for an entire, discrete play-space, such as a specific building or structure. Then you can
make the gameplay work in that entire area before moving on to the next.
Another useful idea is to incorporate playtesting earlier in the process, perhaps
after step six. Once you have your level playable, have some people whose opinions
you trust try playing the level. The aesthetics may not be fully refined yet, and you
should certainly explain this to them as they play, but if you are able to get feedback at
this early stage, you may be able to make important changes before you have spent a lot
of time refining the aesthetics of the level. A possible drawback to testing the level this
early is that others may not be able to understand that visually the level is not yet com-
plete. As a result they may get hung up on criticizing the appearance of your level
instead of providing feedback about the gameplay. Be sure to communicate what type of
feedback you are looking for at this stage and hope that the playtesters can see beyond
the lack of fancy lighting effects. Testing at this early stage does not replace testing
after the level is more final, but it may prevent some unpleasant surprises and can make
the final testing go more smoothly.
Who Does Level Design?..........................
Throughout this chapter, I have spoken as if you are responsible for all aspects of your
level. Many development studios do still operate on the “one designer, one level”
method of level design. This has many advantages, of course, since it helps to keep the
levels focused. That one designer is constantly aware of what her level requires in
terms of gameplay, art, and programming, and can keep that level on track. When it
comes time to set up the level’s lighting, for instance, the designer will remember that
she thought that gameplay in one part of the level would play best in the dark with dis-
orienting flashing light. Having one person working on one level from start to finish
helps to ensure the level has a consistency of vision that can lead to great gameplay.
But the “one designer, one level” technique is not the only method that may work,
and many developers have adopted more of a “team” approach to level design. If your
team has one designer who is particularly good at making pretty architecture but is less
skilled at getting the AI agents to work, it may make sense to have a different designer
set up the gameplay on that designer’s levels. Artists may be better trained and suited
to making a level look especially pretty. One designer or an artist may be particularly
good at lighting effects, while another may be adept at the scripted sequences. You may
want the sound designer to set up your sound effects, since she will be better at cor-
rectly placing the audio effects she created. The price of having a level that is of high
quality will almost inevitably involve a greater degree of specialization of your team
members. Of course, as with any task that is divided among several people, you need to
make sure that they are all “on the same page” in terms of what that level is trying to
accomplish. For instance, the architecture designer may have built a canyon that she
thought would be ideal for an ambush, but when the designer who sets up the gameplay
comes along, she may not notice that particular canyon and might set up encounters in
less optimal locations. Communication between the different people working on a par-
ticular level is essential, just as it is between the programming, art, and design teams.
As I stated previously, as games become more complex, it becomes necessary to
divide tasks that used to be accomplished by one person between multiple people. As
Chapter 23: Level Design 473