Sam Gregory-HaighDD2000 Research Blog

Dave Soponski (2012). Top 5 Video Game Worlds. [ONLINE] Available at: http://sticktwiddlers.com/wp-content/uploads/2012/08/elder-scrolls-environment.jpeg. [Last Accessed 23/03/2015].

Once I finish my degree in games design I wish to become a world/environment designer in the games industry. This is my research blog to discover what that title would entail in the professional industry. First I am going to research into some sofwares and techniques that are used by people in the same or similar industries to what I want to be in.

Unknown (2011). Maya 2011. [ONLINE] Available at: http://www.toxik.sk/img/maya2011_yb.jpg. [Last Accessed 23/03/2015].

Sofware and Applications

First of all here is an embedded video that documents a list of software that can be used and in what capacity they are generally used. http://youtu.be/Hzq0TwZbhLo

There are a few different categories that an environment in a game is made up of here is a short list of many of the key areas:

• Concept Art and Visual Development• Modeling• Sculpting

• Retopology• Normal Maps and Baking• Texturing• UV Unwrapping• Terrain Generation Tools• Rendering Your Modeled Assets - Game Engines• Video Recording and Showcasing Your Work

Forum User "Alison" (2008). How to map an image onto an irregular 3d object?. [ONLINE] Available at: http://amber.rc.arizona.edu/lw/images/atlas1b.gif. [Last Accessed 23/03/2015].

Using some web resources I have found a list made by a professional environment designer that shows some essential software for beginners, which is what I consider myself at this point in time. Here is the paragraph for reference:

ESSENTIAL SOFTWARE FOR BEGINNERS

Ross "It" (2014). Unreal 4 Engine Editor. [ONLINE] Available at: http://i.ytimg.com/vi/QX1_wFWLMZU/maxresdefault.jpg. [Last Accessed 23/03/2015].

Before we get started, a quick note for beginners. You do not need software in each category. If you are just starting out, here is the minimum you need to get started creating 3d game environments. Focus on the following categories.Modeling, Texturing, Normal Maps/Baking and Rendering (Game Engines).

If you have one software from the above 4 categories, you should be set to get started. As a beginner, limit the amount of software you learn and use to the core essentials. Once you get more comfortable using the toolset within each software, then you can begin to explore additional and alternative tools.For example: If I were to start all over again this would be the software from the four basic categories that I would recommend to myself.Modeling: Maya or 3dsMaxTexturing: PhotoshopNormal Maps/Baking: xNormal and nDo2Game Engine (Rendering): UDK (Unreal 3), CryEngine 3 or Unity

Donald Phan (Unknown). Ambient Occlusion in XNormal. [ONLINE] Available at: http://www.donaldphan.com/tutorials/xnormal/xnormal_cavity_edt.jpg. [Last Accessed 23/03/2015].

http://www.worldofleveldesign.com/categories/game_environments_design/software-for-game-environment-artist.php

The article then goes into detail with the options for what can programs can be utilised in all of these areas with comprehensive details and lists on which he recommends, why he recommends them and a small bit of detail about each area with embedded images and videos that further explain his points. This article really did help me when I set out on my journey to discover and possibly become an environmental artist as it showed me that there are lots of options and ways of doing things and that one way isn’t necessarily better than another. The lists also game me a comprehensive understanding of what software I should be looking into and what purpose it can serve.

"Admin" (2014). Creating Textures in Photoshop. [ONLINE] Available at: http://www.renderography.com/wp-content/uploads/uv_mapping_example.jpg. [Last Accessed 23/03/2015].

Game Engines/Design Practices

After having a look at the software available to me as a starting out designer I am now going to take a look at some possible engines and SDKs that I could use to actually visualise my environment in 3D, then I am also going to look at some techniques used by professional designers. To begin I am going to look at the games engines available at this moment in time but first I must distinguish what type of environment I would like to create, here is a short list for comparison of a level vs an environment.

Albert Chen (2009). What is Video Game Level Design?. [ONLINE] Available at: http://blog.cogswell.edu/wp-content/uploads/2009/10/600px-UnrealEd1.jpg. [Last Accessed 23/03/2015].

STAND ALONE GAME ENVIRONMENT OR PLAYABLE GAME LEVEL OR GAME DEVELOPMENT

Before you begin to create custom environments and/or maps ask yourself:Will I be creating a stand-alone game environment? Or Will this be a playable level for a specific game?Will I take on a role of a game environment artist or level designer or both?Here are some distinctions.

