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SotaPoika

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    SotaPoika reacted to Puddy for an article, Dynamic levels - in Payday 2 and beyond   
    Payday 2 is a cooperative first person shooter where players band together to commit various crimes in the endless pursuit of wealth, infamy and cool masks to cover their criminal faces with. The game recently celebrated it’s third birthday, yet it still retains a steady player base. How then has the game kept players engaged throughout the years? The many and regular content updates are surely a big part of it. Another draw must be the fleshed out progression systems that offer tons of customization. I would argue that the lifeblood of the game is its dynamic level design; it is what keeps the game replayable and fun. In this article I will discuss what dynamic level design is and how it was used to build “Hoxton Breakout”, one of the game’s most popular missions.
     

    Payday 2, Left 4 Dead 2 and even XCOM2 all use some form of dynamic level design.
     
    What is dynamic level design?
    Dynamic level design is all about creating levels that are as replayable as possible; it is about retaining the challenge and keeping players on their toes. This is achieved by introducing elements that change between playthroughs, things that make the level a bit different each time you play. Dynamic levels are still designed and built by hand, so to speak, which makes them different from procedural levels which are created from automated algorithms.
      Dynamic levels are useful in games where the developer wants the levels to provide more gameplay than a single playthrough would. This approach has the added benefit of allowing different players to come together and enjoy the same level, irrespective of whether they have played it many times before or not at all. This can make dynamic level design ideal for co-op games and it can be essential for retaining players over longer periods of time, just like Payday 2 has done.
    Building a dynamic level
    The process of building a dynamic level certainly differs from more traditional single player level design. Instead of crafting a linear experience in meticulous detail, a designer must seek to create a broader structure of what will happen in the level and then design dynamic elements, things that change between playthroughs, within that structure. These dynamic elements need to be designed with care, so that the level actually changes in meaningful ways between playthroughs. The process of making a dynamic level will vary from game to game; it all depends on the game's mechanics, setting and other details. By sharing the design of a Payday 2 level I hope to illustrate what a dynamic level can look like and also showcase the overall possibilities of dynamic level design.
     
     

    Hoxton in all his glory, featured here in this promotional art. Shortly after his breakout, he leads a daring break-in at the FBI to uncover who ratted him out.
    Hoxton Breakout
    In the Payday 2 mission “Hoxton Breakout” players are tasked with breaking their old heisting comrade Hoxton out of custody. During the breakout Hoxton shares his suspicion that his capture was caused by an unknown snitch. To uncover the truth, the PAYDAY gang set their sights on the headquarters of the Federal Bureau of Intervention (not to be confused with any real life organization...). This sets the stage for the mission’s second level and the one I will be discussing here.
     
    Level Structure
    In this level, the players will enter the FBI headquarters together with Hoxton (an NPC). They will fight their way to the “Operations Room”; the place where the FBI servers are kept and where the Payday gang is hoping to find the information which reveals the identity of the snitch. Hoxton will search through the servers and when he has found what they need, the gang will escape. No matter how many times you play the level, the overall structure will stay the same. Instead, it’s the dynamic elements within this structure that change and make it replayable. What are those, you ask? Let’s take a look!
     

    Clockwise from top right: The FBI HQ lobby, a central area in the level. The FBI director hides behind his desk. Hoxton and the Payday gang enter the lobby.
    The Operations Room
    Players will spend a lot of time in the FBI Operations Room. Hoxton will be hard at work searching through the servers, leaving players to defend him from relentless police assaults. The combat space will change in a number of ways between playthroughs.
      Entrances - Most of the entrances to the Operations room are selected dynamically in various combinations, which changes which choke points the player must defend.
    Windows - The ‘Operations’ room is two floors in height and the second-floor windows overlooking the room are placed in different positions. Players must watch them for enemy fire.
    Fuse box - The fuse box, which enemies use to cut the power to the servers and pause your progress, can be placed in a few different positions. Players must defend it.
    Ceiling breaches - SWAT troops can breach the ceiling of the ‘Operations’ room and rappel down right into the thick of it! There are a few places where this can happen (it doesn't always).
      These dynamic elements will vary and change independently. This can be very desirable, as it will give you a large set of different combinations and improve the replayability of the level. For example, even if the fuse box is in the same location in two separate playthroughs, the positioning of the entrances and windows will change how the players approach the situation, which will help reduce level fatigue.
     

    The Operations Room. The Servers are kept in the room under the illuminated FBI logo. 
    The Quests
    There are four servers Hoxton must search through in the Operations Room. Between the searching of each server, Hoxton will need the player's assistance and send them on a “quest”. There are five different quests, though only three are selected and used in each playthrough. They can be selected in any order and combination. Each quest and its gameplay have been designed to have a slightly different flavor.
      Security Office - The next server happens to be heavily encrypted. You need to break into the Security Office, download the encryption keys and get them back to Hoxton.
    IT Department - The next server is missing and the log states it was taken to the IT Department for maintenance. You must locate the IT Department, find the missing server and bring it back to Hoxton.
    Archives - Hoxton finds a reference to some physical files kept in the archives. You need to go down to the basement, search through the archives and bring the paper files to Hoxton.
    Forensics - Hoxton learns that the FBI has evidence related to the traitor. Players need to break into the evidence locker, find the right piece of evidence and then scan it in the nearby laboratory for clues before returning to Hoxton.
    Director’s Office - Hoxton encounters some files on the next server that can only be accessed by gaining direct approval from the FBI Director. You must head to the director’s office and use his computer to approve all of Hoxton’s security clearance requests.
      What this means is that players won’t know exactly which “quests” they will tackle each time they play the mission, or in which order they will face them. As the difficulty slowly ramps up during the mission and the players’ supplies generally are lower towards the end, completing the same quest as either your first or last one can become quite a different experience, even though the quest itself doesn’t change that much. Allowing the quests to be arranged in any order and combination simply gives the mission a slightly different flow each time.
     

