McGraw-Hill - 2003 - Ultimate Game Design. Building Game Worlds - DDU01
McGraw-Hill - 2003 - Ultimate Game Design. Building Game Worlds - DDU 01
A BOUT THE AUTHOR
Tom Meigs is a game producer and designer with a decade of experience in
electronic gaming. He has worked on several award-winning titles for a wide
array of game platforms, including: Nintendo Game Boy, Sega Game Gear,
Sega Genesis, Super Nintendo, Sega Saturn, Sony PlayStation/PlayStation 2, PC,
Macintosh, mobile phones, theme park kiosks, location-based entertainment,
online, and even the short-lived Bandai Pippin. Some of the game titles he has
worked on include: Madden Football ‘95, Sports Illustrated Golf, Sea Quest
DSV, Akira, Jungle Strike, Bassmaster’s Classic, The Mask, Angel Devoid 2,
Youngblood: Search and Destroy, and several titles for Disney. Tom received
an M.A. in philosophy from California State University, Long Beach.
Tom Meigs
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Monika Faltiss
Ultimate Game Design: Building Game Worlds
Athena Honore Copyright © 2003 by The McGraw-Hill Companies. All rights reserved.
Printed in the United States of America. Except as permitted under the
Copyright Act of 1976, no part of this publication may be reproduced
Jon Orwant or distributed in any form or by any means, or stored in a database or
retrieval system, without the prior written permission of publisher, with
the exception that the program listings may be entered, stored, and executed
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1234567890 FGR FGR 019876543
Claire Splan
ISBN 0-07-222899-7
This book was composed with Corel VENTURA™ Publisher.
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D EDICATION
This book is humbly dedicated to Vivian E. Meigs, MCW, and
Larry Siegel. Each, in their own magnificent turn, made this
content possible.
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Contents At A Glance
1 Previsualization 1
2 Level Planning and Building 23
3 Lighting, Texturing, Particles, Effects, and Audio 53
4 Actors, Props, Items, and Camera Details 85
5 Design by Genre 107
6 Scripting Action Events 135
7 Quality Assurance and Play-Test Feedback 165
8 Design Considerations for Massively Multiplayer
Online Games 187
9 Cell Phones and Wireless Gaming 215
10 Getting Started in Game Development 237
11 Game Development Career Choices 265
A Reference Information 285
B Tools Discussed 295
C Career Guideline Worksheet 303
D Quick Topic Summary for Designers 309
E Gallery 321
Index 335
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Contents
ACKNOWLEDGMENTS, XVII
INTRODUCTION, XIX
1 Previsualization 1
Introducing the Previsualization Process, 3
Step-by-Step Previsualization, 3
Utilizing Environmental References and Sketches, 4
Architecture for Game Levels, 5
Basic Environmental Design, 6
Function, 8
Room Flow, 11
Interior to Exterior, 12
Reinforcing Mood, 12
Paper-Based Level Blocking, 13
Quick Topographic Maps, 13
Case Study Comments on Previsualization, 17
Mega Tips, 22
2 Level Planning and Building 23
Planning Your Level Work, 26
Prefabricated Geometry and Modularity, 27
Scale and Grid Sizing Considerations, 28
Avoiding Common Level Mistakes, 30
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x U L T I M A T E G A M E D E S I G N
Building Game Worlds
Level Stubbing Walk-Through, 31
Step One: Working from Your Topographic Sketches, 33
Step Two: Create Contour Lines, 34
Step Three: Build a Mesh from Your Contour Lines, 35
Step Four: Utilize File Referencing to Build Up and
Populate Your Level, 35
Step Five: Start Checking Layout Details, 37
Game Prototyping, 37
Post Level Stubbing Considerations, 38
Adapting Architecture and Terrain to Games, 39
Checking Character Flow Throughout a Level, 40
