S-W_Game_Studies

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Pokemon Y level design analysis

For this blog, we are going to talk about game pacing. Pacing in video games would be described as the rate of excitement or activity in the player’s brain when playing a video game. It means it is a flow created by the player’s emotional state which indicates their level of focus and the intensity of the game.

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Pokémon Y is a 3DS video game in which the goal is to become the Champion of Kalos by battling the current Champion, the Elite Four and gym leaders and in the meanwhile, as secondary goal, collecting all Pokémon and the Legendary Pokémon, Yveltal (Xerneas in X). In my opinion, Pokémon Y has more narrative elements that contribute a bit more to the pacing of the usual one displayed in the previous versions. The start begins naturally and always by choosing a starter Pokémon (fire, water or grass), meaning the start of the trainer’s (player) travel. This moment is one important event because it is a choice that would correspond to the player’s way of playing or for the reason that they find one cuter than the others.

The mood gets down with the tutorial part afterwards (assuming the player had played older versions), forcing the player to battle against their rival who had chosen the Pokémon opposite to the type chosen by the player. The mood gets back up when reaching the first city and confronting the first gym leader after a bit of training and Pokémon gathering. In this version, the professor who sent the first starters at the beginning would be more involved into the story and would give a starter from the first generation of Pokémon, adding a bit of nostalgia. At this moment, the player would have a sight of the biggest city (big cities had been introduced since Pokémon Black and White) which would impress the player regarding the size of the city and also the 3rd person camera included.

Each Pokémon versions has their own villain organization and their own ideology progressively discovered until the encounter with the boss of the organization. In this version, the Mega evolution is introduced as a new feature, adding more depth to the Pokémon lore. Instead of having a linear pathway, the player has to come back in various places to unlock important places (i.e: Lumiose half part of the city needs to be powered by the power plant). One important event I recorded for any version is the existence of the Master Ball that guarantee 100% to capture a Pokémon which is usually destined to the capture of the Legendary Pokémon. The Sundial located in Anistar city is linked to the Mega evolution feature, making a great impression on the player.

The lore of the game intensifies with the player’s involvement with team Flare’s plans and the first view on the Legendary Pokémon.

After finishing with Team Flare’s chapter, the players get back to the usual pacing which is to beat the remaining Gym Leader before going forth to the usual Victory Road (the last pathway to the Champion). The pacing goes up as Elite Four is, as their name indicates, an Elite team that the player has to battle against to prove their worth and each member has their own type for each version. And finally, the Champion who was hidden in the whole game (usually designated in the first place in the older versions) is revealed, creating a sense of surprise. In a way, the soundtrack contributes a lot to the pacing (intense when important bosses are presented).

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Star Control II level design analysis

Star Control II is a science-fiction video game in which the player takes control of a space ship and go explore in a universe composed of multiple constellations which are constituted of multiple planets. Exploration and material gathering are one of the main goals in order to progress in the narrative. In the meanwhile, it is also a management simulator, meaning the player is in charge of their own spaceship and taking care of their crew and the amount of fuel necessary for travelling. The narrative is visible through cutscenes when reaching certain planets (such as Earth at the beginning) or props visible on planets surfaces.

For this blog, we’re going to talk about the process of the level design. The question is about how this fictional universe had been constituted: inside-out or outside-in. Inside out is a method which starts through a narrative story or a gameplay idea and from this starting point, the world is generated. Outside-in on the other hand is the reversed process meaning having an entire pre-existing world in which elements of narration and gameplay are included.

 I would suggest the process of this game had started from the map. The map is a massive open world composed of existing constellations and stars. There is also the reason that the game is the second sequel of the franchise which means the universe might had been already created in the previous game. The different elements of gameplay would then be implemented to achieve a progressive storyline. At first, the exploration element and resources gathering would be the main gameplay element. To make the exploration more realistic, the management system is included to allow players to have full control of their ship, meaning organizing between limited storage units, number of people in the crew and the amount of fuel necessary for each voyage. The narrative is then added to increase the depth of the game. The focus of the narrative is on topics related to the different alien races present into the universe and interaction with those races. It is visible throughout cutscenes generated when reaching certain important points (most of the time, indicated by characters’ dialogues) and also bosses battles. The bosses’ battles create a great contrast compared to the normal explorative progression. Since each star is already existing, it is possible to include various types of races and also types of resources but they would be progressively revealed as the player would advance in the game.

