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CWardee

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    CWardee reacted to Radu for an article, 2018: Mapcore's Year in Review   
    Keeping with tradition, I'd say it's about time we took a look at what our community has achieved throughout the year. If last time I was saying how 2017 was a year of immense growth, then 2018 was surely one of significant change. And it hasn't been without its troubles and anxious moments. No change ever is, but I believe it to be for the best. We've seen some of our friends become parents, change work fields or get their first job in the industry. We've even seen a few pursue their dream projects. And for that, we have to applaud them. It takes courage to keep moving forward and to realise when it's time for something new. In the meantime, I hope this article inspires you and I wish everyone 
    good luck!
     
    2018: Mapcore's Year in Review
     

    SteamVR - Gulping Goat Space Farm
    by @Steve, @marnamai, @The Horse Strangler, @Sersch and others at Scraggy Rascal Studios
    produced in collaboration with Valve
    "Scraggy Rascal has been working with Valve to create all new SteamVR content, we've been given a lot of liberty to create these locations. Our goal was to create interesting and fun locations for the player to explore. These projects, over the last couple months, have been a crash course in Source 2,VR, project management, delivering within deadlines, working together as a team and personal growth. It has been an invaluable experience and great opportunity ... and we're just getting started!" - marnamai
     

    Darksiders III - Art
    by @The Horse Strangler and others at Gunfire Games
    "Probably one of the biggest challenges the artists and designers faced on Darksiders 3 was working with both a platforming and fully connected streamed world. This meant that everything exists all the time. While we streamed levels in and out, areas couldn't intersect and we couldn't do the classic "Small exterior, big interior" swap. This was especially challenging because of how much verticality our design must support. We had a few "vistas", but for the most part every aspect of the level was accessible. If you can see it, you will likely be able to get there, jump on it, fight around it, etc. Fury, the main playable character can double jump, swing, float, glide and even rocket jump over 10 meters high. Personally for me it completely changed how I looked at art filling up a space. Every single mesh we placed impacted design. Art was design, and design was art." - The Horse Strangler
     

    Europa
    by @[HP]
    "Europa is a relaxing narrative experience. The goal with this game is to offer just enough challenge that its rewarding to get from one area to the other for more than just the visuals by using environmental hazards, platforming sequences and light puzzles that you can beat by exploring.The game is split into linear sections and wider areas, that's at the core of the game and as you play, you keep improving your characters moving ability, which will further exploration and give you the ability to solve newer light puzzles. There's none of the typical character upgrading systems, rather, the levels will offer the incremental challenges and the sense of progression. Europa's main focus lies in environmental storytelling and immersing the player in it's universe with passive storytelling, evoking awe and bliss with colorful watercolor-like art and music." - Helder Pinto
     

    Counter-Strike: Global Offensive - Turnpike
    by @Squad
    "For a while the "Highway Restaurant" theme has been sitting in my little Concepts.txt file. When the Wingman Contest was announced, it felt like the perfect opportunity to turn this idea into a map, as its relatively small size would be fitting for the Wingman gamemode. The casual nature of Wingman made me add some elements that I would not normally add to, let's say, a Defusal map, like the TF2-esque team color coding (albeit subtle), the moving vehicles and the silly bomb target. Additionally, since the playable space is (almost) completely indoors, making it nighttime felt right, as it both emphasizes the interiors and makes for an atmospheric blorange background." - Squad
     

    Dying Light - A New Hope
    by @will2k
    "A full-fledged custom single player campaign that ties in to the original story of the main game. It will see the main protagonist, Kyle Crane,leaving the City for the countryside to search for a specific elusive medicinal herb and bring it back to Dr. Camden who believes it could be the cure to the Harran Virus. This campaign is a one man show as I’m doing everything myself: level design, environment art/detailing, story creation, scripting/quest creation, custom dialog, custom audio, custom materials/textures, custom foliage systems, custom brushes for terrain painting/sculpting, lighting, manual nav mesh tuning, scripted NPCs…" - will2k
     

