Bastion reacted to FrieChamp for an article, Finding your own path as a professional Level Designer
The following article contains quotes from interviews with Todd Papy, Design Director at Cloud Imperium Games, Geoffrey Smith, Lead Game Designer at Respawn Entertainment, Paul Haynes, Lead Level Designer at Deep Silver Dambuster Studios and Sten Huebler, Senior Level Designer at The Coalition. A big heartfelt 'thank you' goes out to these guys who took the time out of their busy schedules to answer my questions!
On the MapCore.org forums many amateur level designers ask for feedback on their portfolios or for advice on how to break into the games industry. But once you have signed your first contract and you have your foot in the door you will realize that this step marks merely the beginning of your journey. It is a winding path with many diverging branches and without much information available on the road ahead. This is the reason why I decided to interview professional designers in Senior, Lead or Director positions to share their personal experiences and advice with others trying to navigate this field. It is worth mentioning that the questions were not selected and phrased with the goal in mind to compile a ‘how to get promoted fast’ guide. Instead I wanted to give level designers insights into the careers of others - who have stood at the same crossroads before - in hopes that they get the information to pick the path that is right for them.
Hands-On VS Management
At the beginning of his career, Todd Papy started out as a “designer/environment artist” – a job title that dates back to times when team sizes were much smaller and one person could wear both hats at the same time. As the project complexity and team size grew, he specialized in level design at SONY Santa Monica and worked on the God of War titles. During his time there he moved up the ranks to Lead Level Designer, Design Director and eventually Game Director. From level design to directing a game - a career thanks to careful long-term planning and preparation? “It wasn’t even on my radar” says Todd. “I just wanted to build a game with the team and soak up as much information from the people around me as possible.”
So how do level designers feel who step into positions where the majority of their daily work suddenly consists of managing people and processes? Do they regret not doing enough hands-on-work anymore? Todd says he misses building and crafting something with his hands, but instead of going back to his roots, he decided to look at the issue from a fresh perspective: “As a Lead or Director, your personal daily and weekly satisfaction changes from pride in what you accomplished to pride in what the team has accomplished.“ Today Todd is designing the universe of 'Star Citizen' as Design Director at Cloud Imperium Games.
Geoffrey Smith - who created some of the most popular multiplayer maps in the Call of Duty and Titanfall series and who is now Lead of the ‘Multiplayer Geometry’ team at Respawn Entertainment - says his output of levels remains unchanged thus far, but he can “easily see how being so tied up with managing would cut into someone's hands-on work”. Geoffrey calls for companies to provide the necessary training to employees new to management positions: “Managing people and projects is hard work and is normally a vastly different skill set than most of us in games have. Maybe that is why our industry has such problems with meeting deadlines and shipping bug-free games. A lot of guys work for a long time in their respective disciplines and after many years they get moved into a lead position. They certainly know their craft well enough to teach new guys but managing those guys and scheduling would be something brand new to them. Companies need to understand this and get them the training they need to be successful.” At Respawn Entertainment, the studio provides its department leads with training seminars, which helps the staff immensely, according to Geoffrey.
Sten Huebler, currently working as a Senior Level Designer at Microsoft-owned The Coalition, in Vancouver, says he definitely missed the hands-on work when he worked in a Lead capacity on 'Crysis' and 'Crysis 2': “I was longing for a more direct creative outlet again. That is why coming to The Coalition and working on Gears of War 4, I really wanted to be hands on again.” To Sten it was the right move because he enjoyed working directly on many of the levels in the game’s campaign and could then experience his fruit of labour with others close to him: "After Gears 4 shipped, playing through the campaign, through my levels with my brother in co-op was a blast and a highlight of my career. He actually still lives in Germany. Being able to reconnect with him, on the other side of globe, playing a game together I worked on...So cool!"
'Gears of War 4' developed by The Coaliation and published by Microsoft Studios
Paul Haynes, Lead Level Designer at Deep Silver Dambuster Studios, encourages designers to negotiate the amount of organizational tasks and hands-on work before being promoted into a position that makes you unhappy: “I always told myself that I wouldn’t take a Lead position unless it could be agreed that I retain some hands-on, creative responsibility, after all that’s where I consider my strongest attributes to lie. I agreed to both Lead positions (Cinematic/Level Design) under that principle - I never understood the concept of promoting someone who is good at a certain thing into a position where they potentially don’t get to do that thing anymore, as they spend all their time organising others to do it. So far I’ve managed to maintain that creativity to some degree, though I would imagine it’s never going to be quite the same as it used to be, as I do have a team to manage now. On the flip side though, being able to control and co-ordinate the level design vision for a project and having a team to support in fulfilling that is quite an exciting new experience for me, so not all the organisation and planning is unenjoyable.”
