Teaching the player

LEARNING IS FUN!

Even if you've never been a great school fan ;) , I'm pretty sure you'll agree with me when I say that in games, learning is fun !

In fact, learning is at the core of any game, and it's definitely the most fun part of it.

• Learning your abilities and how to use them
• Learning the world and how it works.
• Learning your enemies, the challenges and how you can end up victorious.
• Learning new tactics, getting better at what you do.

Level Design is the main artisan of this teaching/learning and it's an important part of any game.

Finally, learning and mastering something is gratifying and you should never miss the opportunity for the player to feel smart from have learned something new.

THE "IDEAL" TEACHING STRUCTURE

Presentation / Learning : show and explain the player.

Present the new mechanic, the new element and how it works

i.e. Grapple Hook example (part 1 /3

The player is chasing an enemy through a military base when he escapes right in front him by using a grapple hook to jump over a chasm.

The HQ tells the player through radio that those grapple hook devices the enemy used are probably compatible with his gear and that he can grab one in the nearby crate and use it for himself. 

Objective = Get a Grapple Hook Device.

• Show : The NPC shows you the device, how it works and what it does.
• No text : UI is pointing at the crate, voice tells you what to do. Clear game objective : grab the grapple hook device.

Training : time for practice.

Provide a setup where the player can safely use his new technic / ability and train as much as he wants.

i.e. Grapple Hook example (part 2 /3)

The crate of Grapple Hooks devices is on a platform a few meters above ground.

The player can climb there with a ladder and once equiped with the device, the HQ voice tells him how to do it (i.e. Aim for a wood surface and press "Right Bumper").
Next objective = try the device.
The UI objective marker is on a nearby platform only reachable with the grapple hook.

There's more than one platform and the player can can easily spots nearby places with bonuses on it (ammo, health, coins, etc) only reachable with the grapple hook.

• Training Ground : Multiple platforms at various distances and height so the player can train and see how his new toy works :)
• Safety : no risk to die there. (platforms might be above water) You can try as long as you want.

Trial : making sure it's understood.

A challenge to make sure the player has learned.

This part is especially important if it's a chore mechanic that you want the player to have understood : you don't want your player to miss a key part of the gamegplay.

i.e. Grapple Hook example (part 3 /3)

After reaching the distant platform, the objective changes to "Use the Grapple Hook to cross the chasm".

The only way to continue is to follow the path of the escaped NPC and jump over the chasm.

This is trial in the sense that if the player has not understood how it works, he won't be able to pass.

If it takes too long for him (i.e. the player has the grapple hook and he has been down on the ground for 30s) you might want a HQ radio msg to remind him what to do + some extra UI pointing at a piece of wood on the other side if he doesn't progress.

GENERAL THOUGHTS

I won't go into tons of details but generally speaking you should pay attention to

• Learning = Playing. You should never give up on fun for the sake of teaching the player.
  Chances are good that something boring to teach will end up being boring to play...
• Make it fit into the universe : as much as possible make the teaching sequences feel natural and logical in the game flow (narrative, action).
• Playtests is your best friend. When dealing with teaching and tutorial, playtests are invaluable. That's where you'll make sure 100% of players understand what they should.
• Don't overdo it. I mean you don't need to teach players that pressing the left mouse button will shoot the weapon in a FPS. The lighter the tutorials, the better.
  Playtests will help you validate the list of what you need to teach, and what is obvious for players.
• Backward Teaching (?) (hehe...not sure how I must call it ^^)
  So, I just said you don't want to overdo it, but at the same time, you must make sure players have understood and get ready for a reminder in case they've not. i.e. The player keeps shooting his grapple hook at everything. After a few bad attempts, have the HQ radio voice remind him that the device only works on wooden structure + highlight a valid hook point with some UI
• No Text : try to use voice and acting NPC and limit the text to the minimum. I know, I know, sometimes budget and timing force you to go the the cheap text tutorial. But try to avoid it ;)
• Having Fun with what you learned : it's super important that the player can spend time playing with what he just learned. It would be a mistake to chain tutorial elements without any "meaty" chunks of gameplay based on it in between.

BUILDING UP COMPLEXITY STEP BY STEP

Teaching is not just about a new abilities or equipment.

To not overwhelm the player, it's usually a good idea to teach him new concepts, make sure he understood what he has to do before adding some challenge on top of it.

i.e. Player's goal is to re activate the Generators of an outpost to power up the defense systeme.

• Left wing is easy and clean.
  The player learns what he must do activate the generator (i.e. Activate fuel pump, fix a broken valve, manually start the generator)
• Right wing adds challenge on top it.
  The player must do the exact same thing but this time, there are enemies attacking.