Jump Heights, Hazards, and Scale, 41
Keeping the Big Game Picture in View, 42
The Early Evolution of Levels, 43
The Importance of Early Feedback, 44
Are Your Level Goals Enhancing Your Game Vision?, 45
Case Study Comments on Level Execution, 45
Mega Tips, 51
3 Lighting, Texturing, Particles, Effects, and Audio 53
Lighting, 55
Position, 58
Light Color, 59
Basic Lighting Types, 59
Lighting Strengths or Multipliers, 60
Lighting Falloff, 62
Three Sample Lighting Setups, 62
Animating Lights, 64
Texturing, 64
Using Textures Well, 66
Particles, 67
Using Particle Emitters, 68
Exporting Particles and Dynamics Information, 69
Effects, 72
Audio, 74
Pushing Game Audio Further, 76
Design Tools Shift, 76
Case Study Comments on Cornerstone Elements, 78
The Moonlight Forest Example, 79
Mega Tips, 83
C O N T E N T S xi
4 Actors, Props, Items, and Camera Details 85
Placing Actors, 87
Hero Actors, 87
Enemy Actors, 88
NPC Actors, 90
Boss Actors, 91
Types of Props and Their Use, 92
Using Props, 93
Placing Props, 93
Types of Items/Power-Ups and Placement, 94
Camera Considerations, 95
Interface Detailing, 95
Floating Cameras, 96
Fixed Cameras, 97
Special-Case Cameras, 97
Common Camera Problems, 98
Case Study Comments on Actor Loading and Camera Tuning, 99
Mega Tips, 105
5 Design by Genre 107
Sports Games, 109
Fighting Games, 112
Puzzle Games, 114
Real-time Strategy Games, 116
Role-Playing Games, 120
First- or Third-Person Action Games, 121
Simulations, 123
Creating Cinematics, 125
Developing Backstory, 125
Creating Dialog, 126
Summary of Designer’s Work Tools, 128
Case Study Comments on Design Flux, 129
Mega Tips, 133
6 Scripting Action Events 135
Scripting Technology Choices, 137
JavaScript Sample, 139
Visual Basic Sample, 139
Python Sample, 140
Perl Sample, 140
xii U L T I M A T E G A M E D E S I G N
Building Game Worlds
Applied Scripting Examples, 140
NPC Conversation Templates, 140
Shooter Flying Patterns, 141
Using Triggers, 144
Fearthis, 145
Line of Sight, 146
Crowd, 146
Weather Effects, 147
Counter, 148
Material, 148
Audio, 149
Message, 149
Light, 149
Building Behaviors, 150
Creature Creator, 150
Engine Solutions and the Unreal Engine, 151
Script/Editing System Considerations, 153
Case Study Comments on Scripting a Baseball Game, 154
General, 155
Pitching, 156
Fielding, 156
Hitting, 157
Catching, 158
Mega Tips, 163
7 Quality Assurance and Play-Test Feedback 165
Quality Assurance, 166
QA Setups, 168
Bug Tracking, 168
Technical Support, 170
Testing MMOGs, 171
A Three-Stage Completion Process, 172
Writing a Test Plan, 172
Play-Test Feedback, 173
Managing Feedback, 175
Listening to Feedback, 177
Impact of Play-Test Feedback on Daily Design Tasks, 178
Case Study Comments on the Impact of QA, 179
Mega Tips, 184
C O N T E N T S xiii
8 Design Considerations for Massively Multiplayer
Online Games 187
MMOG Production Challenges, 188
Defining Titles, 189
How Is the MMOG Player Different from the
Console Player?, 189
Saturation Concerns for the MMOG, 190
Pure Production Risks for the MMOG, 190
Cost and Support Considerations for the MMOG, 191
MMOG Construction Factors and Solutions, 194
General MMOG Structures, 194
MMOG Design Factors, 197
Latency, 197
Modularity, 198
Monitoring, 198
Tools Support, 198
Special Events, 198
Pace and Balance, 198
Player Dropout/Lost Connections, 199
MMOG Play Mechanics, 199
MMOGs and Design Orientation, 200
MMOG Genre Growth, 201
NPCs and Familiars, 201
Isolating MMOG Strengths, 201
MMOG Player Categories, 202
Deep Social Factors, 202
Current Challenges, 203
Sports Fans or Groups and MMOGs, 203
MMOG Opportunities, 205
Case Study Comments on Challenges for UBO, 206
Mega Tips, 212
9 Cell Phones and Wireless Gaming 215
The Impending Boom, 217
Global Competition, 219