Playable Game Level:• Playable for a specific game• Contains gameplay (flow of the map, puzzles, enemy or friendly AI etc)

• Must be optimized for performance, and for gameplay• Requires scripting• Requires a specific gametype• Requires player interaction and participation• Often involves a story; has a beginning, middle and an end• Part of already created game, an extension of the game's world• End result is for others to download and play your map for a specific game

Peter Mcclory (2014). Hand drawn 2D platform game level sketches and video. [ONLINE] Available at: http://petermcclory.com/wp-content/uploads/2010/01/sketched-level-01.jpg. [Last Accessed 23/03/2015].

Stand-Alone Game Environment:• Created in any game engine, only limited by what the game engine can do• No gameplay elements, no player paths, no objectives, other players will not

be exploring and interactive with the environment• Usually for a portfolio, to create an environment to share, to showcase your

skill, to get a job, to learn and expand your skill• Usually involves custom models, textures, materials to be created and

imported into a game engine• End result will be a fly-through video or screenshots• No need to optimize, primary focus is on visuals• Used to showcase and display game art, game models, game textures or arch

viz

Kotaku (2012). Fable's Concept Art is Like a Giant Storybook. [ONLINE] Available at: http://img.gawkerassets.com/img/17fvom0azdfijjpg/original.jpg. [Last Accessed 23/03/2015].

After taking a look at this list I would like to make it clear that I intend to work on playable game levels as they are what interest me the most and seem like more of a challenge to create rather than just a show piece. The article also has some other good distinctions between job roles and has a short list of engine comparisons: http://www.worldofleveldesign.com/categories/level_design_tutorials/what-level-editor-game-engine-should-you-use-how-to-choose.php

This next article also has a list of 16 popular modern game engines each with a small titbit of information listing the features of the engine with an image to showcase some work done using the engine. After perusing the list for some time I am most interested in using either Unreal 4, CryEngine or Unity for future work. I already have some experience using Unreal 4 and Unity which could come in handy in the future for gaining employment. There is too much information for me to reference just one point so I will embed the whole article.

CryTek (Unknown). Dedicated Road & River Tools. [ONLINE] Available at: http://cryengine.com/assets/html/gfx/lightbox/sandbox_05_RT.jpg. [Last Accessed 23/03/2015].

Desura (Unknown). Unity Engine - Desura. [ONLINE] Available at: http://d2oah9q9xdinv5.cloudfront.net/cache/images/engines/1/1/142/crop_668x400/26-normal.jpg. [Last Accessed 23/03/2015].

Unknown (2014). Unreal Engine 4 Editor Tutorials. [ONLINE] Available at: http://www.itsartmag.com/features/itsart/wp-content/uploads/2014/03/unreal-engine-4-real-time.jpg. [Last Accessed 23/03/2015].

http://www.worldofleveldesign.com/categories/level_design_tutorials/recommended-game-engines.php

Now I am going to have a quick look at some techniques used by professionals in the industry for planning out levels, creating them and some useful tips on workflow and time management – once again there is too much to reference in one post so I will link the articles for reference:

Bill Stack (Unknown). Effective Time Management Starts With Clear Vision and Goals. [ONLINE] Available at: http://www.actioncoach.com/siteFiles/photos/articles/Effective_Time_Management_Start_with_Clear_Vision_and_Goals.jpg. [Last Accessed 23/03/2015].

http://www.worldofleveldesign.com/categories/level_design_tutorials/how-to-have-best-level-design-game-environment-year.php

http://www.worldofleveldesign.com/categories/level_design_tutorials/how-to-plan-level-designs-game-environments-workflow.php

These articles really raise some good points and have helped me in the past with level design documents and planning for levels that I have had to create as part of my coursework. To know that I can follow some of the same practises a professional would have to is pleasing as it shows that I could make it in the industry I want to and it gives me prior experience to show a potential employer. The articles have also taught me a lot of neat little tips and tricks to help with my work and how to get the best out of the level and environment I am creating – it has always been a keen interest of mine to make each environment feel ‘realistic’ so following these tutorials has taught me some invaluable knowledge on how to do so.

Unknown (2011). Back On The Grid. [ONLINE] Available at: http://wordpress.quantastical.com/wp-content/uploads/Game-Workflow-Diagram.png. [Last Accessed 23/03/2015].

