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  1. About Reaching Perfection Missed Chapter 28? Read it here: Perspective Direction Intro Ever wonder what makes a spot easy to control compared to other areas of a map? It isn’t always just the amount of pathways that lead to it. There are many factors that can determine whether an area is easy to control or hard to control, but one of the main factors is the degree of focus that the area requires for control. What is degree of focus? Well let’s find out. Sphere of attention The degree of focus refers to the amount of area that a player must focus on visually in order to fully lock down an area. A completely open flat field requires 360 degrees of focus laterally and vertically... a full sphere of attention. In order for a player to fully control that type of area they have to divide their attention everywhere and stay vigilant at all times. Now on the opposite side of a coin, imagine a room with one entry way into it that can be watched without moving one’s perspective. The doorway serves as the only area of focus. The given area hence has a very minimal degree of focus required to lock down that area. An area with a high degree of focus is typically not desirable, while an area with minimal degree of focus is typically very advantageous as it allows a player to divide his attention less. Path Manipulator Degree of focus is a very important thing to pay attention to for popular areas and main pathways. A low degree of focus can actually serve as a very strong incentive for many players acting as powerful as a sniper rifle or rocket launcher, as it gives them the ability to focus all of their attention with very little perspective variance. Increasing the degree of focus of an area can lessen an area’s incentive weighting and too much can actually become a strong deterrent. A large open area in the center of a map is a very popular technique to stop players from taking the quickest route as it has an extremely high degree of focus and is very hard to be in for any given amount of time. These areas are also popular places to situate powerful incentives like the rocket launcher as the high degree of focus lowers the incentive weighting of the rockets serving as a counterbalance to its power. And areas like a room with minimal entrances are great incentives to encourage players to move as they offer a sense of security. Degree of focus can serve as a powerful path manipulation tool if used correctly. More than just multiple paths Just having multiple paths to an area does not guarantee that the area will have a higher degree of focus. Degree of focus is based on how many perspective directions are required to lock down the area. If all three paths in a room can be watched from one perspective then the room is just as easy to lock down as a room with only one entrance. Requiring more perspective variance to control an area will also help decrease an area’s incentive weighting. Keep in mind that degree of focus includes the third dimension. Aerial combat is becoming very popular as a game mechanic. Placing a roof above an area can help reduce the degree of vertical focus while still keeping the high degree of lateral focus to help create the experience that you are looking for. Degree of focus can make or break a map and it can also be the focus of a map’s essence. Players love having tons of control over situations. As a designer, you control how much power they get. Read Chapter 30: Application Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://discord.gg/RqEy7rg
  2. About Reaching Perfection Missed Chapter 27? Read it here: Reputation Intro Are you still having problems getting players to find the incentives that you have placed around the map? Do players just walk past weapons laying around the map despite the eye catching techniques you used to draw attention to them? There’s more to getting people to notice things than just using color contrast. Have you ever thought about their attention being drawn elsewhere in that situation? Point of Focus When in a combat situation players are constantly maneuvering their focus to things that they feel require their attention at the time. If someone is shooting at them then their attention is drawn to that deterrent, not the weapon lying on the ground beside them. If the capture the flag waypoint is straight across the map then their attention is going to be towards the shortest path to get to it, not the sniper rifle that is sitting comfortably in a cupboard behind them. If there is a rocket launcher sitting high up on a pedestal with lights shining all over it they aren’t going to notice the hidden shortcut that is off to the side out of their view. Standing in their shoes When trying to draw attention to something think about the most likely places that a player is going to be; whether it is coming in through a doorway, hiding behind cover, or sitting at a control point. Now imagine the player’s current priorities and where their point of focus is; this could be any possible threats, any obvious incentives, the next objective, etc. Now in your mind draw a sample of their possible perspective based on their focus point and position. Use that as a guideline as to what the player is looking at. Place what you are trying to draw attention to in that perspective keeping in mind the rule of thirds, color contrast, and other eye catching techniques. If you know a player is moving around a lot, keep in mind the possible