* Here will be a series of articles showing some processes and techniques I use to make the levels and worlds
Souls Like Level
Planning and Layout
Level Planning and Layout
Step 1
Process of defining which mechanics, studying, and analyzing the Lore of Dark Souls to create an original narrative that fits it. Being able to later define elements such as scale and architectural inspiration for the Level constructions.
For this, I used my own materials as shown in the image below:
I finished this first planning step with a frame of reference with images that would help me in the design process of key elements for the Level layout. I took some images from the game to maintain an aesthetic standard in shapes and spaces. Images of Gothic cathedrals helped me create an architectural model and a sense of scale for the building. In addition, a mescal of real images of pilgrimage paths around the world and idealized images of pilgrimage paths of what would be biblical purgatory. I was able to have a base to create one of the key elements of the last stage of the Level.
Step 2
I started the next stage of the Level planning with a sketch of what would be the main path of the Level. With the main path established, I can have a base of how my level will be spatially. So better, define which elements are in the best places to bring the best experience to the player.
This was the first outline of the main path to be followed in the Level. That didn't have many significant changes afterwards. The reason for little iteration will be further detailed in step 3, Blocking step. Due to the structuring of the Level in areas according to the Roman numeral marking. Each area had a meaning within the Level despite being interconnected with the others. But these are areas with well-defined characteristics that do not have a conflict of interest. However, they are part of the Level flow.
This second image is from an old sketch I intended to use in Area IV of the Level, which doesn't appear in the first sketch. I didn't use it, because it was designed to be a Dungeon along the lines of classic D&D. Despite the D&D influence in Dark Souls, this type of element was not what I wanted for Level IV area. I wanted something that continued Area III. Hence the importance in Step 1 of having looked for ways of pilgrimage, as this would be the key element for creating the Level IV area. And not a Dungeon in your classic mold.
Step 3
My blocking process always starts with what is called the Metric Lab. I create a mini Level where I test the scale for creating the buildings, scale NPCs and Bosses, test the mechanics in space. So I can define a better metric to be used in my Level.
After this definition, I start building my Level block, based on the previous steps. Making it clear that I don't cling to any Stage as something concrete and immutable. The initial Level planning may change, I am fully aware of that.
I structured my Level in 4 areas. Area I focuses on showing the player his objective in Level and an important element for him in the game, Bonfire.
The player starts the Level by leaving a Gate of the previous Level, when moving around the place where the structure of area I is, the key elements of attractiveness to the player are highlighted. Bonfire is just ahead and another huge port, which despite not having anything indicating its importance, the path taken in this area I leads the player to it. With essential and attractive elements, the player is taken close to the goal, making the player discover it. Thus, area I shows its purpose of being a guide to inform the player of his objective within the Level. Running dynamically.
Area II focuses on familiarizing the player with the core structure they will face in the Level. Various NPCs, he already has contact with the scale that is the bridge that connects to the Sanctuary. Player will have several combats, will be in a space that passes an image of power but found in a state of devastation.
Area III along with area IV are the areas where the player will have to overcome obstacles to get the key to open the gate.
At first the player finds an area without clashes where he can collect soul and get more into the flow of the narrative by observing a destroyed area, seeing sacred images and being able to connect to what the place represents.
Upon opening the Sanctuary door, the player will find a huge hall with a sacred altar just ahead with a local boss, several huge tombs of ancient heroes that have a connection with the place. And a huge presence of various NPCs.
Due to the number of enemies and the scale of the place, the player will be able to explore the area to have the best strategy to overcome obstacles. You can vary your combat style to achieve your goal.
Large panels that reflect green light at the back of the sacral altar are a form of affordance that induces the player to the place in order to progress in the Level. Using a platform that led to the last area to be discovered, Area IV.
The last area of the Level, as I said earlier, I didn't want it to be a classic Dungeon. I wanted it to be a continuation of Sanctuary, something that had more connection with the narrative. Therefore, area IV is a region that is a pilgrimage route. Hence the player's questions throughout the Level as they connect these areas. Who were these people who possessed such great devotion? The magnitude of the tombs. That at the end there is a moment when the player is faced with two statues? So colossal of a warrior and a dragon. Who were? Did this warrior kill this dragon or was he his mount?