THE FIRST LEVELS

Although learning is an ongoing process in any game (learning new tactics, new enemies, new environment, new challenges), the first levels are usually pretty heavy on this side.
And to make things even more complicated, on top of acting as "The game school", those first levels need to be super engaging.

Temptation is great to start building the game with those (they are the beginning of the game after all :) ) but although you should definitely prototype them early, you should not rush on raising the quality too much...or expect to loose a lot of time on it.

• Build them early and playtest, again...and again...
• Keep it in a "prototype" phase so it's easy to adjust and react to player feedback.
• Did you train everything needed for the player to enjoy the game ?
• Is the order good ?
• Maybe you teached too much, too fast...or too early...
• Is the pacing engaging and the experience fun ? Does the learning fit with the narative / game experience ? (i.e. Half Life 1 & 2 first minutes)
• Make sure the player can have fun playing with what he just learned before learning something new. (i.e. just got a jetpack? the rest of the level should be built on that)
• Pacing is critical : you want the player to get hooked and want more.
• ...but finish them last.
• You'll probably need to throw them away + rebuild 10 times...the simpler, the faster.
• You'll have learned from building all the other levels, and you'll be able to use this experience to make those early levels better.
• Gameplay will change...what' was thought important at the end of preprod might have shifted to something else, the story might have evolved...
• Keep in mind that those early levels are probably the most complicated to pull out (everyone want to put its best stuff into it!) You'll have learned how to do it from other levels.

Puzzles & Level Design

Hi everyone!

Today I've decided to talk about puzzles and how to make correct LD integration of them.

The best thing you can do to understand how to build good puzzles is watch the fantastic Randy Smith's talk from GDC 09 :)
>> http://www.gdcvault.com/play/1333/Helping-Your-Players-Feel-Smart

Please, do yourself a favor and watch the above presentation before going further.

For easy use, here is a quick "recap list" of key points from Randy Smith's talk.

USER INTERFACE

Visibility

• Does the player see / understand the goal and steps to succeed ?
  i.e. I need to place the missing gears into the mechanism to open the doors.
• Does the player see / understand what he can interact with ?
  i.e. I see some gears I can pick up and place on a pannel, I see a lever to activate the mechanism, I see the door that are supposed to open.
• Are the states of the different puzzle parts/steps clear ?
  i.e. Switch is ON/OFF, There's a missing gear, This part is OK, this part is Not OK
• Use Motion, Sound, Lighting, VFX, to catch attention.

Affordances

• What are the logical functions of your puzzle ingredients and are they clearly presented / easy to guess ?
  i.e. A pressure plate. You understand that you can step on it, or drop some weight on it.
• Be careful with hidden affordances >> player logically thinking an object is supposed to do something that isn't working in your game.
  If we take the example of  a crate. You could think you might be able to carry it, stand on it, drop it, open it, break it, push it, hide/take cover behind it, etc.
  Make the functions you need obvious, and provide signs and feebdack so it's clear for the player that those you don't need won't work.
  i.e. You can't destroy it >> It's made of steel.
• Beware of affordances cluttering in scenes where too many visually appealing elements could create noise >> do the important parts clearly stand out or are they lost in the scenery ?

Visual Language

• Avoid any confusing shape / size. If your player can jump 1,5m high max, any steps should be lower than 1,5m --> I can jump on it or greater than 2.5m --> it's clear I can't jump on it. 
• You can use colors, shapes and visual materials to highlight key elements properties.
  i.e. I can destroy wooden crates, I can't destroy metal crate. In some cases UI might be part of the solution. i.e. red interdiction sign if you are trying to shoot a friend.

Feedback

• Make sure there's positive feedback when the player does something good
• ...and negative feedback if you are using elements incorrectly (as important!)

Mapping

• Make hidden connections visible to the player
• Create a direct physical link.
  i.e. A valve triggers a mechanism --> a pipe visually connects the valves and the mechanism.
• Abstract Connection / Similar Design
  So the player can make a mental connection.
  i.e. A blue ball in the middle of 10 yellow balls might be the one going into the blue hole --> here, the color code create the mapping.
  i.e. Left switch command the left door, right switch the right door.

PUZZLE STRUCTURE

• Write down the steps the player has to go through to solve the puzzle
• For each step, identify the things the player needs to know
  i.e. Step = put a crate on a pressure plate (to further open a door) : does the crate exist? Can I move it? Is it heavy enough to trigger the plate? where is the pressure plate?
• Try to work on the UI principles so they are OK for this step
• Adjust according to playtests.
  i.e. players don't understand the door opens when they drop the crate on the pressure plate. Solution, make sure Plate>Door mapping is visible + Increase positive feedback when the pressure plate activates.