In conclusion, Star Control II level design had been constructed through the outside-in method, starting by the generation of the map composed of pre-existing planets, stars and constellations. The gameplay is then implemented, allowing to explore and discover this open world universe. A management system supports the exploration element making the game more realistic. To add more depth to the game, the narrative is included throughout cutscenes and bosses’ battles.

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Giana Sisters: Twisted Dreams Christmas special level design analysis

Giana Sisters: Twisted Dreams is a 2d side-scroller platformer using 3d assets. For this blog, we will be talking about the 4th dimension aspect of this game. This fourth dimension is represented by the transition mechanic which allows to switch between a “cute” world and a “punk” world. 

The whole process transforms the whole environment and also the character who is believed to manipulate dreams. In this version, the Christmas side is really colourful and full of bursting Christmas items (presents, santas, Christmas trees) while the punk world is represented by a hellish version filled with demons, spikes and gothic items. The music also plays an important role to the switching mechanic. This transformation shows two conflicting sides of her personality which explains the contrast between the two worlds proposed. The conflict is clear as it is visible into the characters which representations are inverted. In the meantime, the switching is the main core of the whole game. The tutorial extends on the first level of the game. Although there is no tutorial for the basic movements and also for the jump mechanic, the other mechanics are presented when progressing through the level. They are introduced through basic obstacles in which the switching mechanic is firstly exposed. The second mechanic introduced explains the powers that the two versions of the main character can use in their worlds and the tutorial displays are visually clear. The silhouettes drawn indicate neither one of the sisters which means it can be used by both versions. Otherwise, each of the silhouettes are recognizable by the colored outline attributed to each of both. 

Items and platforms display a lot the concept of fourth dimension as they would appear transparent and are only accessible via the transition between the two worlds. Platforms have different mechanics running through the switching. Basic ones would be share the same mechanic as the crystals while other ones require the switching mechanic to make them work. 

In the meanwhile, the speed of the switching is thoughtfully planned as the game requires also strategy and timing. There is also a side effect observed when switching. This mechanic would randomly activate, it is mostly observed, when approaching a dangerous area or a monster. It may suggest an instability between the two personalities or when approaching any kind of danger that can’t be countered in one world, it would automatically switch to counter it.

In conclusion, the fourth dimension is mainly represented by the switching mechanic. This mechanic is visually represented by the contrast given by the two worlds and also the game mechanics. The switching is necessary and is introduced through different situations that requires also strategy and timing. It is also shown by the inverted roles given to the two versions of Giana as they do not belong and appear in their opposite worlds.

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The Stanley Parable level design analysis

The Stanley Parable is a choice-based game in which the player can choose different pathways, following or not the narrator’s dialogue to various endings. However, the demo is an exclusive part of the game, demonstrating the flow of the gameplay of the full game. To respond to the question, the narrator is the storyteller in the game. Throughout the whole demo, they would guide and tell the player which direction they would have to take. Although the full game is entitled to have multiple choices and endings, the demo doesn’t show any of it. In the contrary, it is one linear path determined by the narrator but also by the player. This path the player would have to follow the narrator’s directions but they would also try to drift from the path by disobeying to the narrator. For example, the player can try the patience of the narrator by constantly pressing the button eight in the eight room. The narrator would then react to the player’s disobedience by denying the utility to stay in the room and would end up waiting for the player until they would exit the room. This demonstrates that the player is and is not in control of the narrative at the same time. After any event or narrative had terminated, the player cannot go back in the previous rooms unless the narrator had specified it. In fact, it can be suggested that the narrator has more power not only the player but also the narrative. As a result, it is the narrator who is the player and the player their pawn.  The progression of the story follows through the player’s actions, commended closely by the narrator. Any consequence happening in the demo is due to the narrator who had chosen to make the player move on their directives. Choice is actually up to the narrator as it can be seen when the player is asked to answer yes or no to the question “Do you like the Stanley Parable?” Even if the player would had respond no, the narrator would assume they had said positive during the breakdown of the game. The incident with the broken game makes the narrator panic and they would try to fix their error by proposing an alternative direction, which is the isolation chamber. In a parallel world, a player would had reacted the same if they had made a bad choice and would try to find a solution to avoid having a bad ending.

