Diseño de nivel (Parte I)

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来自 Universitat Autònoma de Barcelona 的课程

Diseño de videojuegos

213 个评分

Universitat Autònoma de Barcelona

Diseño de videojuegos

213 个评分

课程 2（共 6 门，Specialization 视频游戏设计与制作）

VERSIÓN ESPAÑOL Dentro de la creación del videojuego, ¿qué papel juega su diseño? Este curso proporciona conocimientos y pautas sobre cómo diseñar un videojuego. Partiendo desde un concepto básico, se dan las pautas para trabajar correctamente sus conentidos, de cara a conseguir un objetivo claro: el documento de “game concept” que constituye el documento inicial sobre el que se basa cualquier videojuego. De cara a mejorar la comprensión de los conceptos, los ejemplos y referencias se fundamentarán en videojuegos reales, para permitir así visualizar el documento y cuáles son los resultados finales del diseño descrito en el mismo. IMPORTANTE Puedes seguir el curso también en Inglés (subtítulos y cuestionarios). _________________ ENGLISH VERSION Which role plays design in video games creation? This course provides guidelines and knowledge on how to design a video game. Setting off a basic concept, they give the guidelines to properly work on their contents in aim to get a clear objective: the game concept document is the starting document on which any video game is based. To improve the concepts comprehension, the examples and references will be based on real video games, to help us visualizing the document and which are the final results of the specified design. IMPORTANT You are able to follow this course in English (subtitles and quizzes).

从本节课中

Elementos básicos del diseño II

En este módulo continuaremos con los elementos claves del diseño de un videojuego. A partir de la jugabilidad, comentaremos los distintos géneros existentes; también hablaremos del diseño a lo largo del proceso de desarrollo. A continuación nos ocuparemos de la documentación, centrándonos en el game concept document (documento de concepto de juego). Analizaremos como se crea el diseño de nivel y como se consigue una experiencia progresiva a lo largo de un juego. Y para terminar, abordaremos otros elementos de mucha importancia en el diseño, como son la ambientación, la historia, la narrativa y la usabilidad.

Diseño de nivel (Parte I)5:42

Diseño de nivel (Parte II)5:43

Diseño de nivel (Parte III)3:27

与讲师见面

Enric Martí Gòdia
Associate Professor
Computer Science
Pere Nolla Rodríguez
Freelance y Colaborador docente
Ciencias de la Computación (UAB)

Now we will talk on the level design.

It is a very important part inside the design tasks,

as we have already said in the previous modules.

It is key to determine the experience we want to provoke.

In fact, we mustn't forget the fact that he player only perceives the

game through the different levels.

He doesn't have a general vision of the game,

as designers or developers do.

Through levels creation,

an important part of the gameplay is designed and implemented in the engine.

So,

this task inherits a lot of characteristics from the gameplay design, such as the

fact of being a very artistic work that requires a lot of adjustment and retouching.

Each level can be conceived as a mechanics distribution,

built to provoke the player a concrete experience.

Here we talk on levels as a general term but we could also use

other terms used to divide video games such as missions, phases,

worlds, episodes, arenas, etc.

The elements to take into account while designing the level are the following ones:

scenario; mechanics regarding the scenario;

character mechanics; enemies' mechanics; objectives,

challenges and puzzles; dynamics and strategies; events and information.

Let's begin with the scenario.

In this section we are interested on the game space basic characteristics,

especially regarding their size and shape.

The scenario's general proportion is very important,

as it determines the size of all the elements and their relationship.

Usually the scenario's proportion is limited depending on the

expected played time.

The space's volumetry and shape is also important

as it influences on how the player perceives the space and eases -or not- his orientation.

Orography is also very influent, as it's not the same a plain zone than

one with many slopes, affecting in example the vision distance.

We must also take into account the different height levels,

such as a building's many floors or the holes that

delimit zones in which the character can fall.

The spaces division is especially relevant.

In example, a house or a castle divided in many rooms.

In the same way, we must design the entrances and connections

between these zones in which the level is divided.

Other elements linked to the scenario are the following ones: doors, windows,

etc. which are used as an access to zones inside the scene; fences, obstacles

which are a barrier to limit movement between zones; trampolines,

catapults, teleport, which are used to fasten the movement in a specific

way; platforms, which are parts of the scenario with an own identity,

some with many behaviors such as self-destroying or moving; kinds of surface,

from water, lava,

ice or vines to climb buildings; generation points

which are a spacial reference to generate items or other elements,

such as the point where the character goes back to when he dies,

spawn points; event points which are a reference for certain events,

such as the lock where we have to put the key in to pass the level.

To design the level we must also take into account some aspects

related to the character's mechanics.

The level design must depend on these mechanics.

To begin we must decide the mechanics the character has available

in each level.

Usually not all the character's mechanics are available from

the beginning, but they are unlocked during the game.

From that point we adapt the own scene, the enemies and the challenges

so that they can be passed with the available mechanics.

The boosting elements such as weapons or special powers,

are another way of playing with the character's mechanics in each level, as it's the level's

designer the one who decides when they are available and when they aren't.

In example, Super Mario Bros' flower

can be picked up only in certain points of certain levels.

Similarly, we must take into account the enemies' mechanics,

In first place we have to decide the enemies' position on the terrain

or the scenario.

This involves concreting at the same time the amount of enemies,

which obviously alters gameplay a lot.

Also there are certain types of behaviors in some enemies which depend a lot

on the scenario in which they are, such as routes or guard patrols.

This kind of behavior must also be concreted

when making the level design.

Finally, we must determine if the enemies make position structures

creating formations or waves.

In example, they might attack in groups of 3 during 5 waves.

This can include mixing different enemies in the same group

to give them more variety.

Another relevant aspects are the ones which refer to

determining the objectives, challenges and puzzles for each level.

This basically takes us to specifying what the player has to do

in each point of that level.

The scenario's configuration and the enemies distribution

are a basic challenge type the player needs to pass.

Also we must concrete the higher level objectives and challenges,

which are part of the requirements to pass the level, such as

getting to a certain point on the scenario or taking a special object.

Each level's design is the building of many challenges built

ones inside the others so that the player passes them.

Each level must be created playing with the criterion of difficulty

and player's ability.

The level must be hard so that it is a motivating challenge,

but it must also fit the player's ability so that he doesn't

find it too complicated and ends up frustrated.

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