So instead, Strasser tried a research-first "location scouting" approach. He went on an exhaustive virtual tour of various UK villages, taking lots of photos from Google Street View. After recreating several village streets in-game, Strasser finally pin-pointed what type of structure suited the game's needs, and settled on an unusual side street layout based on Pump Street in the village of Orfordarrow-up-right. Here, blockout was less about building a space, and more about discovering a space.

For the first person narrative exploration game Firewatch (2016), developer Campo Santo wanted to focus on mechanics like walking and talking; the main appeal of the game concept was looking at art passed scenery and listening to voice acted dialogue. Following typical best practices, they first built a blockout to test the viability of these mechanics. However, the blockout did not help them answer any questions about the player experience because the game pacing was fundamentally a narrative design and environment art issue, not so much a level design issue. The traditional blockout process wasn't working.在第一人称叙事探索游戏《看火人》（2016）中，开发商 Campo Santo 希望专注于行走和对话等游戏机制；游戏的核心在于欣赏精美的场景和聆听配音对话。按照惯例，他们首先搭建了一个粗略的场景模型来测试这些机制的可行性。然而，粗略的场景模型并没有帮助他们解答任何关于玩家体验的问题，因为游戏节奏的根本问题在于叙事设计和环境美术，而非关卡设计。传统的粗略场景搭建流程并不奏效。According to environment artist Jane Ng's account, it wasn't clear whether Firewatch would "work" as an experience until they skipped the blockout process and instead completed a vertical slice prototype with an art passed environment and near-final dialogue. 根据环境艺术家 Jane Ng 的说法，直到他们跳过了场景搭建过程 ，而是完成了一个垂直切片原型，其中包含经过美术审核的环境和接近最终的对话，Firewatch 才有可能成为一款“成功”的游戏体验。

“The scale of maps is always the hardest aspect to get right. It’s important to plot your main paths and measure these distances; we’re looking for anything between 8 and 12 seconds from spawning to an objective. [...] Anything longer than that and players get frustrated when they respawn and have to run back. On the other hand, if the time is shorter it risks the map feeling too small for 8v8 matches, and can lead to chaotic gameplay. [...] This stage is crucial to map development, but our team operated by a simple rule of thumb; if it feels long, it’s too long."

Playtest more often and catch scaling problems sooner.更频繁地进行游戏测试，以便尽早发现扩展性问题。Too big? Delete unnecessary rooms and compress what's left.太大？删除不必要的房间，压缩剩余部分。Too small? Expand outermost walls, then expand the center to fill up the new space.太小？那就先扩建最外侧的墙壁，然后再扩建中间部分，填满新增的空间。

Keep an open mind and continue this cycle of modification + playtesting. Continue developing the blockout. Build, then walk around in it, then modify, then playtest again... and repeat. This design process is called iteration, because we are making new iterations that build off of the strengths of the previous version.

The purpose of the blockout is to experiment. To verify the results of the experiment, you must test the prototype. Do NOT just fly around in the editor view, that won't help you imagine the player experience.粗略建模的目的是进行实验。为了验证实验结果，你必须测试原型。 不要只是在编辑器视图中随意飞行， 那样无助于你想象玩家体验。Massing. Do the level's shapes make sense? Is it confusing to look at?体量设计： 关卡的形状是否合理？看起来是否令人困惑？Metrics. Does the player fit through every door and passage? Do the stairs / ramps work? Can the player jump where they're supposed to jump?测试指标： 玩家能否通过所有门和通道？楼梯/坡道是否正常？玩家能否在应该跳跃的地方跳跃？Flow. Does movement feel slow or fast, smooth or complex? What type of movement is ideal for your intended design goals?流畅度 ：动作感觉是缓慢还是快速，流畅还是复杂？哪种类型的动作最符合您的设计目标？

Texture the wall with a different color from the ground plane. Color and brightness provide important context for understanding what the space is made of, and how these various floor and wall planes relate to each other. If you are afraid of colors affecting your blockout too much, then at least use textures with different shades of gray.

Build a wall segment that's approximately 150-200% as tall as the scale figure.建造一段高度约为比例模型高度 150-200% 的墙体 。If you're working in a modern game engine, sizes don't have to be exact -- the sense of proportion is most important to establish here.

Add a player-humanoid scale figure to help establish scale. 添加一个与玩家人形比例的模型 ，以帮助确定比例。

A shortcut is a hard gate that the player can unlock from the other side, allowing easier backtracking and/or better flow between areas. Exploration games often feature one way doors, climbable ladders that drop down, or elevators that turn on.

