the following areas in your project:

• Type of environment you are going g oing to create • Layout • Theme • Focal points • Objectives • Obstacles • Set pieces • Architecture style • Lighting (atmosphere, color palette, time of day)

If you are creating a custom level for TF2, TF 2, then you already know kno w the game’s style is very cartoony. Player characters are exaggerated, they cover co ver a lot of distance while they run, some can jump very high and the architecture and lighting are stylistic. Pre-defined art style of the game creates a set of constraints for you to follow. This actually makes your  work a bit easier. Instead of focusing on creating your own visual style and art direction of the project, you focus on the game environment itself. Answer this question: • What would I need to do to create this game environment to be a part of an existing universe, yet be different than what already has been done?

If you want to create something that doesn’t fit into a pre-existing game world, then you have to create your own art direction to follow.

DEFINING VISUAL STYLE FOR YOUR ENVIRONMENT If you are creating a game environment that isn’t a part of a pre-existing game then v isual development will play a larger role of preproduction. You would have to define your own art direction of the project. You would need to: 1. Find a concept artist 2. Create your own concept art 3. Collect images that mimic the style you want to achieve

We covered three options earlier in the chapter and for this section we are going to focus on option #3. It is very likely you will be creating a playable map or a stand-alone game environment by yourself and you are not a concept artist. Yet, you still have to make sure that your project has a definitive visual style.

Begin by collecting images from traditional paintings, photos and concept art that resembles the feel and style you are after. These should inspire and help you to define the visual quality for the game environment. What do you want your environment to look like? What distinctive style are you after? Go back and search the web for: • Traditional paintings • Concept art • Videogame screenshots • Movies • “Making of” books for games and movies

Collect similar visual style of work. Focus on: • Lighting • Colors • Stylization of the world (distinctive style of props, characters, architecture) • Atmosphere and feel • Architecture

Create a new folder named “Visual Development” inside your project folder and save these images into it.

LIGHTING AND COLOR PALETTE Color and lighting are going to be one of the most important elements that define art direction of your  game environment. Color and lighting will determine the atmosphere and mood of the world. • What is the color palette you will use to define your environment? • What lighting ration of light vs. dark are you going to use? • Are your primary environment colors cool? Are they warm?

 Example of Color Palette (Photo by Benjamin Lambert)

 Example of Lighting (Photo by Patrick Schopflin)

The idea, theme, setting and location will play a large part of this process. Light vs. Dark 

Light vs. dark creates contrast. It is visually appealing and d ramatic when you have clearly defining areas of light and shadow which creates visual interest, atmosphere and draws the viewer ’s or player’s attention.  Not every environment will require high dark to light or light to dark ratio; ratio; some will need slight variation. It all depends on your defined d efined theme. Using different ration of light and dark within your level or stand-alone game environment will communicate a different emotion to the player. Another terms used for light vs dark rations are high-key and low-key lighting.

 Example of High-Key Lighting (Photo by Mickey O'neil) High-key lighting aims to reduce the lighting contrast ratio in the scene. It often suggests upbeat and uplifting mood. Low-key lighting aims to increase the lighting contrast in the scene. It often suggests dramatic, sinister  and on edge mood.

In traditional art low-key lighting is also known as chiaroscuro effect which con tains strong contrasts  between light and dark.

 Example of Low-Key Lighting (Photo by Stacey Hines) As you play games and watch movies, pay attention to high-key and low-key lighting and notice what kind of atmosphere and mood does it communicate. You must decide before creating a playable level or stand-alone game environments: • How much contrast of light to dark are you going to have? • Are you going to use high-key or low-key environment?

Here are few more examples.

 Light vs. Dark (more light than than dark and high-key) (Photo by Nolan Issac)

 Dark vs. Light (more dark than light and low key) (Photo (Photo by Janus Y)

Cool vs. Warm

Light vs dark was about value or lighting. Cool vs warm is about color. • What are the primary colors of your environment? • Are they warm? (reds, oranges, yellows) • Are they cool? (blues, greens, violets)

Cool and warm color palette evokes a different emotional feeling within the player. Cool color palette environments tend to be used u sed for night time, horror survival, sci-fi themed settings. These types of environments are usually sinister, unknown, uninviting settings. Warm color palette environments tend to be used for day time, fantasy, cartoony, cartoony, stylistic themed environments. These tend to be inviting, equal light to dark ratio, not much contrast. Super Mario 64 environments primarily use a warm color palette, bu t few environments within the game use a cool color palette such as “Jolly Roger Bay” and “Cool, Cool Mountain”. Left4Dead 2 environments primarily use cool color palette, but a few campaigns within the game use a warm color palette such as “Parish” campaign. You must decide before creating a playable level or stand-alone game environments: co lor palette? Warm or Cool? • What is your primary color

Warm Color Palette (By Julius Ju lius Leblanc Stewart 1908)

Cool Color Palette (By Carl Friedrich Heinrich Werner 1836) We’ll talk about environment color theory in just a bit. But cool vs. warm color combinations work well using complementary color scheme. Complementary color palette contains colors directly opposite each other in the color wheel, such as red and green, blue and orange or purple and yellow. • If the dominant light in your environment is warm (orange), make ambient/shadows cool colors (blue) • If the dominant light in your environment is cool, highlight important areas with warm colors

Warm Dominant Light with Cool Shadows (Photo by Greg Panagiotoglou)

Cool Dominant Light with Highlighted Warm Warm Colors (Photo by Chen YiChun)

Primary/Dominant Light Source

To help decide light vs. dark and cool vs. warm – think of what is your primary or dominant light source in the scene going to be. • Is it day time or night time? • What is the main light source that will illuminate your scene? Where is the light coming from? • Is your dominant light the sun? Moon? Interior lights (lamps)? Flashlight? Fire?

Knowing this will help to decide if your primary colors are warm or cool and if lighting is high-key or  low-key. Sun will produce warm color palette. Depending on the time of day it can also create high-key (low contrast) or low-key (high contrast) lighting. Moon will produce cool color palette. Night time also tend s to be low-key (high contrast) lighting.

 Example of Warm Warm Color Palette and Low-Key Lighting (Photo by Anthony Delanoix)

 Example of Cool Color Palette and High-Key Lighting (Photo by Alex Franzelin) For your level design or stand-alone game environment project decide, how much of o f light vs. dark ratio you are going to have and if you are going to use a cool or warm color palette. Remember these decisions will be based on the theme of your idea. If your theme is a survival horror environment then dark muted cool colors and high contrast of light to dark may be what you yo u need. While a fantasy environments may require warm color palette and more even distribution of light to dark contrast. Doom 3 environments contain high dark to light ratio (low-key) and cool dominant color palette. Team Fortress 2 environments contain even light to dark ratio (high-key) and warm color palette.

ENVIRONMENT COLOR THEORY Knowing color theory is very important to help yo u decide on a color c olor palette. Environment color can be broken down into two areas. Psychological effect it has on the player or  viewer and harmonious color palette combinations that produce that effect. Psychological Effect

There are psychological effects that color has on the viewer or player and certain symbolism that is associated with each color. c olor. These are few examples that have been proven to work in evoking a certain feeling.

• Reds: attention, danger, high energy

 Reds: attention, danger, danger, high energy (Photo by Dawn Armfield) • Blues: calm, serenity, serenity, color of the sky and water, freshness but certain shades can mean depression

 Blues: calm, serenity, serenity, freshness but also also depression (Photo by Nick Kane) • Greens: nature, health, vibrancy but certain shades can also mean envy, jealousy, greed and sickness

Greens: nature, nature, health, vibrancy but also envy, jealousy, greed and sickness (Photo by Paul Summers) prosperity, but also caution • Yellows: sun, gold, prosperity,

Yellows: sun, gold, prosperity, prosperity, but also caution (Photo by Crew) • Oranges: happy and lively, calm. Autumn colors of change and seasons

Oranges: happy, lively, lively, calm and also chang e, seasons (Photo by Lukasz Szmigiel) • Purple: royalty, mystical

 Purple: royalty, royalty, mystical (Photo by Mike Enerio) • White: truth, purity

White: truth, purity (Photo by Maragda Farràs) • Black: death, darkness

 Black: death, darkness (Photo by Daniel Burka) Combination of various colors together will yield different result and thus a different feeling. Color Harmonies

We can’t talk color without discussing harmonious color combinations. There are certain colors that complement each other and are recommended to be used together in the scene. Using these color schemes will help game environments to be more visually appealing. Here is the standard color wheel that we’ll use.

Let’s Let’s go over some of the most common color combinations and their use. Monochromatic : is one single color with various light to dark values (tints, tones, shades) within that one color. You You pick one color on o n the color wheel and make that color brighter (tinting, or adding white) or darker (shading, or adding black). As an example, the game “Limbo” uses a monochromatic color   palette.

Monochromatic palette is simple, yet very effective.

 Example of Monochromatic Color Palette (By Caspar David Friedrich Friedrich 1808)

 Example of Monochromatic Color Palette (Photo by Brady Bellini) Bellini)

Complementary : colors directly opposite each other in the color wheel, such as red and green, blue and orange or purple and yellow. Complementary color palette is very effective and simple to use in any type of environment.

After you choose the dominant light color of the environment, introduce a complementary and opposite color on the color wheel into the scene to balance out the dominant light color.

 Example of Complimentary Colors (Albert Bierstadt) Bierstadt) Analogous : three colors that are next to each other on the color wheel, with one color being the dominant and 2 others secondary.

 Example of Analogous Colors (Photo by Antoine Beauvillain)

Triad: colors that are equally spaced around the color wheel, linked together by a straight line to form a triangle.

Triadic color harmony is a bit more difficult to use due to introduction of the third co lor. But the key to using triadic color scheme or any other scheme listed here is to allow one color to dominate the scene and use the other colors as secondary to accent and detail. Example below is triad color scheme with yellow, red and blue.

 Example of Triad Triad Colors (Photo by Dorothee Hübner) Split Complementary : is a variation of the complementary color combination. Choose the complementary colors then take one of the colors and use a color on o n both sides of one compliment.

 Example of Split Complementary Colors (Photo by Wil Wil Stewart)

Split complementary color scheme is more subtle color use then just using complementary yet provides same strong visual contrast. Tetradic : double complementary color scheme. This uses four co lors arranged in two complementary  pairs. This color combination is also called rectangular colors. colors.

