Level Design Theory

A basic guide to common considerations when level

designing.
Difficulty Curve (or Peaks and Troughs)
In order to create flowing, playable and enjoyable levels, certain considerations must be followed. This theory of difficulty
curves must be in the forefront of the level designer’s mind whilst creating any level across all genres of games.

The Peaks and Troughs Breaking down the Peaks and Troughs

The difficulty curve, or what I like to refer to as Each peak and trough can be broken down further
peaks and troughs is essential to basic level design. to maintain a more fair, and gradual learning
This follows the curve set below. experience for the player. This is detailed below.

Plateau

Steep Increase
Peak Trough Gradual
The peak and trough shows a gradual increase in difficulty, to a
Increase
plateau. Once this plateau is reached, the player has a small amount
The player begins with a gradual increase in difficulty to learn the
of space to relax in the trough before the curve starts again. The
mechanics. They then take a steep increase, learning more and more
trough could include any story, or simple exploration for example.
difficult gameplay mechanics before reaching the plateau of difficulty.
Spacing
Regardless of the troughs between the peaks, small amounts of spacing should be used to separate gameplay sections. This
is to give the player a small break between gameplay to size up the situation, have a good landing space, prepare
themselves or simply gain a run up to navigate the upcoming obstacles. Spacing should be used as a brief separator, never
for story or exploration purposes.

Brief Explanation
Spacing The example section to the left shows
two separate sections of gameplay.

The first section contains two moving

platforms to reach higher ground.

The second section is a rotating wheel

with two platforms attached. This could
be unfamiliar to the player so a small
piece of spacing is added to give them
time to assess the situation and work
out what needs be done. Spacing is
also added to allow for a comfortable
landing from each gameplay section.
Foreshadowing
Foreshadowing is used to give the player a hint to a location or mechanic that the player will come across in the future.
Foreshadowing is split into two main categories, short term and long term. Foreshadowing can also be reversed and be used
to show they player where they previously been, giving a solid sense of location and progression.

Short Term Long Term

Short term foreshadowing introduces the player to Long term foreshadowing gives the player a look at
something that they will see later in the level. a landmark that will appear in later levels.

Giving the player small glimpses into an upcoming area, character or Half Life 2 uses this as the player leaves the train station and into the world
gameplay section can be a good way to show the player what they can for the first time. The huge, towering citadel in the distance immediately
expect later, to increase tension (by having a boss in the background) and catches the players eye, and gives the player an idea of what's to come
give a good sense of visual progress to the player. The example above (even though it's the final levels of the game) and give them their ultimate
above shows Super Metroid and red doors. The player is conditioned from goal. It keeps them in anticipation, gives visual feedback to their progress
the start of the game to shoot bullets at blue doors to open them. They are and gives strong consistency within the game world.
then shown red doors they cannot open. The player then collects red
rockets and knows instantly how to open the doors they have seen on
their way to collecting the rockets.
Flow
Flow is key consideration to level design. It covers how the player moves through the level and the path they take. The level
designer should be constantly thinking of how the player moves through a map, the choices the player has, and how easy it
is to understand them.

● Three questions should always be answered using flow:

○ Where am I?
○ Where should I go?
○ How do I get there?
● Where am I? What are the points of reference the player can see?
○ Can they see a large landmark in the middle of the map for example that gives reference to their location.
● Where should I go? What is interesting the player on the path?
○ Is it a weapon in a deathmatch level?
○ Collectables in a platform game?
● Foreshadowing is a key point in level flow. This shows the player where they should go, and maybe how to get there.
● Items and props can help with flow, but should be placed carefully so as not to interrupt it.
● It should always be tweaked and worked on to ensure the best possible outcome.
● Flow should act as an invisible force, pushing the player onward.
Visual Signposting
Visual Signposting gives the player directions and hints on the upcoming level using either subtle level design or visuals to
direct them. This prevents the use of arrows, or text for example and makes the player believe they are navigating through
this environment unguided. It should highlight the direct route the player must take to prevent them becoming frustrated.
Foreshadowing is also a form of Visual Signposting and is very important to flow.

World 1-1 of Mario. The first thing the Half Life 2 uses the landscape as a visual signpost.
player sees is a question mark block, The Last of Us. The yellow bridge (yellow is used as The organic feel and colours used on the landscape
adding curiosity to what it is. The a directional aid throughout the game, so the player makes the red barn stand out to the player,
enemy forces the player to jump. Once knows instinctively to follow it) in the distance directing them straight there.
they are rewarded from hitting a block, stands out from the rest of the scenery, making the
it cements the idea of these mechanics player interested in reaching it. The traffic jam of
in the player's mind. cars also points to the direction of the bridge,
making it quite clear where to go next.
The Hidden Secret Principle
The Hidden secret principle is simply hiding many secrets (collectables for example, or entire secret areas) that forces the
player to explore, keep their player’s eyes on the environment , or solve little puzzles. It’s a primary way to encourage the
player to explore the level fully or replay the level at a later date.

GTA V is filled with all kinds of hidden

secrets to keep the player exploring
Mario 64 used varied objectives in and searching:
each level to earn more stars (120
available to collect). Spaceship Parts
Stunt Jumps
Although not actual collectables, Portal
Letter Scraps
2 had hidden rooms that the player
Submarine Parts
could access.
Hidden Packages
Nuclear waste
Missions
The Rule of Three
The Rule of Three in level design governs teaching the player a new mechanic or system in the game by using level design
only. This technique was first used by Shigeru Miyamoto in the design of Super Mario Bros. on the NES.

Before you challenge the player with a new feature, you first present it in 3 easy but varied situations.

The player is introduced to The Goomba bounces Two Goombas walk between This is the part where the
the Goomba, it heads directly backwards and forwards off two pipes. A slight variation, player encounters a harder
at the player. two pipes and more difficult than the Goomba after seeing 3
second one used. variations before it.
Hooks
The Hook is one gameplay feature per level that focuses the players attention on a power up, or on a single gameplay
mechanic. When used with the Rule of Three, the level can be structured to allow the player to be taught everything they
need about it, moving to slightly difficulty versions across the rest of the game.

The example below shows a hook at play (double click to play video). It is a level I designed for LittleBigPlanet Vita, all based
around the grappling hook, it is the first level of four, that introduces the player to it and riffs on many different ideas.
Method Level Design
TBA
Playtesting and Tweaking
When making a level it is absolutely essential that it is constantly played and continually tweaked.

● Each gameplay section should be played multiple times (as many as possible) during creation.
○ It will need careful tweaks and balancing throughout.
● Once it is in the level, test the whole level from back to front multiple times, this will give you a better understanding of
the flow and difficulty with the rest of the gameplay.
○ Be prepared to move it, or tweak it or remove it entirely if necessary to keep the difficulty curve and flow
correct.
● The level should be played by other people (whether these are fellow level designers, producers, artists etc.). The
more people that look over the level that have not seen it before, the better.
○ This is allows you to watch a newcomer attempt the level and pick up on any massive difficulty jumps, or hard
to understand places that will effect the level flow.
● There is no limit to the amount of times you should play it, keep testing, keep tweaking until you are out of time.
○ The level will never be perfect for you, it never is.
To conclude….
The previous slides give a rundown of the basics to level design theory. These can change from genre to genre, some may
not apply (such as difficulty curves in a multiplayer FPS), but they do cover the majority of principles that should be at the
forefront of level designers mind when creating a level.