Key Designers

I have also been researching into some key designers that work in a similar role to the one I hope to be able to acquire at some point in my career and the first POI so to speak is a man called Richard Gray, who is better known as The Levelord. He is most well known for the Duke Nukem series of games which as a matter of fact is one of my favourite series of games, so I am familiar with his work first hand and can see the impact he has had on other games as he was the first to try out many features we take for granted in games today, here is an article for reference: “He is well known for hiding difficult to find Easter eggs in his levels in the form of hidden messages. Some of these can only be found by viewing the level in an editor program or cheating in the game, with a message such as "You're not supposed to be here! - Levelord". Duke Nukem 3D is known for having many such messages written on walls in some levels. He also created the very first suspended platform, aka "void", deathmatch called HIPDM1 or "The Edge of Oblivion" for the Quake add-on pack Scourge of Armagon. This “islands in space” design of this multiplayer map became a staple in Quake III Arena and many other deathmatch games. He also created the first player-the-size-of-a-rat deathmatch level with the release of SPRY or "Behind Zee Bookcase" for SiN.”

User "Ninjak" (2015). Richard Gray. [ONLINE] Available at: http://static.giantbomb.com/uploads/original/1/13641/1715782-r_levelord.jpg. [Last Accessed 23/03/2015].

http://en.wikipedia.org/wiki/Richard_Gray_(game_designer)

Another key designer is John Romero, one of the men behind DOOM, yet another of my favourite game series’. He co-founded iD software and proceeded to work on classic like DOOM and Quake – he designed many of levels alone and many of them still stand up as some of the most memorable and best levels ever conceived in many

top lists. Many also say he coined the term ‘Deathmatch’ whilst working on the original DOOM title. He also developed many of the SDKs used by iD to work on their games like DoomED and QuakeED, which were both level editors for DOOM and Quake respectively.

John Romero (Unknown). John Romero. [ONLINE] Available at: http://upload.wikimedia.org/wikipedia/commons/thumb/7/77/Small_romero_head.jpg/220px-Small_romero_head.jpg. [Last Accessed 23/03/2015].

http://en.wikipedia.org/wiki/John_Romero

The third and final designer I have chosen to research into and document my findings about is Cliff Bleszinski, better known as CliffyB. He is primarily known for his work at Epic Games on titles such as the Gears of War series, not one of my favourites but good games nonetheless. Cliff has also worked extensively on the Unreal Tournament series designing some of the most iconic maps that are still played by thousands today. Although he eventually quit Epic Games his legend is one that will live on there until the company dies.

Michael Li (2008). Cliff Bleszinski. [ONLINE] Available at: http://upload.wikimedia.org/wikipedia/commons/f/f5/Cliff_Bleszinski.jpg. [Last Accessed 23/03/2015].

http://en.wikipedia.org/wiki/Cliff_Bleszinski

Whilst this isn’t a comprehensive list of all the key designers who work in environment/world design it does document some of the most well known and influential people in that industry. Now I am going to look at some of the practices that these people used when they were working on projects.

Techniques of the pros

WhiteboxingThe first technique which is definitely more commonly used today rather than back then is whiteboxing. It has been made popular by Epic Games and the Unreal team, with many other designers implementing it after realising the capabilities of how it works – here is a small paragraph quoted from a forum post on the term which explains what whiteboxing is and how it is used most commonly:“1. A Designer/Level Designer will rough out their level idea from 'concept' to in-engine without really measuring distance or heights just to get a real idea of their design in a 3d perspective.

2. Second Iteration of whiteboxing would be to clean up areas and set up the measurements for correct functionality of gameplay, game cameras/ framerate ...etc. It will be very similar to the image feanix posted. This Stage will certainly be tested the most. Alot of feedback should be coming up - so changes for gameplay, cameras and playable areas are imminent

3. Once most areas of the whitebox ( or what ever color it is by now) are decided on. It can be cleaned up even more. Cutting Meshes up into sections. Thinking of

tillable,reusable parts. Fleshing out areas with minor details to get a good hint of the full scope of the level. ( my self have combined steps 2 & 3 depending on the size and complexity of a map).

Then youre all ready to farm your work out to the Artists! Spending more time on the whitebox eliminates alot of backward steps found later on in building an environment!”I have used this technique a few times in my coursework and I have to say from personal experience that I didn’t find it particularly useful in application and whilst it did give me a better sense of scale the overall effort and time used didn’t seem worth the outcome.

Jon Tittley (2014). THE TRUTHS AND MYTHS OF BEING A LEVEL DESIGNER. [ONLINE] Available at: http://community.vfs.com/arcade/files/2014/04/Whiteboxes.jpg. [Last Accessed 23/03/2015].

http://www.polycount.com/forum/showthread.php?t=84317

Pre-production planningAnother common technique is using a pre-production document to plan your level in great detail; these documents usually have around 13 subsections that document something about the style and flow of the level/environment. Then finally the level is built sticking to a timed plan created before production begins. I have used this technique to plan a simple level as part of my coursework and I have to say from personal experience that it rally did help with the scope and idea of the level and if I ever thought I was straying or had no direction I would simply take a look at my document and carry on building my level with complete focus.