REUSE FAMILIAR STEPS

• Basic chunks of puzzle that are enhanced by extra steps / mixed with other chunks.
  i.e. Puzzle 1 = Put crate on pressure plate to open the door >> Puzzle 2 = same but you need to find a way to reach the crate.

End of Randy Smith tribute :)


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Now, on top of this, I'd like to add a few extra points that can help when you integrate puzzles in your games.

I won't talk this much about game where puzzle is the main focus.
In this case, the "puzzle LD job" is mostly about breaking down the various puzzle systems / complexity, combination and think about when and how each new element should be introduced, if possible in a clever and exciting way ;)

Puzzle are usually more problematic when they appear as exotic system in other gameplay based games. (i.e. FPS, RPG, etc)

MAKE IT FIT INTO THE WORLD

A mission is often about living an experience, about being immersed into the game world.
So, even if a puzzle perfectly fits at a certain point in your macro LD excel sheet in terms of timing / pacing, think twice before forcing a puzzle into a place it doesn't belong / make sense ^^

TIPS TO DEFINE PROGRESSION STEPS
From the initial/basic puzzle design, you'll want to build up variations and complexity.
It usually starts by breaking down what mechanics you want to teach, and then removing some of the key needed functionality.
I've found the following to be recuring elements you'll want to play with.

• Player Mobility / Puzzle ingredients accessibility
  What if I restraint player's mobility? What if he can't move freely around to solve the puzzle?
  i.e. I need to push a crate on a pressure plate...but the crate is on one side of a river while the plate is on the other >> extra step = lower the bridge.

• Line of Sight / Visibility
  I need to see one of the puzzle element to solve it (shotting at trigger, or activating device at the right time) but there's something blocking my visibility, or I can't see my target (no light)
  i.e. I have to shoot a timed trigger when I'm next to the switch but wood planks are blocking my line of sight when I'm standing near the switch. >> extra step = Blow up the planks 1st.

• Sequence and Anticipation
  What's the puzzle sequence? What's the correct order to do things?
  i.e. Step 1 = I clearly see the switch, I activate it, the platform moves but...that's it. Step 2 = I shoot a trigger and a crate falls in the river... Oh! I see I must first activate the switch (step 1) then shoot the trigger (step 2) so the crate falls on the moving platform.

You can also use action gameplay fundamentals if it fits in the game you are creating.

• Synchro : you must do something at the right time. It's about rhythm and catching the frame.

• Precision : you must be precise with your controller. Aim carefully, do a precision jump, etc. Time doesn't matter, just be precise.

• Speed : you must react quickly and possibly learn how to chain multiple action in a way efficient enough to succeed.

And of course, all those can be mixed for extra complexity/difficulty


CONFINED SPACE
It's usually a good idea to constraint the player into the smallest viable area (smallest being a special screen :) ) to solve the puzzle so he knows the solution is there and he didn't miss any key elements before in case he gets stuck.


QUIET PLACE
It's usually a good idea to avoid any fighting or other mind disturbing gameplay while in a puzzle area so the player can focus on what he has to do.
I say this, but of course, it can be cool to present the exact same puzzle configuration a second time, but this time, there's the extra challenge of dealing with disturbing gameplay elements at the same time :) (but at least, the player knows what to do)


EMBEDDED SOLUTION 

Puzzles usually have this annoying problem that they are not open in nature : as a player, you fix the puzzle the way it has been designed...or remain stuck.
As a designer, you don't want to give the solution to the player, but you can find a way to provide hints directly in your level.
If the player is good enough : he won't need this optional extra challenge.
If the player is struggling with the puzzle, he 'll just need to do some "extra effort" that are not related to the puzzle and be rewarded with a hint.
I.e. Fix the pipe network to bring steam pressure to the cooker...and optionally, you can search the local desks and cabinets around to find "maintenance clues" left by the workers.
Always better than having to search the internet...or worse, give up the game because you are stuck there.


THE SPECIAL FLAVOUR IN YOUR LEVEL
It can be cool to introduce a simple "Puzzle element" concept in your level and then use it with incremental difficulty 4 or 5 times.

• It gives a special flavour to your mission
• It feels good for players to fix the "easy" puzzle at each step.
• Feels more integrated in the mission flow and less like "that's the puzzle room".
• Forces you to better think about the puzzle integration in your mission logic (rather than an one timer puzzle artificial plugged somewhere where it doesn't necessarily make a lot of sense)
• Make sense on the production side : the system has been developed and tested >> better use it more than once !

i.e. High security building. Some doors only open when the scanner next to it is presented a valid magnetic key. Gates open when you stand in front of scanner, and close when you leave.