    The five quests, clockwise from top right: IT Department, Security Office, Archives, Forensics. Center: Director's Office
    The Combat Now, it’s about time we talked about the combat. It is essential for the replayability of a level that the combat isn’t static and that encounters vary between playthroughs. To solve this, Payday 2 has a spawning system that serves up dynamic enemy encounters. The system unburdens individual level designers and creates a consistent and tweakable way for the game to spawn enemies in all levels. For those of you who have played the Left 4 Dead games this may sound very familiar. The system isn’t completely automated and the level designer can control a few variables.
      Difficulty - The player selects the overall difficulty of a level before starting, but a designer can tweak the difficulty to a factor between 0 and 1. This can be adjusted at any point during the mission and can be tied to certain events.
    Spawn locations - A designer designates spawn locations manually. The designer can toggle spawn locations on and off, change how often they can be used to spawn enemies and which kind of enemies are allowed to spawn from them.
    Enemy Wave Mode - Police assaults occur regularly and this is generally handled by the system, but a designer can force a police assault or a complete break from them.
    Snipers/Harassers - The placement of snipers and so called harassers, regular SWAT troops who harass players from vantage points, is done manually. It is up to the designer to place them in challenging, but fair, positions and script logic which decides when and if they appear.
      What this all means is that while the spawning system does the heavy lifting and creates varied combat encounters, a designer can fine-tune the experience and still direct the combat somewhat. For example, in Hoxton Breakout the difficulty is slowly ramped up after each completed server, the spawn locations are continuously tweaked throughout the mission to make fights fair and when it is time to escape an endless police assault is forcefully triggered to increase the stakes!


    A dynamically spawned enemy squad moves towards the Payday gang.
    The keycard economy
    In Payday 2, keycards are single-use items that are occasionally used to open certain doors. In order to add depth and strategy to the level, I added something to this level which I like to call “the keycard economy”. In every playthrough, players can find 3-4 keycards which can be used, i.e. “spent”, on a variety of options like overriding doors to seal them off from enemies, unlocking rooms that contain precious resources or opening doors that lead to objectives. The value of the different options can change between playthroughs, depending on dynamic variables and which loadouts the players have. Since players can’t have all the options, they must choose wisely. This allows players to refine their strategy over the course of multiple playthroughs, adding to the level’s replayability.
      The little things We’ve discussed all the major dynamic elements of the level at this point, but it is worth mentioning that replayability also arises from smaller dynamic elements too. These smaller surprises can throw players off and force them to adapt accordingly. A good example can be found in the Security Office, where the police sometimes pumps in tear gas when players are trying to complete the objective inside. This forces players to leave the relative safety of the room and charge head first into the police forces which are surely waiting outside. Part of making a dynamic level should be to identify and implement these little game changers!
     

    Clockwise from top right: The Security Room fills with gas. A keycard has been used to seal a security door. An innocent keycard. A SWAT team rushing to thwart the payday gang.
    Discussion
    To summarize, the level we’ve looked at is about defending a location and completing short “quests”, with both activities changing in different ways between playthroughs. In addition to this variety, enemies are dynamically spawned, occasional surprises appear and players are able to learn and master the keycard economy over the course of multiple playthroughs. These dynamic elements, this variety between playthroughs, is what turns the level into a dynamic one.
      This level was made for Payday 2 and, as mentioned, dynamic levels will look a bit different depending on the game and its needs. The Left 4 Dead games have less emphasis on objectives and focus more on linear progression through a level, with dynamic enemies, items and minor path changes along the way. The Killing Floor games have arena levels that suit the game’s wave-based horde mode and these levels feature fairly simple dynamic elements: enemy and item spawning as well as the location of the weapon and item shop. The revived XCOM franchise uses levels which have designated areas or “slots” where different buildings and structures can fit in and shift the layout accordingly. The XCOM games also allow different missions to be played on the same level, enabling levels to provide even more gameplay mileage.
      The dynamic level design approach may fit these games, and others like them, but it is not suitable for all kinds of games and it definitely comes at a price. Since dynamic levels are designed to be replayable, heavily scripted story moments and set pieces may have to be deemphasized or removed outright. Playing through such sections may be thrilling once or twice, but they generally lose their appeal very quickly. Furthermore, some degree of polish is generally lost in the process of making dynamic levels. The fact that you are making an experience that can’t just happen “in one way” means you can’t necessarily polish, and control, every moment of gameplay to an insane standard, like you would expect in an Uncharted game for example. Additionally, an incredibly strong core gameplay loop is almost a requirement for a game with dynamic level design. Since the levels can’t be overly scripted, directed and set-piece heavy, the levels can’t compensate and “lift up” a slightly weaker core gameplay. Finally, one must also consider that creating dynamic elements in a level takes time, time which could be spent polishing or making more non-dynamic levels.
      These drawbacks must be weighed against the potential benefits. After all, the value of replayability should not be underestimated. As I mentioned in the beginning of the article, dynamic levels seem to be almost ideal for co-op games. Playing games together definitely adds something to the experience and this can help to compensate for some of the potential drawbacks like the lack of set-pieces. Adversarial multiplayer games, i.e. player vs player, don’t necessarily stand much to gain with the dynamic level design approach as the element of human unpredictability and challenge is usually enough to keep players engaged and entertained. By looking at XCOM, we can see that dynamic levels can be used to great effect in a game that isn't a shooter nor a cooperative one. And if we compare them to procedural levels, dynamic levels requires less sophisticated technology to create, but more human labor, and can offer something that feels a bit more handcrafted and unique. Ultimately, game makers need to look at the dynamic level design approach, its pros and cons, and ask themselves: is it the right approach for us?
  2. Like
    SotaPoika reacted to will2k for an article, Viability of Hostage Rescue Scenario in CS:GO   
    This level design article is about the past and the present of the hostage rescue mode in Counter-Strike. Showcasing the inherent issues that accompanied the scenario allowing the bomb/defuse mode to gain traction and popularity. This article will also present what can be done, level design wise, to remedy some of the shortfalls and allow the scenario to be viable.
    A historical background
    Counter-Strike officially started life in June 1999 with the release of beta 1, and it shipped with four maps, that’s right, four whole maps. They were all hostage rescue maps and the prefix used for these maps was cs_ as opposed to the standard deathmatch maps starting with dm_. This prefix was an abbreviation of the game’s name (Counter-Strike) which hints to this hostage-rescue scenario being the only one in the minds of Gooseman and Cliffe, the creators of CS, at the time of launch.
    Fast forward a couple of months, beta 4 rolled out in November 1999 bringing to the table a new scenario, bomb defuse. The new maps carried the prefix de_ and while one would think that the hostage rescue maps would be switched to hr_ prefix, they kept the same prefix which started to be referred to as the “Classic Scenario”. Counter-Strike was built on hostage rescue scenario.
    I started playing CS in beta 2 in August 1999 (I totally missed beta 1, screw me) and maps like Assault and Siege were all the rage at LAN parties. The nearest LAN/internet café was a 5-minute drive from my place, and LAN parties with friends used to be a blast full of shouting, cursing, bluffing, noob-trashing; the standard menu for a CS session. Good times.
    Siege, the oldest CS map (beta 1), and Assault (beta 1.1) were the epitome of the game. You had to dive in as a CT deep into the T stronghold to rescue the hostages and bring them back to safety. These maps were the most played on LANs and embodied the style of early CS gameplay. At the LAN place where I used to wage my virtual battles, Assault equaled CS, literally. A fun fact is that when Dust came out, I started a LAN session with this map and everyone in the room shouted at me: "What the hell is this? We wanna play CS!" For my friends, Assault was CS.
    However, those rosy days for hostage rescue began to turn into grim grey when folks started playing bomb defuse scenario and realized how…fun it was. A map like Dust almost single-handedly pushed the scenario into higher ground with its bright environment/textures, clear/wide paths and its ease of use and noob-friendliness. A year later, around Summer 2000, Counter-Strike was now equivalent to Dust for my friends.
    How did this happen? What went wrong?
    Inherent flaws of hostage rescue
    Hostage rescue is a very delicate and tough scenario for law enforcement operators in the real world. It puts the assailing team at a great disadvantage against heavily-armed barricaded hostage-takers who are probably using civilian hostages as human shields and as a bargaining chip for a later escape.
    As you can deduce, transferring this scenario as realistically as possible into the game will not fare well, and this disadvantage will carry on for the CT team. The problem is only exacerbated when you add the more or less “flawed” game mechanics to the scenario. This is exactly what went wrong with hostage rescue scenario in case you are still wondering about the rhetoric questions at the end of the historical background introduction. The popularity of cs_ scenario started dwindling and the rise of the bomb/defuse scenario only made things worse.
    Almost all the early cs_ maps featured a relatively tiny hostage zone/room having one entryway usually sealed with closed doors that the CT must open to get access inside. This room was typically located behind T spawn which made the area a camping ground and made camping that zone an obvious and rewarding tactic for Ts. The doors having to be manually opened with a loudening sound made things worse and negated any surprise or sneaky rush towards the hostages. A classic example is the hostage area and T spawn in cs_assault.