The whole point of the demo would be to demonstrate the unusual flow of the game which is different from what telltale games are made of. Each ending in the full game have their own path, by following the narrator’s directives or not. The player is actually the actor of the game contrary to the narrator who is the player/mastermind.

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Portal level design analysis

Portal level design is a linear puzzle-based structure. The whole structure is basically a massive tutorial in which new moves are taught to the players through levels. In each level, one puzzle is proposed to the player starting by the basic movements to newer and complex actions that can be used in further levels. At the beginning of the demo, the player would begin by the basic movements which are “wasd” for walking and the jump mechanic. The first room teaches another mechanic specific to the game which is picking and dropping an object. This mechanic is one of the main mechanics used in the whole game. One thing to notice is that the tutorial is not carried by the anonymous voice (which actually carry on the narrative part of the game) but by multiple visual indicators situated in each level and also at their entrances.

 The setup of Portal is focused on a clear and minimalistic puzzle layout. Indeed, the whole environment is composed of repetitive textures and recognizable landmarks. First of all, the first levels would show clear pictures of what the player is required to do. For example, in the first room, the player is required to pick up the cube and drop it on the obvious red big button. The purpose of this action would be related to the link between the button and the door which is required to be opened to progress. The exit is also clearly represented by familiar signs found in real life.

 The next room shows one action only executable by the player which is timing. That action and the pick/drop mechanic would be necessary for the next room which introduces the unique item of the game: the portal gun. The portal is set to show the second main mechanic which is creating portals and travelling from one point to another. The concept of those portals is just as simple as the other indicators: two distinct colours blue and orange. When gaining the portal gun, the player would be limited to the use of only one portal which is the blue one while the orange one is already visibly set up. 

Later on, the environment becomes important for the main mechanics. Walls with different textures are introduced, preventing the portal gun to work, and more devices suited to Portal’s theme. 

One second detail to observe is that at each start of a level, the mechanics are displayed on the panel and show which one of the mechanics the player has to execute. Each of the puzzles are gradually mixed with the new movements previously taught before getting more complex.

In conclusion, it can be observed that Portal relies a lot of their environment design to clearly communicate the player’s actions and tutor them by gradually mixing the different mechanics previously introduced. From this point, puzzles are getting more and more complex but their dispositions allow to see from another angle. There are distinct landmarks detached from the background making the teaching easier for even younger generations.

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Dishonored level design analysis

Dishonored is a first-person adventure action game in which stealth is the primary action. The setup is located in a fictional industrial city called Dunwall. The design of the city is inspired from architectures of London and Edinburgh in the late 1800’s. The game is very story-driven as it influences the gameplay and the environment. At the beginning, the player starts in a bright and sunny day at the Empress palace. In this area, they would be taught to use the melee and range attack. The stealth mechanic would be taught later in the prison area. Multiple objects like large scraps of metal or metal containers are used to be hidden behind as enemies display vision cones.

In the overall game, the missions’ levels are displayed as dark areas in which the player can actually use the stealth mechanic as they can hide in the shadows and use stratagems to distract enemies. Later with the encounter with the Outsider, the blink mechanic (teleportation) allows a bit more actions than just hiding behind buildings. Some levels are constructed in a way that would “oblige” the player to use it. For example, the main door of the Greaves Refinery is not accessible and the player would have to use an alternative entrance before going down the whole building to retrieve their gears. The building is arranged that falls are actually deadly to the player through the distance between the different platforms (pipes and metal platforms).

A lot of the environment is used to be climbed using the blink mechanic as they are too tall to be reached by simply jumping.

