Martin Larsson
LEVEL DESIGNER - GAME DESIGNER - TECHNICAL DESIGNER - PROJECT MANAGEMENT - SECURITY CONSULT
DESIGN TECHNIQUES AND DESIGN Choice
overview
Motives and reasons for the various design decisions I made
01
To have a deeper and easier comprehension of the level, I build a round corner.
Barrels on the right draw the player's area of view and teach them that they can shoot on these.
02
The leading line is made up of the pipe and the fence.
A sign that directs the gamer in the right direction.
03
I'd like a corridor to give the impression that you're moving from the culvert to a more basement-like setting.
I've framed the door. It's possible to jump close to the stairwell to get a different perspective on the room.
04
Ventilation that serves as a leading line. There is a rat in the vents to guide the player in the appropriate way.
Here there is the opportunity to sneak around in the dark and perform non-lethal takedowns.
05
Ventilation and light that serves as a leading line.
A sign that directs the gamer in the right direction.
Here there is the opportunity to sneak around in the dark and perform non-lethal takedowns.
06
Light that serves as a leading line.
A sign that directs the gamer in the right direction.
A Soft revealing for the observant that can see a enemy and make a more sense of orientation for the stairwell.
07
Foreshadowing. Previewing a future location ahead. Want to create an element of anticipation and tension, whilst giving a sense of orientation within the world. See number 45 for a view from the other side
08
Foreshadowing. Previewing a future location ahead can create an element of anticipation and tension, whilst giving a sense of orientation within the world. See number 45 for a view from the other side
09
When I framing the open window, I made the other windows darker to draw attention to it.
10
A Soft revealing for the observant that can see a enemy and make a more sense of orientation for the next space.
11
The landmark "church" is revealed through with a sequencing in which an enemy / team-member goes down. Also serves as a pointer to the act's main objective.
A few breadcrumbs serve as guiding lines, and a light-up sign directs the player to the boxes that go to the top of the terraces.
12
The landmark "radio tower" is revealed and the shadow acts as a guiding line. Also serves as a pointer to the act's main objective.
13
A light-up sign directs the player to the boxes that go to the top.
14
I'm experimenting with the sight line and the cover. As a guiding line I use the lamp position.
15
Works as a Mental mapping and previewing a future locations ahead that create an element of anticipation and tension, whilst giving a sense of orientation within the world.
16
The landmark "radio tower" is more revealed and if you focus you can se you path up to the terraces.
The end goal shows up “Warehouse”.
17
Cable breakdown with sparks works at a eye attention.
Shadow acts as a guiding line.
18
Building and car acts as a guiding line.
19
Building and car acts as a guiding line.
One alternative is to climb up onto the platform to gain an edge and request a field of view over the approaching area, but this will make you more apparent to the enemy. The second method is a more sneaky approach.
20
Works more as narrative area design.
This environment can be seen through the window where the projector displays the upcoming area. ( Number 15)
21
Gain an edge and request a field of view over the approaching area.
22
Gain an edge and request a field of view over the approaching area.
The landmark "church" revelation itself.
Building and planks acts as a guiding line.
23
Building and planks acts as a guiding line.
24
Framed the “Warehouse” is work like a bait and switch. If you go forward in to the gate that´s look and you turn back you will see that the container is open and have item in it.
25
Building,concrete pillars and shadows acts as a guiding line.
26
A Soft revealing for the observant that can see a enemy and make a more sense of orientation for the next space.
27
A Soft revealing for the next space that you will visit “ The bridge”.
I want to make a small space in this case a build a arch under the bridge, before the large area and start of Act 3.
28
One more bait and switch with a lock door and works like foreshadowing. Previewing a future location ahead. Want to create an element of anticipation and tension, whilst giving a sense of orientation within the world.
29
One more bait and switch with a lock door and works like foreshadowing. Previewing a future location ahead. Want to create an element of anticipation and tension, whilst giving a sense of orientation within the world.
30
When you turn around you will se the main goal of this level the bridge.
Building and lamp acts as a guiding line.
31
Bait and switch with a fence to stop you.
Building and gate lamps acts as a guiding line.
32
When you turn around you will see the pipe “you next way to go” and that the building acts as a guiding line to the warehouse “end goal”
The tree works as mental mapping of the level.
33
You are now in halfway of the mission. Therefore important to continue the player focus on the main goal.
When you going through the pipe you will come to the radio tower. Here is lots of foreshadowing one is the guy that kills you team member outside the church you can see him in the window. The the second one is the main door that you will enter later in the game so you will be able to take the pipes under the church and take the car and end the mission.
The cable on the ground acts as a guiding line.
34
A Balcony that frame the warehouse you can have sequencing in which a truck with weapons come.
35
Narrativ scen, chair and pot ate demolished to guide the player to the last team member and to the evidence that lying on the table.
36
Narrativ scen, to guide the player to the last team member.
Traces of blood on the ground
37
Building and path acts as a guiding line.
38
Framing a familiar view works as a reminder of the end goal.
Tree and radio tower for the mental mapping.
39
Building and path acts as a guiding line.
Tree and radio tower for the mental mapping.
40
Building and path acts as a guiding line.
Tree and radio tower for the mental mapping.
41
Inside the Warehouse i want to make the feeling that someone is looking down on you form the windows and it works as what will come. Here is perfekt place to introduce a mini boss.
Shelves acts as a guiding line.
42
This window you will see the last boss that kill you team members and guiding the player to go up stairs.
Pallets and shelves acts as a guiding line.
43
From the boss room window that you will see in number 33 and 34.
Tree, church and radio tower for the mental mapping.
44
Other side of the first acts.
45
Other side of the first acts and works as a backtracking in to Act 1.
46
A few breadcrumbs “boxes” serve as guiding lines the same thing goes for the tower shadows.
Radio tower for the mental mapping.
47
Main door to exit the level from the pipes under the church the other side from number 33. The door works as backtrackning to Act 3 and the gate above the ramp can be opened from the room below “ main door” and act as backtrackning to Act 2. In the room below you can find the key to the door in number 28 , so the player can backtrackning to Act 4.
I design is this doors for the player that want to check for more evidence before completing a mission.
48
One remember that you are on the right path