If the lock requires multiple keys, the lock's visual design should hint at the key count. For example, a locked door that requires three keys should have three keyholes.

how the lock before the key. When the player finally finds a key, they might remember the locked door they encountered earlier. If you do it the other way around, it will feel less like the player solved a problem, and more like they accidentally stumbled on the lock with the key already.

A lock and key gate is a hard gate that prevents the player from passing through until they find the "key" somewhere else in the level. This key is abstract -- it can be a literal key item that the player picks up, or it could be a button.

Gating is an abstract concept, it is not necessarily a literal gate or door. It could be a magic barrier, an NPC blocking a doorway until you complete their quest, or an avalanche of rocks that falls behind the player. Anything that blocks player movement is functioning as a gate.

A larger multi-area pattern with a central area (hub) and several smaller areas / passages extending off of it (spokes). To explore different spokes, the player must return to the hub.

A linear progression that loops back on itself, most common in open world dungeons.

Needs lots of work to update the hub with each visit, or else it'll feel like backtracking

An arena is an open area with several lanes of circulation and some cover in the middle.

A typology is a layout design pattern, a class system that helps us think about layouts. It abstracts the layout -- it simplifies and generalizes the structure.

A dead-end corridor with a visible exit when you backtrack.

The first person horror game P.T. (2014) made players walk down the same hallways over and over, with a looping mechanic that teleports the player back to the start once they open the door at the end. It is a powerful use of the corridor, and would've suffered with a more open layout.

what if we cut ALL "unnecessary" areas? now it's less work to build but does it still fulfill our experience goals?

If something isn't on the critical path, then only some players will see it. Is it worth making?

When planning the verticality in a level, try to chunk it together into floor planes and merge minor height changes into a single floor. Don't try to hold 10 different distinct overlapping layers of floorplans in your mind, because players probably won't be able to process that much complexity either.

Players follow circulation based on their current objectives. If they must find the exit, then players will follow primary circulation. If they need to reach the roof, players will look for vertical circulation. If players need to sneak around or explore for resources, they use secondary circulation.

For single player levels, conveying circulation is crucial for narrative. If you want your level to feel like a plausible real-world space, then you must also think like a plausible real-world architect with plausible real-world circulation.

how areas link to other areas, the "connectivity" of a map

Circulation (or "connectivity") refers to how areas connect to each other.

example level layout drawing with marked critical path and numbered gameplay beats

Wayfinding. Is the path obvious? What info helps the player plan a route?

传统观点认为，垂直空间越多越好，因为它能为地图结构增添视觉趣味，打破单调的地面。但今天，我们不建议随意堆砌垂直空间，而是提倡克制。垂直空间的适用性很大程度上取决于游戏的核心设计；许多游戏机制需要大片平坦的地面，有时这样也无妨。你无需到处随意放置台阶和平台。

What is this level / area / encounter / experience about? Fast exciting action, calm observation and navigation? The first glimpse of a big city? A scary chase? A hangout?这一关/这一区域/这一遭遇/这一体验是关于什么的？是快节奏的刺激动作，还是冷静的观察和导航？是初次领略大都市风貌？是惊险刺激的追逐？还是休闲聚会？For competitive multiplayer maps, flow strongly affects overall map balance.对于竞技多人游戏地图而言，流程对地图整体平衡性有显著影响。To verify the flow works as intended, you must blockout and playtest.为了验证流程是否按预期运行，您必须进行封锁和测试 。

ou could also argue Miyamoto's methods are less applicable to other genres, situations, or teams. They were a dozen veteran pro developers who knew and trusted each other, of course they could improvise small low poly single player levels with no planning.

For the influential 3D platformer game Super Mario 64 (1996), Miyamoto's team made only minimal concept art / layout sketches to plan major pacing beats:

In the drawing above, note the numbered control points and labeled call outs. Each control point area is like a mini arena / parti, with specific landmark labels: sniper ledge, tunnel, stone arch, barracks, etc. Name and theme map areas from the beginning. Labels also highlight the most important parts key to the map's experience goals.

Flow: one central lane with side paths, 5 control points total with dynamic spawn rooms流程 ：一条中央通道，两侧有支路，共 5 个控制点，设有动态重生室Balance: symmetrical map, all 9 classes must be viable, attack / defense viable at each CP平衡性 ：地图对称，所有 9 个职业都必须可行，每个控制点进攻/防守都可行。Typology: beaded necklace, a long coiled corridor dotted with arenas for each CP类型 ：串珠项链，一条长长的盘绕走廊，其上点缀着每个控制点的竞技场。

layout of WKZ Station in "Automata" for Watch Dogs 2, as drawn by the designer Iuliu-Cosmin Oniscu