In terms of level design, there are two interesting parts in Dishonoured which are the lights and the contrasts of the environment through the progression of the story. The overall game is linear as it follows the storyline but what makes the level efficient is how they are guided throughout clues. Lighting is one main feature that allows to indicate the presence of an important event, of an enemy or simply an exit. Most of the areas the player has to venture are dark and lights act as guides to lead the player through the level. It also adds more narrative content to the game, making some places familiar to the player. Officials buildings are illuminated plentifully to display the wealth of their habitants while outside streets in which the plague runs free are dotted with faint or really strong street lights. The coloured lights show the insalubrity of the outside through flashing colours. At the opposite, the officials’ buildings are lightened with normal white lights to indicate safety from the plague. Another interesting fact is that, through the progression of the game, if the player played on the good path, the sceneries in each levels get brighter and sunnier while on the chaotic path, the landscapes would stay as dark as the starting point.

As a conclusion, Dishonored level design is effective at guiding the player through the different levels while presenting a strong narrative. Those levels are efficient for the main action which is stealth, allowing the player to hide in shadows or use strategic actions to progress. They are also meant for one of the other mechanics, the teleportation, by displaying tall constructions. The lighting plays a strong role into implementing narrative through the display of important places or the progression of the storyline.

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Prince of Persia level design analysis

In my opinion, Prince of Persia is really story-driven as it has simple parkour mechanics such as jumping, wall running and climbing but displays a strong narrative. The whole game is actually a story told by the prince, which is noticeable in the demo through the game over screen in which the prince would object by saying “No, this is not what happened!” The theme is overall a romantized version of the Orient in which the audience would automatically imagine these exotic characters executing acrobatic fighting movements. The first cinematic plays an important role into implementing a context to the narrative such as the time period, the specific event (invasion of India by Persians) and the role played by the main character. From there, a tutorial stage teaches the player about the parkour mechanics by the means of traps and obstacles and through wall running and climbing. At the end of this stage, the player would discover the Dagger of Time, the main element the story turns around, which would lead to the second cinematic and the fighting stage. The second cinematic shows the present situation happening with the Sands of Time (people are transformed into sand zombies) and would unlock the fighting tutorial. In that stage, the player would have to fight against enemies while following the storyline. Although the controls were explained through text, these two tutorials were displayed in a narrative context that allows the player to understand better the level layout and the game system. The level layout implies simple parkour mechanics and puzzle elements (i.e: pushing a button reveals a platform allowing to jump to another point) but it is actually overridden by the storyline. The presence of future visions (through the sands of time) is only possible through the narrative as the sands of time are the main element that allows the story to progress. Those future visions show only the main struggles the player may encounter if they were not [alerted], which reinforced that the fact that the game is story-driven. The rest of the time, the main gameplay stands out in secondary actions such as exploring, avoiding traps or fighting. Another feature that is related to the narrative is the presence of an ally with whom the prince would interact with. Unlike other NPCs who follow and help the player, this one plays an independent role from the player and acts in behalf of the story. For example, the girl guides the prince and attacks enemies, ignoring the prince’s protestations.

In conclusion, the storyline plays a more important role than the gameplay in Prince of Persia. The entire game is enticed to the story which revealed to be efficient on teaching the game mechanics. There are several facts that reinforces the story-driven which are cinematics, future visions and independent NPCs.

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Kairo level design analysis

Kairo is an abstract-styled puzzle game. The overall setting is minimalistic, only constituted of basic geometric shapes textured with a unique default rock texture. The coloured lights provide a certain mood and they make a contrast between the different rooms. Sound effects play a certain role at providing the mood but also at solving some puzzles. The path is very much linear and the puzzles presented are straight-forward. There is no hard thinking but a little bit of observation. The whole game is based on assumptions looking at the architecture or the puzzles.

