Games & Virtual Worlds Series

Designing Games & Interactive Stories

World Maps

A world map in a video game is a graphical representation of the game world that provides players with an overview of the layout and structure of the game environment. World maps are often used in open-world games, where players are free to explore a large, interconnected game world.

World maps in video games serve a number of purposes. They can help players to orient themselves within the game world and understand the layout and structure of the environment. They can also provide players with a sense of progression, as they move from one area to another and unlock new levels or locations. Additionally, world maps can be used to introduce players to new gameplay mechanics or challenges, as they move through the game and encounter different types of enemies or obstacles.

Wayfinding

Wayfinding in video games refers to the process by which players navigate and orient themselves within the game environment. There are several design elements that can be used to help players find their way around a game world, including landmarks, weenies, birth canals, well-structured paths, and lighting.

Landmarks: Landmarks are distinctive features of the game environment that help players to orient themselves and understand their location within the game world. Landmarks can be natural features, like mountains or rivers, or they can be man-made structures, like buildings or statues.

Weenies: Weenies are objects or structures that are placed in the game environment to draw the player’s attention and Guide them towards a particular location. Weenies can be anything from a brightly colored object to a prominent tower or monument.

Birth canals: Birth canals are narrow, constricted paths that guide players towards a specific location or objective. These paths are often used to introduce players to new gameplay mechanics or to lead them towards key areas of the game world.

Well-structured paths: Well-structured paths are Clear, logical routes through the game environment that allow players to easily navigate from one location to another. These paths are often marked with visible markers or landmarks to help guide players.

Lighting: Lighting can be used in a game environment to help players understand their location and navigate the game world. For example, bright, directional lighting can be used to highlight key areas or objectives, while dim or ambient lighting can be used to create a sense of mystery or danger.

Examples of games that use these wayfinding techniques include The Legend of Zelda: Ocarina of Time, which uses landmarks and well-structured paths to guide players through the game world, and BioShock, which uses lighting and birth canals to orient players and introduce them to new gameplay mechanics.

It’s also possible to wayfind without these perceptual cues, for instance by using conceptual spaces in a text-based interactive fiction game.

Spatial Awareness

Video game designers use various techniques to shape spatial awareness in games, in order to create a sense of place and immersion for players. These techniques can be grouped into two categories: positive spaces and negative spaces.

Positive spaces are game environments that are designed to be welcoming and inviting to players. These spaces often use the concepts of “prospect-refuge” and the “cathedral effect” to create a sense of awe and wonder for players.

The concept of prospect-refuge refers to the way in which people seek out spaces that offer a sense of security and protection, while also providing a view or “prospect” of the surrounding environment. In video games, this can be achieved by designing areas that offer a sense of cover or shelter, while also providing a clear view of the surrounding game world.

The cathedral effect refers to the way in which people are drawn to spaces with high, open ceilings and grand architectural features, such as churches or cathedrals. In video games, this can be achieved by designing areas with large, open spaces or impressive architectural features, in order to create a sense of awe and wonder for players.

Negative spaces, on the other hand, are game environments that are designed to be intimidating or unsettling for players. These spaces often use techniques like agoraphobia (fear of open spaces) and claustrophobia (fear of enclosed spaces) to achieve their intended effects.

Agoraphobia can be achieved in video games by designing areas with wide, open spaces that are difficult for players to navigate or that lack cover or shelter. This can create a sense of vulnerability or danger for players.

Claustrophobia, on the other hand, can be achieved by designing areas with narrow, constricted spaces that are difficult for players to move through or that have a sense of confinement or entrapment. This can create a sense of fear or anxiety for players.

Resonating Worlds

Game designers use architectural and spatial archetypes to create resonating worlds by drawing on familiar patterns and structures that players can easily understand and navigate. This could include things like cities, dungeons, forests, and other types of environments that are commonly found in games.

Defensible spaces refer to areas in a game that are designed to be easily defended by the player or NPC characters. These spaces might include fortresses, strongholds, or other types of structures that provide a strategic advantage in combat.

Lighting design is another important aspect of creating complex game worlds. By using different types of lighting, game designers can create a range of moods and atmospheres, from bright and cheerful to dark and foreboding. They can also use lighting to guide the player’s attention and create a sense of depth and spatial awareness.

Level Design Principles

There are several universal design principles that can be applied to the design of game levels, regardless of the genre. These principles are intended to create a satisfying and enjoyable gameplay experience for players. Here is a list of some common universal design principles:

Clarity: Levels should be clear and easy to understand, with a clear goal and a clear path to reach that goal.

Balance: Levels should be challenging, but not too difficult or too easy. The difficulty of a level should be appropriate for the player’s skill level.

Flow: Levels should have a smooth and seamless progression, with a sense of momentum that keeps the player engaged.

Variety: Levels should offer a mix of different challenges and gameplay elements to keep the player interested and prevent boredom.

Feedback: Levels should provide clear feedback to the player about their progress and the consequences of their actions.