Notice how the Nova Prospekt plan (above, right) is a relatively simple layout drawing, marking out areas and how the player might progress through them. It omits the individual rooms and hallways inside each building. This is a layout image for a group of levels, not just one level. It is basically a bubble diagram, focusing on the footprint of each area and its connectivity.请注意，Nova Prospekt 的平面图（上图右侧）是一张相对简单的布局图，标出了各个区域以及玩家可能在其中移动的路线。它省略了每栋建筑内部的各个房间和走廊。这是一张关卡组布局图，而非单个关卡的布局图。它本质上是一个气泡图，重点展示了每个区域的占地面积及其连接方式。For the individual cell blocks and encounters, Valve concept artist Eric Kirchmer incorporated level design and gameplay markup directly into the concept art sketches, which were likely the result of collaborative group whiteboard design sessions. These combat encounters have intended flows with idealized critical path "solutions", which treat each battle like a puzzle to be solved. These sketches provided valuable design documentation for level designer David Sawyer to blockout and prototype from.对于各个关卡区域和遭遇战，Valve 的概念艺术家 Eric Kirchmer 将关卡设计和游戏玩法标记直接融入到概念草图中，这些草图很可能是团队协作白板设计会议的成果。这些战斗遭遇战都经过精心设计，拥有理想化的关键路径“解决方案”，将每场战斗都视为一个待解的谜题。这些草图为关卡设计师 David Sawyer 提供了宝贵的设计文档，供其进行场景搭建和原型制作。

A bad bubble diagram is good. That means you found the design problem early, and you can draw another one to try another arrangement.糟糕的气泡图反而是好事。 这意味着你及早发现了设计问题，可以再画一个来尝试不同的布局。Draw at least 3 bubble diagrams to imagine multiple arrangements and sizes.画出至少 3 个气泡图， 以想象多种排列方式和大小。You can deviate from the parti. The purpose of the parti was to help you start drawing bubbles. If it's not helping you anymore, then don't use it.你可以不按照步骤来画。 步骤的目的是帮助你开始画泡泡。如果它对你不再有帮助，那就不要再用了。

因此，在绘制布局之前，至少要定义一个玩家体验目标： 玩家在这个关卡中应该学习到什么、感受到什么或做什么？

Verticality is about supporting vertical flow.

But remember: plans aren't magic. A layout drawing cannot tell you if your level works, only a blockout and playtest can begin answering that question. A layout is NOT a level, the player never plays your drawing.但请记住： 设计图并非万能。 布局图无法告诉你关卡是否可行 ，只有搭建场景并进行试玩才能初步解答这个问题。 布局图并非关卡本身 ，玩家永远不会玩你设计的关卡。

在动作游戏关卡设计中， 不要过早地进行过多的世界观构建。 为了适应关卡而修改世界观要比反过来容易得多。

定义历史学家， 他们生活在何时何地？他们的感知、记忆或获取信息的方式会受到所处时代和地域的影响吗？

绘制游戏世界的历史图，时间跨度从几天、几个月、几年甚至几个世纪，并附上简短的注释和标签。

从不同视角绘制同一区域的多幅地图 。这片区域在 100 年前或 500 年前是什么样子？不同背景的角色会如何描绘同一个地方，或者使用不同的名称？你的世界中存在哪些模糊不清之处和冲突？一张“错误的地图”或许比一张精确的地图更有趣。

请定义地图绘制者， 他们是谁？他们的动机是什么？他们与他们所绘制地图的区域有何关系？

在上图所示的示例中，作者 NK Jemisin 构建了一个位于赤道上方略微偏北的两块大陆的世界。随后，Jemisin 将目光聚焦于两块大陆之间一片能量极高的赤道海洋，并将其放大成一条名为“泪海”的“地狱走廊”，珍贵的“狂怒木”就生长在它的海岸线上。虽然一个饱受海啸侵袭、滋养着魔法树木的区域本身就显得有些不可思议，但当它融入一个更为平凡的世界时，却显得更加合理且独特。

首先，绘制一张以地形和气候为重点的大比例尺地图。为了设计出尽可能逼真的地球地图，首先要了解一些基本的地球科学原理：Draw continents. Simulate continental drift arrow-up-rightand make sure they fit together like puzzle pieces.绘制大陆 。模拟大陆漂移 （右上箭头） 并确保它们像拼图一样完美契合。Draw wind systems and latitude. Prevailing windsarrow-up-right change with latitude and interact with landmass.绘制风系和纬度 。 盛行风向右上方箭头。 随纬度变化并与陆地相互作用。Draw mountains and lakes. Mountains formarrow-up-right along fault lines or volcanos. Riversarrow-up-right generally flow from atop mountains or lakes and downward toward the ocean.画出山脉和湖泊 。 山脉呈右上箭头方向。 沿着断层线或火山。 河流通常从山顶或湖泊流下，汇入海洋。Label climates. It's hotter toward the equator, colder toward the poles. Mountains can block or trap rainfall. Is it humid, windy, rainy, stormy?描述气候 。赤道附近较热，两极附近较冷。山脉会阻挡或滞留降雨。这里潮湿、多风、多雨、多风暴吗？