It starts in a throne room recognizable by the object shaped as a large throne. By the look of the environment, the “place” is abandoned and in ruins. It seems to have a specific pattern which are ancient civilisation architectures. The first construction noticeable has a shape similar to the Temple of Horus in Edfu, recognizable by the two square towers. The inside is coloured by a dim purple light, which contrasts with the colourless outside. This is where another throne can be found with a strange symbol which is the key to a bigger puzzle. When entering the second room, two other constructions can be recognizable: an Egyptian obelisk and afterwards, Japanese temple “doors”. When the bridge elevates at the player’s approach, they would automatically think to get at the same level of the bridge by standing on the elevated platform. After solving this puzzle, they would enter a room displaying geometric representation of elements of a park (trees, benches, street lights and path). The next room displays a strange construction, greater than the previous architectures, surrounded by five doors. The player would guess this unusual massive construction is important as part of the game as it is displayed at the centre of the room and doesn’t represent any real-life architecture. These are just assumptions but the connections between the rooms are actual themes. Starting by the red room, I would assume it is the inside of a brain, looking at the disposition of the bridges, the red colour and also this specific platform which shows various images of different ruins. The next room is a maze in which the player finds one of the keys (symbol) to unlock the odd construction. The player can be seen as a piece of information and they would bring the content (symbol) to the next room through a passage and then, would make this information execute an action to the body (last room). The last room is similar to a factory in process meaning the action is executed. The overall would then represent the mind. The other theme would be an interpretation of life and death as the rooms presents the flow of life (water and light) and coffins (death).

In conclusion, the setting in Kairo is based on themes represented by familiar shapes and movement. Supposedly, the first theme would be the reality in which real-life monuments are displayed before going deeper into “abstract” themes such as life and death and the mind.

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Bioshock level design analysis

From the beginning, it is clear that the player is guided through a linear path. The flames and the pieces of the plane in the sea are invisible walls that can harm the player and therefore force the player to take the path formed. The player can distinguish the landmark / tower at the end of the flaming path. The obscurity of the night makes it easier to see those elements. Climbing the stairs, the player would end in front of an open door that can be either suspicious or inviting. Either way, it is the only path proposed to the player to continue the game. The fact that the door closes on the player afterwards means they can't get back on their tracks. The gradual emission of spotlights contributes to the understanding of the universe the player will enter afterwards and will lead them to the elevator. As you go deeper and deeper, the player would recognize a certain kind of architecture close to the 1960's mixed with art deco style and they would afterwards discovered the underwater city Rapture built by a character named Andrew Ryan.

The environment gets darker, displaying the scene between the female Splicer and a normal human character. The female splicer is revealed through the faint lighting hitting on her. Her behaviour and the shiny weapons inform the player of her uncontrolled and aggressive nature. It is also shown on her physical appareance which is definitely not human anymore.  From this point, the player is guided through closed corridors by a watchman named Atlas. The bright light emitted by the Vita Chamber catched the eye of the player and made them learn about checkpoints. This is where the tutorial part begins. Along the way, the player is guided by spotlights which light up  on their way. The darkness of the place helps a lot tracing the path the player has to take. The intervention on the female splicer made them discover that splicers do not like light which is why there is a great number of them in those abandoned areas. After the splicer disappeared, the column located on the ground would allow jumpinp and the spolight would be pointed at the wrench, the first weapon meaning future melee combats. The broken door would teach that some of the environment elements can be breakable and it also teach the player to crouch.  The fight with the splicer is slightly brighter than the first rooms, allowing to teach the player the fighting mechanics. The death of the enemy would allow looting not only on enemies but also in elements of the environment such as the trash can. From the first glimpse, the player can tell that the doors are locked by the sparkles coming out of the control panel. They would have to search the entire area to find a solution. The advertisements gave a little hint about it but from my personal opinion, they were confusing as I wasn't familiar with Bioshock's universe. It is only after discovering the plasmid machine that everything made sense. The cinematic is really useful to explain the situation in this part of Rapture. Splicers are not entirely zombies and still have a conscience and the Big Daddy with the Little Sister were revealed as important protagonists. Another fighting mechanic is revealed with the addition of the electric plasmid which is switching between melee and range combat. The power provided by the plamid can influence the environment such as the control panel. Fighting tips continued to be shown by experimenting them on splicers. After taking the elevator, one example of signposting is displaying this woman who apparently is talking to a baby but the player would only see her and the crib's shadows and guided by her voice. Obviously, she would be one of the splicers because of her dialogue and the lack of normal humans in the area. There, the revolver revealed that multiple weapons can be used. If the player explored the [...], they should discover that alcohol lowers the quantity of plasmid but recovers health. The dispute of the couple of splicers is a demonstration of breadcrumb, a visual or audio clue that draw the player's attention towards a certain path. Another element that allows to understand Bioshock's universe is the audio recorder which might be meaningless for the main storyline but it added more depth to the characters. The dollar bill shows the currency of Rapture and also that items can be bought. The vision of the woman in the toilets is a bit confusing but it might tell why the main character is special as he mentioned at the beginning of the game. The game makes clear when a real-time cinematic is about to start by, for example, lowering their weapon when they encounter the Little Sister which prevent them to take any action against her, or being hidden in the corridor where they witness the presence of the Big Daddy. Lighting and sound on enemies play also a role of signal, alerting the players of their presence (i.e: security bot). The environment itself is revealed to be the player’s ally because of their powers but it can also handicap them (i.e: deep water can slow you, which can be a disadvantage when feeling enemies). After the security lockdown had been activated, it was clear that the way to Neptune's bounty was unavailable not only by the locked barrier but also by the flamethrower. Therefore, Atlas indicates the way by naming the medical pavilion which is written on a neon sign on a wall facing the opposite of Neptune's bounty. Afterwards, the player would enter a small room and would go to the open door. After Ryan's message, it is clear he had entire control on the city and can guide splicers to the character's direction.

