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Doran
PSY101
4/6/10
Level
Design
and
Its
Applications
In
Affecting
Emotions
and
Actions
John
Doran
PSY101
4/15/10
John
Doran
PSY101
4/6/10
Sid
Meier
claims,
"A
[good]
game
is
a
series
of
interesting
choices"
(Rollings
&
Morris 2000). In that line of thinking it would be advantageous for a level designer to
guide a player without actually leading him by the hand. If a player feels a game is telling
them where to go and explicitly what to do they will feel as if the choices they make are
insignificant. A level designer can supplement the pacing, ecology, and environment of a
level by applying aspects from behavioral and architectural psychology. Successful
implementation of these concepts results in an immersive experience for the player,
unknowing of the efforts taken by the designer to guide them along the way.
The way a game is paced determines whether a player will continue a game to its
conclusion or if they suspend play in the first 10 minutes. When done correctly a player
will encounter “the art of level design [which will] make players think they have infinite
choices when really they only have a few" (Feil & Scattergood, 2005). When the player
begins to feel they are in a living, breathing world they are more receptive to subtle
cues the designer places. This is fully experienced when the player enters a state of
“Flow.” “Flow” is a certain mindset coined by Mihály Csíkszentmihályi that a person
experiences when a person is fully immersed within what they are doing. “Flow” is
identical to what a player feels when he is totally immersed in a game, giving them a
suspension of disbelief. During this experience, the player loses all track of time and is
devoted to completing his objectives. This is a monumental idea to designers because
when it is applied correctly it fulfills the objective that a designer is hired to do, give a
positive
experience.
John
Doran
PSY101
4/6/10
Valve’s
Half-‐Life
2
does
this
is
a
very
effective
way.
In
the
beginning
of
the
game
the player is stuck in a train station and has to follow a linear trail that is reasonably
safe. This is advantageous because at this point the player may have no understanding
of how to play. Also, the player is not placed in a high difficulty situation while they are
getting accustomed with the controls and interactions. This risks an experienced player
getting bored so the game is paced for this part of the game to end shortly once
controls are learned while weaving it into the fiction of the world. Once the player has
basic instructions on how to play the game they are taken a larger size of level in the
early chapters of the game to make the player believe that everywhere he goes there
are things to investigate. As the game continues, the levels get progressively more and
more linear. I feel the reasons for this are two-‐fold. First off, the further the player
ventures into the game it becomes more cinematic to lead to the ending’s climax.
Secondly, it means less content would have to be created which saves both time and
money in terms of creating it. At the end of the game we have gotten to a point where
the player is invested and in the “Flow” state because at this point the player should
have learned all of the skills necessary to succeed and should have a challenge that is
just challenging enough to give the player satisfaction to complete it without it being
Half-‐Life 2 does this differently from other games in the final hours of the game
because they confiscate everything the player had accomplished so far and gives them a
new (okay, “upgraded”) weapon that they have to learn how to use and solve puzzles
with.
Valve
gets
away
with
this
because
the
Uber-‐Gravity
Gun
is
fun
to
play
with
and
John
Doran
PSY101
4/6/10
they
wanted
to
show
that
their
new
engine
handles
physics
really
well.
The
game
also
suffers from bad level design many times throughout the middle of the game. Many
players get lost and do not have an idea of where to go to continue the game due to the
environmental design. This can be horrible if a player travels along a route just to realize
The
first
time
players
visit
City
17
in
Half-‐Life
2
provides
the
player
with
a
large
environment
to
believe
they
are
living
in
a
living,
breathing
world
in
a
low-‐stress
way
to
encourage
exploration.
The ecology of a game dictates of lot in terms of the actions and feelings that
people take in a game. The choice to use a med-‐kit immediately or wait to see if a friend
needs it can mean the difference between someone winning a game or dying. Being
able to guide the player into seeing the advantages of using features of a game can give
them gratification that they would not have known otherwise. “By understanding how
people react to different kinds of choices, we can design games that help them make
the kind of choices that they’ll enjoy, and understand how some game designs can
Ecology refers to both the “power-‐ups” that a game has (in all its forms) and the
encounters
that
you
have
within
an
area.
Each
of
these
has
an
inherent
value
to
the
John
Doran
PSY101
4/6/10
player
and
the
placement
of
positive
and
negative
stimuli
involved
with
both
the
amount and lack of these items can trigger certain emotions within players within a
game.
In behavioral psychology there is a convention for operant conditioning in which by
using consequences for actions there is a form of behavior. Every person who has
played video games for a substantial amount of time has had behaviors engraved into
them as humans learn by observation. This is the primary reason why people have
difficulty playing games if they have not done so before. The Sonic the Hedgehog series
of games has used the reward of rings and other power-‐ups to give incentive for players
to travel the way the designer wants them to. This also gives players reasons to explore
different paths on subsequent play-‐throughs of levels. This is a lesson Left 4 Dead may
have used for great benefit as players tend to find one way to get to the end of a level
and would not do any exploring as they were constantly given negative stimuli in staying
in one place by the director spawning hordes of zombies or special infected on them.