    Prodeus
    by @General Vivi and Michael Voeller
    "Prodeus is the first person shooter of old, re-imagined using modern rendering techniques. Oh, and tons of blood, gore, and secrets. Creating Prodeus has meant a lot to us over the last year. It feels great to finally be doing something for ourselves. It can be pretty ambitious at times since there are just two of us, but I’m confident we can pull it off. Keep an eye out for the end of February for a big announcement." - General Vivi
     

    Counter-Strike: Global Offensive - Ruby
    by @catfood
    "When I was on vacation in Portugal years ago I was so impressed by the city Lisbon that I really wanted to build a map that has the same vibe. At the time I was already working on different projects so I decided whenever I got enough time to work on a map this size I would go back. So early 2017 the moment was finally there, I went back to Lisbon to shoot (~2000) reference photos then made a list of things that are iconic for Lisbon and started working on Ruby. Adding a lot of height differation, warm colors, tile patterns and ofcourse trams was essentiental to get the Lisbon vibe." - catfood
     

    Subnautica
    by @dux, @PogoP and others at Unknown Worlds Entertainment
    "A mix of Survival, story, mystery, resource gathering, base building with some accidental horror and plenty of deep, deep water. We had not long finished up with Natural Selection 2 and were hungry to develop a different kind of game. During development we were (and still are) a small team but the game kept getting bigger and grew into something far larger in scope than originally planned. So we soon realised that what we had could be turned into something really unique if we put our heads down and just cranked on it." - dux
     

    Unreal Tournament 4 - Chamber
    by @Ubuska
    "I used Halo and Warframe artstyle as a reference. The goal of this project was to make fun and cool looking map with 100% custom art that is 100 mb in file size. To achieve that I used several advanced techniques such as custom vertex normals, deferred mesh decals, no bake, tiling base materials and masks. There are basically 5 or so texture maps used in the entire map,  most of the filesize space was taken by lightmaps. I learned a lot doing this project in terms of composition, art direction and optimization. Hope you enjoy this map as much as I do!" - Ubuska
     

    Counter-Strike: Global Offensive - Pitstop
    by @Quotingmc and Quadratic
    "It is not often that CS: GO receives a new game-mode, especially one as competitively focused as Wingman. I was understandably pleased at the announcement of the 2018 CSMapMakers contest for the mode. Pitstop was my entry where I set out to create a thematically bold centre piece for my portfolio. With the help of my teammate Quadratic and support from multiple Mapcore members, I learnt a lot about taking a level from a simple blockout to completion; I can say for certain I’m thrilled with the end result!" - Quoting
     

    Black Mesa - Xen
    by @JeanPaul, Adam Engels and others at Crowbar Collective
    "While building Xen we had to design, iterate, and iterate (then iterate some more). We took what we thought we knew, and put it to the test. We learned how design and scope work together, and how to build momentum as a team. We are extremely proud of what we have accomplished over the year(s)! Despite the long and occasionally frustrating timeline, it has been a real testament to the commitment that this team and this community have for Half-Life." - Adam Engels
     

    Unreal Engine 4 scene
    by @Vorontsov
    "So I decided I would step out of my comfort zone and create a small environment in an engine I've never used before, UE4. Although I think I did a fairly decent job at the time there were ultimately many nuances I could have done better, but that is the artist dilemma. This project taught me the value of properly blocking out your environment, gathering as many references as you can and to have patience and not rush through assets, when breaking any of these rules I was punished for it. Stay tuned for my next project which will be a giant mech, coming soon Valve time TM." - Vorontsov
     

    Counter-Strike: Global Offensive - Opal
    by @MikeGon
    "My goal with this project was to make a fun and compact defuse map, with a simple level flow, ample verticality, and an overlapped layout! I wanted to have interior and exterior, and break the grid a lot, to avoid having that "90 degrees grid" feel in the layout. I needed to have a vista on one side of the map to help with orientation, so I decided to make it a coastal town, inspired by those found on the island of Skopelos, Greece. Expect more updates in the near future, as I'm not yet satisfied with it. Since this is my only CSGO map, I want to put all my time and effort into it, and focus on quality instead of quantity. Thank you everybody for your support and feedback! <3" - MikeGon
     