As a conclusion, Bioshock level leads the player through linear closed areas by gradually illuminating their path. Essential elements of the gameplay are also illuminated with bright and colorful lights to indicate their importance throughout the game. The narrative is progressively revealed through the different elements that compose it: first appearance of the splicers, a city controlled by a strange and machiavelious character and the city is haunted by iconic figures, Big Daddy and Little Sisters.There are a few visual and audio signpostings to attract the player’s eye and tell them about a few minor narrative facts. Real-time cinematics are displayed in a way they can be seen from a particular angle, like a movie.

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Doom level

My main aim for my level design was focused on puzzles inspired from Darksiders II and on exploration inspired by Might and Magic VII. Levels in Darksiders II allows a lot of exploration by coming back into rooms that were already explored. Might and Magic VII encourages exploration a lot as rare treasures can be found anywhere in dungeons and on powerful enemies.

At the beginning, I was planning to put two levels above and under the central hub but I realised it was not doable. I ended up merging some parts from those missing levels. Textures helped me construct the narration of the map. The start would tell the player that they are in a jail in a linear corridor and locked by a massive door. Obviously, since the player is blocked, they would look for the key in all the jail cells. Once they find the key and exit the jail, they would walk into a hallway separated into three paths: the middle path shows another massive door similar to the jail room but the design of the door is different. The left path ends to a bloody door, which either discourages the player to not come in or would in the contrary encourage them to go inside. Either way, they would be forced to take this path as the right path is locked. They would then encounter monsters instead of humans. Small rooms dispersed in the hallway would help the player gain more ammos and health and I realised it is actually necessary to get those items to defeat the monsters located in the room. The next room would display another wave of monster plus two new monsters with the same calibre. Once defeated, the player would notice the hidden door by its different texture from the wall. They would retrieve the key and then unlock the room at the end of the right path. Inside of it, the player would encounter a wave of normal humans before getting to a massive room very different from the other rooms and filled with monsters and two mini-bosses. In the way, the player would find powerful items to defeat them but they would need to explore any corner before the fight. Then, they would find the last key for the central room. That last room is a boss room. There are actually two options to escape it: fight the boss or if the player does not have much ammo, they can always escape by fleeing to the exit. Yet, the room is filled with obstacles that would slow the player but also protect them from the boss’s attacks.

Earlier, I mentioned textures helped construct the narrative of the map: the whole map is a massive castle made of bricks, which is slowly invaded by monsters. Some textures display unique features and I chose the lion to symbolize the human presence or a clue for a secret. To represent the monster presence, I chose the jester face and fleshy and bloody textures. Secret rooms entrances are displayed by a slight different texture from their surroundings.