perspective variance and plan accordingly. This technique can be used in a variety of ways. You can use it for area introduction, deterrent warnings, incentive presentation, and other such instances. This is similar to the way that you setup spawn perspectives except that a spawn perspectives direction is always known. Perspective direction is about making an educated guess and imagining yourself as a player, not as the designer. A third dimension When considering a player’s perspective direction it is easy to keep in mind that they can be focused anywhere in front of them, behind them, or to either side of them. Most designers forget that there is a third dimension in most games. Imagine a ramp. If a player is sitting at the bottom of the ramp and their path map reads that they are likely to be going forward over that ramp where is the player’s focus point? It isn’t straight ahead because then their perspective is filled with the ramp. Their perspective direction is towards the area of highest possible threat. When sitting at the base of a ramp that area is typically the very top of the ramp. So placing an incentive at the very bottom of the ramp is probably not a good idea as it is out of the player’s perspective. Always put yourself in your player’s shoes. Remember that they don’t know your map like you do. So show them. See your creation from their eyes, not from yours. Read Chapter 29: Degree of Focus Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://discord.gg/RqEy7rg
  3. About Reaching Perfection Missed Chapter 22? Read it here: Rule of Thirds Intro Sometimes when a player experiences a map for the first time they don’t start with a spawn perspective. Sometimes they get an overview of the map that allows them to make decisions and gain a first impression before they start playing or have any sort of control of what they are seeing. Sometimes a player doesn’t have control over what they see during cinematic sequences and where they look next. These perspectives that players do not have control over are what we call static perspectives. Your terms Static perspectives are a powerful tool in a designer’s toolbox for creating the experience the designer envisions. The designer has full control over static perspectives. They are something that are fully owned by a designer and are very predictable experience-wise when compared to other design theories that rely on hypothesizing what players will see and do. However, with great power comes great responsibility. When things don’t go a player’s way while traversing a map they have the chance to blame themselves because they control their own perspective. However they have no control over static perspectives like map overviews so if they have a bad map overview or see a bad screenshot the fault falls on you as the designer. Don’t ever give your player’s a reason to doubt your credibility as a designer. Remember how important those first impressions are. Painting a picture When preparing a static perspective, always remember that you are painting a picture or film that your players are witnessing. Remember that you are an artist trying to sell your work to your audience. Use whatever techniques you can think of to make your static perspectives as pleasing as possible. Take note of the color contrast that exists in your picture. Remember your eye catching techniques to draw attention to things. Remember the rule of thirds and place important landmarks, incentives, and deterrents on the focus points of the static perspective. Remember the importance of teaching your players your map to provide them the knowledge they need to have a full and enjoyable experience. Static perspectives are also a great tool for area introduction. Remember that level design is a smooth cohesive process, not just a bunch of individual parts. Everything works together as one and learning to combine and mix and match techniques is a delicate but powerful skill. Examples Static perspectives can be many things. Screenshots of your map in a thread on a level design forum are a great example of static perspectives. Sometimes a camera exists that is used to give an overview of a map while players select their weapons. Maybe there is a security camera that players have access to but can’t control and can see the map in the camera’s perspective. Perhaps you created a film to show off your map. In the case of batches of perspectives, remember the perspective variance concept when using various techniques. Games have used many static perspectives throughout the ages and learning to see them as pieces of art will allow you to adjust them and plant a particular opinion or impression on your customers. That. Is. Power. Read Chapter 24: Advertising Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://discord.gg/RqEy7rg