Tetradic color combination is more difficult to control and require a bit more experience with color to make it work.

 Example of Tetradic Tetradic Colors (Photo by Jennifer Langley) Square: this color combination is similar to tetradic (rectangular); choose 4 colors that are evenly spaced around the color wheel.

 Example of Square Colors (Photo by Thomas Tucker) Tucker)

Choosing and Using Color Palette Combinations

Start with looking over your image reference to help you decide on what color combination you will use. Look over concept art for mood and feel of the scene. Considering the time of day will help you determine the color combination scheme. The key to using any of the color combinations is balance. You have to allow one color to dominate and  be the primary color while additional colors are secondary and used to accent and detail with. Two or more colors should not be used equally in the scene. For example, if you are going with a complementary color palette of orange and blue, don’t try to make orange color being 50% of the scene and blue also 50% of the scene. One color has to dominate the scene, while the other is used sparingly. • Pick a color combination • Pick one color that is going to be dominant color in the scene • Introduce a second, third and fourth color into the scene at a smaller percentage. For  example: dominant color orange at 80% which wh ich will come from the sun and 20% is blue in the shadows to balance out the orange scene.

As you choose color combination for your you r environment you will also have to decide de cide on light vs. dark  and warm vs. cool ratios discussed earlier in this chapter.

USING VALUE AND COLOR FOR FOCAL POINTS AND TO GUIDE THE PLAYER  We covered earlier that you can use focal points and landmarks to guide the player. You can also use value (dark/light) and color to guide the player’ player ’s attention to important sections within your stand-alone game environment and playable level. Anything that creates contrast will demand the player’s attention. Using Value

Use value (dark/light) to create contrast. Instinctually, Instinctually, humans will tend to seek light and avoid darkness. You can guide the player  subconsciously within your game environment by u sing light. If presented with a choice of an area with a light on vs an area with a light off – the player tend to go towards a lit section without consciously thinking about it. Use this in y our own stand-alone game environments and playable levels. Highlight important locations by creating contrast of light vs dark.

 Example of Contrast Using Value Value (Light/Dark) (Photo by Jani Brumat)

 Example of Contrast Using Value Value (Light/Dark) (Photo by Robin Rocker)

Using Color

Use color to create contrast and draw attention to a particular section where you want the playe r to notice something or go towards. To do this you have to use a color in uneven ratios, where one color  dominates the scene and contrast is created with a ddition of complimentary color.

 Example of Contrast Using Color (Photo by Faye Cornish)

 Example of Contrast Using Color (Photo by Stainless Images) Images)

ACTIONS – STEP 10: VISUAL DEVELOPMENT Step 10.1: Define the style of your game environment.

Choose to: 1. Create your own concept art 2. Work with a concept artist 3. Collect concept art online that mimics the art style you are after 

Answer the following questions: • What visual art style will your environment be? Will it be Realistic? Exaggerated? Stylized? Cartoonish? Etc. • How will it be different visually? • What is the color palette of your environment? • How much dark vs. light ration you’ll use? Is your scene more high-key or low-key? • Is your environment using warm color palette or cool color palette?

Step 10.2: Begin collecting reference of concept art that mimics the art direction you are going after. Focus on the following: • Concept art • Traditional paintings

You can expand into looking at videogames and movies to find the visual style that is similar to your  idea. • Videogames • Movies

Focus on color palette, lighting, atmosphere and the visual art style. Step 10.3: Collect all the images you find into the reference image folder within your project. You can organize these images better by placing them into “Art Direction” folder. Step 10.4: Decide on a color palette from the collected images. • What is the color palette scheme of your game environment? • What is the dominant color? • What are the secondary colors? • What is the primary light source color? Shadow colors? • How much light vs. dark is in your scene? • Will your game environment use a warm or cool color palette?

STEP 11: 11: MAKING MAKIN G LISTS

CREATING CREATING LISTS LIS TS It is the last step of Preproduction Blueprint. By now you should have: • Refined idea • Project purpose and statement • Features of your level or stand-alone game environment en vironment • A setting, location and theme • Collected photo/image reference • Environment story • Defined objectives, obstacles and set pieces (scripted events) • Focal points/landmarks • Top-down layout • Visual development of how your level or game environment will look  • List for what you need to create and what to work on next; a plan of action

With all this preliminary work done, it is time to create lists. Lists will help you organize a series of tasks that need to be worked on, assets that need to be created, what you should be focusing on at any given time. Do not keep anything in your head. Write everything down. Lists are broken down into three following categories: 1. Assets list (3d models, textures, materials, audio/sound, particle effects) 2. Production list (pipeline of what to work on and in what sequence) 3. Project management document or on-going list that includes notes, bugs/errors you need to fix, things you need to do next

These are the 3 lists you should start with. Once you have experience and knowledge working on a few  projects you should change and adapt lists that work for you. Let’s break them down one-by-one.

ASSETS LIST Assets list includes 3d models, textures, materials, audio, animations, particle effects, interface menu or  any other item that has to be created or collected to be included in your playable map or stand-alone game environment. • Make a list of all known assets you would need to include to create playable level or standalone game environment

If you are not sure what assets you need, start by going through your you r previous steps of Preproduction Blueprint. Look at you location, setting, features, objectives, obstacles, set pieces, concept art and photo reference. Start with assets you known you must have and expand from there. You may not figure out everything you need to create or collect. Many assets will be created as you are working on your project. But you should be able to list most of what you would need just by going over  the preliminary work you’ve done so far. 3D Models/Props

These assets include 3d models to be created or collected in order to construct your world. If you are creating an urban city street you know you would need: modular building assets (windows, walls, doorways, fire escapes, and pillars), light posts, curbs, roads, sidewalk, trash and debris, trash can, newspaper dispenser, manhole cover etc. The list goes on. Look at concept art and image reference of your project. Begin to list 3d models and props your  environment requires. Break your scene down into 4 elements: 1. Major architectural elements such as buildings, bridges, walls, windows, doors, doorways, columns, pillars, stairs, roads, sidewalks, ve hicles, trains etc. 2. Minor architectural elements are architectural detail such as pipes, fences, railing, light  posts, light fixtures, building signs, signs, electric boxes, ac units etc. 3. Props are fill-in items that are used to detail your level. These include furniture (shelves, desks, chairs etc.), cups, cans, computers, wall decorations, trash cans, trash, ba rrels, debris etc. Everyday item detail items used by people. 4. Landscape and foliage such as trees, bushes, grass, rocks.

Begin by breaking your environment env ironment down into these four main categories and list all 3d models/props that you would need. Texture/Materials List

Textures and materials include a list of surfaces that you need to texture your playable level or standalone game environment. You will often hear and use a phase “texturing” your map or environment but, there is a difference between a texture and a material.

Texture is a single file, a 2d static image. It is usually a diffuse, specular or a normal map file that you would create in Photoshop, Gimp or other software from photographs and hand-painted textures. These 2d static images are then saved as tga, tiff, bmp, png or other file type and an d imported into a game engine to be used as part of a material. You You would not apply these textures directly to geometry inside a game engine but use them as part p art of a material.

textures combined combined together together inside inside a game engine. Materials Materials include include Materials are made up of various textures various textures and expressions that creates a network of nod es. The final result is a material you can use to apply onto your geometry inside the game engine. Materials are what y ou see rendered in-game. To keep it simple, we’ll use the word “texture or texturing”. Look back on all the the photo reference reference you’ve you’ve collected. collected. Do you need a lot of wooden wooden textures? textures? Concrete? Brick? What type of wood, concrete or brick? Old, new, clean, worn out, damaged , weathered away? • Make a list of all surfaces (textures/materials) you would need to use (custom or not) for   playable level or stand-alone game environments

These textures may need to be created or collected. These textures may also already be included in the level editor you use. As you make texture/material list, you don’t have to list every texture that will be a  part of your game world. Only focus on the primary visual texture theme of your project. Focus on listing textures which make up your game environment. In the example image below, break it down to primary textures that make u p this environment.

Creating Material/Texture List from Reference Photo • Columns – Concrete (dirt, some weathering) • Building – Brick (weathered, red) • Awning Column – Metal (minor weathering, black) • Fire escapes - Metal (weathered, peeled paint, red) • Road – Pavement (used-up, some cracks, weathered, exposed to constant rain and sun)

You would continue to look at photo reference and breaking down your game environment, listing all the textures you require with notes about each e ach texture quality. If someone were to ask you what textures make up majority of your environment, you should be able to say what they are and what surface qualities most of them contain. You will also notice notes for each texture listed. These notes are broken down into categories to help specify and clarify a visual surface quality to unde rstand what you will be dealing with during  production. • Surface Quality: old, new, weathered, damaged, used-up etc.

• Roughness: irregular, uneven, course surface (will not reflect a lot of light) • Smoothness: very even, smooth surface (will usually reflect a lot of light – shiny) • Specularity: is the surface shiny or matte? Does it reflect a lot of light? • Reflectivity: does the surface reflect a lot of light (glass, mirror, metal) • Color: what is the main color of the texture • History: what does the texture experience on daily basis; what is the history of this surface and how did it come to be damaged or weathered away? Audio List

Audio list contains environment sounds and trigger-able sounds. Environment Sounds are looping ambient, backg round sounds. Some examples are nature (rain, wind, foliage, birds, water), people chatter, traffic, ac vent or other mechanical machinery etc. – sounds that happen in a specific section of the environment without the player doing something to make them happen. Trigger-able Trigger-able Sounds are caused by a player directly or indirectly indirectly through a trigger in-game. Some examples are a button click, door opening/closing, unlocking a chest, explosion then fire and alarm etc. • Make a list of all audio sound effects to include in a playable level or stand-alone game environments

If you are in urban downtown area, the audio list maybe: ac units, un its, car engines, car horns, people talking, crowd noise, dog barking, vehicles ve hicles such as a garbage truck, or bus etc. Think of what it would require to create believable city ambience. Make a list of everything that comes to mind. Look at reference images to help envision e nvision the audio in your environment.