Accessibility: Levels should be accessible to players of different skill levels and should offer options for players with disabilities.

In addition to these universal design principles, there are also genre-specific design principles that are specific to certain types of games. Here are a few examples of genre-specific design principles:

Platforming games: Platforming levels should have a clear layout, with platforms and obstacles that are easy to see and navigate. The player’s jumping and movement abilities should be clearly conveyed and the level should provide adequate opportunities for the player to practice and master these abilities.

First-person shooters: First-person shooter levels should provide a variety of cover options and enemy encounters that are balanced and challenging. The level should also offer a good mix of open and closed spaces to provide a sense of variety.

Puzzle games: Puzzle levels should provide clear goals and a logical progression of challenges that build on each other. The puzzles should be satisfying to solve, but not too difficult or too easy.

Role-playing games: RPG levels should offer a good balance of exploration, combat, and story elements. The level should also provide opportunities for player choice and allow the player to progress at their own pace.

Related Articles

Ideation, Brainstorming & Innovation

Audiences, Game Titles & Player Types

Prototyping, Playtesting, Iteration & Fun

Affordances, Game Dynamics, Gameplay & Core Loops

Pillars, Goals, Features & Elements

Game Worlds, Dimensionality & Time

Environment, Culture & Emotion

Demographics by Age & Sex

Flowcharting, Algorithms & Pseudocode

Game Documentation

Bibliography & Further Reading

• A Game Design Vocabulary: Exploring the Foundational Principles Behind Good Game Design by Anna Anthropy and Naomi Clark
• A Theory of Fun for Game Design by Raph Koster
• Advanced Game Design: A Systems Approach by Michael Sellers
• An Introduction to Game Studies by Frans Mayra
• Basics of Game Design by Michael Moore
• Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made by Jason Schreier
• Board Game Design Advice: From the Best in the World vol 1 by Gabe Barrett
• Building Blocks of Tabletop Game Design: an Encyclopedia Of Mechanisms by Geoffrey Engelstein and Isaac Shalev
• Character Development and Storytelling for Games by Lee Sheldon
• Chris Crawford on Game Design by Chris Crawford
• Clockwork Game Design by Keith Burgun
• Elements of Game Design by Robert Zubek
• Fundamentals of Game Design by Ernest Adams
• Fundamentals of Puzzle and Casual Game Design by Ernest Adams
• Game Design Foundations by Brenda Romero
• Game Design Workshop by Tracy Fullerton
• Game Mechanics: Advanced Game Design by Ernest Adams and Joris Dormans
• Game Writing: Narrative Skills for Videogames edited by Chris Bateman
• Games, Design and Play: A detailed approach to iterative game design by Colleen Macklin and John Sharp
• Introduction to Game Systems Design by Dax Gazaway
• Kobold Guide to Board Game Design by Mike Selinker, David Howell, et al
• Kobold’s Guide to Worldbuilding edited by Janna Silverstein
• Level Up! The Guide to Great Video Game Design, 2nd Edition by Scott Rogers
• Narrating Space / Spatializing Narrative: Where Narrative Theory and Geography Meet by Marie-Laure Ryan, Kenneth Foote, et al.
• Narrative Theory: A Critical Introduction by Kent Puckett
• Narrative Theory: Core Concepts and Critical Debates by David Herman, James Phelan, et al.
• Narratology: Introduction to the Theory of Narrative, Fourth Edition by Mieke Bal
• Practical Game Design by Adam Kramarzewski and Ennio De Nucci
• Procedural Storytelling in Game Design by Tanya X. Short and Tarn Adams
• Professional Techniques for Video Game Writing by Wendy Despain
• Rules of Play by Salen and Zimmerman
• Storyworlds Across Media: Toward a Media-Conscious Narratology (Frontiers of Narrative) by Marie-Laure Ryan, Jan-Noël Thon, et al
• Tabletop Game Design for Video Game Designers by Ethan Ham
• The Art of Game Design, 3rd Edition by Jesse Schell
• The Board Game Designer’s Guide: The Easy 4 Step Process to Create Amazing Games That People Can’t Stop Playing by Joe Slack
• The Cambridge Introduction to Narrative by H. Porter Abbott
• The Grasshopper, by Bernard Suits
• The Routledge Companion to Video Game Studies by Bernard Perron and Mark J.P. Wolf
• The Routledge Encyclopedia of Narrative Theory by David Herman
• The Ultimate Guide to Video Game Writing and Design by Flint Dille & John Zuur Platten
• Unboxed: Board Game Experience and Design by Gordon Calleja
• Video Game Storytelling: What Every Developer Needs to Know about Narrative Techniques by Evan Skolnick
• Writing for Video Game Genres: From FPS to RPG edited by Wendy Despain
• Writing for Video Games by Steve Ince
• 100 Principles of Game Design by DESPAIN

Acknowledgement

This online courseware was co-authored with OpenAI technology in order to produce a clear, succinct writing style that will be accessible to the widest range of readers from a variety of backgrounds.

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