    Insurgency: Sandstorm - Precinct
    by @Xanthi, @Squad, @Jonny Phive, @LATTEH, @Steppenwolf and others at New World Interactive
    "Precinct, was a fun and challenging map to work on. We decided early on to melt District and Contact two of our very nostalgic maps together into a single large-scale urban environment. The goal was to preserve the nostalgic feeling and at the same time create something unique and fresh not just a 1:1 copy. In the block-out stage we started playing with different terrain heights, which eventually was the key to accomplish our goal. Terrain height was a bit of a trial and error process; I remember driving up a hill and not having enough torque, oops!!" -Xanthi
     

    Counter-Strike: Global Offensive - Killhouse
    by @FMPONE
    "Killhouse showcases brutal duels, player reaction times, and close-quarters combat. A highly vertical layout ensures the sort of unpredictability and replayability ideal for CS:GO’s 2vs.2 "Wingman" game-mode." - FMPONE
     

    Counter-Strike: Global Offensive - Station
    by @Roald and @untor
    "All experiences contribute to where I am at this point. I am just a hobbiest but I think I learned alot about level design just by doing it and enjoying it. Overal my goal is to improve myself on level design, but also enviorment art. I think I archieved a goal on level design and it's now time to continue on enviorment art. This is where untor morozov comes in. I have met untor a while ago. He made this map 'Waterfall' which was pretty populair. I liked his designs and added him as a friend. When I had this wingman map going on with positive feedback I just contacted him again to work on it with me and since this moment we have had a incredible teamwork. I am gameplay orientated and he is art orientated so we were a great couple. We just enjoyed work on this project and respected eachother and had alot of fun." - Roald
     

    The Gap
    by @Yanzl and Sara Lukanc
    "The Gap is a sci-fi thriller first person narrative exploration video game. You play as Joshua Hayes, a neuroscientist trying to figure out what happened, barely remembering anything about his past. It started as a project for our BA thesis and has now grown into a standalone game. It's also my first "real" indie game project, helping me learn a lot about Unreal Engine 4 and game development in general." - Yanzl
     

    Counter-Strike: Global Offensive - Alexandra remake
    by @Serialmapper
    "My first successful map was born 10 years ago for CS1.6. It was done in just 4 days. Since then it has been ported/improved several times on CS:S then finally on CS:GO. It always had a "dust" theme. Initially i wanted to remake it with an "inferno" style but when the new dust2 came i switched the plan to use the new assets. The map was and is frequently played on public servers especially in Eastern Europe so i had plenty of feedback to improve it. For some it's just another "dust" map, but for me it's my dust2." - Serialmapper
     

    Far Cry 5 - Wetland Turmoil
    by @grapen
    "I wanted to try working with location design in an (imaginary) open world game for the first time, so I made this backwater cabin neighborhood. At the time I also wanted to see what the limits were in Farcry Arcade and how far I could push it. The level has fixed spawns (a limitation of the editor), but I toyed with the idea of making it work regardless from which direction the player would have approached it. The pathing and player guidance is more or less shaped like the number eight, with the church acting as an outlook. Your task is to eliminate all the bad guys. In the end I wanted to do so much more, but couldn't due to technical limitations. All in all it was a fun experience to make it." - grapen
     

    Counter-Strike: Global Offensive - Trailerpark
    by @OrnateBaboon and @Skybex
    "We wanted to make a map for CSGO, using a theme that had not been seen in any previous version of Counter-Strike.The map had to incorporate everyday plausibility, provide for enough variety so that things remained visually interesting,  but also be flexible enough to allow for the use of low geometry for easy grenade strategies. Being able to immediately recognize a theme in a map is always important, so with all this criteria in mind, A trailer park fitted the bill perfectly. There is still some way to go before a full release, but 2018 was a great year for progress on this project." - OrnateBaboon
     

