#fff An Architectural Approach to Level Design - Chapter 4 - Basic Gamespaces
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Architecture is the thoughtful making of space. —LOUIS KAHN
- will look at some simple spatial principles from architectural design.
- will explore historic gamespaces such as the maze and labyrinth, learning how these ancient space types influence modern game structures.
- will explore other popular spatial types found in modern games and discover how they are used to enforce different gameplay mechanics.
- will consider player point of view and discover what advantages and disadvantages are found in first, third, and other camera views.
ARCHITECTURAL SPATIAL ARRANGEMENTS
Games and architecture differ in the fact that real-world architecture must conform to real-world rules.
With these differences in mind, spatial designers for games can take advantage of architectural lessons within the freedom of game design environments.
Figure-Ground
Figure–ground is derived from artistic notions of the positive and negative space of a composition, where positive space describes the area inhabited by the subject of a piece and negative space describes space outside of or in-between subjects.
Figure–ground theory in architecture comes from the arrangement of positive space figures, often pochéd building masses, within a negative space ground.
According to architectural designer Matthew Frederick, spaces formed by arranged figures become positive space in their own right, since they now have a form just as the figures do.
From an urban design standpoint, these framed spaces are often squares, courtyards, parks, nodes, and other meeting areas where people can “dwell,” while remaining negative spaces are for people to move through.
When utilizing figure–ground, both figural elements and spaces can be implied, either by:
- demarcating a space with structural elements;
- creating negative spaces that resemble the form of nearby figures.
Gamespaces are often based on mechanics of movement through negative space, using positive elements such as ledges or supports for a player’s journey.
Designers can communicate with players via implied boundaries or highlighted spaces that use figure–ground articulations.
Form-Void
Form–void (also called solid–void) is in many ways a three-dimensional evolution of figure–ground.
Just as figure–ground is spatial arrangement by marking off spaces with massive elements, form–void is spatial arrangement by adding masses or subtracting spaces from them.
Arrivals
Based on what we have seen in figure–ground and form–void, level design is an art of contrasts. It is also an art of sight lines, pathways, dramatic lead-ups, and ambiguity about the nature of where you are going. All of these elements contribute to the experience of an arrival, the way in which you come into a space for the first time.
Much of how we will communicate with the player is through arrivals in space. It is also through arrivals that a space ushers players toward their next destination or allows them to choose their own path.
Much of how you experience a space when you arrive in it comes from the spatial conditions of the spaces that preceded it: if you are arriving in a big space, the spaces leading up to it should be enclosed so the new space seems even bigger.
Another important element of how players arrive at spaces is their point of view from the arrival point.
When a player looks through a doorway their ability to plan their next steps has a lot to do with how well they can “read” the space they’ve just arrived in.
Controlling the information shown in a view is very important and if done well, can make a more satisfying experience.
Genius Loci
Genius loci, also known as spirit of place.
Roman believed that spirits would protect towns or other populated areas, acting as the town’s genius.
Latetwentieth-century architects adopted the phrase to describe the identifying qualities or emotional experience of a place. Some call designing to the concept of genius loci placemaking, that is, creating memorable or unique experiences in a designed space.
Beyond individual gameplay encounters, level designers can implant genius loci within the entirety of their gamespaces and use it as a tool for moving players from one point to another.
Genius loci can be built through manipulations in lighting, shadows, spatial organization, and the size of spaces…
Cyan Han: elements should follow and contribute to the level’s experience.
Spaces in a game with little or no genius loci can be circulation spaces, that is, spaces for the player to move through to get to the next destination.
Depending on the gameplay you are creating, circulation spaces may be a chance to rest between intensive encounters or tools for building suspense before a player gets to the next memorable gameplay moment.
HISTORIC GAMESPACE STRUCTURES
Beyond defining a specific spatial condition of a game environment, these classic spaces serve as important models for how game worlds can be structured: in linear, branching, or interconnected ways.