Creating an Audio List from Reference Photo (Photo by Paul Green) Particle Effects List

Particle Effects include things like rain, snow, fire, sparks, smoke and dust. Approach particle effects list the same way as all previous lists. Look through image reference and note  particles you would need to include in the playable level or stand-alone game environment. • Make a list of all particle effects to include in a playable level or stand-alone game environments All Lists

You now have 4 on-going Assets List for: • 3d Models for Architecture, Foliage and Props • Materials and Textures • Audio/Sound Effects • Particle Effects

You would either have to create these assets yourself, collect them or pass it along to another artist on your team who will be in charge c harge of creating or collecting them. Don’t worry if you leave anything out. Some assets will never make the final level or stand-alone game environment and others will be added onto a list during production. Your project will always be evolving and you will be removing and adding assets all the way until release. The key is to write down as much as you can think for what you need and update these lists as you continue deep into the production.

PRODUCTION PIPELINE LIST Production Pipeline List is the phases you need to work on in order to create a playable level or standalone game environment. These phases often includes blocking-in a layout with BSP brushes, play-testing, creating textures and materials, modeling, baking high-rest to low-res, uving, texturing the environment, setting up scripted events and so on. Your production pipeline list will vary from project to project. It will depend o n many factors such as what software, game engine you are using and the style and scope of the game environment. For single player you’ll need to focus on gameplay, scripting, AI, story, cinematics while for stand-alone game environment these wouldn’t apply. The following are pipeline overviews for 3d modeling, single player level design, multiplayer level design and stand-alone game environments. Use these pipeline phases but change them up u p to fit your   project. Depending on the environment, some process steps may be omitted. Please note that the following list is an overview and not a comprehensive step-by-step process to follow. follow. There are many ways to complete a project; the listed steps are one of many. 3D Modeling Production Pipeline

Modeling game environment assets contain a series of steps in order to finish a game-ready model. • Low-poly model • High-poly sculpt • UV mapping • UV layout • Diffuse texture • Normal map texture (Baking High-Poly to Low-Poly to acquire normal maps) • Lightmaps • Clean-up: tweaking and optimizing • Creation of LOD (level of detail models) • Collisions • Export from 3D modeling package • Import into game engine Single-Player Level Design - Production Pipeline List:

Single-player level design production steps to complete a playab le map.

• Layout block-in (usually done with BSP brushes or with similar basic primitive function inside the game engine) • Gameplay integration and scripting (objectives, obstacles, mission design, AI, story cinematics, combat, map flow etc.) – gameplay focus; no visuals • Extensive play-testing and layout changes based on gameplay feedback  • Texturing the level (may require texture/material creation)

a ssets: architecture, foliage, props, etc.) • Placing and detailing with 3d models (game assets: • Lighting the level • Atmosphere and post-process • In-game integration (making the map show up in game menus, adding loading map images etc.) • More play-testing and tweaking (gameplay and visuals) • Release beta • Feedback changes and fixes from beta • Final release Multiplayer Level Design - Production Pipeline List:

Multiplayer level design production steps to complete a playable map. • Layout block-in (usually done with BSP brushes or with similar basic primitive function inside the game engine) • Gameplay integration and scripting (gameplay map objectives, spawn for ea ch team, map flow, flow, pathway flow, choke points) – gameplay focus; no visuals • Extensive play-testing for balance, pacing and flow and layout changes based on gameplay feedback  • Texturing the level (may require texture/material creation)

a ssets: architecture, foliage, props, etc.) • Placing and detailing with 3d models (game assets: • Lighting the level • Atmosphere and post-process • In-game integration (making the map show up in game menus, adding loading map images etc.) • More play-testing and tweaking (gameplay and visuals) • Release beta

• Feedback changes and fixes from beta • Final release Stand-Alone Game Environment - Production Pipeline List:

Stand-alone game environment production steps to complete a non-playable, non-interactive environment. • Layout block-in (usually done with BSP brushes or with similar basic primitive function inside the game engine) • Play-testing for scale and if it is a walk-through environment • Texturing the level (may require texture/material creation) • Placing and detailing with 3d models (game assets: a ssets: architecture, foliage, props, etc.) • Lighting the level • Atmosphere and post-process • Creating a camera fly-through of the environment and screenshots • Final tests and fixes • Release

PROJECT MANAGEMENT DOCUMENT “Project Management” includes ongoing notes, research, tasks to do, errors/bugs to fix, ideas to implement, features to update or remove. All must be noted down as you work on your project. If you remember, we started a “Project Management” document in Step 5. You You will now write everything down into “Project Management” document to keep track of on-going process and updates on your project. I personally keep this very simple and use Word document; but I also do not have a team to manage. mana ge. If  you have a larger project that contains a team of people then you would need to look into Project Management software to help your development. You may also feel more comfortable with using Project Management software rather than a simple Word document. There is a lot of software available for Project Management. So me software is free while other has a  price tag. You You can search “game development project management software” to get your research started. There is also a very extensive Wikipedia page that lists Project Management software –  https://en.wikipedia.org/wiki/Comparison_of_project_management_software I recommend keeping it simple as much as you can and do not complicate your pipeline unless you absolutely have to. Starting a Project Management Document:

• Create a Word Word document and name it or start a new project using Project Management software • Define sections or categories

Categories can include: Tasks/To Do (can be broken down d own into further categories such as Art, • Upcoming Tasks/To Programming, Marketing etc.) • Currently Doing/Working on • Done/Completed • Ideas • Notes • Improvements • Features • Known Issues • Errors/bugs • Feedback and Critiques • Sections of your game environment and what needs to be done in each one • Any other category that you feel you need for your project

Date all entered items so you know when whe n it was included. Begin your Project Management document where you will enter items into and keep it on-going workin-progress document.

VISUALIZING Visualizing is imagining in your you r mind’s eye what your final level design and stand-alone game environment will look like, play like and feel like. Many artists knew exactly what their final work would look like before it was created. Michelangelo was asked how he created the statue of David from a single piece of marble. His answer was that the sculpture was already underneath it and all a ll he had to do was to carve the pieces that weren’t David. Dav id. Visualizing is rarely talked about, but it is one of the most important techniques you probably already do. Just by having an idea and a few reference images, you have already begun to see in your mind how you want the playable level or stand-alone game environment to look, feel and play. How to Visualize Your Your Level Design and Game Environment: • Close your eyes

• Picture/imagine yourself walking through completed stand-alone game environment or   playable level • If it is a playable level, play it in your y our mind. See the obstacles, set pieces and objectives; visualize choke point battles – experience playing your map. Visualize spawning, running to the choke points and engaging in battles. • Visualize the environment’s atmosphere, style, theme, lighting and all the visual details in the environment. • Imagine it vividly as you can. • If some mental images in your mind are fuzzy and unclear – then focus on sections of your  stand-alone game environment or level design where there is more clarity. Go through concept art, photo reference, objectives, obstacles and set pieces list. Look over everything you’ve done up to this point of the book to help. • The more you visualize and go through preproduction then into production your mental images will become clearer and update with how you see your completed project. • Listening to music that mimics the atmosphere and theme of the environment you are trying to create helps to visualize better.

Visualizing is extremely powerful tool to see your environment already c reated without opening up a level editor.

ACTIONS – STEP 11: LISTS Step 11.1: Go through all of your preproduction up to this point. • Refined idea • Project purpose and statement • Features of your level or stand-alone game environment en vironment • A setting, location and theme • Collected photo/image reference • Environment story • Defined objectives, obstacles and set pieces (scripted events) • Focal points/landmarks • Top-down layout • Visual development of how your level or game environment will look  Step 11.2: Create Assets List.

Assets list includes 3d models, textures, materials, audio, animations, particle effects, interface menu or  any other item that has to be created or collected to be included in your playable map or stand-alone game environment. • Make a list of all known assets you would need to include to create playable level or standalone game environment

These include: • 3d Models for Architecture, Foliage and Props • Materials and Textures • Audio/Sound Effects • Particle Effects Step 11.3: Create Production List. What is the process that you are going to use to create this environment? Here are basic guidelines for single player, multiplayer and stand-alone game environments. Use these guidelines and change them up to fit your project. 3D Modeling Production Pipeline:

Modeling game environment assets contain a series of steps in order to finish a game-ready model. • Low-poly model • High-poly sculpt • UV mapping • UV layout • Diffuse texture • Normal map texture (Baking High-Poly to Low-Poly to acquire normal maps) • Lightmaps • Clean-up: tweaking and optimizing • Creation of LOD (level of detail models) • Collisions

Export from 3D modeling package • Import into game engine Single-Player Level Design - Production Pipeline List:

Single-player level design production steps to complete a playab le map.

• Layout block-in (usually done with BSP brushes or with similar basic primitive function inside the game engine) • Gameplay integration and scripting (objectives, obstacles, mission design, AI, story cinematics, combat, map flow etc.) – gameplay focus; no visuals • Extensive play-testing and layout changes based on gameplay feedback  • Texturing the level (may require texture/material creation)

a ssets: architecture, foliage, props, etc.) • Placing and detailing with 3d models (game assets: • Lighting the level • Atmosphere and post-process • In-game integration (making the map show up in game menus, adding loading map images etc.) • More play-testing and tweaking (gameplay and visuals) • Release beta • Feedback changes and fixes from beta • Final release Multiplayer Level Design - Production Pipeline List:

Multiplayer level design production steps to complete a playable map. • Layout block-in (usually done with BSP brushes or with similar basic primitive function inside the game engine) • Gameplay integration and scripting (gameplay map objectives, spawn for ea ch team, map flow, flow, pathway flow, choke points) – gameplay focus; no visuals

Extensive play-testin play-testing g for balance, pacing pacing and flow and layout changes changes based on • Extensive gameplay feedback  • Texturing the level (may require texture/material creation)

a ssets: architecture, foliage, props, etc.) • Placing and detailing with 3d models (game assets: • Lighting the level • Atmosphere and post-process • In-game integration (making the map show up in game menus, adding loading map images etc.) • More play-testing and tweaking (gameplay and visuals) • Release beta

• Feedback changes and fixes from beta • Final release Stand-Alone Game Environment - Production Pipeline List:

Stand-alone game environment production steps to complete a non-playable, non-interactive environment. • Layout block-in (usually done with BSP brushes or with similar basic primitive function inside the game engine) • Play-testing for scale and if it is a walk-through environment • Texturing the level (may require texture/material creation) • Placing and detailing with 3d models (game assets: a ssets: architecture, foliage, props, etc.) • Lighting the level • Atmosphere and post-process • Creating a camera fly-through of the environment and screenshots • Final tests and fixes • Release Step 11.4: Create Project Management document or use Project Management software.