  4. About Reaching Perfection Missed Chapter 20? Read it here: Safe Spawning Intro There’s a word that is always thrown around when talking about great maps. What is that word you say? My friend... that word is“balance”. Is your map “balanced”? How do you go about answering that? How do you weigh your map? Well typically you measure the map by comparing all of the advantages throughout it to ensure there is a balance of advantages no matter where you are. What do we call advantages again? OH YEAH! Incentives... Weighing the un-weighable So here’s a quick overview of incentives. Incentives are areas, objects, course of actions, etc. that help you achieve your current goal easier. These incentives can be a height advantage, a good defensive position, a rocket launcher, a shortcut, a batch of grenades, etc. There are so many types of incentives and they are all completely incomparable to each other side by side. So how do we weigh them? We make up a weight for each based on the experience that we want to create. As a designer it is your job to set a weight or priority for all of the incentives in your map to meet your map’s essence. Did you plan to setup a huge long range combat focus for your map? The sniper probably has a higher priority/weight than the rocket launcher on that map. Does your second map essence focus on vehicle usage? Well now a rocket launcher is probably much heavier than that sniper. Think about how important each incentive is to your players based on the experience you are trying to create and the objectives you are setting for your audience. A balancing act So now you know how to find the weight of all of those advantages. It is time to start spinning plates on sticks. Imagine a massive overview of your map, something like a heatmap. Now imagine as many incentives across your map as you can. Create a radius of effect based on your map’s essence for each one. Mentally tally up the weight of each millimeter of your map and imagine darkening up the heavier areas. The heavier incentives and a lot of incentives will cause darker areas. Always keep in mind each incentive’s individual weight as well to help you move things around. Imagine having a pistol and assault rifle in one corner of a map and a sniper and a rocket on the other corner. Which corner do you think is heavier? Typically, it’s obvious. Now what if it was a pistol/rocket vs. an assault rifle/sniper? It depends on the map’s essence. Spreading the love So now you’ve got your “heatmap” of advantage. What do you do with it? Well typically you want to spread out the incentives to have the weighting be “balanced” around the map. Why? Because players are drawn to incentives like lions are drawn to meat. Do you have an armory on your map? It is probably a good place to chill if your map’s essence is about killing. However its weighting goes down if the goal is to capture the flag and the armory is out of the way. All situations are different and it is your job to create the situation that you want. Maybe an armory is fine for your map as long as you weigh the rest of your map to balance it out. An armory is a bit extreme, but you get the point. Learning to balance the advantages of your map is a delicate and essential skill. It will help you control the traffic of your map and ensure that every part of your map is worth traveling through. That is what path manipulation is really all about,right? Read Chapter 22: Rule of Thirds Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://t.co/hkxwVml0Dp
  5. About Reaching Perfection Missed Chapter 16? Read it here: Innovation Intro You know how important catching a person’s eye is. It can attract players to places they would never explore otherwise. It shows players a weapon that they may not have been able to find otherwise. There are many ways to draw a player’s gaze. One of those ways is to use contrasting colors in an otherwise bland scene. But color contrast isn’t just about eye catching. The color wheel So everything we see exists on our visible color spectrum with each color slowly blending into the next and becoming a new color. A natural occurrence of the color spectrum is a rainbow. A rainbow is seen by the human eye as several colors blending into each other from Red to Purple. The color wheel just places all of these colors in a perfect circle that links the red to the purple in order to restart the color sequence. Most color wheel diagrams consist of 12 colors containing the three primary colors that blend together to form three secondary colors and then all six of these blend with the one two next to them to create six tertiary colors. You can easily find an example of the color wheel by searching google. The difference is black and white Contrast is defined as the difference between two colors that appear next to each other. It is easy to notice when something black is on a white field, but how easy is it to tell when something black is on a purple field in comparison? With that in mind how much do you want that black object to stand out? If you want the object to just accent the scene then maybe the black on purple is a good idea, however if you want it to stand out then maybe the black on white is a better idea. High and low contrasts are both important in their own situations. You do not want to be bringing attention to something that doesn’t need attention and you don’t want to hide something that needs to be seen. So how do you find low contrast and high contrast color combinations? Take a look at a color wheel. Pick one color on that wheel and then grab the color directly across from it. That color is known as its complementary or contrasting color. Now pick a color next to it. That color is known as an analogous color. These colors blend really well together and hide things while still adding color to the scene. Applying to maps So through the topic of eye catching you already know when to use high contrast colors. Place purple weapons on a yellow backdrop in order to draw attention to them as incentives. Place a dark red door in a bright green wall to show players that it exists. Place yellow explosives against a dark gray wall in order to make them aware of the deterrent. So when do you want to hide something? Why not just high contrast everything in the scene to draw attention to it? Because the more things that are trying to pull attention the less affect each one has on the player. So next to that purple weapon on the yellow backdrop don’t place purple chairs around it or people may miss the purple weapon and only see the purple chairs and move on. Scenery and other objects that help smooth out the feeling of the map, that aren’t necessarily important to gameplay, need to use low contrast in order to not draw too much attention to them. They are there to complete the whole experience and keep the map from feeling bland; not to draw attention. Read Chapter 18: Patience *Note: We have a thread dedicated to Color Theory, with a lot of useful links on this subject. Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://discord.gg/RqEy7rg
  6. About Reaching Perfection Missed Chapter 12? Read it here: Path Maps Intro I want you to think about all of the maps that have very important areas in them that players use to orient themselves and their teammates. Ever heard of people calling out the shotgun room? How about when players say that he is in the sniper tower? In order for player’s to enjoy the optimal experience on your map it is probably best for them to be able to understand where these areas might be, correct? Even more so it is probably best if players knew about every single area that exists on the map in order to allow them to make the best decisions possible, right? You tell me... Defining the obvious Hmmm so what is area introduction? I don’t know... maybe it is introducing areas to a player. But it is more than just that. It is showing players everything there is to a map. It is showing your players the options that they have when choosing where to go from where they are. Area introduction is a form of Path Manipulation that is used when a player is new to a map to show them major sections that are available to them. But why is area introduction so important? If a player explores enough won’t he/she find every place on the map eventually? Well sure, but it is more than just that. If I give you a dictionary eventually you will memorize every single word and definition in it if you read it enough right? No? Well why not? Tying things together Remember when we talked about how a player’s first impression of a map is extremely important? Remember when we said that Knowledge is Power and in order for a player to give a proper analysis of a map he needs to be introduced to the most important parts of the map? By mixing these two concepts we see the importance of teaching players the map as fast as we possibly can because we do not know how long a player’s first impression will last. You only have the player’s attention for a short period of time until you win over their trust. Once you win their trust then you have their attention for a long while. The key is proving to them that it’s a good map to play on. And in order to do that they have to know the important parts about the map in order to judge it well or their judgment will be skewed and you will lose them for a while because they didn’t know about that one thing that could have made their experience better. Giving them the tour So how do you show the player around without doing it yourself? How do you show the player the map while they are in the heat of combat and focused on winning the match? You already have a good amount of tools at your disposal. What does the player see in his first perspective? Is that a pretty blue room that has caught my eye? Oooo... look there’s a shotgun over there I’m going to go check that out. This place looks too open and will leave me too vulnerable so I’m going to go see what’s over here instead. You see what I did there? By mixing spawn perspectives and eye catching you can show off the blue room. With incentives like a shotgun you can show people the shotgun room. Using deterrents and traffic control you can encourage people to take a look around somewhere else. All of these things relate in the greater sense of Path Manipulation. Now that you know how important area introduction is... go use it. Read Chapter 14: Essence Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://discord.gg/RqEy7rg
  7. About Reaching Perfection Missed Chapter 11? Read it here: Smooth Spawning Intro So we know we can move players around using different techniques in path manipulation, but how do we observe that? How do we analyze a player’s movement? How do we visualize a player’s movement? The tool that I tend to use is a little something that I like to call path maps. An intro to path maps A path map is a map of all the possible paths that can be taken on a designated level based on a given position of the player. There are two different types of paths that exist in a path map. Objective paths are the shortest paths possible to the player’s current goal from the player’s current position on the map. Divergent paths are paths towards other possible goals that force players to “diverge” from the main objective path. As players move around the map and make decisions, objective and divergent paths change accordingly. Being able to observe a path map at any given point in time is essential to truly mastering path manipulation. When to use path maps The basic time to observe a path map is typically based on a particular spawn point. This allows the designer to analyze where a player plans