Draw a map of the fictional game world, beyond the playable area in the game. What is the level's relation to the larger world or universe? Mapmaking is a very common worldbuilding trope in fantasy genre novels. And for level designers, a map is probably the most immediately useful worldbuilding tool. 绘制一张虚构游戏世界的地图，范围超出游戏中的可玩区域。该关卡与更广阔的世界或宇宙有何关联？绘制地图是奇幻小说中非常常见的世界构建手法。对于关卡设计师而言，地图或许是最直接有效的世界构建工具。The simplest way to engage the player is with plausibility. If you're new to worldbuilding, you should start with something familiar and Earth-like for now. 吸引玩家最简单的方法就是营造真实感。如果你是世界构建新手，最好先从一些玩家熟悉的、类似地球的世界入手。

To plan a basic level, you only need to worldbuild enough to answer three basic questions:要规划一个基础关卡，你只需要构建足够的世界观来回答三个基本问题：(Past) Who made this place? (Why? How will the player know?)（过去）是谁建造了这个地方？ （为什么？玩家如何才能知道？）(Present) Who lives here now? (Why? How will the player know?)（现在）谁住在这里？ （为什么？玩家如何得知？）(Future) How can the player affect this place? (Why? How will the player know what happened? How will the inhabitants react?)（未来）玩家将如何影响这个地方？ （为什么？玩家如何得知发生了什么？居民们会有什么反应？）

So in this book we embrace a functionalist attitude toward game narrative: fictional storyworlds in video games serve a crucial design function to smooth over the inherent incoherence of interactive systems. That is, story solves game problems.

How to study, analyze, and breakdown other levels / real world reference

Pacing plans and documents are most useful at the early stage of a project.

diagram of a typical five act plot structure by StoryboardThat... the vertical axis is better understood as "suspense" rather than "intensity"

Alternate highs and lows.

But what does "4 out of 5 intensity" mean? The intensity score is just a gut feeling that emerges from knowing the game and observing playtests. It's not a hard science.

To plan pacing in more detail, sequence the level in terms of a player metric and visualize the plot as a graph.

For The Last Of Us (2013), Naughty Dog designers rearranged different levels, story moments, and themes throughout the entire arc of the game. This "beat board" (pictured below) helped them plan out the pacing for the finished game, which actually differs greatly from the early plan detailed here.

Flowchart, diagram of how beats connect to each other

Combat-based projects and puzzle games can benefit greatly from designing many beats separately, and arranging them together later. The workflow looks like this:战斗类游戏和益智游戏可以很好地利用分别设计多个节拍，然后再将它们组合在一起的方法。工作流程如下：Conceptualize, layout, and blockout one isolated battle / puzzle.构思、布局并搭建一个独立的战斗/谜题。Playtest and iterate on the blockout, until it has proven either promising or a bad idea.对原型进行测试和迭代，直到证明它要么很有前景，要么是个糟糕的想法。Repeat steps 1-2 until you have prototyped dozens of battles / puzzles.重复步骤 1-2，直到你制作出几十个战斗/谜题的原型。Arrange the best beats based on common (or contrasting) elements.根据共同（或对比）的元素，排列出最佳节拍。

If you're dreading the work of building out a set piece, or worse, you don't want any players to actually play through it, then you probably shouldn't do it.如果你害怕搭建场景，或者更糟的是，你不想让任何玩家真正体验它，那么你可能不应该这样做。If you are learning a new toolset, then don't plan a huge epic set piece. If you're new to game development, then gauging the scope of a set piece may be difficult until you have more experience. Remember: the best set piece is the set piece that you actually have a chance of finishing and releasing.

Any scene in a film or game that feels important, memorable, or expensive, is probably a set piece.

What happens in your levels? What are the various moments and places that define the experience?

To help internalize these big design goals, title each pillar with a pithy phrase or word. For example, the God of War (2018) internal design pillars at Sony Santa Monica were Combat, Father/Son and Exploration (see below).

Try adding a pacing goal: "feel overwhelmed at first" ... So maybe the fight should start in a small space with enemies almost surrounding the player.

Avoid abstract experience goals. Imagine the player's perspective.

As part of the planning process, build playground blockout test maps: big boxy courtyard levels filled with varied floors, room shapes, and game objects.

Mechanics. What are the frequent activities / interactions / skills the player will use?

Pillars. What are the 2-3 most important themes / features of this project?