Difference between revisions of "Loops (level design)"
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Levels can only be so large; time and [[BSP]] file format limits are large factors of the level design process. Making the
Levels can only be so large; time and [[BSP]] file format limits are large factors of the level design process. Making the path loop back to itself will save space, memory, and time. Would you rather design three small rooms that the player will visit for 5 minutes each, or one large room that the player will visit for 15 minutes? Loops can save resources and time for the author.
Revision as of 12:51, 24 April 2008
A loop is a layout element that guides the player back to a previously seen or visited location. While it is still essentially a linear path created by the designer, it often doesn't feel that way. In fact, it is extremely useful in single player level design because of its linear properties. Why?
Illusion of Choice
Many games try to "empower" the player, who is often the main character and (supposedly) triggers most plot events. But single player levels are usually meticulously scripted and designed; divergence from the intended path can cause bugs or malfunctions. Sometimes this intended path is very blatant and obvious, which results in a very artificial feel to the level. The "designer's intentions" become clear and the game becomes a routine of jumping through placed hoops rather than genuine interaction. Loops can partially mask the intended path and make the level seem more nonlinear and spontaneous than it actually is.
In real life, we travel in loops all the time. Everyday, you may take a certain route to school or work, and visit these locations repeatedly. There are probably several reasons why you travel along this route, such as efficiency or speed of use. Loops can make levels seem more realistic by having players revisit locations and routes.
Levels can only be so large; time and BSP file format limits are large factors of the level design process. Making the player's path loop back to itself will save space, memory, and time. Would you rather design three small rooms that the player will visit for 5 minutes each, or one large room that the player will visit for 15 minutes? Loops can save resources and time for the author.
Overly Non-linear design can often be a bad thing. If players are given too much choice they might not know what to do with it, or find the layout confusing. However, overly linear design can also be a bad thing, as it can make progression feel fake, predictable and boring. A balance is generally the best approach; levels with choices that also give guidance in the form of in-game hints, other characters, signs, or other cues. Loops fit into this very well, they can make the player reflect on his past experience and re-evaluate his goals: "I remember I entered the level on that balcony over there, after fighting the helicopter." and through this guide the player back to the intended path and indirectly remind them of their objectives while also allowing for a degree of non-linearity along the way.
At certain times, loops are wildly inappropriate. Use them with caution, as they can backfire.
For example, the vehicular sections of Water Hazard and Highway 17 chapters of Half-Life 2 would lose all significance if large portions were composed of loops. The goal of these chapters is to elicit a sense of progress and movement away from City 17 - essentially, a virtual "journey" of sorts. Having the player drive hundreds of miles, only to end up on the other side of a locked door encountered earlier, will more likely frustrate than immerse the player.
The actual implementation of loops requires some inventive thinking. Try to think of your level layout as one large location that the player explores, rather than an arbitrary collection of corridors and rooms. Here are some particularly notable examples:
This Half-Life chapter begins with a retinal scanner locking a door to the outside world. The player already knows that only friendly NPCs can operate scanners, so he begins to look for friendly NPCs. The rest of the level loops back into this room, so no matter what, the player will always come back to the retinal scanner and remember to look for scientists.
The level layout forms a rough loop, with many doors initially locked (especially the door marked on the diagram). Gradually, the level opens up, ending with the player meeting the scientists and leading them to the retinal scanner. Combined with a consistent texture set, theme, and style, the nonlinear layout makes the chapter much more immersive and unique.
This map consists of an island and the bunker complex underneath. The player's goal is the giant beam array in the middle of the island, but every gate is locked. Thus, the player explores the rest of the island to find a path to the middle, and travels one large loop around the island in the process. Plus, when the gates in the middle are unlocked, the rest of the island is freely accessible and becomes an open battlefield. An excellent example of a loop.
The beam is a global landmark, visible from virtually anywhere on the island. The beam is also an object that the player would naturally gravitate towards - after all, how often does a giant blue stream of energy tunnel down into an island? Even without any text messages, the player almost instinctively explores the island and follows the path the author intended.
Also, in case the player doesn't quite âget it,â a constant stream of Combine soldiers at the wooden pier (near Gate 3) fire at the player in the beginning of the level. Running north, away from the gunfire, is the natural strategy. Consider the scenario if there weren't Combine soldiers; the player would move towards the pier, discover the door was locked, shrug, and travel north. The soldiers act as a subtle direction device to ânudgeâ the player north to begin the loop around the island.
Lost Coast comprises two main parts: the exterior cliffside and the church of St. Olga on the top. The fisherman at the bottom gives a short briefing that directs the player to climb the âcliffside arena.â Forcing the player to travel upwards also focuses the player's attention upwards, drawing attention to the Combine soldiers rapelling downwards. Finally, the player reaches the top and accomplishes the objective with the destruction of the canister-cannon that was shelling Ravenholm.
This particular loop is only clear at the very end of the map, and thus serves a different purpose from others. After a climactic fight with a helicopter, the player takes a small caged elevator down to the bottom. While most loops are concerned with efficient utilization of map possibilities and gameplay, this loop instead serves as an âemotional book-endâ of sorts. Also, note that the author(s) could have easily forced players to travel back down by backtracking and retracing their steps down the cliffs, thus inflating the gameplay time. Having the player easily return back to the fisherman achieves a sense of closure.
There is a similar situation to the bounce in Water Hazard, but with a few differences. This time the player has to fight through a longer and more complicated structure with harder enemies in the way. After the player has opened the gates, however, it is possible to skip the backtracking. This is accomplished by having a pier that is high enough for the player to just be able to jump off in the end but not on in the beginning. This way diversity can be added to the player's journey without the risk of boring the player.
However, for the mapper, it is important to remember that harder loops like these should not be too hard, or it might spoil the game experience totally or lure the player into noclipping through locked doors. In this case, there are both a number of metrocops and a hunter against the player but fire is constantly kept on one front.