on moving as soon as they spawn and allows the designer to adjust that to his/her liking. Another popular use of the path map is from incentives or landmark areas to understand where a player will move after arriving or acquiring what they traveled there to achieve. The current direction of the player is important when drawing a path map from a designated position on the map. Divergent paths are typically based on the player’s current perspective. Divergent paths may also exist behind the player if the player possesses enough knowledge of the map. Keep in mind that there is typically one objective path and many divergent paths. Divergent paths are just simply all the possibilities that the player may choose to take based on certain situations. For example if a player is going for the rocket launcher, and knows that the sniper is around the corner there would be a divergent path to the sniper. It is the designers job to decide what paths are most likely to exist in various situations. From divergent to objective To reiterate, objective paths is the shortest path to the player’s current goal. A player’s goal is ever changing as they traverse around the map and make decisions. When a player spawns his initial goal is to get to his winning objective. Now imagine that while traveling down the objective path a rocket launcher or other incentive catches his eye. He now changes his current goal to achieve the rocket launcher. The new objective path is now the shortest path to the rocket launcher, and the old objective path is now a divergent path. Now imagine that a player has beaten him to the rocket launcher. His goal no longer exists so now his objective path must change. If the player that grabbed the rocket launcher is a teammate then it is more than likely that his old objective path will become the objective again. However if the player is an enemy, then the enemy is a deterrent. The player’s new objective path may now be to the nearest piece of cover. At that point the player may choose to remove the deterrent or seek safe passage and his objective path will change accordingly. Utilizing path maps is a strong tool in observing specific situations when analyzing your path manipulation. Use it well. Read Chapter 13: Area Introduction Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://discord.gg/RqEy7rg
  8. About Reaching Perfection Missed Chapter 9? Read it here: Perspective Variance Intro Over the various past lessons you have been introduced to how powerful observing perspectives can really be. However there are billions of possible perspectives that exist on a map. Learning to observe key perspectives is important to saving yourself sometimes. One type of perspective that is common across all maps and extremely useful to observe is the Perspective that exists for each spawn point on the map. The first of many The spawn perspective is typically the first full controllable perspective of the map that the player receives. Note that I say controllable perspective meaning that the player is able to fully move his perspective at his will from this point forward. Other perspectives may be seen first, but I will cover those in later lessons. Being the first controllable perspective all eye catching techniques are extremely important to study. From this first perspective player begin to decide exactly how they move around the map. It is important to take the time to study each and every one carefully. Spawn perspectives are the only truly guaranteed perspectives that you can observe exactly as the player will see it since there has been no previous eye catching, incentive,deterrent, or other influence upon the perspective. Observe them heavily As a designer you should be aware of everything that the player can see from each spawn point of your map. Know what incentives exist, what paths are available, what deterrents may exist, etc. Take the time to analyze the eye catching that exists in the perspective to get a good idea of where the player may be heading. Keep in mind that there are many factors that will influence all future perspectives. The spawn perspective is the start of a long chain of perspectives that only ends when a player dies, and then restarts from there until the game ends. Every perspective in the chain is influenced by the spawn perspective so setting up the spawn perspective properly will lead to huge control over the player when dealing with 'Path Manipulation'. You control your players Whenever you place any spawn point the first thing you need to do is stand on it, find some way to force spawn on it, or just find some way to view the spawn’s perspective. Take the time to observe what is in the scene. Spawn perspectives are very powerful tools for applying the 'Knowledge is Power' concept and teaching players important parts of the map. Take note of what weapons the player can see. Take note of what paths the player can choose from. Take notes of any possible threats that may exist in the perspective. A good general rule to go by is to give the player at least one path as the focus of the spawn perspective. Give the player direction and guide him from where he spawns. If a player spawns and the only thing he sees is a wall, what is he going to do? He has an equal chance to turn right or left where he will proceed to choose his path. You want to remove as much unpredictability as possible in order to have stronger control over the player. Remember that you have control over the player’s experience. If you want him to go right towards rockets then turn his perspective so that the path to rockets is in plain sight. If you want him to go left for the sniper then turn that perspective left. You have full control. Read Chapter 11: Smooth Spawning Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://discord.gg/RqEy7rg