    I dare not think of how many Ts are camping behind those doors
    Another equally important camp fest occurred in the hostage rescue zone. Early designs made the rescue zone relatively small with one or two access paths that can be defended from one location. If the CT team manages to reach the hostages and rescue them, the Ts could easily fall back to the rescue zone to camp and patiently wait for the CTs to show up. The hostage rescue zone in cs_italy is a nice example to showcase how one T could camp in the southernmost spot in the zone allowing him to monitor both entryways, from market and from wine cellar, within the same field of view. CT slaughter was almost a guaranteed thing to happen.

    A CT will show up any second now; imminent slaughter commencing in ...3, 2, 1
    A third flaw was the hostages themselves. They were difficult to escort and protect and were easily stuck or left behind in various parts of the maps between their initial hostage zone and the final rescue zone. I lost count of how many times I rescued the hostages and ran as fast as I could to the rescue zone, reaching it with a big grin on my face only to turn around and find out that only one or two of the four hostages actually followed me; the others were randomly stuck on a ladder, door frame, window ledge, vent, chair, table…I could go on but my blood is starting to boil just thinking of this.
    To add insult to injury, hostages could also be killed or “stolen” for ultimate trolling. When Ts were stacked on money, they could easily kill all the hostages, basically turning the round to a frustrating terrorist hunt for CTs. In early CS versions, a CT teammate could press the “use” key on a hostage that you were already escorting to steal it. This would leave you helplessly wondering where the hell did the 4th hostage go in case you did not catch the teammate performing the action.
    Lastly, maps themselves contributed to the issues that were piling up against hostage rescue scenario. If you are a CS veteran and you were around the early betas in 1999, you would most certainly remember how quickly hostage rescue maps were pruned from one beta to another; some maps even had a life span of 1 week before being discarded out of the official roster. Most of these early cs maps featured dark, nightly environments that were unfriendly to both newcomers and established players. Other maps had a confusing-as-hell labyrinthine layout that confused even the most great-sense-of-direction players, and made remembering paths nigh impossible. Some of these maps had narrow twisted paths and choke points, vents, and ladders that not only frustrated players (especially CTs) but also made rescuing and escorting the hostages more of wishful thinking. The icing on the cake was the different gimmicks introduced in some maps that made a frustrating gameplay/layout even more annoying: some maps had a machine gun nest in T spawn allowing Ts to master and perfect the art of CT slaughtering while other maps had flammable drums that could be shot and blasted for the ultimate carnage right next to the hostage zone. Good example maps include cs_prison, cs_bunker, cs_iraq, cs_hideout, cs_facility, cs_desert, among many others.
    Meanwhile, bomb/defuse scenario was gaining grounds at an increased rate and before too long, hostage rescue was relegated to a distant second place in terms of popularity among players and level designers alike.
    As a small experiment, I tallied the number of custom hostage and defuse maps submitted on Gamebanana for Counter-Strike Source and Global Offensive. For CS:GO, there are 761 de_ maps against 157 hostage maps while for CS:S, the figures are 4060 de_ for 1244 cs_ maps. The disparity is rather meaningful as the ratio in CS:GO is 4.85:1 while for CS:S the number is 3.26:1. This means that for each hostage map in CS:GO there are almost five maps of bomb/defuse whereas this number drops slightly to almost three maps for CS:S. With CS:GO putting extra focus on competitive gameplay, this ratio is bound to further grow widening the rift between bomb/defuse and hostage rescue maps.
    That’s it? Is it done for cs_ maps? Shall we prepare the obituary or is there a magical solution to breathe some fire and life in them?
    Solutions for viability
    There is a magical solution that involves you transferring a large sum of cash to my bank account, then my “guys” will contact your “guys” to deliver the “solution”. The drop point will be at the…apparently, there has been a mix-up, this is for another “deal” …nervous chuckle.
    Seriously though, while there is no magical solution that will lift hostage rescue onto the rainbow, there are a couple of things that level designers can do to start injecting some momentum to the scenario. Luckily for us, Valve has already paved the way (so these “Volvo pls fix pls” do work after all?). In March 2013, Valve introduced a major CS:GO update that completely overhauled the hostage rescue scenario mechanics and introduced cs_militia as well. The update was a game changer and a much needed tweak towards a better hostage rescue gamemode.
    We now have two hostages instead of four, and the CTs only need to rescue one of them to win the round. Moreover, the hostage does not stupidly follow the CT but instead is carried on the CT’s shoulders. Obviously the movement speed of the CT carrying the hostage is decreased but this “inconvenience” is countered with added bonus round time and the fact that the CT doesn’t have to glance over his shoulders every five seconds to make sure the hostages are still following him (this kind of distraction can prove fatal to the CT escorting the hostages). The hostages’ spawn location is randomized and can be controlled by the level designer. A nice change is that hostages don’t die anymore thus cutting any chance of Ts trolling (you still lose money when you shoot a hostage – shooting a hostage is pretty pointless now akin to shooting yourself in the foot).
    This is all good news if you ask me; hostage rescue is on the right path to become popular and viable again. With Valve doing the first half of the change, level designers have the duty to continue with the second half.
    Hostage defuse?
    As a first suggested solution, let us start treating hostage rescue as bomb defuse. Let’s be honest, bomb defuse works really well, so why not transfer this “experience” into hostage rescue. What we can do is to have a hostage rescue map’s layout mimic one of bomb defuse – that is have two hostage zones that are similarly placed as two bomb sites. We need to start treating a hostage zone like a bomb site with all accompanying techniques of rushing, pushing, faking, peeking, holding, smoking, flashing, etc. The good thing about this is that whatever knowledge, skill, and layout awareness that players have acquired from defuse scenarios will transfer effortlessly to the hostage rescue scenario; you do not need to learn new tactics and strategies. The roles will be inversed: instead of Ts rushing bomb sites and CTs defending, CTs will push hostage zones and Ts will defend and rotate.  
    Sounds logical, right? Some people might argue that having 2 separate hostage zones is not “realistic” and my answer is Counter-Strike was never about realism (carrying and running around with a 7 kg (15.5 lb), 1.2 m (47.2 inch) AWP sniper rifle with 25x telescopic sight, quickscoping and headshotting opponents is the epitome of “realism”). If you want a realistic hostage rescue scenario, then you are better off playing the original Rainbow Six Rogue Spear and SWAT 3 from 1999, or the more recent ARMA and Insurgency for a realistic military setting. I practice what I preach and I already implemented this technique in my last map “cs_calm”. The map was a remake of my CS 1.5 map from 2003 and obviously I made the “mistake” at that time to follow the trend set by official maps of having one hostage zone right behind T spawn. A playtest on Reddit CS:GO servers back in March 2015 confirmed that this setup won’t work well as Ts will inevitably abuse the hostage zone.
    I made some radical layout changes towards T spawn and hostage zone and created two new hostage zones on the upper and lower levels of the map that are connected by a back hallway to allow quick rotations (in addition to the one through T spawn). Obviously, there is no direct line of sight between hostage zones to prevent 1-zone camping. Ts have absolutely no incentive to camp one zone as CTs can reach the other one, rescue the hostage and head back to the rescue zone without being spotted from the other zone. CTs actually have a chance of winning the round by rescuing the hostages.
    I like to believe the new layout worked well. Only time and more hostage rescue maps will tell.

    Layout of the map "cs_calm"
    Rescue zone anti-camping
    We have remedied the hostage zone camping but we still need to tend to the rescue zone camping issue. A solution to this is to have two rescue zones in a similar setup to what is nicely done in cs_office. While Ts can still camp one zone, they risk a big chance of having CTs reach the other rescue zone. Again, CTs will have a viable option to save the hostages without being shredded by camping Ts. If the layout does not allow or facilitate having two rescue zones, then one big rescue zone with multiple entrances (three is a good number) should work fine. The trick here is to have the entrances not easily covered within the same field of view to prevent camping.
    Into the zone
    Just as we established that we should treat hostage zones like bomb sites, it goes without saying that each hostage zone should have at least 2 to 3 entry points. It’s pretty pointless to have only one entrance as this totally defeats the purpose of spreading hostages into two zones. The different entryways should also not be covered within the same field of view of one T; if a T decides to camp the zone, then he should be able to cover two entrances from one point leaving the third one more or less at a dead angle and viable for a CT rush or stealth/sneak surprise. 