    Unreal Engine 4 scene
    by @Corvus
    "I was inspired by games like stalker and the last of us. The goal was to make something photoreal with a lot of foliage. It took a couple of iterations but I think I achieved the goal in the end. While making this project I've had to learn a lot about Speedtree to make all the foliage, it was a really cool experience. Right now I'm in the army so unfortunately I can't make any more scenes right now, but after I'll come back I'll try to make more scenes like that." - Corvus
     

    Overwatch - Busan
    by @Minos, @[HP], @PhilipK, @IxenonI, Phil Wang, Lucas Annunziata and others at Blizzard Entertainment
    "Busan was a challenging map to make. Due to the game having 12 different heroes on screen we have a somewhat limited memory budget for maps, that includes all models, textures, effects, collision data, lighting information, etc... Fitting three radically different areas (Downtown, Sanctuary and MEKA Base) into one single map budget required us to find new ways to optimize our work. In the end, we were even squeezing kilobytes out of collision data to make it all fit, no kidding! But the result speaks for itself, the map was fun to work on and we are very proud of what we accomplished!" - Minos
     

    Counter-Strike: Global Offensive - Highlands
    by @ElectroSheep, @El Moroes and @'RZL
    "We wanted to make a map in Scotland because, thanks to dishonored 2, we were browsing a lot of references froms this area and we really loved it. I also went myself here in holliday after that. We asked one of our close friends to make some special props, like the police van, the taxi, the phonebox and some others. Unfortunatly the hard development of Dishonored 2 put us in a difficult state where we weren't able to work on the map. So we lost motivation. Then RZL contacted us because he didn't want the project to die so we gave him the keys. And RZL became busy too ^^. Life sometime say NO I guess, hehe. Now Highlands Is my only advanced project I still didn't finished and I'm ready to give it a try, I hope." - ElectroSheep
    "Highlands...is this map is a joke? Certainly no but we can say that the development is quite longer than what we expected. Perhaps we learn well how the famous "Valve time" works? :p No seriously I think we can explain that with the motivation. Of course we were motivated to create something cool with this map but with the time and, I think, with what we live in our life we never took the time to do it correctly...I mean we never had a constant rythm on the map. This (and other personal things) led to the current statut of the map; a still "work in progress" map started in 2014. But ElectroSheep came back and his goal is to finish it, and because he's right, I'll come back too to help him. Just, be patient (again) ;)" - El Moroes
     

    Battlefield V - Fjell
    by @Puddy, @Pampers and others at DICE
    "Fjell was an explosive experiment which paired a new Battlefield dynamic, planes and infantry only, with an epic gosh darn mountain top. Tackling this design combination was like dealing with a bear after you've kicked it in the balls. It was a fun challenge and even though its extreme gameplay is quite polarizing when compared to more middle-of-the-road maps, I am happy that we went there!" - Puddy
     

    Counter-Strike: Global Offensive - Iris
    by @BubkeZ and @Oliver
    "Iris was born out of a shared interest in the TV-show "Seinfeld", funnily enough. One day BubkeZ noticed I had changed my Steam profile picture to a photo of "George Costanza" and just like that the wheels were in motion! In the beginning, BubkeZ had the vision of an old city environment with lots of dirty alleyways and brick architecture. We didn't want to fall in the trap of making the map look too bleak, so we came up with the idea of making a mid-century town set in autumn. While the map certainly have visual elements from the 50's, I would say the overall theme of Iris is american auto-industry. Making the old cars was definitely my favorite part of making this map!" - Oliver
     

    Unreal Engine 4 scene
    by @Brightness
    "I have always been a fan of retro and vintage, so this was like a dream to me. After watching the first season of True Detective, I immediately fell in love with the office set and the way the series was shot. I have definitely learned a lot from this project, mostly lighting techniques that can fill your scene with a story. The goal was to recreate their environment in my own style, and I'm pretty satisfied with how it turned out. I definitely wasn't expecting this much of positive feedback and I'm really thankful for this community. I want to do something with the environments, not just as a portfolio piece, but make a short film or make a small adventure game out of them." - Brightness
     