Specialization VS Broadening Skillsets
For the level designers who aren’t afraid of management-related tasks and who are willing to give up hands-on work for bigger creative control, what would the interviewees recommend: specialize and strengthen abilities as an expert in level design further or broaden one’s skillset (e.g. getting into system design, writing etc.)? Paul believes it doesn’t necessarily have to be one or the other: “I think it’s possible to do both (strengthening abilities and broadening skillsets) simultaneously, it would really depend on the individual involved. I would say that a good approach would be to start with the specialisation in your chosen field and then once you feel more comfortable with your day to day work under that specialisation, take on work that utilises different skillsets and experiment to see if you find anything else you enjoy.” He started out as a pure level designer but subsequently held roles that involved game and cinematic design at Codemasters, Crytek and Dambuster Studios. “I’ll always consider myself a level designer at heart”, says Paul, “though it’s been incredibly beneficial for me to gain an understanding of multiple other disciplines, as not only has it widened my personal skillset but it has enabled me to understand what those disciplines have to consider during their day to day job roles, and it has helped me to strengthen the bond with those departments and my level design department as a result.” This advice is echoed by Todd who encourages level designers to learn about the different disciplines as “that knowledge will help solve issues that arise when creating a level.”
'Homefront: The Revolution' developed by Dambuster Studios and published by Deep Silver
Sten also gained experience in related disciplines but ultimately decided to return to his passion and do level design. He explains: “It’s a good question and I feel I have been wondering about this myself regularly in my career. I think those priorities might change depending on your current situation, your age, your family situation, but also depending on the experience you gain in your particular field. (…) In my career, I was fortunate enough to try out different positions. For example, I was a Level Designer on Far Cry (PC), Lead Level Designer on Crysis 1 and Lead Game Designer on Crysis 2. Each position had different requirements and responsibilities. As a Lead Level Designer I was more exposed to the overall campaign planning and narrative for it, while on Crysis 2 I was more involved in the system design. However, my true passion is really on the level design side. I love creating places and spaces, taking the player on a cool adventure in a setting I am crafting. My skills and talents also seem to be best aligned on the level design side. I love the combination of art, design, scripting and storytelling that all come together when making levels for 1st or 3rd person games.”
Picking The Right Studio
As you can certainly tell by now, all of the interviewees have already made stops at different studios throughout their career. So each one of them has been in the situation of contemplating whether to pass on an offer or put down their signature on the dotted line. This brings up the question what makes them choose one development studio over the other? To Geoffrey it depends on what stage of your career you are in. “If you're trying to just get into the industry for the first time, then cast your net wide and apply to a lot of places. However, ideally, someone should pick a studio that makes the types of games they love to play. Being happy and motivated to work every day is a powerful thing.”
This is a sentiment that is shared by all interviewees: the project and team are important aspects, but as they have advanced in their career other external factors have come into play: “It’s not just about me anymore, so the location, the city we are going to live in are equally important.” Sten says.
Paul is also cautious of moving across the globe for a new gig. “The type of games that the company produces and the potential quality of them is obviously quite important – as is the team that I’d be working with and their pedigree. More and more over the years though it’s become equally important to me to find that balance between work and life outside of it. Working on games and translating your hobby into a career is awesome, but it’s all for nothing if you can’t live the life you want around it.”
And it is not just about enjoying your leisure time with family and friends, but it will also reflect in your work according to Todd: “If my family is happy and enjoys where we live, it makes it a lot easier for me to concentrate on work.” He also makes another important point to consider if you are inclined to join a different studio solely based on the current project they are working on: “The culture of the studio is extremely important. I consider how the team and management work together, the vibe when walking around the studio, and the desk where I will sit. Projects will come and go, but the culture of the studio will be something that you deal with every day.”
'Star Citizen' developed and published by Cloud Imperium Games; screenshot by Petri Levälahti
But it goes the other way around, too: When it comes to staffing up a team of level designers, these are the things that Todd looks for in a candidate: “First and foremost, I look for level designers that can take a level through all of the different stages of development: idea generation, 2D layouts, 3D layouts, idea prototyping, scripting, tuning, and final hardening of the level. People that can think quickly about different ideas and their possible positive and negative impacts. They shouldn’t get too married to one idea, but if they feel strongly enough about that specific idea they will fight for it. People that approach problems differently than I do. I want people that think differently to help round out possible weaknesses that the team might have. People who will look for the simplest and clearest solution vs. trying to always add more and more complexity.“
For lead positions, it goes to show yet again how important a designer's professional network is, as Todd for example only considers people that he already knows: “I try to promote designers to leads who are already on the team and have proven themselves. When I am building a new team, I hire people who I have had a personal working relationship before. Hiring people I have never worked with for such positions is simply too risky.”