    Showcase of Hostage Zone A on the map "cs_calm"
    The above screenshot showcases “Hostage Zone A” in cs_calm. A terrorist will typically camp near the hostage covering the two encircled entrances. The third entrance from upper level denoted by the arrow is not in the direct FOV, and is prone to a surprise attack by CTs that could catch the camping T off guard. If possible, try to spread the entrances on different vertical levels to spice things up and keep Ts on their toes.
    Lastly, it is a good idea to have a connector between hostage zones to allow fast rotations but without having a direct line of sight between hostage zones. We want to make the scenario fairer to CTs but not at the expense of Ts, inadvertently making it unfair for them.
    Conclusion
    Hostage rescue is a fun scenario if you ask me. It had many inherited and added flaws that contributed to its waning but it’s nothing that can’t be reversed. We, as level designers, need to push some changes to put the scenario back on track. What I just showcased in this article might not be the only viable solutions but they certainly are a step in the right direction. Level designers are intimidated by players who shun away from cs_ maps, and this turns into a vicious circle where players avoid hostage rescue maps and mappers in return avoid designing them. We need to break this cycle and designers need to bravely embrace the solutions I presented here or come up with their own solutions. The more cs_ maps that come out and get tested, the more we could validate these solutions as viable.
    In either case, we need to get proactive towards hostage rescue scenario; after all, this is the cornerstone that Counter-Strike was built upon.
  3. Like
    SotaPoika reacted to Rick_D for an article, Making Agency, the popular CS:GO map   
    What is Agency?
    Just in case you have never heard of Counter Strike: Global Offensive, it's a hugely popular online FPS, successor to Counter Strike: Source and the original Counter Strike. The original came out in 1999 and the core gameplay has remained almost unchanged. Players are split into two teams and challenge each other in various game modes such as Bomb Defusal (one team has to plant and detonate the bomb while the other tries to stop them) and Hostage Rescue (one team must rescue the hostages whilst the other attempts to prevent that). The Bomb Defusal mode is by far the most popular, with maps designed with such detail that players can predict down to the second when another player is due to arrive in a certain area of the level. It's also the only mode played in competitive events and for huge prize money.
    This leaves the poor Hostage Rescue mode sitting on the sidelines twiddling it's thumbs and feeling a little rejected. In part this is because the Hostage Rescue mode is far more of a roleplaying experience, often with very poor odds of success for the team tasked with doing the rescuing. Often the levels are designed in such a way that the defending team has a large positional advantage, where simply staying-put will give them a good chance of winning.
    That's where we can start talking about Agency. Agency is a Hostage Rescue level, created as a collaboration between level designer Patrick Murphy, and myself doing the art. The basic idea being that Hostage Rescue could be just as precise and exciting as Bomb Defusal. It's been included in three official releases from the games creator, Valve, as part of their community level packs: Operation Bravo, Operation Phoenix and Operation Bloodhound. Phoenix being a community-voted choice, which was especially great to see that players enjoyed the style of gameplay and visuals that Agency brought with it.
    In this article I will go over the process of creating the art, from props to set dressing, texture creation and lighting, while maintaining a visually pleasing aesthetic and serving to enhance the gameplay. This isn't a postmortem but rather a walk-through of the various stages, hopefully to give some ideas to others, with lessons learned both positive and negative.

    Iteration from Whitebox to Final
    Starting out you should always have an idea of what you're going to create, even if it is quite vague, as it'll point you in the right direction for both creating architectural spaces and letting your imagination fill in the blanks as you build the basic shapes of the level. We knew we were going to build an office space, but style was leaning towards an older government building with red bricks and musty wood. As I started to put in some basic textures we decided it felt too bland, and similar to other levels in the game. In order to stand out and create something really interesting and intriguing that would entice players to want to explore the level we decided to modernize the space and use white as the primary colour - this would help players see each other more easily and provide a striking visual setting it apart from other levels.
    "Modern Office" is not exactly a style that has a single look, if you search for images you'll get back a lot of contrasting designs and ideas, trying to put every single one of those into a level would create a visual mess with no consistency. It's important to choose the right references for what you are building, something that looks cool in a single image or from a specific location might not fit into the theme of the level, and in a worst-case-scenario it might actually start to detract from the level as a whole. Trying to cram in as much content as possible simply makes your level feel less unified and jarring.
    Unfortunately when you are presented with so many fantastic designs and ideas it can be hard to pick out what is important. After settling on the location: a modern advertising agency's office, I broke down the needs of the level into a few different categories:
    Area Specific General Use Overall Theme The Area Specific content is "hero assets" for each location in the level. These are the things that help the player tell different areas apart from each other, a reception desk, a kitchen, a bathroom, etc. Assets that won't be used anywhere else except in their specific location.
     

    Examples of Area Specific Content

    The General Use content is the backbone of the building, it's wall sockets, ventilation tubes, sprinklers, desks and chairs. The things that could be used anywhere and would blend in to the background and not stand out unless you were specifically looking for them.
     

    Examples of General Use Content

    The Overall Theme content is what sells the theme of the level to players, advertising boards, company logos, large art installations and so on. These can be used everywhere but sparingly and should only be used as a subtle reminder to the player of where they are thematically. They shouldn't detract from the Area Specific content but should stand out more than the General Use content. This came in the form of abstract paintings, corporate logos, rotating advertisement panels and so on - things that would subtly tie the level together.
    Once these categories were laid out, searching through reference images became much simpler as you know what you need and only have to find an interesting design or detail that enhances a specific category.
    This isn't to say that everything was completely planned out or that development was flawless. Sticking to a plan only works until you open the editor, and if you try to force something you'll end up frustrated when it consistently fails to work. As an example we originally had the level set on the ground floor of a tall skyscraper. I spent a few weeks working on content for the ground but never really getting it to feel right within the theme of the level: the contrast between a dirty exterior street section and a spotless interior didn't feel right for the level, and felt a little too similar to another Counter Strike level. Patrick played around with some ideas and tried something I was afraid of: simply deleting everything I had done on the outside and adding an epic city vista. Instantly it felt right. The important thing to take away from this is that just because you have worked on something doesn't mean it's the right thing to be working on, and that getting input from other people with different ideas can vastly improve what you are working on.
     

    The first mockup of Agency's rooftop exterior
     

    The same space after an art pass

    Another incredibly important thing I realised is making use of modular assets. If you are going to duplicate something in your particular modelling software you should ask yourself: is this efficient? Chances are you're just making things harder to change later and locking yourself into a particular shape; eg: a walkway has a railing around it, you model the entire railing as a single object. Now if you need to change that walkway a month later you're going to have to go back and change your railing model. It's better to create a smaller tiling mesh that can be used multiple times, as often you'll find you can use that model in other areas and in different ways than you had initially intended. You're simply applying the concept of tiling textures to models, and in the process saving yourself a lot of time.

    A Believable Clean Art Style
    Creating a clean environment can often be more difficult and time consuming than a very dirty and cluttered one, simply because any mistakes are magnified by the lack of other objects to disguise them. A room with a single chair in the middle is going to end up with the focus being on that chair, if you fill that room with a hundred chairs you're going to be less concerned with the details of the chair and more worried about why someone would fill a room with a hundred chairs.
    In the modern office setting of Agency it would have made little sense to fill it with props and clutter, but a large empty space would just feel unfinished. A delicate balance of larger architectural shapes and smaller objects was needed. I like to think of this as functional art: it serves a purpose in the lore of the game world. Window and door frames, electrical sockets, thermostats and card swipes along with the maintenance apparatus of ventilation systems. These are the general use objects mentioned earlier, they fill out space and prevent an empty wall or ceiling from actually looking empty and at the same time they contribute to the believability of the level. It's important to think of the infrastructure of the building when placing these assets - if a wall has an air vent on it then the wall needs to be thick enough to support the ventilation pipes that feed it, Card swiping mechanisms need to be placed near doors at the correct height, electrical sockets should be placed logically in areas where they would be of use to the fictional inhabitants of the level and so on.
     

