Designing Gameworlds - IDG5160
General
Most games are built upon the spatial navigation of gameworlds (or levels) which determine how the player can progress from one point in the game to another. A game’s tone is often set by its gameworld(s) and the challenges it poses. Like real-world architecture, level design must take into account both visual impact and functional affordances of the artifacts it creates. Designers of gameworlds must anticipate players' diverse personalities and the emotions elicited through level design.
The course will cover the following topics:
architecture and city planning theory, and how they are applied to level design
persona theory, and how it can be used to create personalized level designs
the emotions elicited within game levels based on environmental psychology, color psychology and cognitive psychology in general
connections between game mechanics and game levels
connections between narrative and game levels
gameworlds in non-digital media: tabletop games, augmented reality, and playground games
case studies of different game level designs
hands-on tutorials on designing levels using paper, 2D or 3D editing software
hands-on tutorials on designing levels using game engines
Please, check regularly the course plan for detailed information on lectures, tutorials, and project plan. Note that the course plan is subject to changes.
Final Assignment
Apart from class assignments (taking up 20% of the grade), 80% of the course grade is based on a final project (60%) and its accompanying report (20%). Both the final project and the report are individual (no groupwork, although you can discuss and inspire each other). The final project is a playable level, and the report describes the level from a design perspective focusing on one or more of the theories discussed in the class. Note that more details on the project will be provided towards the end of the lecture period.
The project is graded on:
Appropriate Scale: an ideal project has a level that is sufficient in size to show the theory substantially, and all parts of the level are well-done.
Adherence to Design Principle: an ideal project has a level perfectly exemplifies chosen theory, as argued in the report.
Technical Skill: an ideal project has no bugs, collision glitches, out-of-place elements, and has intuitive editor groupings
The report:
Should be at least 1000 words and less than 3000 words (around 2000 words would be ideal).
Must help describe the level: an ideal report highlights all relevant project strengths, connects practice to theory, focuses only on the right things.
Must show knowledge of the design principle: an ideal report shows comprehensive understanding and application of the subject matter.
Must correctly attribute background knowledge/assets: an ideal report should include all adequate references provided (including links to assets/code/tutorials used), and show evidence of considerable additional reading.
How to submit:
(a) An executable of the project, (b) the source files in the latest stable version of Unity and (b) a PDF of the report. It must be handed in during January 2022 (specific date TBD). Details of the delivery process (physical or virtual) are TBD.
Assets:
We have prepared a set of assets to help you with building levels for your projects in Unity. Please find the assets in different packages here, and use or combine any of the packages or use your own.
Schedule
10 October // Lesson 1: Introduction
17 October // Lesson 2: Architecture & Real-world Environmental Storytelling
24 October // Lesson 3: Urban planning & Open-World Design+ Workshop
31 October // Lesson 4: Gamespaces & Design Patterns ON ZOOM, check VLE announcement
7 November // Lesson 5: Player Personas + Workshop
14 November // Lesson 6: Light, Sound & Feeling + Workshop
21 November // Lesson 7: Stories, Possibilities & Rewards + Workshop
28 November // Lesson 8: Tools, Prototyping and Visualizations for Levels
5 December // Lesson 9: Level design beyond the screen
Readings
Books:
An Architectural Approach to Level Design (Christopher W. Totten)
The Image of the City (Kevin Lynch)
Class readings:
Lesson 2:
Serious games in cultural heritage (Eike Falk Anderson, Leigh McLoughlin, Fotis Liarokapis, Christopher Peters, Panagiotis Petridis, Sara de Freitas)
The Importance of Architecture in Video Games and Virtual Worlds (Jon Brouchoud)
How Video Games Use Architecture (AJ Artemel)
Lesson 3:
Urban Design and the Creation of Videogame Cities (Konstantinos Dimopoulos)
Photography as a means of depicting genius loci? (Iulia Doroftei)
Lesson 4:
Design Patterns in FPS Levels (Kenneth Hullett, Jim Whitehead)
Situations of Play: Patterns of Spatial Use in Videogames (Georgia Leigh McGregor)