  9. About Reaching Perfection Missed Chapter 7? Read it here: Combat Congestion and Traffic Intro So I have introduced you to perspectives, which in short are screenshots of the player’s view; everything that a player sees, all of his options, any incentives in his view, or anything else of interest all in one screenshot that can be observed as a picture. Now I’m going to teach you how to move that perspective so that you can control exactly what your players see. The funny thing about humans is that we are curious and we love shiny things or anything that points out of a given scene. Using this knowledge to our advantage is something that I like to call Eye Catching. The basics Eye catching is a pretty self explanatory term. It is using various techniques to “catch” the human eye. This technique is used in millions of pieces of artwork, so why not utilize it in a perspective if a perspective can be seen as a picture? The human eye can be drawn by a ton of different things; like light differences, color contrast, size, distance, shapes, etc. It is your job as the designer to decide which type of attention grabber you want to use on your map. Pick something that fits with what you are doing anyways. Making a dark map for some sort of zombie gameplay? Then use lit objects to attract attention. Maybe your map is quite purple from the covenant theme you’ve created. Well yellow stands out quite well in a purple background, and is sure to grab your player’s attention. The results In a picture when you grab the viewer’s attention they move their eyes towards the designated “eye catcher”. When in a game players do the same thing; moving their eyes towards the “eye catcher”. However in a game moving a player’s eyes causes a change of perspective and makes a new picture for us to use and analyze. Learning to transition between new perspectives is a powerful skill allowing you to fine tune not only the player’s movement, but also exactly where your player is looking and when. Remember that if a player is in the middle of traversing a map, typically changing the direction their eyes are looking will tend to make them gravitate towards that area. So not only do you get to control the direction the player is facing, but you also control where they decide to move. Not bad for applying art theory to a video game, eh? Applying the technique So now you’ve got this basic understanding of changing the player’s perspective, but how should one use it for level design? How about using eye catching techniques to attract players towards incentives? Or maybe you can use eye catching to warn players of a deterrent ahead. How about just introducing a new area of the map? Eye catching is part of the major concept that is Path Manipulation. Controlling your player allows you to tweak what they feel, what they see, the decisions that they can make, and overall the true experience that they have while playing your map. This is a technique that can be used everywhere in your map and knowing when to use eye catching and when not to is a delicate decision. You know those papers that say “Turn the page to see how to keep a blonde busy”? The same concept is applied in this situation, eventually the player will catch on. Meaning that eventually you have to vary your techniques and use eye catching only up to certain point. Pick your uses carefully and use this powerful technique wisely. Read Chapter 9: (to be updated) Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://discord.gg/RqEy7rg
  10. About Reaching Perfection Missed Chapter 6? Read it here: Incentives Intro Have you ever taken the time to wonder why most maps are designed to have multiple paths? Most people just blindly build their maps to have multiple paths because it has become a simple standard base rule that everyone follows. I feel that it is important to completely understand why standard practices exist in the industry. Take the time to imagine a Halo map with only one path between two flag points. Everyone just ends up clashing over and over again in the center right? This is a phenomenon that I like to call Combat Congestion. What’s wrong with it? So what’s wrong with everyone running into each other and just shooting to try to kill someone? Nothing if that is what you want. It creates simplistic gameplay because it removes the skill of out-smarting your opponent based on path selection and cutting him off. Not only that, but there is no order to 8 people running at each other at once. It is hard for players to choose their target so it ends up being chance that you only get shot by one person or the whole other team at once. Dying to 4 people at once happens a lot faster than just 1 or 2 guys. You end up having no time at all to plan out your attack and if you don’t have any time at all to use skill or strategy then what fun is that? The concept of Traffic The basic concept of traffic is an observance of how players are spread out on your map. If you have too many players traversing one area then maybe you should spread them out a little more. The more players that go through an area the higher chance of combat congestion happening. And as discussed, this is