    Several examples of functional art details

    One of the most important things to do right when creating clean environments is to get the most out of the materials. It's not possible to cover every surface in dirt or decals, so the surfaces themselves become your way of showing detail.
    For Agency this was achieved by making liberal use of the phong shading techniques in the Source engine for models, and cubemaps for world textures. Almost all models in the level have some amount of phong shading, and although it doesn't produce a completely physically accurate result it can be used to create materials and surfaces that look relatively accurate. Simply by increasing or decreasing the intensity of the phong amount allowed for a vast majority of the levels surfaces to be rendered accurately. As I didn't need to have a lot of noisy detail in the materials due to the clean style I simply used a small phong texture as a mask for 75% of the models and let the lighting and general shapes of the models do the rest of the work.
     

    Simple phong shading to mimic real world materials

    As most of the surfaces had a single layer of material, ie paint or coloured metal, the phong shading could be completely even without breaking the illusion; however some of the dirtier surfaces such ventilation tubes and water pipes had several layers: a painted metal surface with area peeled away to reveal with metal underneath or a layer of dust. These had specific masks that would enhance the different materials, and showing wear and tear in the background assets added an extra layer of depth without compromising the clean style.
    Most of these textures were created with dDo, an excellent tool for quickly creating textures. I generally started with quite a dirty texture preset and toned down the details and noise until they were barely perceptible surface imperfections.
    Agency features probably close to 95% custom art, and that's a lot of work for a single person. Using dDo allowed me to make a lot of content relatively quickly, and kept it all visually consistent.
    The process of creating the assets with dDo was quite simple: first I modeled the basic ingame asset, then did a very quick and dirty placement of edge loops that allowed me to smooth the mesh and get a workable high poly. A very rough normal map was baked (along with a more solid ambient occlusion map), this rough normal map would never make it into the game, it was used purely for texturing with dDo. This rough-and-dirty technique was mostly used on the more general purpose assets that nobody would spend a lot of time looking at. For the objects that were in high traffic areas or that required finer detail a more robust normal map was created.
    Tiling textures used throughout the world were photo-sourced and tiled in Photoshop. A few examples worth pointing out are the plaster wall textures and the marble floors:
     


    The image above shows the ingame result, the diffuse texture, and the normal map of the standard plaster that is used throughout the level. The normal map was authored at 1024x1024 compared to the diffuse texture which was 512x512. I created several colour variations of the diffuse texture and for a very plain surface using a 1024x1024 diffuse didn't make much sense. The final touch was to add a subtle cubemap effect to bring out the normal map and add interesting coloured reflections in various areas.
     


    Another example is a marble floor used throughout the level. The normal map is unrealistic in that it portrays an uneven bumpy surface when in fact it is more likely to be uniformly flat. However to break up the reflections and add some visual interest to such a large and empty area I added a subtle bumpy normal map which warps the reflections, but is subtle enough that it doesn't get picked up by the lighting and actually appear like a lumpy mess.
    Good shading only gets you part of the way there, however. A poorly scaled model can break immersion instantly, especially when you are trying to create a believable real-world environment. There are tried-and-true metrics for Counter Strike so having a base to work from helped immensely, but these only give you a good starting point or a bounding box for your object. It's important to study real world reference and make sure your object is proportional to the world around it and also to itself. A unit in Hammer is an inch, so having wood that's 2 units thick, or a doorway that is 1.5m wide quickly makes things look wrong.

    Working with Designer Blockouts, and not Destroying Gameplay
    Agency was a collaboration, with Patrick doing the design work and me doing the visuals, this meant there was a lot of potential for overlap and working on the same areas, the potential for breaking things was huge.
    Often when you create things as an individual you don't have to worry about version control or stepping on someone else's toes, however when you work with other people either for pleasure or business you, as an artist, need to change your mindset. You are not creating a portfolio piece but rather something functional that has to withstand hundreds of hours of real people playing it.
    Your first role is to support the designer, and this benefits you as well. By creating the basic structures of the level: doorways, window frames, stairs, railings, cover objects etc, you are allowing them to work with the final assets and tweak gameplay according to those assets. Nothing needs to be finalized instantly, it's better to provide a rough mockup of the intended asset so the designer can play around with it and give feedback on the shape, size and silhouette. Once you are both confident it's going to work they can populate the level with these assets which saves you time in the long run, and once you finalize the model and textures they are going to be updated across the entire level without having to manually replace assets.
    It can be difficult to determine exactly when you should start an art pass, especially when a level is constantly evolving. Rather than sitting idly by whilst Patrick was ironing out the design of the level I started on the creation of a few visual test levels to explore materials, lighting and modular assets. Once the first iterations of Agency were created, with rough shapes for important cover and controlling lines-of-sight. I went in and created an art pass and altered many of these original gameplay ideas, simply experimenting with different shapes and designs for the rooms. We had a constant dialogue and never considered something finalized just because it was finished. Playtests would determine whether an idea was valid or not in a way that speculation can only hope for. The most important lesson learned during this process of constant iteration was that work is very rarely wasted, and it is far more important to stay true to a gameplay ideal than to have an area that looks interesting in a screenshot but utterly fails when players get their hands on it. A box is a box is a box, it is down to you as an artist to imagine how that box can be interpreted within the context of the environment.
     