Lesson 5:
Personas is Applicable – A Study on the Use of Personas In Denmark (Lene Nielsen and Kira Storgaard Hansen)
Patterns of Play: Play-Personas in User-Centred Game Development (Alessandro Canossa, Anders Drachen)
Lesson 6:
Patterns of obscurity: Gothic setting and light in Resident Evil 4 and Silent Hill 2 (Simon Niedenthal)
Dynamic Lighting for Tension in Games (Magy Seif El-Nasr, Simon Niedenthal, Igor Knez, Priya Almeida, Joseph Zupko)
The effect of lighting, landmarks and auditory cues on human performance in navigating a virtual maze (Daryl Marples, Duke Gledhill, Pelham Carter)
Lesson 7:
The Tragedy of the Design of Ico and Shadow of the Betrayal: How Colossus Elicits Emotion (Tom Cole)
Game Spaces Speak Volumes: Indexical Storytelling (Clara Fernández-Vara)
Cues and insinuations: Indicating affordances of non-player character using visual indicators (Henrik Warpefelt)
Game Design As Narrative Architecture (Henry Jenkins)
Lesson 8:
Block design in level design (Hugues Barlet)
White boxing your game (Sara Casen)
Lesson 9:
Designing reusable alternate reality games (Derek Hansen, Elizabeth Bonsignore, Marc Ruppel, Amanda Visconti, Kari Kraus)
Co-located augmented playspaces: past, present, and perspectives (Robby van Delden, Steven Gerritsen, Dirk Heylen, Dennis Reidsma)
Designing game play for escape rooms using video game design techniques (Glennis McClellan)
Designing for immediate play (Martin Pichlmair, Lena Mech, Miguel Sicart)
Lesson 1: Introduction
Slides: here
Next week's Readings:
Serious games in cultural heritage (Eike Falk Anderson, Leigh McLoughlin, Fotis Liarokapis, Christopher Peters, Panagiotis Petridis, Sara de Freitas)
The Importance of Architecture in Video Games and Virtual Worlds (Jon Brouchoud)
How Video Games Use Architecture (AJ Artemel)
Next week's Presentations:
Each student gets a photo and topic, then prepares a 5 min presentation on the architecture and context of that topic.
Lesson 2: Real-world Architecture
Slides: here
Next week's Readings:
Urban Design and the Creation of Videogame Cities (Konstantinos Dimopoulos)
Photography as a means of depicting genius loci? (Iulia Doroftei)
Lesson 3: Urban planning & Open-World Design
Slides: here
Next week's Readings:
Design Patterns in FPS Levels (Kenneth Hullett, Jim Whitehead) Presentation by Karim
Situations of Play: Patterns of Spatial Use in Videogames (Georgia Leigh McGregor)
Next week's Presentations:
Each student chooses a gameworld (city?), then (a) identify, draw on the map, take screenshots for each element (nodes, edges, districts, landmarks, paths); (b) if possible, think of players' mental map while navigating this space (for different purposes).
Lesson 4: Gamespaces & Design Patterns
Slides: here
Next week's Readings:
Personas is Applicable – A Study on the Use of Personas In Denmark (Lene Nielsen and Kira Storgaard Hansen)
Patterns of Play: Play-Personas in User-Centred Game Development (Alessandro Canossa, Anders Drachen) - Kristiine
Lesson 5: Player Personas
Slides: here
Next week's Readings:
Patterns of obscurity: Gothic setting and light in Resident Evil 4 and Silent Hill 2 (Simon Niedenthal) - David
Dynamic Lighting for Tension in Games (Magy Seif El-Nasr, Simon Niedenthal, Igor Knez, Priya Almeida, Joseph Zupko) - Jesse
The effect of lighting, landmarks and auditory cues on human performance in navigating a virtual maze (Daryl Marples, Duke Gledhill, Pelham Carter) - Neil
Lesson 6: Emotions & Memorable Moments
Slides: here
Next week's readings:
The Tragedy of the Design of Ico and Shadow of the Betrayal: How Colossus Elicits Emotion (Tom Cole) - Matthew S
Game Spaces Speak Volumes: Indexical Storytelling (Clara Fernández-Vara) - Matthew C
Cues and insinuations: Indicating affordances of non-player character using visual indicators (Henrik Warpefelt)
Game design as narrative architecture (Henry Jenkins) - Leonel
Lesson 7: Stories, Possibilities & Rewards
Slides: here
Next week's Readings:
Block design in level design (Hugues Barlet)
White boxing your game (Sara Casen)
Lesson 8: Tools, Prototyping and Visualizations for Levels
Slides: here
Next week's Readings:
Designing reusable alternate reality games (Derek Hansen, Elizabeth Bonsignore, Marc Ruppel, Amanda Visconti, Kari Kraus)
Co-located augmented playspaces: past, present, and perspectives (Robby van Delden, Steven Gerritsen, Dirk Heylen, Dennis Reidsma)
Designing game play for escape rooms using video game design techniques (Glennis McClellan)
Designing for immediate play (Martin Pichlmair, Lena Mech, Miguel Sicart)
Lesson 9: Level Design Beyond the Screen
Slides: here
Next steps: check the VLE for project submission details!