Project Management includes ongoing notes, tasks to do , errors/bugs to fix, ideas to implement, features to update or remove etc. All of these must be noted down as a s you work on your project. p roject. Write everything down into Project Management document to keep track of on-going process and updates on your project. Project Management Document Steps:

Word document and name it “Project Name – Project Management” or start a new • Create a Word  project using Project Management software • Define sections or categories

Categories can include: • Upcoming Tasks/To Tasks/To Do (can be broken down d own into further categories such as Art, Programming, Marketing etc.) • Currently Doing/Working on • Done/Completed • Ideas • Notes

• Improvements • Features • Known Issues • Errors/bugs • Feedback and Critiques • Sections of your game environment and what needs to be done in each one • Research • Any other category that you feel you need for your project

Date all entered items so you know when whe n it was included. Project Management is an on-going document for you to constantly enter notes into and keep it up to date on the status of your project. Step 11.5: Visualize.

Visualizing is imagining in your you r mind’s eye what your final level design and stand-alone game environment will look like, play like and feel like. • Close your eyes • Picture/imagine yourself walking through completed stand-alone game environment or   playable level • If it is a playable level, play it in your y our mind. See the obstacles, set pieces and objectives; visualize choke point battles – experience playing your map. Visualize spawning, running to the choke points and engaging in battles. • Visualize the environment’s atmosphere, style, theme, lighting and all the visual details in the environment. • Imagine it vividly as you can. • If some mental images in your mind are fuzzy and unclear – then focus on sections of your  stand-alone game environment or level design where there is more clarity. • Go through concept art, photo reference, objectives, obstacles and set pieces list. Look  over everything you’ve done up to this point of the book to help. • Listening to music that mimics the atmosphere and theme of the environment you are trying to create will helps to visualize.

FINAL: PREPRODUCTION BLUEPRINT

LEVEL DESIGN/GAME ENVIRONMENT PREPRODUCTION BLUEPRINT After going through all 11 sections of the book and completing action steps at the end of each chapter, you now have a full “Preproduction Blueprint” worksheet with the following: • Refined idea • Chosen environment setting, location and theme • Defined project and environment purpose • A set of features • Collected photo reference and concept art • Environment’s story • Defined objectives, obstacles and set pieces • Focal points/landmarks • Defined visual style for the project • Top-down layout • Lists to work through during production

Project’s “Preproduction Blueprint” will serve as a guideline to follow to begin creating your playable level or stand-alone game environment. But remember, this is only a plan to guide you. Onc e production begins, you will inevitably experience unforeseen problems and receive feedback that may force you to change your layout, landmarks and focal points, objectives and obstacles, environment story, some features, set pieces and style. Be flexible to change based on feedback you are receiving but at the same time you must keep true to your initial core idea that excited and inspired you. It is a balance you will have to achieve and decisions de cisions you will have to make. The initial idea (Step 1), project’s purpose (Step 3) and set of features/benefits (Step 4) are the essence of your project. You could change everything else about the project yet still maintain what you wanted the player to experience if you keep true to initial idea, project purpose an d features. Sometimes the project may change considerable from your initial plan and you might be forced to change project’s purpose and features. At this point you should go bac k to preproduction and figure out a new plan. You will need to redefine WHY you are doing what you are doing.

Most importantly remember – preproduction is a very small price to pay if you end up not n ot liking your  idea and want to try something else. e lse. It is better to know this before you start your project, rather than in the middle of production. What do you do when you have completed the entire book and have gone through the “Preproduction Blueprint”?  Next step is to begin prototyping the playable level or stand-alone game environment. You You must move  beyond planning into implementing and testing gameplay inside a game engine of your choice. Prototyping involves creating simple geometry block-in of the layout and integrate gameplay mechanics into the level to playtest. Prototyping only focus is on functionality and not visuals. For level design (playable level) Prototyping involves: • BSP brush (simple geometry) block-in of your layout (also known as whiteboxing) • Integrating gameplay map mechanics • Continuous refinement of the layout and testing gameplay mechanics of the level before moving on to visual design stage For stand-alone game environment Prototyping involves: • BSP brush (simple geometry) block-in of your layout (also known as whiteboxing) • Focus is on spatial relationships of the environment, scale and d imensions • Integrating scripted gameplay mechanics (if (if any such as scripted events, interactive walkthrough mechanics) • Continuous refinement of the layout before moving on to visual design stage

During prototyping you do not attempt to light, texture, model or detail your map. You keep everything  basic to integrate functionality and gameplay. gameplay. Most game engines contain some version of a primitive geometry tool that allows you to block-in simple shapes inside the editor. BSP Brush tool is something you will see most often. With this tool you will  block in your layout of the playable level or stand-alone game environment. Most important thing about prototyping is constant iteration of your layout and gameplay map mechanics. You You will continuously modify, change and update the layout and gameplay mechanics until you are satisfied. Only then should you move to visual design stage, where you “beauty or art” your  level or stand-alone game environment. Good luck and I wish you the best in working on your game environments and level designs.

THANK YOU! You have reached the end of “Preproduction Blueprint” book. I hope that you learned a lot from it and you will now begin b egin to plan out your level designs and game environment art projects. Thank you for your continuing support throughout the years. Please visit www.worldofleveldesign.com for updates, tutorials and premium guide. Sign up for FREE “WoLD Insider” to receive exclusive newsletter, tutorial updates, premium tutorial series and guide releases - http://www.worldofleveldesign.com/wold-insider/index.php

REFERENCE

REFERENCE CONTENT Following reference includes 4 sections: 1. Environment Settings 2. 121 Location Ideas 3. Themes/Styles 4. Preproduction Blueprint Worksheet Sample 5. Preproduction Blueprint Checklist

ENVIRONMENT SETTING LIST Environment setting is a general, physical location of where your game environment takes place. Following list provides you with environment settings ideas. Some of the settings can be used as themes and vice versa. Just remember that an environment setting is an actual physical, specific location in the wo rld. Theme is a unifying and dominant idea, a subject matter or an event within the environment. • Artic, Winter, Snow, Glaciers, Ice, Tundra

Earth’s Structure • Caves, Dungeons, Underground, Earth’s City, Urban, Streets • City, • Desert, Sand • Forest, Woods • House, Building, Structure • Indoors, Interior  • Industrial, Commercial, Residential • Jungle, Tropical, Islands, Rainforest • Lake, River, Sea, Ocean • Landmark 

Wetlands, Swamps, Grasslands • Marshlands, Wetlands, Military, Government • Military, • Mountains, Hills, Rockland

• Outlandish, Alien, Outer Planet, Non-Human, Not of this world • Post-Apocalyptic, Destroyed, Abandoned • Psychological, Dreams • Rural, Farm, Country • Solar System, Space/Planets • Specific City, State, Country • Town, Village

121 LOCATION IDEAS Various location ideas to help you get started for when you are stuck. A • Airport • Amusement Park  • Apartments • Aquarium • Automotive Shop

B • Back Alley • Bank  • Bar, Pub • Barn • Bath House • Beach • Book Store, Comic Book Store • Bridge (Vehicle, (Vehicle, Train, Pedestrian, Pede strian, Rope) • Boathouse • Bowling Alley • Brewery, Winery, Distillery • Broadcast Center Stations (TV, (TV, Cable, Radio)

• Building (Residential, Commercial) • Bunker, Shelter  • Bus Station, Bus Terminal Terminal

C • Cabin, Lodge • Camping Site • Canyon • Casino • Castle • Cathedral, Church, Chapel • Cave • Cemetery, Cemetery, Crypts, Mausoleums, Crematorium • Circus, Fun House • Clubs (Strip Club, Dance Club, Night Club) • College, University, School, Kindergarten, Pre-School • Construction Site • Coffee Shop • Convention Center  • Court House, City Hall

Terminal • Cruise Ship, Cruise Station, Cruise Terminal D • Dams • Dealership, Showroom • Department Store (Toy store, Clothing Store, Electronics, Furniture etc) • Desert • Distribution Center  • Downtown

E

• Excavation Site

F • Factory • Fire Station • Forest (Deciduous, Coniferous) • Fort

G • Gallery (Art) • Gas Station • Government Facility (CIA, FBI, Pentagon, Embassy, Area 51 etc) • Grasslands • Greenhouse • Grocery Store • Gym, Gymnasium, Fitness Centers

H • Hangar  • Harbors, Port, Dock  • Hell, Heaven • Highway • Hockey, Ice Skating Rink  • Hospital, Clinic • Hostel • Hotel • House

I • Island

J • Jail, Prison

L • Laboratory • Landmarks, Monuments (Golden Gate Bridge, Taj Mahal, Eiffel Tower Tower etc) • Lake, River, Pond, Swamp • Library • Light House

M • Mall • Mansion, Penthouse • Market • Military Outpost, Military Camp • Mining Facility • Motel • Mountain • Movie Theater, Cinema • Museums, Exhibits, Planetarium

 N • Nuclear Plan, Energy Plant

O • Office, Public Administration Buildings • Overpass

P • Park  • Parking Garage, Parking • Pavilion • Pharmacy • Pier  • Plaza

• Police Station • Post Office • Psychiatric Institution, Hospital (Insane Asylum)

R  • Racetrack  • Rainforest, Jungle • Research Station • Rest Area, Rest Stop, Truck Stop • Restaurant (sit down, fast food) • Road • Rooftops

S • Savannah • Sea, Ocean • Sewers • Skate Park  • Ski Center, Resort • Skyscrapers • Space Station • Stadium • Subway, Metro Station • Swimming Pool

T • Theater, Auditorium, Amphitheater, Opera House • Tomb, Temple • Train Station, Train Terminal • Tram Station • Tropical

• Tundra (Arctic, Alpine, Antarctic) • Tunnel

U • Underwater Station

V • Village • Volcano

W • Warehouse • Waterfall

Z • Zoo

STYLE LIST Style is art direction of the project. It is the visual design of your game environment. Following list contains some of most common visual styles. Common Videogame Visual Styles: • 2D • 2D Cutouts • 2D Mixed with 3D and vice versa • 3D • Anime • Artistic: hand-drawn, hand-painted, painterly style (other traditional or digital media look) • Abstract • Black and White • Cartoon • Cel-Shaded, Flat-Shaded • Comic • Color Harmonies: certain colors dominate the color palette, color contrast