    Counter-Strike: Global Offensive - Insertion 2
    by @Oskmos
    "Being the follow up to the first Insertion it will have the same overall concept with the spawning and open-world like layout. However this time it will be a more urban setting and overall higher quality art assets. I always love to make environments that feels real. And that are familiar. Its all made up. But the details and various elements in Insertion 2 is from my childhood basically. Friends that grew up in the same place I have recognizes it aswell." - Oskmos
     
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    The Door Challenge

    Submission thread
     
    Articles

    Designing Highly Replayable Stealth Levels for Payday 2

    Level Design in Max Payne: Roscoe Street Station

    Effect and Cause - Titanfall 2 Level Breakdown

    2017: Mapcore's Year in Review
     

    Hurg smiles upon you all!
  2. Like
    CWardee reacted to Rusk for an article, Effect and Cause - Titanfall 2 Level Breakdown   
    Intro
    Titanfall 2 was one of the best FPS titles of 2016, featuring a very strong single-player campaign with interesting combat and puzzle gameplay for both players and their Titan. Additionally, each level featured its own special twist: "Effect and Cause", for example, presents players with a memorable time-traveling mechanic.
    The time-travel mechanics of "Effects and Cause" serve couple of purposes, influencing not only the way players traverse the environment and its associated obstacles, but also how they fight through the level's combat scenarios. Two different time periods are a threat to the player, so the designers decided to allow players to see where the enemies from the past are located.
    Once you move from past to the present, enemies leave a small blue particle in the place where they had been standing. Although the effect lasts no longer than two seconds, it’s enough to help players plan their next move. This twist on encounters makes them much more interesting and dynamic.
     

     
    For "Effect and Cause", the developers created distinct enemies archetypes with different engagement distances and attacks for each time period. In the present (a destroyed version of the map) the player deals with robots and wildlife. In the past, players face armed guards in the facility. Eliminating the danger in one reality does not make it disappear in the other, forcing players to think constantly about their position versus the enemies in the different time frames.
    Let’s discuss three selected encounters from "Effects and Cause" in-depth to see how they work in action!
     
    Encounter 01
    The first encounter where players freely use the time-shift mechanic starts shortly after players exit a lab area. Here, enemies are located only in the past, when the facility is operating and functional. This prevents players from becoming overwhelmed with two types of enemies in two different realities within the first big encounter of the level.
     
    Layout

     
    Combat space
    This encounter is set up in two distinct spaces. The first space is a big room with a single entry point in the form of a double door opened by a panel, with combat focused at the far end of the room. The second space is a large corridor with a pocket in the middle and a security room at the end. A panel in the security room must be used in order for the player to progress.
    Both encounter spaces are divided by a time-shift puzzle, the only way to continue onto the next arena. This time-shift puzzle serves as combat gating and also adds variety to encounters that are otherwise only about shooting. The gating also teaches the player that some spaces cannot be traversed in any time period, and that the only solution to the obstacle is to find alternative routes.
     

     
    Enemies
    There are eleven enemies in this encounter: four located in the first room, and seven in the second room. Once you eliminate the two enemies in the first room, the remaining two enemies get into position. The second space has a fixed number of soldiers, with no additional waves. All the soldiers are using guns or rifles. The advantage/challenge to the player in this encounter comes from the number of the enemies, not their abilities.
     

     
    Encounter design
    Once the player enters the first space, they see two soldiers talking to each other. It’s up to player to start the fight and pick their preferred attack method. Once the first two enemies are eliminated, players enter an area with clearly defined architecture and a no-man’s-land inbetween. Players should also see a weapon lying on the desk, a gameplay "carrot" which helps to draw players into the fight. The enemies will hold their positions and try to shoot the player from behind the safety of cover.
    The second area gives players more options, and also allows them to scan the area earlier (both from the first room through the lasers, and also from a vent). The designers ramp up the difficulty here, introducing more enemies into a tighter space.
    With the time-switching mechanics at hand, players can prioritize threats in order to set up their own tactics. It’s clearly up to player how to plan and play this encounter. As there is no threat in the past timeline, players can experiment with going back in time without punishment, ‘escaping’ the combat at any given moment in order to reload, reposition and jump back to the action. This encounter is memorable as it is the first time that players fully use their time switching mechanic, functioning as a safe environment to learn. In other words, it's a skill check and a preparation for what lies ahead...
     