Ups & Downs
While the career paths of the designers I interviewed seem pretty straightforward in retrospect, it is important to note that their journeys had their ups and downs as well. For instance Geoffrey recalls a very nerve-wracking time during his career when he decided to leave Infinity Ward: “We had worked so hard to make Call of Duty a household name but every day more and more of our friends were leaving. At a certain point it just wasn't the same company because the bulk of the people had left. The choice to leave or stay was even giving me heart palpitations. (…) After I left Infinity Ward, I started working at Respawn Entertainment and by work I mean - sitting in a big circle of chairs with not a stick of other furniture in the office - trying to figure out what to do as a company.” But he also remembers many joyful memories throughout his career: Little things like opening up the map file of multiplayer classic ‘mp_carentan’ for the first time or strangers on the street expressing their love in a game he had worked on. To him, shipping a game is a very joyful experience by itself and the recently released Titanfall 2 takes a special place for him. “The first Titanfall was a great game but we had so many issues going on behind the scenes it felt like we weren't able to make the best game we were capable of. (…) After all the trials and tribulations of starting a new game company, Titanfall 2 is a game I am very proud to have worked on.”
'Titanfall 2' developed by Respawn Entertainment and published by Electronic Arts
As a response to the question of what some of the bigger surprises (good or bad) in his career have been thus far, Paul talks about the unexpected benefits of walking through fire during a project’s development and the lessons he learnt from that: “It surprised me how positively I ended up viewing the outcome of the last project I worked on (Homefront: The Revolution). I’d always thought I would aim to work on big, successful titles only, but I guess you don’t really know what’s going to be a success until it’s released. Obviously it was a disappointing process to be part of, and a lot of hard work and effort went into making it, despite the team always knowing that there were some deep lying flaws in the game that weren’t going to be ironed out. We managed to ride the storm of the Crytek financial issues in 2014, coming out on the other side with a mostly new team in place and yet we carried on regardless and managed to actually ship something at the end of it, which is an achievement in itself. I see the positives in the experience as being the lessons I learnt about what can go wrong in games production which stands me in good stead should I decide to take a more authoritative role somewhere down the line. Sometimes the best way to learn is through failure, and I don’t believe I’d be as well rounded as a developer without having experienced what I did on that project.”
Last Words Of Advice
At the end I asked the veterans if they had any pieces of advice they would like to share with less experienced designers. To finish this article I will quote these in unabbreviated form below:
Geoffrey: “I guess the biggest thing for guys coming from community mapping is figuring out if you want to be an Environment Artist or a Geo-based Designer and if you want to work on Single-Player or Multiplayer. Each has its own skills to learn. I think a lot of guys get into mapping for the visual side of things but some companies have the environment artists handle the bulk of that work. So figuring out if making the level look great is more enjoyable to you or thinking it up and laying it out is, will help determine which career you should follow. Other than that, just work hard and always look to improve!”
Todd: “BUILD, BUILD, BUILD. Have people play it, find out what they liked about it and what they didn’t. Build up a thick skin; people will not always like your ideas or levels. Try out new ideas constantly. What you think looks good on paper doesn’t always translate to 3D. Analyse other games, movies, books, art, etc. Discover what makes an idea or piece of art appeal to you and how you can use that in your craft.”
Paul: “The games industry is not your regular nine to five job, and everyone is different so it’s difficult to lay down precise markers for success. Different specialisations have different requirements and you can find your choices leading to different routes than your fellow team members. You need to make sure you carve your own path and try everything you can to achieve whatever your personal goals are within the role; success will come naturally as a result of that. You need to be honest with yourself and others, open to criticism and willing to accept change. I’ve seen potential in people over the years hindered by stubbornness, succeeding in the games industry is all about learning and constantly adapting. Also it’s important to keep seeing your work as an extension of a hobby, rather than a job. The moment it starts to feel like a means to an end, you need to change things up to get that passion back.”
Sten: “I always feel people should follow their passion. I firmly believe that people will always be the best, the most successful at something they love. Of course, it is a job and it pays your bills, but it’s also going to be something you are going to do for gazillions hours in your life, so better pick something you like doing.”
Written by Friedrich Bode for mapcore.org
What are your personal experiences? Do you agree with the statements made by the interviewees? Any advice you would like to share with fellow level designers or game developers in general? Let us know in the comments!
Bastion 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.
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.
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.
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.