• Collage (various styles mixed together) • Dark, Gritty, Grunge • Diorama • Full motion (live-action footage) • Hand-made (paper cutouts, wooden blocks, cardboard boxes, fabric) • Illustration • Isometric or Oblique • Low-Poly Count • Minimalistic • Monochromatic • Movie, Film Inspired (pick a movie and look at the visual style to follow) • Over-Stylized, Exaggerated • Pixel (2D/3D, 8-bit/16-bit) • Realism, Hyperrealism, Photorealism • Rotoscoping • Silhouette • Stylized • Vector  • Videogame Inspired (pick a game and look at the visual style to follow) • Wireframe Art Movements List:

Full List: https://en.wikipedia.org/wiki/List_of_art_movements Following list can help you to research and find a unique style. A • ASCII Art • Abstract art • Art Brut • Abstract expressionism

• Abstract Illusionism • Academic art • Action painting • Aestheticism • Altermodern • American Barbizon school • American Impressionism • American realism • American Scene Painting • Analytical art • Antipodeans • Anti-realism • Arabesque • Arbeitsrat für Kunst • Art Deco • Art Informel • Art Nouveau • Art Photography • Arte Povera • Arts and Crafts Movement • Ashcan School • Assemblage • Les Automatistes • Auto-destructive art

B • Barbizon school • Baroque • Bauhaus

• Blobism

C • Contextual Modernism • Classical Realism • Color Field • Context Art • Computer Art • Concrete art • Conceptual art • Constructivism • Cubism

D • Dada • Danube school • Dau-al-Set • De Stijl (also known as Neoplasticism) • Deconstructivism • Digital Art

E • Excessivism • Expressionism

F • Fantastic realism • Fauvism • Figurative art • Figuration Libre • Folk art • Fluxus

• Futurism

G • Geometric abstract art • Graffiti • Gutai group • Gothic art

H • Happening • Harlem Renaissance • Heidelberg School • Hudson River School • Humanistic Aestheticism • Hypermodernism • Hyperrealism

I • Impressionism • Institutional Critique • International Gothic • International Typographic Style

K  • Kinetic Art

L • Land art • Les Nabis • Letterism • Lowbrow (art movement) • Lyco art • Lyrical Lyrical Abstraction

M • Magic Realism • Mannerism • Massurrealism • Maximalism • Metaphysical painting • Mingei • Minimalism • Modernism • Modular constructivism

 N • Naive art • Neoclassicism • Neo-Dada • Neo-expressionism • Neo-figurative • Neoism • Neo-primitivism • Net art • New Objectivity • Northwest School (art)

O • Objective Abstraction • Op Art • Orphism

P • Photorealism • Pixel Art

• Plasticien • Plein Air  • Pointillism • Pop art • Post-impressionism • Postminimalism • Precisionism • Pre-Raphaelitism • Primitivism • Process art • Psychedelic art • Purism

Q • Qajar art

R  • Rasquache • Realism • Regionalism (art) • Remodernism • Renaissance • Rococo • Romanesque • Romanticism

S • Samikshavad • Shin hanga • Shock art • Spsaku hanga

• Socialist Realism • Sots Art • Space Art • Street Art • Stuckism • Sumatraism • Superflat • Suprematism • Surrealism • Symbolism (arts) • Synchromism

T • Tachisme (aka Informel) • Toyism

Transgressive art • Transgressive • Tonalism

U • Ukiyo-e • Underground comix

V • Vancouver School • Vanitas • Verdadism • Video art • Vorticism

THEMES Theme is a unifying and dominant idea that brings your environment together. It is the subject matter of  the game environment. For example a theme could be a time of day, time in history, history, weather-based, holiday or an event. Some of the themes can be used as environment settings and vice versa. Following list is not a complete list. There are thousands of themes that can be created and mixed. Use these as a starting point. Themes section is broken down into the following areas: • General Themes • Movie Genre Themes • Art/History Periods • Architecture Styles • Historic Periods General Themes: • Abandoned • Artic, Winter  • Celebration, Holidays (Christmas, New Years, Chinese New Year, Mardi Gras, Thanksgiving etc) • Commercial • Contemporary, Contemporary, Modern • Dream • Dystopia • Emptiness, Isolation • Extraterrestrial • Fantasy/Magic • Foreign • Ghost, Haunting, Paranormal • Government • Historic

• Industrial • Military • Nuclear, Nuclear Winter  Winter  • Pandemic, Epidemic, Disease • Pollution • Post-Apocalyptic • Psychological • Radiation • Remake • Residential • Seasons (Fall/Autumn, Spring, Summer, Winter) • Time of Day (Dusk, Dawn, Midday, Evening, Night) • Sci-Fi • Space • Under Construction • Underwater  • Utopia • Water  • War, Battle, Historic Events (WW2, WW1, Civil War, Crusades, 100 Year War etc) • Weather: Before, During, After 

(Hot/Dry, Fog, Lighting, Light/Heavy Rain, Acid Rain, • Weather and Natural Disasters (Hot/Dry, Storm, Dark Overcast Skies, Winds/Windy Winds/Windy,, Tornado, Hurricane, Hail, Blizzard, Sand Storm, Tsunami, Volcanic Ash, Rainbow, Snow, Dew, Flood etc) • Weather: Storm Damage and Aftermath • Urban Movie Genre Themes:

Movie genres can be used as theme for stand-alone game environments and level design. • Altered States • Aviation

• Alternate Reality • Action Comedy • Adventure • Animation • Anime • Alien Invasion • Addiction, Drugs, Substances • Biography • Cartoon • Comic Book and Super Heroes • Crime Scene • Childhood • Comedy • Courtroom • Current Events • Cops and Robbers • Classical • Country and Western • Childhood • Coming-of-Age • Documentary • Detective • Drama • Dark Humor  • Epic, Myth • Fantasy • Film Noire • Foreign

• Ghosts and Haunts • Gangster  • Hell and Heaven • Heist, Robbery, Caper  • History • Horror, Slasher, Psycho • Language and Literature • Law and Crime • Murder  • Military and War  • Mythology • Musical • Martial Arts • Medical • Monsters • Mystery and Suspense • Nature, Animals • New Age and Metaphysics

Wild • Nature Wild • Point of View • Politics and Government • Romance • Reverse Roles • Religion and Belief Systems • Small to Large and Large to Small • Spy • Sexuality, Sexuality, Erotic • Social Issues

• Space, Exploration • Sci-Fi • Sea Adventure, Pirates • Supernatural Thriller  • Spoofs • Sports • Spirituality and Philosophy • Thriller  • Tragedies and Catastrophes • Travel • Toddler, Infant • Technology • Unexplained Phenomena, Paranormal • Vehicles and Transportation • What if  Art/History Periods:

Full list of Art/Historic Periods can be found here: http://en.wikipedia.org/wiki/Art_periods • Medieval • Renaissance • Neoclassicism • Romanticism • Modern Art • Contemporary art

Renaissance (1300 to c. 1600) • Italian Renaissance - late 13th century - c. 16 00 • Renaissance Classicism • Early Netherlandish painting - 1400 - 1500

Renaissance to Neoclassicism

• Mannerism and Late Renaissance - 1520 - 1600, began in central Italy • Baroque - 1600 - 1730, began in Rome • Dutch Golden Age painting 1585 – 1702 • Flemish Baroque painting - 1585 – 1700) • Rococo - 1720 - 1780, began in France • Neoclassicism - 1750 - 1830, began in Rome

Romanticism (1790 – 1880) • Nazarene movement - c. 1820 - late 1840s • The Ancients - 1820s - 1840s • Purismo - c. 1820 - 1860s • Düsseldorf school - mid-1820s - 1860s • Hudson River school - 1850s - c. 1880 • Luminism (American art style) - 1850s – 1870s

Romanticism to Modern Art • Norwich school - 1803 - 1833, England • Biedermeier - 1815 - 1848, Germany • Photography - Since 1826 • Realism - 1830 - 1870, began in France • Barbizon school - c. 1830 - 1870, France • Peredvizhniki - 1870, Russia • Hague School - 1870 - 1900, Netherlands • American Barbizon school - United States • Spanish Eclecticism - 1845 - 1890, Spain • Macchiaioli - 1850s, Tuscany, Tuscany, Italy • Pre-Raphaelite Brotherhood - 1848 - 1854, England

Modern Art (1860 – 1945) • Impressionism - 1860 - 1890, France • American Impressionism 1880, United States

• Cos Cob Art Colony 1890s, United States • Heidelberg School late 1880s, Australia • Luminism (Impressionism) • Arts and Crafts movement - 1880 - 1910, United Kingdom • Tonalism - 1880 - 1920, United States • Symbolism (arts) - 1880 - 1910, France, Belgium • Russian Symbolism 1884 - c. 1910, Russia • Aesthetic movement 1868 - 1901, United Kingdom • Post-impressionism - 1886 - 1905, France • Les Nabis 1888 - 1900, France • Cloisonnism c. 1885, France • Synthetism late 1880s - early 1890s, France • Neo-impressionism 1886 - 1906, France • Pointillism 1879, France • Divisionism 1880s, France • Art Nouveau - 1890 - 1914, France • Vienna Secession (or Secessionstil) 1897, Austria • Jugendstil Germany, Scandinavia • Modernisme - 1890 to 1910, Spain • Russian avant-garde - 1890 - 1930, Russia, Ukraine, Soviet Union • Art à la Rue 1890s - 1905, Belgium, France • Young Poland 1890 1 890 - 1918, Poland • Mir iskusstva 1899, Russia • Hagenbund 1900 - 1930, Austria • Fauvism - 1904 - 1909, France • Expressionism - 1905 - 1930, Germany • Die Brücke 1905 - 1913, Germany • Der Blaue Reiter 1911, Germany

