About Reaching Perfection
Reaching Perfection consists of a series of short articles on Level Design, written by Ray Benefield over the course of several years. The articles were originally published on his website (www.reachingperfection.com), and are republished here on Next Level Design with permission from the author. The subject matter is wide ranging, covering everything from Threat Zones, to Peer Review, to Cohesion, and many, many other aspects of level design.
- These articles are a snapshot of the authors viewpoint at the time they were written, and should not be interpreted as 'truth' - take them as food for thought, and an impetus for discussion on the various topics.)
- The website these articles were published on was focused exclusively on the Forge mode within Halo 3 and Halo: Reach, so there will be many references to Forge and these games.
Missed Chapter 8? Read it here: Eye Catching
Well I have taught you the concept of drawing attention to important parts of your map by using Eye Catching techniques. And before I teach you these various techniques I must first introduce you to the concept of Perspective Variance. What good are eye catching techniques if a player only sees them for a split second in time? In order to draw attention to something you must give the player the chance and time to notice it.
Perspectives over time
The concept of a perspective is just a single moment in time. One play through of a map consists of millions of perspectives. While taking the time to study single important perspectives it is important to study them in batches or groups as well. To simplify this concept imagine watching a replay of a game and taking a single screenshot of the player’s perspective every second or half-second. The idea behind perspective variance is observing the changes between perspectives that occur one after the other. The player’s perspective is always changing and this must always be taken into account. Just because you use eye catching in one perspective doesn’t mean that it will catch the player’s attention in that instance in time. Your eye catching techniques must exist in multiple perspectives over time in order to give the player a chance to notice what you have laid out before them.
Repetition is key
Once again... anything you want your player to notice has to exist from one perspective to another in order to have more effect. A simplified real life example is when you are trying to read subtitles or captions for a movie but they do not stay on screen long enough for you to read. What’s the point of those subtitles or captions if you never get their full meaning? The same case is true here. If that light in the corner is only visible by the player for a split second then it will most likely never catch his eye. Remember that the player is always alert and always moving and looking around and constantly changing his perspective. All of the things around him are fighting for his attention and he is observing everything that he notices. Humans always overlook things when they have a goal like capturing the flag ahead of them. How are you going to show them that the rocket launcher in the corner is going to help them if it just barely passes them by as they turn the corner?
Tying it to movement
So while eye catching is an extremely important aspect when thinking about perspective variance, it is not the only factor. Path Manipulation is also very important in that moving a player around changes the player’s perspective. Consider how perspectives vary from each other when a player is traveling in a straight line. Things that are close will eventually disappear from the perspective while things farther away stay for longer. What about when a player is rounding a corner? The things that are on the side of the perspective that the player is turning away from will disappear sooner than those on the side that the player is turning towards. The sharper the turn is the faster objects disappear from a player’s perspective. Meaning sharp turns result in a massive amount of variance between perspectives. Is this good or bad? Well that is up to you as a designer.
Read Chapter 10: (to be updated)
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