    Encounter 02
    The second encounter worth analysis is much more varied with how it positions enemies throughout the level. It also places enemies in both time periods, serving as a playground for prioritization strategies and other interesting player tactics. This encounter also features more verticality, which helps prevent players from feeling too overwhelmed with enemy forces, while also allowing players to use more of their Titan-piloting skills.
     
    Layout

     
    Combat space
    This encounter is located in a fairly large room with ample verticality. Players enter the space on the upper floor through a single entry point and continue their way onto a balcony, letting players familiarize themselves with the space from above. At the far end of the room, players will spot a staircase going down to the lower level where elevators are located. This area has two big areas of standing cover, accessible on both heights, and a variety of crouch-height cover such as railings, desks and potted plants. This space also has a small side-room allowing further tactical options. This whole area is gated with an elevator door which does not open until the combat encounter is over.
     

     
    Enemies
    This encounter is quite varied in terms of the enemies players face. In the past timeline, players face eleven soldiers: nine regular soldiers and two heavy soldiers with shields. These soldiers come in four groups of two or three each. The solders come with short intervals inbetween each wave, so that the player has time to react and make more intellectual choices.
    In the present, players face three robots appearing almost at once when they walk along the balcony at the top of the space. Once the player goes down, they have to fight four prowlers which appear one after another with a couple of seconds delay between each new spawn.
     

     
    Encounter design
    We start the encounter in the present timeline, with the gate blocked in the past timeline. On the way to the staircase, three enemy robots spawn but do not pose a big threat to players. Once players move down, their attention is drawn to a desk with guns. This helps players to immediately position into a location in front of the elevators.
    Once players shift to the past, enemies start to appear from the elevators. There is not enough cover to fight off all of the attackers, forcing players to prioritize and switch in time to better position themselves for attack. Once players go back into the present, prowler enemies will start to appear, forcing players to continue constant movement.
    This encounter may feel a bit hectic, but it is a good test of both pilot skills and thoughtful time switching. It's the first encounter which forces players to prioritize which enemies they want to deal with first in different time periods. Due to the designer's smart use of the elevators, vents, and robot storage, enemies are brought into the field in an interesting way. But at the same time, enemies are introduced to the player with clear sound and visual cues, so they remain alert to upcoming surprises.
     
    Encounter 03
    The third encounter I want to breakdown is by far the most robust yet. It features different height levels, space divided into two areas, and flanking paths which can be accessed only through certain time periods. It serves as the "final skill check" for all of the pilot abilities and time-shifting gathered thus far in "Effect and Cause".
     
    Layout

     
    Combat space
    This encounter is spread across two areas of vertical space, connected by multiple paths that create nice loops for players to use to their advantage. There is one clear entry point with a wide view of the whole combat space and one exit located in the second area, but the space inbetween offers a great deal of choice in terms of how players can tackle the encounter.
    Playing through the encounter, players will learn that there is a geometry difference between the two different time frames that can be overcome with some of the pilot skills at their disposal. A big catwalk goes around the whole room with additional rooms with guns and ammo on the bottom level, for example. The amount of space available is needed, because the combat space is packed with enemies.
     

     
    Enemies
    In the past, players have to fight twelve soldiers: nine regular soldiers and three heavies with shields, as well as three robots. The enemies are spread out across the whole space of the encounter, but because the areas are connected with each other through multiple paths, the enemies will try to chase and eliminate the player. This means that the encounter feels very dynamic and tense.
    In the present, players face robots: eight prowlers inside, and even more of them outside fighting with BT (the player's Titan). The enemies in the present are hostile to each other, showing players an example of how the enemy AI can actually fighting eachother: information which players can then use to their advantage.
     