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?
Bastion reacted to Mapcore for an article, Day of Infamy Mapping Contest
Participants have from the 15th of September 2016 until Midnight (GMT) on the 22nd of December 2016 to create, test and upload an original or Day of Defeat inspired map for Day of Infamy (www.dayofinfamy.com)
Map included officially in game
Void Surround Sound Headphones
M330 Mouse Pad
All Wall Worm Source Modelling Tools
M330 Mouse Pad
All Wall Worm Source Modelling Tools
M330 Mouse Pad
All Wall Worm Source Modelling Tools
M330 Mouse Pad
All Wall Worm Source Modelling Tools
(*All prizes are subject to participant eligibility. No cash value. The contest Organizers and Sponsors reserve the right to change or remove the prize structure at any point with or without reason.)
In addition to the prizes stated above, GameBanana will also be offering a sub-prize for the best development blog, work in progress or tutorial created throughout the process.
This is an entirely optional part of the contest and is open to members of all communities.
To enter simply create either a development blog / work in progress page OR a level design tutorial / guide for Day of Infamy on either GameBanana, MapCore or the Insurgency Forums.
Entries must be uploaded on or before Midnight (GMT) on the 22nd of December 2016, and include “[DoI Contest]” in the title. Entries will be judged by members of the GameBanana team, as they appeared at the deadline.. No changes or updates are permitted during the judging phase.
Rules and Frequently asks Questions
The submission must be a playable map for the PC version of Day of Infamy.
Remakes of existing maps are not allowed, however maps inspired by classic DoD maps are encouraged.
Entries must be submitted to the Day of Infamy mapping contest section of BOTH GameBanana.com and the Steam Workshop before the deadline.
Multiple entries are permitted, however submissions will be judged on individual quality rather than quantity.
Team based entries are permitted, however the entrants will have to agree how to split any prizes awarded, prior to prize claim and dispatch.
It is essential to thoroughly test your submission before the deadline as entries cannot be modified during the judging phase.
Exceptions: Changes to the submission profile are permitted after the deadline, provided they are purely aesthetic and that the map file does not change. (E.g. Editing the description / screenshots)
Maps that were under creation prior to the announcement of this contest can be entered, provided a completed version has not been released for public Download.
All custom textures, models or code must be contained within the download file or embedded into the .bsp.
Authors are free to share their content on any other websites or services they wish, however the file must remain free to download and play, without requiring membership or payment.
If the submission is distributed on an external website or service, it must clearly state that the submission was created for the "GameBanana / MapCore Day of Infamy Mapping Contest 2016”.
Authors must be able to accept cash payments via paypal and will be required to fill in a prize claim form prior to payment. Winners of hardware and physical products will also be required to provide a valid shipping address.
Judges and individuals associated with organising this contest cannot enter or assist entrants.
Entries must clearly state which game mode the level is designed for.
Participant eligibility: The “GameBanana / MapCore Day of Infamy Mapping Contest 2016” is open to any individual, or teams of individuals, provided they comply with the following:
Participants may not be an employee of the “Organiser” or “Sponsors”.
Participants may not have taken part in the preparation or announcement of this
Participants may not be a direct relative, spouse, direct employee, or long term
partner of any of the above definitions (a - c).
Legal Age: This contest is open to any individual who meet the above “participant eligibility” criteria. In the event of participant who has not reached the legal age in his/her state winning one or more prizes defined below, he/she must provide contact details for the legal guardian who will claim the prize(s).
TWO (2) copies of the map are required for this contest, and must be uploaded on or before the deadline. The primary version (used for judging) must be submitted to GameBanana.com and placed in the “Day of Infamy > Mapping Contest 2016” category.
The second version must be uploaded to the Day of Infamy Steam Workshop
No changes to the downloadable file can be made during the judging phase. Please remember to ensure that all relevant custom content is included, and that your map is thoroughly tested.
Maps will be judged by the developers at New World along with the staff at MapCore and GameBanana. Each map will be scored on the following categories, and given a total score out of 100.
Gameplay (40 marks)
Visuals (30 marks)
Originality (15 marks)
Performance / Optimization (15 marks)
Bastion reacted to FMPONE for an article, Reddit + Mapcore CS:GO Mapping Contest!
(Art by Thurnip)
/r/GlobalOffensive and Mapcore are teaming up to grow Counter-Strike: Global Offensive’s mapping community!
Check out the reddit thread for this contest »
The Big Reveal
We’re hosting a map-making contest for original, competitive 5v5 bomb defusal maps AND competitively-minded hostage maps, open exclusively to mappers who have not yet had their work featured in a Valve Operation!