    Initial art pass ideas for the central area (above) versus the end result (below)
     

    Initial art pass ideas for the reception (above) versus the end result (below)
     

    Initial art pass ideas for a hostage (above) versus the end result (below)

    Lighting
    An important part of any environment is the lighting. Too contrasted and moody and it becomes hard to identify players, too bright and monotone and it becomes boring and a strain on the eyes. For Agency I used a series of instanced lighting setups: a model to visualise the light source, a spot light to direct the light, and a sprite or light cone to add a visual effect around the light. Each light setup was unique to the type of model used for the actual light source, ie: all spotlights were identical, all fluorescent lights were identical etc. This meant I could change a single light and have the others update automatically, and always get an accurate result.
    Then it was just a case of placing these different types of lights where they logically made sense in the environment, and if an area was too dark an appropriate light source was added, and if an area was too bright lights could be moved around or removed entirely. This made it quite easy to light as everything was guided by reality, which has plenty of reference material, and had the side effect of helping to make the environment more believable. By using various colours on the floor and walls I could direct lights towards them and take advantage of the Source engine's excellent radiosity and spread interesting colours to nearby surfaces.
    In many areas the ceiling was opened up to reveal the sky and to let natural sunlight into the interior spaces, this was done to provide contrast to the electrical lights and to get extra radiosity bounces into the environment. Some areas had lights removed or toned down to allow other more important gameplay areas to stand out, for example the image below shows how the corridor here was darkened both by using darker textures and by using restrained lighting to make the room in the distance appear brighter as this is an area that enemy players will appear from.
     


    This could have been taken even further by possibly using emergency exit signs to add hints of colour to important gameplay areas and chokepoints. A consistent lighting language would have helped guide players during the first few times playing the level. There are some large open spaces that would have benefited from some coloured screens or lighting panels, or possibly making some of the larger glass surfaces tinted, to add a little extra colour and prevent such a monotone look whilst not being over-bearing or detracting from the realistic style of lighting I was aiming for.