     
    Encounter design
    Players enter this area in the past, where they witness a single back-facing enemy, instantly inviting them to perform a takedown. From this point, the encounter is very open to experimentation: the player can either continue in the past and fight a big wave of soldiers coming through the main path (a staircase in the middle), or they can switch to the present, where they will find open flanking paths on both sides of the level. Going with the latter option offers a moment to breathe before prowlers are spawned, but it will also disable an ammo dispenser in the first area, adding consequence to player choices.
    Staying in one place will result in a massive pile-up of enemies in the area, so players are motivated to move around a lot, time shifting when needed. The second area of this encounter is one of the level's biggest in-door combat spaces. If players choose to go into this second area in the past, the encounter will be quite vertical with soldiers located both on the ground and on the upper catwalk. Switching to the present will cause a bigger concentration of enemies on the ground floor.
    Players are given enough space to fully use pilot’s zip-line ability to create shortcuts across the room, accessing the various loops and ammo dispensers needed to create a fair fight despite overwhelming enemy forces. There are very few conditions placed upon this encounter, so players can leave the area and jump into his Titan to deal with different threats at any time. Overall, this encounter serves as a test of everything learned previously, with players having the option to ‘lower’ the difficulty of the encounter using their titan.
     

     
    Conclusion
    The above examples are just a slice of Titanfall 2 gameplay contained within the excellent level "Effects and Cause", but in my opinion clearly shows how this great game was enhanced by its time shifting mechanic. The idea is fairly simple: time-shifting is nothing more than teleportation between two different levels, one layered on top of another, but the strong execution makes for a memorable experience that really stands out in comparison with other shooters. I highly recommend playing "Effects and Cause" as it is both challenging and fun, a level where Titanfall 2's time-shift mechanics comes into focus, providing additional depth to the whole game.
     
    Thanks for reading!
  3. Like
    CWardee reacted to Radu for an article, 2017: Mapcore's Year in Review   
    (New logo by Yanzl)
    I'm sure that by now most of us have our sleeves rolled up and are ready to tackle yet another year, but before we move forward let's take a moment to look back at what 2017 meant for our community. It was a time of immense growth for both professionals and amateurs alike. A time when everyone seemed to have surpassed their former selves. And without slowing down, some have even managed to land their first job in the industry. I don't know what this new year holds, what challenges to overcome will arise, but I know for certain that I'm excited to see everyone become even greater!
     
    2017: Mapcore's Year in Review
     

    Overwatch - Oasis
    by Phillip K, Bram Eulaers, Helder Pinto and others
     

    Dishonored 2: Death of the Outsider - Curator level
    by electrosheep, kikette and others
     

    Payday 2 - Brooklyn Bank level
    by General Vivi
     

    Sniper Elite 4 - Regilino Viaduct
    by Beck Shaw and others
     

    Counter-Strike: Global Offensive - Offtime
    by Squad
     

    Team Fortress 2 - Shoreleave
    Art pass, props and sound by Freyja
     

    Wolfenstein II: The New Colossus - Farmhouse
    Modeled, textured and composed by BJA
     

    Half-Life 2: Downfall
    by marnamai
     

    Counter-Strike: Global Offensive - Studio
    by ZelZStorm, TanookiSuit3 and Hollandje
     