something that we need to avoid as it is no fun to the player. Avoiding the chaos So having one path can cause combat congestion, that’s pretty simple to understand. Well having multiple paths around the map isn’t magically going to solve this problem. You have to use a variety of Path Manipulation techniques in order to get your players to spread out and to reduce the chance of combat congestion happening on your map. A ton of tricks exist for what I call controlling traffic, and you’ve already learned some of them. Incentives can be used to force players to take paths that players normally wouldn’t. Deterrents can be used to discourage players from taking commonly traversed paths. But Incentives and Deterrents can’t just exist on the map. They end up having no effects on a player if the player is unaware of them being on the map. Remember that talk on Knowledge is Power? You have to use techniques like Eye Catching, Area Introduction, Color Contrast, and Screen Real Estate. But in order to understand those techniques and fully apply them you have to be able to think in Perspectives and observe Perspective Variance. So again why do all of these things? Because combat congestion is one of those things that will cause a poor First Impression for your map, and we already learned how bad that can be. It is one of those things that is frustrating to experience because nobody enjoys just running in and dying. They enjoy using their skills. This was your first combination lesson where I tie everything that you’ve learned so far and everything that you will learn together to help you grasp the bigger picture. Hope you enjoyed it. Read Chapter 8: Eye Catching Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://discord.gg/RqEy7rg
  11. About Reaching Perfection Missed Chapter 5? Read it here: Deterrents Intro So sometimes just having the will is not enough to complete the objective at hand. Sometimes you need new weapons, or sometimes powerups will make winning easier. And now that there is danger at hand that wall to your right looks quite appetizing as cover. As you strive to win the game at hand there are many things around a map that encourage you to detour away from your main objective. These things that encourage us to move around... we call them Incentives. More than the obvious Most people understand a base concept of incentives when they think about weapon placement. If you place a rocket launcher here people are going to want to head to it to pick it up, right? Well a sniper rifle or spartan laser isn’t the only thing that can get you to move. Maybe ahead of you there is a turret acting as a deterrent on the main objective path. You see a bunker slightly ahead so instead of being discouraged by the turret’s threat zone, the cover acts as an incentive to continue moving forward. An incentive isn’t always an item, sometimes it is an area or some other type of advantage. The height advantage is definitely seen by many as an incentive to travel up a ramp. Items are just the obvious incentives. Non-existent incentives Now while incentives are great for moving players around a map, some may not be there forever. Most incentives only exist until they are used up. If the only incentive on a path is the sniper rifle, when it is not there then there is no use in going down that path anymore is there? Sure you have the rocket launcher off on the side but that rocket launcher isn’t always going to be there. Using the previous turret example, if no one is on the turret then that bunker is not much of an incentive any more and you can just continue down the center path. A key skill to master when utilizing incentives is taking the time to realize when incentives are turned on and when they are turned off. After mastering that you can follow that up with learning how to effectively control that trait of an incentive by moving players down a path when you want them to go down there and then stopping them from going down there whenever you want. It is a very handy skill to have and one that is well worth the investment in time. That skill alone can fully control the traffic on the map. Taking account for the advantage Something that designers tend to forget is what effect that particular advantage has on the player. When a player picks up active camouflage, do you take the time to consider that he can now travel for a certain distance without being seen? Do you consider that when a player picks up a feather in Mario that they can now fly through the whole level with no opposition? Do you consider that if they gain the high ground that they have full control of this half of the map? It is one thing to offer an advantage to the player. It is another to account for that advantage and make sure that you don’t give the player too much of what they want. Always keep a good balance - any time you give the player an advantage make sure to compensate. If you don’t find that balance then you will end up pulling away from other incentives on the map and pushing too many players to that one incentive. You ever fight over one piece of cake? It’s not pretty. Read Chapter 7: Combat Congestion and Traffic Follow Ray Twitter: https://twitter.com/RayBenefield Mixer: https://mixer.com/RayBenefield Follow Next Level Design Join the Forum: http://www.nextleveldesign.org/index.php?/register/ Follow us on Twitter: https://twitter.com/NextLevelDesig2 Discuss on Discord: https://discord.gg/RqEy7rg
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