    Final thoughts
    During the course of developing Agency I had a chance to learn a few things and come out the other end a, hopefully, better artist.
    So, what went well?
    The iteration process never had any hiccups, by using modular content and being prepared to discard ideas and art styles that weren't working we ended up with a better level. If we had tried to force the original idea of a ground-level government office we would have ended up with a completely different level, complete with underground parking lots and elevator shafts. Exciting stuff!
    The power of iteration cannot be understated, and understanding that a mockup or a blockout of a level is simply a temporary phase that doesn't represent the end result. Areas changed drastically between versions, sometimes due to design requirements, and sometimes of shifts in art style; but each version was better than the last, more refined and polished.
    What went less well?
    In direct contrast to the statement above, sometimes the iteration interfered with more important tasks. I got stuck on areas trying to get them to work instead of letting them sit for a while and returning to them later. I tried to force an idea for the exterior part of the level and it never felt right and consumed way too much time, when all it took was getting some outside perspective. Luckily during the process I learnt to trust designers when it comes to art, just because they might not build high poly meshes doesn't mean they aren't artistic.
    Another problem was building too much content completely unique for an area which meant when we inevitably changed things it became time consuming to shift assets around, and makes it less easy for others to re-use that content without creating an almost replica of the area it was designed for. These unique assets helped sell the realism of the level but made them harder to work with.
    Hopefully this has been interesting and insightful!
  4. Like
    SotaPoika reacted to Furyo for an article, Level Design in The Last of Us: Part One   
    This is the first article in a three-part series. Part One / Part Two / Part Three
    Intro Level 1st scene In typical movie fashion, the game starts with an exposition scene which establishes the bond between Joel and his daughter Sarah. Here the watch plays a type of backward MacGuffin (http://en.wikipedia.org/wiki/MacGuffin), which movie fans will be familiar with. A term made popular by Alfred Hitchcock, this initial narrative element will keep showing up in multiple scenes in the game to move the scenario forward and link back to the initial bond Joel had with his daughter. Many other items in this game, which we’ll see exposed in Sarah’s room play the same role. It’s important to note that this game doesn’t use forward MacGuffins, instead relying on the early experience players have with Joel in the intro levels to help them relate to Joel in the later parts of the game, when he faces adversity from the other main characters in the game. This type of catalyst is sometimes linked to gameplay in some games, but not here. For instance, in a quest, looking to get somewhere or obtain something but never managing to. In BioShock Infinite, Elizabeth keeps trying to go to Paris, but never quite goes there in the main game.
    Gameplay Sarah goes to bed, only to be woken up by her Uncle Tommy’s phone call. The initial frame of Sarah getting up is a textbook example of player exposition. Using the mirror on the wall, Naughty Dog adds depth to the room, and presents Sarah as a playable character from both front and back. The color of the lamp shade also leaves nothing to chance. Using a warm color near her beloved items reinforces the comfort of her nest (bed) and contrasts heavily with the cold blue of the night in the mirror. These items on the wall, much like the watch earlier, play a narrative role in the rest of the game as tools to drive the scenario forward between Ellie and Joel.
    Sound wise, Naughty Dog made a classic choice not to add any music and simply build tension with environment sounds in the background. It plays great and helps focus the attention on the initial reveals. In the room, the placement of the birthday card ties the opening scene with this scene the following morning and introduces the “triangle” button as the “hand interaction” one in the game (pick up item, open door, etc).
    At this point in the game, the player still does not quite know what to do, despite having played for a few minutes already. This guidance is given very clearly in a single word, right outside Sarah’s bedroom, as she yells “Dad?”. Perfect example of narrative design coupled with level design, that tells the player his/her immediate goal, and invites him/her to check out every single door, increasing the chances for maximum exposition of every theme in this intro level.
    With the goal now firmly established, the placement of the door straight ahead, too obvious, makes that room a natural space for continued exploration of the game’s themes, as opposed to a significant room. It comes as no surprise to find inside that room just one piece of content. The placement of the only light source in this room, obvious as it is, reminds us that lighting is one of the most straightforward tools to guide players.
    Joel’s bedroom After leaving this bathroom, players are naturally directed towards Joel’s bedroom thanks to the window, extra light placed in front of it, and the barely open bedroom door. The sound of the TV is an ideal guidance tool, suggested instead of shown. This bedroom also offers the chance to see the gameplay loop closed for the first time. The Last of Us’ gameplay loop is always a variant on four themes: Exploration, Tension, Challenge, Reward, Return to Exploration. With the initial exploration started in Sarah’s room and the tension of having to find her dad, this room introduces the simplest of challenges – opening the door and following the gameplay instructions (L3) – which ends with an immediate reward of seeing the explosion in the distance. Finally, Sarah’s “Daaad?” closes the loop and makes players return to their exploration phase. Gameplay loops can express themselves over varying lengths. Second to second, minute to minute, hour to hour.
      Returning to the hallway, a few classic LD rules can be seen in the same frame. The placement of the door allows players to face the staircase in the right direction, and the placement of the lamp at the bottom automatically invites players to go down. Notice its actual placement. While most times placing a light source away from a player’s immediate field of view increases its attraction, this one is placed to the right in plain sight of the player.
    Once at the bottom of the stairs, the window introduces a new narrative element, in the form of police cars. Notice that the cars are driving in the same direction as the player needs to move. This is yet another good tool to guide players subconsciously. If the lamp at the bottom of the stairs had been placed to the left, and away from the player, he/she would have likely turned the camera towards it and away from the windows, negating the introduction of the police cars. That’s why this light source was better left in the player’s field of view.
    Players naturally progress and now face this door to the garden, this time with a light source hidden beyond the playable space which naturally increases the mystery and tension in the scene. Just like upstairs in Joel’s bedroom with the TV, the dog barking here increases tension and attracts players forward.