• Step 1 : Learning : the scanner is right next to the gate. Just stand in front, and rush through the gate. 
• Step 2 : This time the scanner is further from the gate...too far to rush.
  But patrolling robots are passing next to the scanner every 10s, triggering the opening of the door for you. Just wait and pass through.
• Step 3 : No visible scanner next to the gate, but going on a platform slightly above you find a security console with a scanner. Player needs to walk up there and jump down / rush through the gate when it opens.
• Step 4 : Scanner too far from the door and robot path to the scanner is stuck. Clean the robot path so it activates the scanner.
• etc.

PUZZLE AS "ON DEMAND" CHALLENGE
I mentioned it in my Challenge on demand article, but due to their exotic nature, puzzles are good candidates to gameplay on demand / optional side content.
If the player doesn't like it (i.e. Your game is an FPS, and as a player you might just want to blow things out, not solve puzzles) he can skip it, and it's less of a problem if it's too hard.


AESTHETIC BEFORE COMPLEXITY

If your game is not about puzzle and they are the "exotic part", you should focus on keeping your puzzle easy but making them look super cool and having surprising / impressive effects on completion.
It will then provide this "breath of fresh air" + "Feeling smart" feeling you want without risking to block the player.


ANALOGUE SUCCESS vs 100% EXACT PUZZLE

Puzzles don't have to be 100% scripted in one single way to complete it.
You can measure success through some analogue meter (pressure, data transfer, energy level, etc) so there are more ways to solve the puzzle than needed.
i.e. Raise pressure level in a system to the green area (60% pressure min) by opening / closing valves.
In this kind of puzzle there can easilly be more than one solution to the problem. There might be a 100%  pressure solution (and the player should probably gain a bonus from finding it) but 60% is enough to pass.


PUZZLES = EXOTIC GAMEPLAY = $$$
Unless your game is about puzzle solving, be aware that puzzle are kind of "Exotic Gameplay" and therefore require extra mechanics, UI, scripting, etc...
Puzzle also require some extra QA and play testing.
All this doesn't come free :)

Orientation

A game is about having fun playing with the rules and given constraints to reach a goal.
How can you have fun if you find yourself lost ? You won't play with the game, you'll endure it.

WHERE'S MY GOAL
As much as possible, the player should see the goal (or the next mission step) from where he stands.
Not that I don't like UI markers, but it's always better if you can make it feel natural and transparent in Level Design.

• Make the goal stand out>> i.e. a distant tower, smoke raising in the sky, or any visible landmark that stands out.
• Make the goal close and visible...
  but the gameplay to reach it is long : chasm to cross, defence system to first neutralize, or any logical key you need to reach it.
  i.e. the precious crown jewel stands right in front of you, but it's protected by a glass dome, an alarm, guards and I first need to unlock doors on my escape path.
  Note : you can use this to create interesting twists. i.e. "I was about to free the prisoners when a patrol came in. Now I need to get rid of guards and shut down the alarm system."

You get the idea : for a player, seeing the objective builds up motivation. "I'm almost there..."

That's definitely something you want ;)

HOW DO I REACH IT

It always helps if you can build a progression logic to drive the player.
The idea is to link progression toward the objective with some recurring and obvious element in your level setup.

i.e. If the goal is to sabotage drain pumps deep in the sewers network "going down" could be the progression logic element.
The player will naturally realize that the deeper he goes, the close he gets from his goal.

You can do this with any progressive visible (or audible) element like light / darkness, fog, etc. that the player can easily associate with his current goal and measure in terms of progression. (I'm getting closer!)

WHERE AM I ?

Nothing worse than ending a fight, and wondering where to go next.

So here is a list of things you can use for orientation and how well they work followed by things you should avoid and how badly they affect orientation.

The Good +++

• ++++++ Slopes and steps (a way up, and down) : often forgotten, but super powerful. Works everywhere (even in a tube!)
• +++++ Visible Landmarks : Obvious, natural, efficient. Use it :)
• +++ Lighting : if you have a nice sunset (or any directional light setup) it will help.
• +++ Foreseeable Path : It's about putting visual clues allowing the player to guess what comes further down the path . i.e. I see some ice on this entrance, it's going to the cold side, I see some fish nets hanging in the street, it's leading to the docks, etc)
• +++ Bright / Animated highlights : use light and animated visual to drive the player attention to things you want him so see (exit to the next section, objective, etc.)
• ++ Color codes : they usually tend to be abstract and blend into the scenery. It night be clear for you, but not for the player.
• + Signs : it costs to read it (not pleasant), and usually, player don't pay attention to it.

The Bad ---

• ----- Symmetry : It's especially true if the dressing is the same all around (i.e. Big room)
• ---- Twists and turns (especially when in narrow passages). I know, visibility and streaming sometimes needs it, but it hurts ^^
• --- Illogical layout setups that defy common sense / knowledge

All those orientation problem are especially important in Open Levels and Multiplayer maps.