This area has a central route. Known as the Walk of the Sufferers. Which serves as a base for the player to progress in the area. Right at the beginning the player can see through the big gate the big Hall, where are the Statues and several objects, among them the Guardian's Key. Your objective will be accomplished after taking it and opening the portal located in area I of the Level. The gate only opens from the other side. Therefore, the player will have to follow another path to reach the great hall.
As the player had already found at the top. He will have several clashes with different types of NPCs. And using the Walk of the Sufferers route, the player can vary his combat strength both through the route and from the bottom on the ground. This alternation of verticality can be very useful in a fight against several enemies.
After progressing through all areas, be successful in clashes with enemies. Being able to read the narrative that the Level is opening to the player. In possession of the Guardian's Key, the player will make the way back to the gate of area I and finish the Level, reaching his objective.
Layout
Final considerations
This Level aims to maintain the player's Flow and instigate new insights into the game's Lore. It's not a level where the player will face a main boss or learn a new mechanic. He will develop the flow of the game's narrative. Bringing new problems to the player to try to answer.
Dark Souls is a very peculiar game with unique and unconventional elements. Therefore, I tried to keep this characteristic so that Level feels inserted into the game's universe without any problems. Of course, I tried to bring elements of originality.
The Level is located in a valley surrounded by fortified mountains with huge defensive walls and gates. There is a sumptuous Sanctuary, unique and imposing in the valley. That in addition to its architecture and imposing aesthetics in the middle of an inhospitable region. There's something to be said for having a crowd of undead that roam the place.
Level carries with it elements that bring this heavy and dark atmosphere. Whether with an enveloping music that follows throughout the Level, a fog that envelops the region and contributes to the corrupted air of the region. But an element that contributes to the player's Flow and instigates the progression of the game's narrative is the presence of the two statues on the Altar of Idols. It could very well be an indication of a future event in the game, which after this Level, will influence the player in the next ones. Can be crafted as a part for a Final Boss Final. I imagine that the pinnacle for every player would be to face a Final Boss that is a Giant Warrior mounted on Demonic Dragon.
In this era where streamers contribute a lot to the promotion and marketing of games. Following the main of games like World of Warcraft where guilds from all over the world compete to be the first to defeat the Final Raid Boss.
Players would film their gameplay to be the first to defeat the Final Boss that no one can defeat.
This Level is important to maintain the player's Flow and narrative progression. If he can do that with the players, he's reached his goal.
Conveyance as Narrative Drama to guide the player
Level Design test:
The experience should have the following elements:
- A simple quest using rules (win condition, lose condition, a goal).
- At least one fighting section.
- At least one puzzle section.
- Social spaces for players to gather around thematics of your choice.
- An exhibition gallery that expose some assets (potentially NFTs)
Genre: Light RPG
Graphic esthetic: Voxel
Camera: Third person
Size of the experience: 1 LAND (96x96x128 blocks)
I did this test on the Sandbox Game Maker engine. I used their pre-configured third person layout. So I focused on creating the level following the briefing they gave me. As much as the scope is limited, I tried as always to make the relationship player + mechanics + space to build my level. Based on the Conveyance technique, I molded my Level to make the harmony of the aforementioned elements.
But what is Conveyance? Is "conduct or transmit". That is, the way the game teaches the player how to play. And the best way is through the gameplay itself (by Level), rather than using "explicit" tutorials or other forms of "instruction manuals". The game doesn't tell you how to play in the smallest detail, you discover the rules of the world simply by living in it and doing actions.
Games rely heavily on player interaction, meaning the player needs to contribute something of their own to the experience. He needs to have some instruction, guidance, but he must handle the situations the game creates on his own.
Too many affordances in games like this one of scope, RPG with a focus on interaction, can detract from the player experience. So I've already mastered the first element. Player, knowing the profile of RPG players or MMORPG well, I know that Narrative Drama is one of the main elements for them.