• Bloomsbury Group - 1905 - c. 1945, England • Cubism - 1907 - 1914, France • Orphism - 1912, France • Purism - 1918 - 1926 • Cubo-Expressionism 1909 - 1921 • Ashcan School 1907, United States • Jack of Diamonds (artists) 1909, Russia • Futurism (art) - 1910 - 1930, Italy • Cubo-Futurism 1912 - 1915, Russia • Rayonism 1911, Russia • Synchromism 1912, United States • Universal Flowering 1913, Russia • Vorticism 1914 - 1920, United Kingdom • Biomorphism 1915 - 1940s • Suprematism 1915 - 1925, Russia, Ukraine, Soviet Union • Dada - 1916 - 1930, Switzerland • Proletkult 1917 - 1925, Soviet Union • Productijism after 1917, Russia • De Stijl (Neoplasticism) 1917 - 1931, Holland • Pittura Metafisica 1917, Italy • Arbeitsrat für Kunst 1918 - 1921 • Bauhaus - 1919 - 1933, Germany • UNOVIS 1919 - 1922, Russia • Others group of artists 1919, United States • American Expressionism c. 1920 • Precisionism c. 1920, United States • Surrealism Since 1920s, France • Acephale France

• Lettrism 1942 • Les Automatistes 1946 - 1951, Quebec, Canada • Devetsil 1920 - 1931 • Group of Seven 1920 - 1933, Canada • Harlem renaissance 1920 - 1930s, United States • American scene painting c. 1920 - 1945, United States • New Objectivity (Neue Sachlichkeit) 1920s, Germany • Constructivism (art) 1920s, Russia, Ukraine, Soviet Union • Art Deco - 1920s - 1930s, France • Grupo Montparnasse 1922, France • Soviet art 1922 - 1986, Soviet Union • Northwest School (art) Hi's - 1940s, United States States • Social realism, 1929, international • Socialist realism - c. 1930 - 1950, Soviet Union, Germany • Abstraction-Creation 1931 - 1936, France • Allianz (arts) 1937 - 1950s, Switzerland • Abstract Expressionism - 1940s, Post WWII, United States • Art informel mid-1940s - 1950s • Outsider art (Art brut) mid-1940s, United Kingdom, United States

Contemporary Art (1946 – present) • Vienna School of Fantastic Realism - 1946, Austria • Neo-Dada 1950s, international • International Typographic Typographic Style 1950s, 1950 s, Switzerland • Soviet Nonconformist Art 1953 - 1986, Soviet Union • Painters Eleven 1954-1960, Canada • Pop Art mid-1950s, United Kingdom, United States • Woodlands School 1958-1962, 195 8-1962, Canada • Situationism 1957 - early 1970s, Italy

• New realism 1960 • Magic realism 1960s, Germany • Minimalism - 1960 • Hard-edge painting - early 1960s, United States • Fluxus - early 1960s - late-1970s • Happening - early 1960 • Video art - early ea rly 1960 • Psychedelic art early 1960s • Conceptual art - 1960s • Graffiti 1960s • Junk art 1960s • Performance art - 1960s • Op Art 1964 • Post-painterly abstraction 1964

Lyrical Abstraction mid-1960s • Lyrical • Process art mid-1960s - 1970s • Arte Povera 1967 • Art and Language 1968, United Kingdom • Photorealism - Late 1960s - early 1970s • Land art - late-1960s - early 1970s • Post-minimalism late-1960s - 1970s • Postmodern art 1970 - present • Deconstructivism • Metarealism - 1970 -1980, Russia • Installation art - 1970s • Mail art - 1970s • Neo-expressionism late 1970s • Neoism 1979

• Figuration Libre early 1980s • Young British Artists 1988 • Digital art 1990 - present • Toyism 1992 - present

Transgressive art • Transgressive • Massurrealism 1992 • Stuckism 1999 • Remodernism 1999 • Maximalism Architecture Styles:

Full list of Architecture Styles can be found here: http://en.wikipedia.org/wiki/Architectural_style A • Adam Style (1770 England)

York, USA) • Adirondack (1850s New York, • Anglo-Saxon (450s-1066 England and Wales) • American Colonial (1720-1780s USA) • American Craftsman (1890s–1930 USA, California) • American Empire (1810) • American Foursquare (1890s-1930s USA) • Amsterdam School (1912–1924 Netherlands) • Ancient Egyptian (3000BC–373 AD) • Ancient Greek (776 BC-265 BC) • Arcology (1970s AD-present) • Art Deco (1925–1940s Europe and USA) • Art Nouveau (1885–1910)

B • Baroque • Bauhaus

• Biedermeier (1815–1848) • Blobitecture (2003–present) • Brick Gothic (1350–c. 15th Century) • Bristol Byzantine (1850-1880) • Brutalist (1950s–1970) • Buddhist (1st century BC) • Byzantine (527 AD-1520)

C • Carolingian (780s-9th Century France and Germany) • Carpenter Gothic (USA and Canada 1840s) • Chilota (1600–present Chiloe and southern Chile) • Churrigueresque (1660s-1750s. Spain and the New World) • Classical (600 BC-323 AD) • Colonial Revival • Constructivist

D • Danish Functionalism (1960s AD Denmark) • Deconstructivism (1982-present) • Dragestil (1880s-1910s, Norway) • Dutch Colonial (1615-1674) • Dutch Colonial Revival (1900 New England)

E • Early English Period (1190-1250) • Eastlake Style (1879-1905 New England) • Egyptian Revival (1809–1820s, 1840s, 1920s) • Elizabethan (1533-1603) • Empire (1804-1814, 1870 revival) • English Baroque (1666-1713)

• English Gothic(1290-c. 1350) • Expressionist (1910-1924)

F • Federal (1780-1830 USA) • Florida Cracker (1800–present Florida, USA) • Florida Modern (1950s or Tropical Modern) • Functionalism (1900-1930s Europe and USA) • Futurist architecture (1909 Europe)

G • Georgian (1720-1840s UK and USA) • Googie (1950s America) • Gothic • Gothic Revival (1760s–1840s) • Greek Revival • Green building (2000-present) • Heliopolis Style (1905–c. 1935 Egypt)

I • Indian • Interactive (2000–present) • International Style (1930–present) • Isabelline Gothic (1474-1505 Spain) • Islamic (691-present) • Italianate (1802)

J • Jacobean (1580-1660) • Jacobethan (1838) • Jeffersonian (1790s-1830s Virginia, U.S.) • Jengki Style (1950s Indonesia)

• Jugendstil (1885–1910 German term for Art Nouveau)

M • Manueline (1495-1521 Portugal and colonies) • Mediterranean Revival Style (1890s–present; U.S., Latin America, Europe) • Merovingian (5th century-8th century France and Germany) • Metabolist Movement (1959 Japan) • Mission Revival Style (1894-1936; California, U.S.) • Modern Movement (1927–1960s) • Modernisme 1888-1911 Catalonian Art Nouveau

 N • Natural building (2000-present) • Nazi architecture (1933-1944 Germany) • Neo-Byzantine (1882–1920s American) • Neoclassical • Neo-Grec (1848 and 1865) • Neo-gothic • Neolithic (10,000 -3000 BC) • Neo-Manueline (1840s-1910s AD Portugal and Brazil) • Norman (1074-1250)

O • Ottonian (950s-1050s Germany)

P • Palladian (1616-1680) • Perpendicular Period (1350-1550) • Ponce Creole (1895-1920 Ponce, Puerto Rico) • Pombaline Style (1755 and 1860 Portugal) • Postmodern (1980s) • Polish Cathedral Style (1870-1930)

• Prairie Style 1900–1917 USA • Pueblo Style (1898-1990s)

Q • Queen Anne Style (1870–1910s UK and USA) • Queenslander (1840s–1960s)

R  • Ranch-style (1940s-1970s USA) • Repoblación (880s-11th century Spain) • Regency • Richardsonian Romanesque (1880s USA) • Rococo • Roman (753 BC–663 AD) • Romanesque (1050-1100) • Romanesque Revival (1840–1900 USA) • Russian (989-18th century) • Russian Revival (1826-1917, 1990s-present)

S • Second Empire (1865 and 1880) • Shingle Style (1879-1905 New England) • Sicilian Baroque (1693, 1745) • Spanish Colonial Revival (1915–present; California, Hawaii, Florida, Southwest U.S.) • Spanish Colonial (1520s–1820s) • Stalinist (1933–1955 USSR) • Structural Expressionism (1980s-present) • Swiss Chalet Style (1840s-1920s Scandinavia and Germany) • Stick Style (1860-1890s) • Sustainable (2000-present) • Soft Portuguese Style (1940-1955)

• Streamline Modern (1930–1937) • Structuralism (1950-1975) • Sumerian (5300–2000 BC)

T • Tidewater (19th century) • Tudor Style (1485–1603) • Tudorbethan (1835–1885)

U • Ukrainian Baroque (1600-19th century) • Usonian (1936–1940s USA)

V • Victorian (1837 and 1901 UK) • Vienna Secession (1897-1905) Historical Periods

Full list of Historical Periods can be found here: http://en.wikipedia.org/wiki/List_of_time_periods Mesopotamia: • Mesopotamia (3500 BCE – 559 BCE)

Historical Periods of the Americas: • Classic and Postclassic eras, Central America (200–1519) • Early Intermediate, Middle Horizon, Late Intermediate, Late Horizon (Peru, 200–1534) • Baroque (New World, 1600–1750) • Spanish hegemony (Americas, 16th century – 1820s) • Reconstruction era (United States, 1865–1877) • Gilded Age (United States, 1875–1900) • Progressive Era (United States, 1890s–1920s) • Information Age (United States, 2000–Now) (Modern age)

Historical Periods Philippines: • Neolithic-Iron Age (c.10,000 BC - AD 1000)

• Classical period (c.1000 A.D.-900 A.D) • Late Classical period (c. AD 900-1500) • Colonial Era (c.1600-1898 , 1901-1945) • Sovereign Era (1946–present) • Marcos era Martial Law (1972-1982) • People power EDSA revolution (1983) • Post Martial Law (1983 - present)

Historical Periods of China: • Shang Dynasty (1600 BC – 1046 BC) • Zhou Dynasty (1200 BC – 500 BC) • Warring States period (402 BC – 201 BC) • Qin Dynasty (221 BC – 206 BC) • Han Dynasty (206 BC – AD 220) • Six Dynasties (AD 22 – 580) • Sui Dynasty (580 – 618) • Tang Dynasty (623 – 907) • Five Dynasties and Ten Kingdoms period (907 – 960) • Song Dynasty (960 – 1279) • Yuan Dynasty (1271 – 1368) • Ming Dynasty (1368 – 1644) • Qing Dynasty (1644 – 1912)

