more from less -- ivan beram

● FALLOUT TACTICS (MICRO FORTÉ) ● FAR CRY (CRYTEK)

IVAN BERAM – GAME & LEVEL DESIGNER

v1.1

sELFiNDUCEDcOMA.com

More from the Less of DesignGame and Level Design with the 80 / 20 Principle

http://selfinducedcoma.com/

http://creativecommons.org/licenses/by-nc-nd/3.0/

COMMENTARY: the original talk was given at Free Play (Melbourne, 2007) where I was invited to talk on design. It was based on a design feature published in Develop magazine (2003). A bit ironically, it in itself was based on a talk I was invited to give on design at the GDC (San Jose, 2002) but due to circumstances, I was unable to give.

Knowing how useless most talk slides are without the prepared speech – a series of simple points, or a series of images, bordering on meaningless. I've rewritten mine in more detail allowing someone to read the slides and have a better idea of what I actually meant by them. Especially if they didn't attend the talk, hopefully providing clarity.

These slides have also been updated and expanded for this web version. Enjoy!

100%

100%

20%

80%

0%

0%

TALK OVERVIEW

This talk should cover:➔ An overview of the theory behind the underlying principle discussed.

➔ The principle applied to level design – with an example level.

➔ The principle applied to game development.

➔ The principle applied poorly.

100%

100%

20%

80%

0%

0%

TALK OVERVIEW

This talk should cover:➔ An overview of the theory behind the underlying principle discussed.

➔ The principle applied to level design – with an example level.

➔ The principle applied to game development.

➔ The principle applied poorly.

With the odd digression.

THE MODULAR NATURE OF GAMES

Simply put:

➔All games are comprised of smaller components: levels

➔ Levels are comprised of even smaller components: game mechanics

➔ Mechanics are comprised of even smaller components yet: game objects.


From this base of largely generic (and modular) components, we create complexity and variation in the player's gaming experience.

Simply put:





From this base of largely generic (and modular) components, we create complexity and variation in the player's gaming experience.

Simply put:




Commentary: Player's want more from their playing experiences, they grow tired of being confronted with the same graphics and gameplay of old. They want more variation and depth in their playing experience; they want every inch of the game world to be new, exciting and entertaining. And even though budgets do increase in order to meet such demands, it never seems quite enough if not inadequate. Focusing on the key 20% helps us in meeting their expectations, with our limited less, in way of budget and resources.

THE LOPSIDED SUCCESS OF GAMES

Successful developers understand:

➔That due to technology and budget (time & money) constraints, that this is a necessity.

➔ They use this constraint so as to focus on what will give them the most returns for effort.

➔ But they have done so, either intentionally or not, by utilising an underlying principle.


This is not a new astounding discovery, the underlying principle has been known and utilised in a diverse range of industries.






This is not a new astounding discovery, the underlying principle has been known and utilised in a diverse range of industries.





Commentary: If we look at successful titles, we may ascertain that they have better utilised their fixed budgets for developing components that enabled them to create more with their less – creating more diversity and complexity. Those less successful, have created fewer more complex and less modular components – less creating less.

THE 80/20 PRINCIPLE

RESULTSEFFORT

Also known by:

And the list goes on...

➔The Pareto Law,

➔ Principle of Least Effort,

➔ Principle of Imbalance,

➔ Less is More,

➔ The Iceberg Effect,

➔ Function before Form

➔ KISS (Keep-It-Simple-Stupid)

THE 80/20 PRINCIPLE

These are all differing

expressions, of the same

principle at work.

RESULTSEFFORT

Also known by:

And the list goes on...

➔The Pareto Law,

➔ Principle of Least Effort,

➔ Principle of Imbalance,

➔ Less is More,

➔ The Iceberg Effect,

➔ Function before Form

➔ KISS (Keep-It-Simple-Stupid)

THE 80/20 PRINCIPLE

RESULTSEFFORT

States the following:

The lopsidedness, is always the same, rarely 50/50

➔That 80% of the end-result is derived from just 20% of the contributing effort.

➔ While the majority of effort, will only contribute a minority to the end results – the flip-side.

➔ It is not a static ratio but can be found as: 90/5, 60/30, etc.

THE 80/20 PRINCIPLE

It does not just apply to the effective

aspects, but also to the ineffective.

RESULTSEFFORT

States the following:

The lopsidedness, is always the same, rarely 50/50

➔That 80% of the end-result is derived from just 20% of the contributing effort.

➔ While the majority of effort, will only contribute a minority to the end results – the flip-side.

➔ It is not a static ratio but can be found as: 90/5, 60/30, etc.

THE 80/20 PRINCIPLE... HISTORICALLY


Utilised at the heart of many industries, such as the automobile industry – first by the Japanese, then later in the west.