    Once players reach the window, Naughty Dog doesn’t fall for the cliché of having an infected appear in the garden, and plays with players expectations instead interrupting the sequence with Joel’s phone. Doing so, “L3” is introduced again this time on the player’s critical path to make sure this mechanic is understood by all players.
    The placement of the phone to the right of the door is also no accident. It makes players move further away and to the other side of the living room from the office, where players are now supposed to go. This forces players to go by the garden window a second time and the use of the phone has forced the player’s immediate attention of the window to be erased. This perfect set up was necessary to create an element of surprise for the second traversal of the living room.
    Narrative scene and transition A sign of truly great narrative games is the justification of every single camera takeover by placing the played character in a situation that allows for a smooth transition. Here, that’s the only reason this half open door is placed here. Since it’s already half open, like Joel’s bedroom door, there is no “triangle” interaction required. The goal of this door is to justify the exact position of Sarah in her animated entrance into the room, therefore the position of the camera, to allow for a smooth take over for the rest of the cinematic and the entrance and reveal of Joel, the very first in the game.
    While the entire scene could have played out inside Joel’s office, Naughty Dog chose to have Sarah and Joel leave the office half way through, so as to cut back the length of the walk to the exit door and outside to the car. This allowed them to shave off a few seconds of otherwise boring content and make the action denser. Uncle Tommy’s introduction is pretty hectic with the rapid movements and a lot of information handed to the player, so to reinforce his presentation, Naughty Dog chose to have him turn towards the player once inside the car.
    The Last of Us, as many narrative games, presents choices to the player. They come in two types, active and inactive. Active choices are generally self-explanatory and are not even presented as such in games. For instance, play style (stealth or action) influences the outcome of fights, but they can also come in the form of a single button press, which usually destroys immersion in a world, and breaks the fourth wall. Inactive choices on the other hand play with morals and psychology between players and the characters they play. Here we see the first glimpse of the troublesome relationship to come between Joel and Ellie, in the eyes of her daughter Sarah who wishes that the car had stopped to help the stranded survivors. This makes players ask themselves where they would stand, and take sides with the future protagonists.
    The accident serves here as a transition and justifies leaving the car behind. The timing of that sequence is probably not purely by chance. First Naughty Dog had illustrated all the themes they could from inside the car, and second the attention span of test players was probably waning beyond that point. Notice however the subtle and progressive introduction of infected in the world. The first one, inside Joel’s office comes in when they may yet be taken for humans, and as an element of a cinematic, it offers no challenge to the player. The second, in this car sequence, attacked other survivors and when posing an immediate threat to Sarah, was stopped by Tommy driving away. The third, much closer view comes in as a direct consequence of the car crash. These three progressive introductions of the game’s main antagonist are a textbook example of exposition that allows players to fully grasp the concept of the infected before having to deal with them. Many games fail to present enemies that way, instead relying on one-shot cinematics with poorly explained antics and backstory. The fact these enemies can’t talk and explain themselves pushed Naughty Dog to work them this way into the game, to great effect.
    Combat Tutorial First introduction of the « Square » button for combat. As a rule, tutorials are better introduced when players attention span can be solely directed at the mechanic in question. Here, the tension resulting from the car accident and the sight of the infected nearby focuses the player’s attention on the tutorial for maximum effectiveness. Instead of breaking the immersion of the scene, this tutorial actually flows inside it, and players never question it. Naughty Dog’s choice for minimal UI invasion on the screen really pays off here.
    Chase sequence Introducing Joel for the first time as a playable character (and the main protagonist) in the middle of a stressful situation could have been a risky proposal, which Naughty Dog managed to make work by taking away all combat (automatic death if caught by infected and gun given away to Tommy). Sarah, who would have trailed behind and become a center of attention for players is reunited with her dad after getting hurt in the accident. All of these moves act as perfect justification to have players only ever care about their own character. The only action required of the player is to dodge pedestrians, which is exactly the best activity to learn to control a brand new character. The use of a car that crashes into the gas station is a bit of a cliché by now, but remains a very strong justification for sending the player to the right, and have a couple invisible walls across the other streets. It remains better than a simple static object across the street and infinitely better than nothing at all.
    The firemen truck across the street serves both as justification for the fire raging in the building next door, and as a way to direct the player to the car crash about to block the street off. This second instance however occurs much closer to the player, increasing tension further, and culminating with stopping in front of the theater beyond. This “three strikes” approach to game design is rampant through most games these days, and certainly The Last of Us, for instance during the combat tutorial (three square button presses to leave the car) and is a sort of golden number first generalized by Nintendo.
    The use of audio after the third street blockage is mandatory given the exit is not readily apparent within a 45 degree field of view on either side of the theater. In third person games, presenting exits within this 90 degree angle is generally considered a safe choice to have players flow, on consoles at least where the FOV is usually limited more than on PC games. For instance, this was the rule we followed when designing Prince of Persia in 2008.
    In the alley and through to the other side, great use if not subtle of lighting to direct players to the left, and first use of the yellow color on all directional and interactive hints, which we’ll see later in the first level. We’ll find the same use for the ambulance down below, which strong red lights contrast easily with the night, and even the wind indicating the sense of direction. The headlights serve as guidance too of course, much like the hurt survivor on the ground.
        This is the first article in a three-part series. Part One / Part Two / Part Three
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