Older projects are fair game: now’s the perfect time to polish up that map you’ve been working on but never got around to finishing. Experienced Mapcore judges and prominent members of the Counter-Strike community such as Sadokist, Moses, DDK, James Bardolph, and Anders Blume will be weighing in – but only one map can win it all.
Every week for the length of the contest, eligible maps will be playtested during /r/GlobalOffensive community nights according to a sign-up schedule. Slots on this schedule will be filled on a first-come, first-serve basis following an approval process, but we will try our best to accommodate everyone at least once. However, because it’s impossible to guarantee that all contest entries will have the chance to be playtested, /r/GlobalOffensive playtesting is a supplemental, helpful tool which will have no bearing whatsoever on contest judging.
You can register for a playtesting slot here. Remember -- playtesting registration is first-come, first-serve!
Enter Your Level
To officially enter your level into this contest, post a WIP thread with a link to your level’s Steam Workshop page in Mapcore’s official event forum.
Posting a WIP thread with a link to your level’s Steam workshop page constitutes your official entry into the contest, however you don’t need to do both at the same time. In other words, you can post your WIP thread and then update it later with your workshop link if you’re not ready to go right away. You can also feel free to continue updating your workshop level after you’ve posted your workshop link – contest entries will not be judged until after the submission deadline.
Your level must be submitted to Mapcore by August 31st, 2015 at midnight Pacific Standard Time (PST).
Our panel of judges will then select four finalist levels based on the following criteria:
Fun factor Visual/thematic presentation (graphics) Overall polish
Grand Prize Deadline
After the top four maps have been announced, /r/GlobalOffensive users will put them to the test!
Once all four finalist maps have been tested, mappers will have two weeks to revise their work based on community feedback. After those two weeks, an official Grand Prize Winning Map will be chosen!
The goal of this event is to raise awareness about Mapcore's incredible level design community and the incredibly useful playtesting capabilities of /r/GlobalOffensive. Both Mapcore and /r/GlobalOffensive are free resources available to all mappers. To date, Mapcore users are responsible for creating more than 70% of Valve Operation levels. Mapcore’s staff are unpaid volunteers, and do not personally profit in any way from additional traffic to the site.
Of course, it wouldn’t be a contest without a reward… In addition to the helpful feedback and free publicity that CS:GO mappers will receive by participating in this event, each finalist will also receive:
Eternal Bragging Rights™ and a showcase on Mapcore (where their level will be highly visible to industry-veteran game developers and the rest of the community) A monetary prize ($1000 + Mapcore swag for first place; $400 for second place; $200 for third place; $100 and Mapcore swag for fourth place) The top-finishing map will also be played in a competitive show-match casted and streamed by goRGNtv, for all to watch and enjoy! *NEW* CEVO has generously agreed to host the winning map in their PUG rotations for one month! *NEW* Added $1,000 to prize pool thanks to Gamebanana.com and EGO DEATH (gun skin creator) *NEW* Valve prizes!
Top 4 will receive
1. Signed CS:GO poster
2. CS:GO Lanyard
3. CS:GO Vinyl Sticker
First place will receive a CS:GO prize pack:
1. Signed CS:GO poster
2. CS:GO Lanyard
3. CS:GO Vinyl Sticker
4. CS:GO SteelSeries Kana Mouse
This is your big chance -- get to it!
Good luck, mappers!
Remakes of older maps are NOT allowed. All works must be original to you and their layouts must not have appeared in any prior versions of Counter-Strike. Custom artwork is allowed and encouraged, but must meet workshop guidelines. Collaborations are allowed and encouraged. Any contest winnings arising from a collaboration will be split in accordance with the collaborators' mutual agreement.
Mapcore staff will rate their top four maps of the contest, results will be tallied and all votes given equal weight. Some time later, the judges and guest judges will rate the top four finalist maps and results will be tallied, with all votes given equal weight. Guest judges will be asked to act as tie-breakers in the event of any ties in the voting.
Jason “General Vivi” Mojica -- Creator of "Rose Iron" Skin (Overkill Software)
Patrick "Puddy" Murphy -- Creator of CS_AGENCY (Overkill Software)
RZL (Independent) -- Creator of DE_RESORT
Shawn “FMPONE” Snelling (Independent)
Johnny “Sprony” van Spronsen (Journalist)
Matt "Sadokist" Trivett -- @Sadokist
Jason “Moses” O’Toole -- @JmosesOT
Daniel "DDK" Kapadia -- @followddk
James Bardolph -- @jamesbardolph
Anders Blume -- @OnFireAnders
Our Thanks to
EGO DEATH (Steam Workshop author)