Development Considerations, 220
Design Issues for Cell Phones, 222
Multiplay Cell Phone Gaming, 226
Wireless Toy Networks, 226
xiv U L T I M A T E G A M E D E S I G N
Building Game Worlds
Building the Cell Phone Gaming Market, 228
Opportunities in Wireless, 229
Case Study Comments on Development Factors in the
Infancy of Wireless, 230
Mega Tips, 234
10 Getting Started in Game Development 237
Why Diversify?, 239
Role Definition for Game Designers, 240
Growth Areas and New Opportunities, 244
Microsoft, Mattel, Intel, and LeapFrog, 244
Challenges for PC Toys, 245
Advergames, 246
Interesting Trends for the Near Future, 247
Web Game Entertainment with Physical Counterparts, 248
Toys and Card Games Go Online, 249
The Importance of New Opportunities for Developers, 250
Anecdotes from the Game Development Frontlines, 250
Think Fish, 251
Sacking Sanka, 252
Case Study Comments on Final Thoughts for Designers, 253
Creating Your Perspective and Maintaining Your Passion, 257
Mega Tips, 264
11 Game Development Career Choices 265
Programming, 266
Game Programming as a Career Choice, 267
Art, 268
Game Artist as a Career Choice, 269
Design, 270
Game Designer as a Career Choice, 271
Production, 271
Production as a Career Choice, 272
Audio, 273
Audio Composer and Engineer as a Career Choice, 273
Quality Assurance, 274
QA as a Career Choice, 274
Opening an Independent Game Studio , 274
Joining a Game Developer, 276
Industry Economics, 276
C O N T E N T S xv
Game Development Studio Breakdown, 276
Executive Department, 277
Product Development Department, 279
Creative Department, 279
Programming or Technical Department, 281
Marketing Department, 282
Breakdown Conclusions, 282
Case Study Comments on the Testing Doorway, 282
Mega Tips, 284
A Reference Information 285
Education, 286
Events, 287
Industry Magazine, 287
Industry-Related Sites, 288
Organizations, 288
Breaking In!, 288
Agents and Recruiters, 289
Job Sites, 289
Design Document Reference, 289
TV Programming, 289
COPPA Guidelines, 289
Self-Publishing, 290
Outsourced Testing Services, 290
Game Industry Market Research and Reports, 290
Recommended Sites, 290
Recommended Reading, 291
Recommended Topics for Further Research and Reference, 292
B Tools Discussed 295
3-D Modeling Packages, 296
Art Tools, 297
Level Editing, 297
Middleware, 298
Production Tools, 298
Sound Editing Tools, 299
3-D Construction for the Web, 299
Scripting Languages, 300
xvi U L T I M A T E G A M E D E S I G N
Building Game Worlds
Game Dynamics Libraries, 300
Motion Tracking, 300
Programming Language for Console/PC, 300
MMOG Box Solutions, 301
Wireless Development, 301
Introducing Children to Game Design, 301
C Career Guideline Worksheet 303
If You Want to Explore Production, 304
If You Want to Explore Game Art Construction, 305
If You Want to Explore Game Programming, 305
If You Want to Explore Quality Assurance, 306
If You Want to Explore Game Audio, 306
If You Want to Explore Business Relations or Marketing, 307
D Quick Topic Summary for Designers 309
Reference Material, 310
Design Document Writing, 316
Quick Modeling, 317
Layout and Staging, 318
Scripting, 318
Mapping or Level Building, 319
Audio, 319
Testing, 319
Support Software, 320
Team Focus, 320
E Gallery 321
UBO Game Interface, 322
Player Creation Screen, 323
Early Game Setup Screen, 324
Game Details, 324
Position Selection and Batting Order, 325
Basic Character Construction, 326
The Motion Capture Process, 328
Baseball Stadiums, 330
Game Action, 332
Index 335
Acknowledgments
people helped me in a variety of ways to complete this
MANY book. First, I have to thank David Fugate, Wendy Rinaldi,
Dr. Jon Orwant, Athena Honore, Monika Faltiss, Bill McManus, and everyone at
McGraw-Hill/Osborne for supporting me at every step along the way.
