The Architecture of Level Design

The Path

The path or circulation is the key to organizing good design. How you approach and move through a building largely governs the quality of your experience. You can think of circulation as a mechanism that supports the design. The spaces, functions and volumes that make up an architectural experience take place and are guided by the armature of circulation. You can apply this idea to lots of experiences, for example your route on a trip as a sequence of events, or your movement through a museum, and of course the critical path through a game, and not just a real-time 3D game but any game experienced as sequential events. Platformers, RPGs, isometric games, can all be thought of as organized around some idea of path.

Circulation Patterns
There are of course many different types of circulation patterns and they vary according to building function and game type. In a real building, often the circulation patterns are kept as tight and economical as possible; there's always a budget for materials and limit on the amount of space finding the right flow of 'tight' circulation and 'looser' more meandering circulation is an integral part of good design. Games are the same way, only the budgets are in polygons not dollars and the type of gameplay intended governs the right mix of circulation patterns more. In multiplayer games, the routes are usually closed and interlocking. In net games particularly, there is almost rigidity to the circulation pattern. With RPG and adventure games, there is the opportunity for more exploration, so the routes can meander and there is not the need to interlock.

Circulation Components
The basic components and principles of circulation are applicable to both games and buildings, and can be broken down into basic concepts for analysis.

Entrances. In games, everyday elements may actually not be used in the way they were intended - you are probably not going to go in through the front door, but you need to know how to set up the scenario so that it functions effectively as a background to the gameplay. You can announce a lot about the character of the building by its entrance - almost like the load-screen for a level. Is it grand, ceremonial or a purely functional entry/exit? It is important to have a good transition. The approach should be designed in a landscape or city space so that there are gateways or markers that reinforce the sequence. Once you are actually in the building you should have an entrance room, so that you are not fed directly onto the circulation system

Corridors. Corridors are the bane of architecture and level design - you can always try and design them out of your schemes altogether. There is less of an excuse for having them in games, because you can always create an opening or introduce a courtyard when you want to. You can almost introduce a set of game regulations where you don't have corridors that are longer than 50m long. However, if you absolutely have to have them, consider varying their height and width, introducing a syncopated rhythm of columns and openings, or ntroducing exterior views to courtyards or even skylights.

	Real-life elevators are a pretty dull experience, except for dramatic elevators like at the Hyatt in San Francisco.

Stairs. While we are encouraged to exhibit our scripting skills by using elevators, like real-life they are a pretty dull experience. Unless, that is, you trying to defuse a time bomb as it plunges down a multi-story shaft. Or it is one of those dramatic elevators like at the Hyatt in San Francisco. Stairs are an opportunity to create some great set pieces. Think about all the grand-staircases in movies. You can really open up a volume of space. Landings can become the staging areas for mini-events. Is there room to do battle on the steps. It is not just a matter of getting from A to B. Is it a good sniping location? Or are there views ahead to an unexplored part of the level.