And I used it as the main element to guide the player until his goal is to tell the narrative of the level I created. At the beginning of the Level, in the first dialog I already showed the player where he should go to get to his quest. Okay, I showed you where the pot of gold is. But RPG players looking for interaction. They don't go straight to the pot, they want to explore the location, learn more details behind the narrative of the location they are in and what might impact the game's Lore.
And that's what I did. As a Level Designer I made it clear where he would go to reach his goal, but gave the player "more life" so he can entertain himself until he reached his goal. The first dialogues are quite important, as they show the player that there is no simple narrative there. That simply conquer Holy Spear and become the Legendary Champion. There's more to it all.
In the test briefing there is an element that would be the presence of an NFT exhibition gallery. So I made this gallery part of the narrative. If the player looks in detail at each image in the gallery and links to the Dragon Egg dialog inside the Dungeon. When reaching the final moment of the Quest which is to get the Holy Spear, he will have a plot twist, the player will realize that the Champion of Darkness is him.
Social interaction, which was the central Pillar of the Level, takes place all the time in the dialogues that guide the player to his goal. With a big plot twist that was revealed throughout the level, as the player would play the level and develop their interaction.
System 1 vs System 2
Players + Mechanics + Space
Psychologists have been interested in how our brains work for several decades and have developed several theories on the subject. One of the thinking models that gained more prominence was the one proposed by psychologists Keith Stanovich and Richard West and described by Daniel Kahneman in his book "Fast and Slow: Two Ways of Thinking". Kahneman proposes that there are two brain processing systems, "System 1", which is fast, parallel, automatic, unconscious and driven by emotions and associations, and "System 2", which is slow, sequential, deliberative, rule-based and that uses conscious calculations to arrive at decisions.
“Systems 1 and 2” are not parts of our brain, they are just an abstract way of understanding how it works. Executives think that "System 2" is predominant in decision making, after all it is the most conscious and rational side of our being, however, in reality, it is "System 1" responsible for 90% of our decisions. It is he who effortlessly generates the impressions and feelings that guide our choices.
Therefore, when learning something new, “System 2” is used, which consumes energy and effort to create new patterns of the neural network. When we do something instinctive, “System 1” is used that does not consume that effort and energy. Because it uses pre-existing patterns in the neural network.
The problem is that “System 2” is “lazy”. It tries to avoid power consumption. The Game Designer's goal, therefore, is to create systems where skills can be learned gradually, so that they move from “System 2” to “System 1”.
Once the player's brain masters a pattern, it is necessary to present the next one as a new challenge. Identifying when this happens is the big challenge. Even because the tolerance of “System 2” varies from person to person. However, it is known that a pattern of Peaks and Valleys tends to work.
When I create a level I base a lot on some terms/techniques common to the Level Designer, they help me a lot to solve some problems I encounter in the level creation process. CONVEYANCE (Driving, Transmitting) and AFFORDANCES (Indirect Control/Guide). They are great for doing this “System 1 vs System 2” job.
The base elements I always work on are: Players + Mechanics + Space. Mainly SPACE, creating a space where Players + Mechanics can get along well. And I always raise this question “System 1 vs System 2”. How will Space help me make Players learn and master Mechanics without being boring? How will I do it in a FUN way (When the brain releases endorphins while it's learning - or - when it's finally mastered a task)?
The video below illustrates well this Iterative level creation process and how to create elements (through Space) that make the Player learn and master Mechanics in a FUN way.
This is a job for an MMORPG. where PVP mechanics are limited to shielding, rolling sideways and hitting in 3 ways. The NPCs are quite strong, so it requires the Players to master Mechanics. Which can generate frustration for the player due to the degree of difficulty. In open worlds, combats and most of them take place in open spaces. And when you have combat as described above in an open space, it usually favors the strongest. So the introduction of elements like trees can help “System 2” dominate Mechanics by giving Players a more fun way to play, avoiding the frustration of constant defeats, and making it FUN. And when this new challenge leaves System 2 and goes to System 1, it's time to introduce the player to some Dungeons and World Bosses. Activating System 2 again. Note that we can introduce other elements in the space in which they can build to generate this mastery of mechanics and fun for the player. Such as buildings, ramps and other man made assets.