Historical Periods of Africa/Egypt: • Old Kingdom (3000 BC – 2000 BC) • Middle Kingdom (2000 BC – 1300 BC) • New Kingdom (1550 BC – 1070 BC) • Ptolemaic Kingdom (305 BC – 30 BC) • Aegyptus (30 BC – 390 AD) • Coptic period (300 AD – 900 AD)

• Fatimid Caliphate (909 – 1171) • Ayyubid Dynasty (1171 – 1250) • Mamluk Sultanate (1250 – 1517) • Ottoman Eyalet (1517 – 1867) • Khedivate (1867 – 1914)

Historical Periods of Europe: • Classical antiquity (700 BC – 600 AD) • Archaic Period (700 BC – 100 AD) • Ancient Greece (Greece and Near East, c. 3300 BC – 31 BC • Macedonian Era (399 BC – 300 BC) • Hellenistic Greece (323 BC – 146 BC) • Ancient Rome (753 BC – AD 476) • Late Antiquity (AD 100–500) • Migration Period (Europe 200–700) • Middle Ages (Europe, 5th–15th centuries) • Byzantine era (330–1453) • Dark Ages (Europe, 476–800) • Early Middle Ages (Europe, 500–1000) • Viking Age (Scandinavia, Europe, 793–1066) • High Middle Ages (Europe, 1000–1300) • Late Middle Ages (Europe, 1300–1450) • The Renaissance (Europe, 1300–1700) • Early modern period (Europe, 1450–1750) • Age of Discovery (or Exploration) (Europe, 1400–1700) • Polish Golden Age (Poland, 1507-1572) • Golden Age of Piracy 1650-1730 • Elizabethan era (United Kingdom, 1558–1603) • Protestant Reformation (Europe, 16th century)

• Classicism (Europe, 16th–18th centuries) • Industrious Revolution, (Europe, 16th–18th centuries) • Jacobean era (United Kingdom, 1603–1625) • Petrine Era (Russia, 1689–1725) • Age of Enlightenment (or Reason) (Europe, 18th century) • Long nineteenth century (1789–1914) • Georgian era (United Kingdom, 1714–1830) • Industrial Revolution (Europe, United States, elsewhere 18th and 19th centuries) • Age of European colonialism and imperialism • Romantic era (1770–1850) • Napoleonic era (1799–1815) • Victorian era (United Kingdom, 1837–1901); British hegemony, much of world, around the same time period. • Edwardian era (United Kingdom, 1901–1910) • Cold War War 1950 - 1991 • Post-Cold War 1991–Present

Historical Periods of India: • Indus Valley Valley Civilization (2500 BC – 1300 BC) • Vedic period (1500 BC – 500 BC) • Maurya Empire (321 BC – 185 BC) • Kushan Empire (185 BC – 220 AD), Satavahana Empire (230 BC – 220 AD), • Gupta Empire (320 AD – 535 AD) • Middle kingdoms of India (1 AD – 1279 AD) • Medieval India (1206 – 1526) • Mughal Empire (1526 – 1857) • Maratha Empire (1674-1818) • British Raj (1858 – 1947)

Historical Periods of Japan:

• Jomon period (10,500 BC – 400 BC) • Yayoi period (400 BC – 250 AD) • Kofun period (250 – 600) • Asuka period (600 – 710) • Nara period (710 – 794) • Heian period (794 – 1185) • Kamakura period (1185 – 1333) • Muromachi period (1333 – 1573)[3] • Azuchi–Momoyama period (1573 – 1603) • Tokugawa shogunate (1603 – 1868) • Meiji period (1868 – 1912)

Historical Periods of Middle East: • Ancient Near East (Sumer, 3100 BC – 500 BC) • Persian Empires (550 BC – 651 AD) • Islamic period (7th – 21st centuries) • Ottoman Empire (1300 – 1923), Safavid Empire (1501–1736)

Historical Periods of Ancient Greece/Rome • Ancient Greece (Greece and Near East, c. 3300 BCE – 31 BCE • Ancient Rome (509 BCE – AD 476E)

Contemporary Historical Periods: More info here: https://en.wikipedia.org/wiki/Contemporary_history • Machine Age (1900 CE – 1945 CE) • Age of Oil (after 1901 CE) • World War I (1914 CE – 1918 CE) • Interwar period (1918 CE – 1939 CE)

Twenties (1920 CE – 1929 CE) • Roaring Twenties • Great Depression (1929 CE – World War II) • World War II (1939 CE – 1945 CE)

• Atomic Age (after 1945 CE) • Post-war era (1946 CE – 1962 CE) • Cold War (Soviet Union and United States, and their allies, 1945 CE – 1991 CE) • Space Age (after 1957 CE) • The Sixties (1960 CE – 1969 CE) • Post-Modern (Soviet Union and United States, 1973 CE – present) • Information Age (1970 CE – present) • The Seventies (1970 CE – 1979 CE) • The Eighties (1980 CE – 1989 CE) • The Nineties (1990 CE – 1999 CE) • The Noughties (2000 CE – 2009 CE) • The Tens (2010 CE - 2019 CE) • Big Data Age (2010 CE – present) Prehistoric Periods:

Full list of Historical Periods can be found here: https://en.wikipedia.org/wiki/History_by_period • Stone Age • Paleolithic • Mesolithic • Neolithic • Chalcolithic • Bronze Age • Iron Age

PREPRODUCTION BLUEPRINT WORKSHEET Download both (.PDF and .DOC and .DOCX) files – compressed/zipped: www.worldofleveldesign.com/preproductionblueprint/worksheets.zip View online .PDF: www.worldofleveldesign.com/preproductionblueprint/worksheet.pdf 

PROJECT NAME:

 _____________________________________________________   ___________________________ __________________________ 

Worksheet orkshe et Version: Date: Engine/Software:

STEP 1: IDEA Idea: (write 1-2 sentences describing your idea)

Is this a Stand-Alone Game Environment or Playable Leve l Design? (circle one) • Stand-Alone Game Environment • Playable Level/Level Design

Software to be used: (list of software/game engine you will use for this project)

STEP 2: SETTINGS, LOCATION AND THEME Environment Setting: (list physical environment setting your world takes place in)

Key Location/s: (list more specific key location)

matter, dominant and unifying theme your environment takes place in) Theme: (list subject matter,

STEP 3: PROJECT PURPOSE Reason and Purpose: The reason i want to create this environment is: (describe why you want to work  on and finish this project)

What do you want to achieve? • From completing this project, I want to achieve...

Project Purpose List or Sentence: Write single sentence or couple of bulleted points describing your   project purpose of why you want to pursue and create this stand-alone game environment or level design.

STEP 4: FEATURES Unique Features: What does the environment feature that is unique to your idea?

Player’s Experience: What do you want the player to experience?

How will it be different and unique? • How will this stand-alone game environment or level design be different from anything else out there? How will this stand-alone game environment or level design be unique from what has been done before in the same genre, location or theme? How does it improve upon an existing genre, location or theme? • How will you define the environment and create a unique world for player to experience?

Feature List: Create 3-5 features that will be the defining elements of your stand-alone game environment or playable level. 1. 2. 3. 4. 5.

STEP 5: PHOTO/VIDEO REFERENCE AND RESEARCH Project and Reference Folder: create a new “Project Folder” and rename it to your project name. Inside that folder, create “Preproduction Blueprint” and then within create “Reference” folder. Begin collecting visual image reference for your environment.

Reference: collect all five category references you need for your project. • Architecture reference • Environment reference • Light reference • Prop reference • Inspiration/Style reference

Environment Research: start a document and name it “Project Management”. Record answers from researched questions into this document.

STEP 6: STORY What?

Write Write a description (2-4 paragraphs) or a list of this environment from po int of view of a character that lives there or someone who has already been through it. • What is the overall story of your game, game stand-alone game environment or level design? What happened in the environment prior to the player arriving here? (attach new  sheet of paper for more space)

How? (attach new sheet of paper for more space) • How did the player arrive into this environment’s location? What were the events that  brought them there?

e nvironment or to the player prior to him or her arriving into • What events happened in the environment this location? • How will you show what happened to the environment? How will you tell the story of the environment to the player? • How will the player navigate through the environment?

Why?

Why question is closely tied to the “How” qu estion. The “why” will help to establish a relationship  between the environment and player character. • You know how the player arrived to the environment but why are they here, in this location? What purpose or what goal are they to achieve? Is it to fulfill an objective? Collect something? Escape? Loot? Explore? (attach new sheet of paper for more space)

Show, Don't Tell • How will you show what happened to the environment? How will you tell the story of the environment to the player? (attach new sheet of paper for more space)

Creating a Story

Create a brief story, a description of your environment as the player participates and travels through it. Use the questions you have already answered in the What, How and Why sections. Choose one of two options:

1. Write Write a list describing as the player navigates through your environment 2. Write Write out few (2-4) paragraphs describing as the player navigates through your  environment (attach new sheet of paper for more space)

STEP 7: OBJECTIVES, OBSTACLES AND SET PIECES Playable Level: go over the game’s main storyline and environment’s story to define a set of objectives for your map. Remember the formula: Objectives > Obstacles > Set Pieces (Scripted Events). • Make a list of what the player need to do in order to complete the map? • Draw objectives progression chart. Visually Visually design the objectives. Define where the player  will start and where they will end up. Then in-between come up with objectives for what the  player has to do in order to complete the map. • For each of the objectives, define obstacles o bstacles the player has to overcome. Obstacles are conflicts that stand in the player’s way. Make a list of obstacles for each objective. • For each objective and obstacle, define set pieces (scripted events) which are caused from  player’s actions and participation. Player does something something then a scripted event happens. Make a list of set pieces (scripted events) caused from obstacles for each objective. • Make a list of indirect set pieces (scripted events) if any. These will happen due to the  player being in the environment but did not do anything directly to cause them.

Stand-Alone Game Environment: Follow the environments story, define a set of environmental set  pieces that happen by themselves in the environment. Timed or cycle scripted events (traffic, (traffic, night/day, night/day, other game characters living in the world etc.) • What events could you script to help your stand-alone game environment come to life? • What do you want the viewer to experience? What emotional response do you want the viewer to have?