Sareesh Sudhakaran (Unknown). A Quick Guide to Planning your Pre-production Schedule. [ONLINE] Available at: http://wolfcrow.com/blog/wp-content/uploads/2013/05/PrepSchedule.jpg. [Last Accessed 23/03/2015].

http://www.worldofleveldesign.com/categories/level_design_tutorials/how-to-plan-level-designs-game-environments-workflow.php

Potential Salary/Other Opportunities

In this section I am just going to take a brief look on potential salaries that this role would command in a professional capacity. Judging from a reliable internet based source I have deducted that this role typically command anywhere from around 23k p/y – 35k p/y depending on experience and location. Some of the 'higher-up' roles like seniors and the like typically earn closer to 30k a year whereas the typical environment designer will earn anywhere in the stated above area. For me this sounds like more than enough to be able to earn a good living from and with the competitiveness of the industry and the jobs in it I feel that the salary will only continue to rise. There are also other factors such as entry level to be considered as these sorts of roles will only command somewhere in the region of 15-20 thousand a year, which is by no means bad but could require you to work 2 jobs if needed. The career path I would be undertaking is fairly simple as it generally relies on experience and the number of years in the 'business' with many sources stating that usually around 3 years experience with a company is mandatory to become a senior in a role.

"AVCF" (2011). QUANTO GANHA UM PROFISSIONAL DA INDÚSTRIA DE GAMES NO EXTERIOR?. [ONLINE] Available at: http://wac.7725.edgecastcdn.net/807725/website/wp-content/uploads/2013/04/designers.png. [Last Accessed 07/04/2015].

http://www.glassdoor.co.uk/Salaries/environment-artist-salary-SRCH_KO0,18.htm

The experience required for the role however would allow me to be open to a few different areas of media industries, such as television and film – as the skills and knowledge required for lots of the roles in these media areas such as animators, artists and set design. All of these areas have varying salaries but the skills I am going to learn will enable me to pursue these career paths if I so choose.

Portfolio Planning and Techniques

The main point you need to consider when putting your portfolio together is does it stand out? Because if not then no matter your skill you most likely wont be receiving any job offers. When creating a portfolio to show to potential employers you always want to have a clear idea of what work you are going to show to the company. This can be important depending on what company you are applying to, for example if you applied to Rockstar games with a portfolio full of fantasy based designs you would probably be declined due to the subject matter irrelevant of your skills. You always also want to show your best work in the genre and style the company uses, this will show you have a wide variety of styles and can work in many different ways. The placing of your work can also be important as if you throw all of your best pieces to the front they will be quickly be forgotten and overshadowed by any poor pieces, so make you need to make sure that you don’t include any work you view as subpar.

Anthon Thomas (2008). November 2008 Portfolio. [ONLINE] Available at: http://4.bp.blogspot.com/_n2WHlLOgdm4/SQYVj040QMI/AAAAAAAAAAU/-DRlukjAF4E/s400/1Front+Cover.jpg. [Last Accessed 07/04/2015].

These are some extra points from an online article that documents a list like structure of what makes a good portfolio in the games industry. The list goes as follows:

- Show You’re Already Making Games- Let Us Play Those Games- Talk About Your Experiences- Don’t Rely On The Design Docs

The article then gives a brief conclusion of the fundamentals of creating and planning your portfolio so it can create the best impact. “With your portfolio, you are trying to convey your ability to look at games from a design perspective, whether it be a simple indie title or a trading card game you made out of pieces of cardboard. The best (and perhaps only) way to do this is to actually make games. So focus on demonstrating your passion and desire as a game designer and your portfolio will no doubt stand out because of it.”

https://www.nyfa.edu/student-resources/how-to-create-a-game-design-portfolio-that-stands-out/

To get a visual understanding of what work and what doesn’t I did some internet research and came across a blog that has documented some good and bad portfolios and listed the reasons for each verdict, I definitely recommend checking it out as it gave me a lot of good tips for what to do and more importantly what NOT to do.

http://digitalegypt.blogspot.co.uk/2012/10/good-bad-ugly-portfolios-1.html

This concludes my research blog into becoming a level designer in the professional games industry. This blog is the second part of my presentation module for the DD2000 module for the second year at futureworks on the games design course. I have covered all of the areas I intended to as referenced in my project proposal.