Rings,
seen
here
from
Sonic
the
Hedgehog
2,
not
only
promote
exploration
and
guidance
but
also
are
actually
weaved
into
gameplay
by
their
use
as
a
life-‐counter
and
life
giver.
If
players
were
damaged
without
a
ring,
they
would
die.
Collecting
100
of
them
gives
them
an
extra
life,
so
they
are
given
positive
stimuli
to
collect
as
many
rings
as
they
can.
John
Doran
PSY101
4/6/10
Edward
Thorndike’s
Law
of
Effect
can
be
used
to
a
certain
degree
to
increase/reduce stress and add/subtract difficulty in a level. It is through reward that
players are more willing to follow suggestions given by the designer without noticing it.
By giving players incentives to travel in certain ways they feel it is their choice to go that
way and if they conveniently wind up where they need to actually go to continue the
game then that was clearly their superior sense of direction. If the designer also does a
poor job in leading the player or the player is an explorer-‐type and always takes every
path to its end a designer should place rewards at the end of dead ends in order to give
positive reinforcement towards exploring the game environment as that is what the
A player can also be conditioned to not travel in certain direction from negative
stimuli such as difficult enemies and dangerous effects. A player is far less likely to go
through an environment that he will die in. Going straight up to an enemy tank without
a rocket launcher in Success’ Operation Darkness would almost guarantee the player
death. If you wanted to move a player into a certain direction at the cost of heightening
John
Doran
PSY101
4/6/10
In
Operation
Darkness
tanks
are
far
more
overpowered
than
other
units
but
have
a
weakness
in
the
forms
of
rockets.
However,
when
rockets
are
not
available
or
hard
to
find
it
will
make
players
go
away
from
them.
The vast amount of things that can be done in level design to affect the player may
be done in terms of the environment that they are in. In fact, in real life there is an
entire branch of psychology related to the interactions of humans and their
environment. Players are more interested in their gameplay environment when they
have incentive to continue exploring the game’s world. Bioshock does this in the various
posters that they place throughout the different levels of the game. These
advertisements for the citizens of Rapture actually foreshadow other levels that players
will access throughout their game experience while building anticipation to keep players
playing.
Bioshock’s
posters
are
used
to
great
effect
in
the
game’s
world
in
creating
anticipation
towards
seeing
areas.
An environment’s lighting can be used in many different ways. Primarily, light
draws focus to things and as humans are creatures that like the light they tend to travel
towards it. Darkness and the unknown are uncomfortable areas for players to be in and
by not lighting areas as much as others add to the foreboding nature that an area could
be.
Monolith’s
F.E.A.R
does
this
quite
nicely
by
turning
an
office
into
an
intense
and
John
Doran
PSY101
4/6/10
dangerous
place
to
be
in,
even
though
you
are
fully
armed
and
equipped
to
handle
F.E.A.R.
uses
lighting
to
lead
players
towards
areas
while
creating
apprehensive
emotions
through
lifelike as we continue to create them. By designers applying aspects from behavioral
and architectural psychologies into the pacing, ecology, and environment of a level they
can influence players to have an experience they won’t forget. By empowering players
through this process, levels will flow more effortlessly and give the maximum amount of
Resources:
Rollings,
Andrew
and
Dave
Morris.
(2000).
Game
Architecture
and
Design.
Scottsdale,
Arizona:
Coriolis.
Feil,
John
and
Mark
Scattergood.
(2005).
Beginning
Game
Level
Design.
Boston,
Mass.:
Premier
Press.
Csikszentmihalyi,
M.
(1990).
Flow:
The
Psychology
of
Optimal
Experience.
New
York,
NY:
Harper
&
Row
Publishers
Inc.
Hopson,
John.
(2002).
http://www.gamasutra.com/view/feature/3011/the_psychology_of_choice.php
The
Psychology
of
Choice,
Retrieved
April
6,
2010,
from
http://www.gamasutra.com.
Seifert,
Coray,
Jim
Brown,
Joel
Bugess,
Forrest
Dowling,
Ed
Byrne,
Neil
Alphonso,
Matthias
Worch.
Level
Design
in
a
Day:
Best
Practices
from
the
Best
in
the
Business.
2010
GDC.
Moscone
Center.
San
Francisco,
CA.
10
March
2010.
Rogers,
Scott.
Everything
About
Level
Design
I
Learned
From
Disneyland.
2009
GDC.
Moscone
Center.
San
Francisco,
CA.
28
March
2009.