STEP 8: FOCAL POINT Define Focal Points: Take your idea and look over the work we’ve already done. Extract a specific landmark in your map that could be your focal point. • Look over your Setting, Theme and Location from Step 2. • Look over image reference from Step 5. • Look over the game’s story and environments story from Step 6. • Look over Objectives, Obstacles and Set Pieces from Step 7.

Here are some questions to help decide on the focal point of your map. Some may not apply depending on if you are creating a playable level or a stand-alone environment. • What would make your environment stand out? Look at your reference and all the previous steps that you have done. • What focal point would make your location interesting? Aesthetically, Aesthetically, visually and architecturally? • Does the focal point support the story of the game and the environment? • How will the player or viewer remember the environment? • Will you have one focal point or multiple? • How will the players reference and orient themselves in your environment? • How will they know where they are within a second upon spawning? What will help them know where they are? (important in multiplayer maps) • How will they move from one location to another? Focal Point Image Reference: Choose what focal point/s are going to be within your environment. Have an image reference for each one.

STEP 9: TOP DOWN LAYOUT Top-Down Layout Methods: Use any of the techniques below to create a top-down layout • Pen and paper  • Whiteboard • Building blocks • Adobe® Photoshop® Unique Top Down Layouts • Google Maps™ to Generate Top Down Layouts • SketchUp Creating Top-Down Layout: Look back at everything collected so far: photo reference, concept art, story, focal points, objectives, set pieces (scripted events). Begin to create a top down layout. Top-Down Layout Key Elements for Single-Player Gameplay Maps: If you are designing top down layouts for single player maps begin by defining d efining where the level will start with a player spawn and where the level will end. Everything in between will be obstacles, objectives, situations and scripted events for the player to encounter, experience and overcome. • Player starts and level’s ending position • Main progression pathways – How will the player go from start to finish? • Alternative routes • Item and weapon placement • Cover placement • Side-quests or side missions • Playable areas and non-playable areas; bound aries of the map • Objectives the player has to complete • Obstacles the player has to overcome • Focal points and landmarks • Choke points or various confrontational battle areas • AI enemy placement; where battle areas can happen • Friendly AI interactions • Set piece (scripted event) locations and what will trigger them? • Storyline or cinematic triggers

Top-Down Layout Key Elements for Multiplayer Gameplay Maps: If you are designing top down layouts for multiplayer maps, begin with any of the following - spawn locations, gameplay pathway flow, boundaries of the map or choke points. • Spawning locations (player starts) for each player and for each team • Pathway of flow for each team • Alternative pathways • Playable areas and non-playable areas or boundaries of the map • Choke points; confrontational combat areas • Focal points/landmarks • Map’s Map’s objectives (hostage locations, rescue locations, control points, bomb sites etc) • Item/weapon placement (if required for the gametype) • Cover positions • Sight lines Top-Down Layout Key Elements for Stand-Alone Game Environments: If you are designing top down layouts for stand-alone game environments, begin with a focal point/landmark or boundaries of  the world. • Focal points/landmarks • Placement or spatial relationships of buildings, objects, and landscape • Playable areas (if it is a walkthrough environment) and non-playable areas; boundaries of  the map • Audio in specific areas (if required) • Scripted events (if required) Create Visual Progression Guide : With the layout completed, scan it onto your computer and create a Visual Visual Progression Guide.

STEP 10: VISUAL DEVELOPMENT Define Style: Define Define the style of the stand-alone stand-alone game game environment environment or playable playable level design. design. Choose Choose to: 1. Create your own concept art 2. Work with a concept artist 3. Collect concept art online that mimics the art style you are after  Pick an Art Style: What visual art style will your environment be? Will it be Realistic? Exaggerated? Stylized? Cartoonish? Etc. Visually Unique: How will your project be unique visually/stylistically? Make a list of 2-3 things that will make your stand-alone game environment or playable level design be different than most similar  environment projects out there. 1. 2. 3. Collect Style Reference: Begin collecting reference of concept art that mimics the art direction you are going after. Focus on the following: • Concept art • Traditional paintings

You can expand into looking at videogames and movies to find the visual style that is similar to your  idea. • Videogames • Movies

Focus on color palette, lighting, atmosphere and the visual art style. Collect all the images you find into the reference image folder within your project. You can organize these images better by placing them into “Art Direction” folder. Color Palette: What is the color palette of your environment? Is your environment using warm color   palette or cool color palette? (include a photo or concept art with each question for better  understanding) • What is the color palette scheme of your game environment? • What is the dominant color? • What are the secondary colors?

• What is the primary light source color? Shadow colors? • How much light vs. dark ratio is in your you r scene? High-contrast? Lots of dark areas? Evenly lit? • Will your game environment use a warm or cool color palette?

STEP 11: LISTS Review: Go through all of preproduction you have done up to this point. • Refined idea • Project purpose and statement

en vironment • Features of your level or stand-alone game environment • A setting, location and theme • Collected photo/image reference • Environment story • Defined objectives, obstacles and set pieces (scripted events) • Focal points/landmarks • Top-down layout • Visual development of how your level or game environment will look  Asset List: Create assets list. Assets list includes 3d models, textures, materials, audio, animations,  particle effects, interface menu or any other item that has to to be created or collected to be included in your playable map or stand-alone game environment.

Make a list of all known assets you would need to include to create playable level or stand-alone game environment. These include: (attach new sheet of paper for more space) • 3d Models for Architecture, Foliage and Props • Materials and Textures • Audio/Sound Effects • Particle Effects Production List: Create production list. What is the process that you are going to use to create this environment? Here are basic guidelines for single player, multiplayer and stand-alone game environments. Use these guidelines and change them up to fit your project.

3D Modeling Production Pipeline: Modeling game environment assets contain a series of steps in order  to finish a game-ready model. • Low-poly model • High-poly sculpt • UV mapping • UV layout

• Diffuse texture • Normal map texture (Baking High-Poly to Low-Poly to acquire normal maps) • Lightmaps • Clean-up: tweaking and optimizing • Creation of LOD (level of detail models) • Collisions • Export from 3D modeling package • Import into game engine

Single-Player Level Design - Production Pipeline List: Single-player level design production steps steps to complete a playable map. • Layout block-in (usually done with BSP brushes or with similar basic primitive function inside the game engine) • Gameplay integration and scripting (objectives, obstacles, mission design, AI, story cinematics, combat, map flow etc.) – gameplay focus; no visuals • Extensive play-testing and layout changes based on gameplay feedback  • Texturing the level (may require texture/material creation) • Placing and detailing with 3d models (game assets: a ssets: architecture, foliage, props, etc.) • Lighting the level • Atmosphere and post-process • In-game integration (making the map show up in game menus, adding loading map images etc.) • More play-testing and tweaking (gameplay and visuals) • Release beta • Feedback changes and fixes from beta • Final release

Multiplayer Level Design - Production Pipeline List: Multiplayer level design production steps to complete a playable map. • Layout block-in (usually done with BSP brushes or with similar basic primitive function inside the game engine) • Gameplay integration and scripting (gameplay map objectives, spawn for ea ch team, map flow, flow, pathway flow, choke points) – gameplay focus; no visuals

• Extensive Extensive play-testin play-testing g for balance, pacing pacing and flow and layout changes changes based on gameplay feedback  • Texturing the level (may require texture/material creation) • Placing and detailing with 3d models (game assets: a ssets: architecture, foliage, props, etc.) • Lighting the level • Atmosphere and post-process • In-game integration (making the map show up in game menus, adding loading map images etc.) • More play-testing and tweaking (gameplay and visuals) • Release beta • Feedback changes and fixes from beta • Final release

Stand-Alone Game Environment - Production Pipeline List: Stand-alone game environment production steps to complete a non-playable, non-interactive environment. • Layout block-in (usually done with BSP brushes or with similar basic primitive function inside the game engine) • Play-testing for scale and if it is a walk-through environment • Texturing the level (may require texture/material creation) • Placing and detailing with 3d models (game assets: a ssets: architecture, foliage, props, etc.) • Lighting the level • Atmosphere and post-process • Creating a camera fly-through of the environment and screenshots • Final tests and fixes • Release Project Management Document: Create Project Management document or use Project Management software. Project Management includes ongoing notes, tasks to do , errors / bugs to fix, ideas to implement, features to update or remove etc. All of these must be noted down as you work on your   project. Write everything everything down into Project Management document to keep track of on-going process and updates on your project.

Project Management Document Steps: • Create a Word Word document and name it “Project Name – Project Management” or start a new  project using Project Management software

• Define sections or categories

Categories can include: • Upcoming Tasks/To Tasks/To Do (can be broken down d own into further categories such as Art, Programming, Marketing etc.) • Currently Doing/Working on • Done/Completed • Ideas • Notes • Improvements • Features • Known Issues • Errors/bugs • Feedback and Critiques • Sections of your game environment and what needs to be done in each one • Any other category that you feel you need for your project

Date all entered items so you know when whe n it was included. Project Management is an on-going document for you to constantly enter notes into and keep it up to date on the status of your project. Visualizing is imagining in your yo ur mind’s eye what your final level design and stand-alone Visualize: Visualizing game environment will look like, play like and feel like. • Close your eyes • Picture/imagine yourself walking through completed stand-alone game environment or   playable level • If it is a playable level, play it in your y our mind. See the obstacles, set pieces and objectives; visualize choke point battles – experience playing your map. Visualize spawning, running to the choke points and engaging in battles. • Visualize the environment’s atmosphere, style, theme, lighting and all the visual details in the environment. • Imagine it vividly as you can. • If some mental images in your mind are fuzzy and unclear – then focus on sections of your  stand-alone game environment or level design where there is more clarity.

• Go through concept art, photo reference, objectives, obstacles and set pieces list. Look  over everything you’ve done up to this point of the book to help. • Listening to music that mimics the atmosphere and theme of the environment you are trying to create will helps to visualize.

PREPRODUCTION BLUEPRINT CHECKLIST 1. Idea 2. Setting, Location, Theme 3. Project Purpose 4. Features

Photo/Video Reference and Research 5. Photo/Video 6. Story 7. Objectives, Obstacles and Set Pieces 8. Focal Point/s 9. Top-Down Layout Layo ut

Visual Development 10. Visual 11. Lists