    Portal 2 - Refraction
    by Stract
     

    Counter Strike: Global Offensive - Breach
    by Yanzl and Puddy
     

    Counter-Strike: Global Offensive - Berth
    by grapen
     

    Counter-Strike: Global Offensive - Kaizen
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  4. Like
    CWardee reacted to FMPONE for an article, Climbing DOOM's Argent Tower   
    This article may contain slight spoilers   DOOM's Argent Tower is a superb Single-Player level. The Argent Tower motivates players with an obvious goal, expands in scope (almost unbelievably), and masterfully controls pacing. A playground for new a ability and a giant environmental puzzle, the Argent Tower is the best level in this excellent reboot of the franchise.   Now, let's explore the reasons why this level feels so memorable!   OBJECTIVE   Players will know their goal from the outset: climbing the Argent Tower. In addition to verbal instructions, the level's construction and composition never fails to aim you upward. Warm lighting moves up vertically, so that players' eyes are always drawn upwards.     Even the item you acquire in the level's prelude is a double-jump upgrade, which the level then associates with an oft-repeated green light motif. Players will be doing a LOT of double-jumping in the Tower, so the game articulates a method to guide them.     While players may or may not consciously respond to this green-light motif, the designers clearly believe it works as a navigational aid: it is repeated with brutal consistency throughout the level.   SCOPE   When players reach the Tower's inner core, the vast power of DOOM's engine is indisputable. Great music kicks in, monsters spawn all around the player, and the game "gates" engagements without muddying players' central, long-term gameplay goal.     The symmetrical, circular design of the Tower's core proves extremely useful in several respects. Because players can only progress upwards, they get to experience fun combat engagements and jumping puzzles before they are neatly stuffed into small corridors adjoining the main core.   This contrast between the core's verticality and its cramped side passages makes for easily controlled progression through the level and amplifies the awe of returning to the core. In one side area of the Argent Tower, players experience a "monster closet" ambush, a classic DOOM design trope in which a demon emerges from a closet adjacent to a corridor. Here, the designers chose an exploding demon for extra "oomph"!     There's just something timeless about monster closets. That the game dives down to its most granular level (the monster closet) additionally provides contrast to the heights of the massive core.      PACING   DOOM carefully reminds players of their progress ascending the Tower. In one cramped side-area, players are faced with the seemingly trivial task of shooting canisters that underpin an elevator blocking their path. After destroying the canisters, the elevator falls down its shaft.      Half-Life 2 used similar imagery to convey the scale (and ongoing destruction) of The Citadel:     An additional point of this elevator diversion was to slow players down, to keep them away from the showpiece core a little while longer.    New players will take a minute to identify the canisters overhead and discern that they need to be destroyed, because this is a novel task and because FPS players notoriously fail to look upward. Later in the game, the designers repeat the canister mechanic before providing players the BFG, the defining weapon of the series. Without the subtle change in momentum the canisters provide, gaining access to the Tower's rooftop or the BFG would feel too straightforward and simplistic.    Having artificially lengthened the break players take from the core, the designers have guaranteed that environmental contrast will enhance perception of the Tower's scale AND that player intelligence and momentum has been challenged by a new problem. (...but because this is DOOM, problem solving is still ultimately about destroying shit.)     Players complete more than six different jumping tasks including riding a flying drone to climb the Argent Tower and enter a portal into Hell.      Such a variety of jumping puzzles and hazards makes the level memorable and is another technique enlarging perception of the Tower. To be clear, jumping puzzles are universally terrible in every FPS game, but their annoyance here is dulled by the focused grandiosity of the level and the ability to grapple onto ledges. The designers ultimately cared a lot more about giving players a memorable locale than sparing them falling deaths.   CONCLUSION   After reaching the top of the Argent Tower, players are greeted by a giant, climactic battle which ends with a wonderful fade to white.   Only now are players ready to enter Hell confident that they've truly gotten to experience Mars.      It's important to remember that, fundamentally, the Argent Tower is about going from point A (the foot of the tower) to point B (the top). Faced with a similar Tower-landmark, some designers might path this route with nothing more than a simple elevator cinematic or miss countless opportunities to do something special. DOOM's designers, however, missed nothing: they recognized the need to offer players dense and varied challenges, careful pacing, and spatial design rich with contrast.   Later, when players return to Mars, the destroyed husk of the Tower provides an instantly recognizable landmark re-orienting players on their adventure and a tantalizing hint that things are different now.   The Argent Tower goes to show that great levels are not about the destination, but the journey -- and all the controlled chaos along the way!     Thanks for reading!    
  5. Like
    CWardee 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!
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