This is the development log for my world design for the prototype The Old Ones.
Beautiful games require beautiful scenes – a vista that takes a player’s breath away as soon as they walk up to it. However, much like anything in 3 dimensional space, it becomes increasingly difficult to control what the player sees. How do you make the player see a beautiful or important piece of the game before moving on to discover the space?
I love Binding of Isaac, but I hate it. Apparently, that is the point – at least that’s what veterans of the game tell me I should feel. BOI brings together a unique blend of fun and frustration, one which make players want to throw their controllers against a screen but keeps players coming back. These properties make BOI a unique case study for looking at level pacing.
This is not a blog post about The Stanley Parable. This is not a blog post about a blog post I wrote about The Stanley Parable. Instead, this blog post examines this game in terms of level design, rather than rehashing how it was not about The Stanley Parable and the Postmodern Metanarrative. This is really not a serious blog post, I was just having fun. If you want to read a serious blog post please click on the link above…
My partner and I recently just finished our play through of Fallout 4 together. It was a really unique experience for me and while Fallout 4 is a single player game, we decided that we would play through the entire game together. This is a short blog post about that experience and the fun I had with this strange new RPG adventure. Naturally, lots of Spoilers follow, including the game’s ending.
In this blog post I hope to provide a critical overview of Bioshock’s level design. I will be paying particular attention to the way in which Bioshock uses level design tools and invisible walls to guide the player through the game and the narrative. By examining the various level design tools, we can ensure that the level is easily navigable by the player and tells the game’s story in the best possible way.