Next, I’d like to extend special thanks to each of the chapter interview participants.
These individuals represent a wide array of gaming expertise and influence, and their
contributions amidst very busy schedules should be applauded. Thanks go to
Andrew Holdun, John Kreng, Rick Sanchez, Nathan Hunt, Aaron Odland, Andrew
Forslund, Melinda White, Mike Weiner, Dave Warhol, and Bill Roper for taking the
time to offer unique and valuable insight from their own vast experience. I couldn’t
have asked for more generous spirits, or more informed interview subjects.
Special thanks go to Andrew Forslund for his large and timely contributions to the
scripting sections, and to Andy Wang/Netamin for permission to use many images
from Ultimate Baseball Online.
On a personal note, I’d like to thank Art, June, and Jeanette Meigs; Larry, Sandy,
and Scott Kessenick; Kevin Wright, Gene Hoglan/SYL, the Tommy Lasorda Baseball
team, the Metroid team, Professors Richard Holmes and Simon Schama, Gordon
Sumner, Disney, Eitetsu Hayashi, MLB great Darrell Evans, Tomahawk, The
Melvins, Michael and Julie Allen, Dave Moses, Adrian Belew, Roscoe’s, Mykonos,
Harbour House, everyone at Waterside Productions, The Gnomon School of Visual
Effects, Alex Alvarez, Tao Tong, The Long Beach Ice Dogs organization, Patrik
Augusta, Master Kreng, Dr.s: Paul Tang, Charles Hughes, George Spangler, Shane
Andre, Doug Deaver, and Bill Hyde; Harold Budd, Trey Gunn, Marjorie Stettbacher,
Brendan Perry/Quivvy, Jim Wright, Andy Summers, Elvis, and Baloo.
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Building Game Worlds
For their support, inspiration, and the shared learning of various kinds, I’d also
like to thank the entire Black Pearl Software/THQ development team, the Electric
Dreams development team, the Realtime Associates family, the Disney games group,
the UBO/Netamin development team, everyone at Blizzard Entertainment, the Orange
County, CA International Game Developers Association, UC Irvine extension, and
Art Institute-LA.
Introduction
book was written for anyone interested in learning about applied
THIS game design. It is skewed somewhat toward new game developers,
but it has plenty to say about the design process itself that should be useful to game de-
velopers at all levels of familiarity with the process of building games.
The material is organized chronologically from the roots of the design process
right on through to the final or “gold” development phase as a game comes to full
fruition and is delivered into the hands of game players.
Each chapter, read in order, will guide you through a basic game development
curve and introduce you to many fundamental design areas and challenges. However,
you also can jump directly to specific chapters of particular interest to you, or start
with the support information located in the associated appendixes, which can be a
useful starting point for further exploration into several of the key chapter topics
presented here.
My purpose in writing this book is to try to provide new developers and seasoned
pros alike with some common ground in their own approaches to game design specifics.
Much has been written about game design theory, but far less has been written about
what might be called applied game design. Make no mistake: I still believe that game
design theory is important. I think it can be safely assumed that theory tends to inform
and inspire application. I simply wanted to try to move much closer to a discussion
about applied game design for all interested parties, and I have some very practical
reasons for doing so.
As you begin to understand the development conditions under which most games
are made today, it should become very clear that there is a great need to consider applied
game design. After all, there is always a demand for compelling game content in
many genres, yet even for the most successful developers, it is regularly extremely
difficult to deliver. This stands in direct opposition to the idea that commercial viability
for game makers often depends on repeatable results in game design quality.
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