Also the driving force behind the increasing

rate of performance and quality of computer chips in achieving moore's law.


Also the driving force behind the increasing

rate of performance and quality of computer chips in achieving moore's law.

It doesn't just apply to the effective aspects, but to the ineffective as

well – 80% of bugs (symptoms) are caused by 20% of the code; 80%

of poor gameplay stems from 20% (of the deficiencies) of the game.


THE PRINCIPLE APPLIED TO LEVELS


I've utilised a CS hostage map of mine

called: Biohazard. With pics showing both old and newer texturing.


Though the map is multiplayer focused, there are many singleplayer elements in place. This was intentional, in that I wanted to demonstrate competency not just in multiplayer 3D level design, but also, in the often more complex singleplayer 3D level design and scripting. In this case heavily scripted with a popular (at the time) multiplayer bot, with over 700 scirpted waypoints.

I've utilised a CS hostage map of mine

called: Biohazard. With pics showing both old and newer texturing.


In the level example 80/20 was utilised:

➔In its initial planning phase, resulting in a well defined high-level concept to be achieved, with clear goals and methods.

➔Resulting in utilising a modular (less from more) design approach in creating a flexible building set.

➔This allowed for rapid prototyping, testing and production of the base level itself – and gameplay from very early on.


Key to use: focus on the 20% that will get you 80% of the end result. Be results focused.

In the level example 80/20 was utilised:

➔In its initial planning phase, resulting in a well defined high-level concept to be achieved, with clear goals and methods.

➔Resulting in utilising a modular (less from more) design approach in creating a flexible building set.

➔This allowed for rapid prototyping, testing and production of the base level itself – and gameplay from very early on.


Modular “lego-block” building set with optional objects (80%)


Modular “lego-block” building set with optional objects (80%)

Commentary: It is much easier to finish something than it is to start it. By rapidly filling in the blank canvas (level) with these generic building components, we now only need finish (polish) it. Applying the 20% of effort that will attain 80% of the end result, and a unique level and playing experience. Sometimes limitations, provide advantages as well.


It creates many varied play spaces and interesting

nooks – some with a “sandbox” quality.


Another example of this at work. Also shows some of the elements with a

“snap-on” nature – like walkways.


Interiors utilised the same elements in

differing mixes.


But in some cases more unique mixes or elements were added.


Including unique structures like this tower.



This is a key aspect to 80/20 design. As it is this 20% that is the differentiator and

quality adder



This is a key aspect to 80/20 design. As it is this 20% that is the differentiator and

quality adder

This tower, like much of the existing internal objects. Were actually downloaded prefabs which were heavily modified to better fit my purposes, as well as, limit poly count. Prefabs saved creation time, even if, a great deal was built from scratch.


Elements like additional scripting more commonly found in singleplayer: gives 80/20.


Elements like additional scripting more commonly found in singleplayer: gives 80/20.

In this case, mines that could be

detonated from the tower...


You could also use a fixed machinegun

from the tower as well.


You could also use a fixed machinegun

from the tower as well.

However, these were exercises in

scripting; as CS itself would not count any frags

from these towards a player's score...


A switch within the tower,

controlled a security gate...


This gate, was the only way to get the hostages out without a hitch.


However, it was not the only way into the

hostage area...

This gate, was the only way to get the hostages out without a hitch.


Other scripting, added ways into

the facility, such as blowing an

entry hole in the outer fence...

THE PRINCIPLE APPLIED TO LEVELSAnother way in, were via tunnels.

Claustrophobic, and offering little

cover from attack.

THE PRINCIPLE APPLIED TO LEVELSAnother way in, were via tunnels.

Claustrophobic, and offering little

cover from attack.

They were also mined, and needed night-vision to traverse...


The whole map, was scripted to support play by bot (AI)

players...


Pick-ups, as found in singleplayer levels, were also added. They were low-end weapons, like a bolt-action rifle; but, they could provide a player only armed

with a pistol, with an edge early on in the match of games

to be played.


Used in the map, my prototype was

utilised to define the shape, size and look of

the modular buildings within the entire level.


Used in the map, my prototype was

utilised to define the shape, size and look of

the modular buildings within the entire level.

Design was planned out to begin with, creating a high-level concept and a methodology of production – modular building design allowing for rapid prototyping and construction of base level.


Atmospheric elements like time-of-day, time-of-year, weather in way of environmental sound, lighting and effects. Can create

two very different levels with drastically different gameplay, even if you do not change anything else.


In this case, this darkened room,

drastically alters the tone of gameplay to the same room if it were lit – a small change can

make a big difference (80/20).

Atmospheric elements like time-of-day, time-of-year, weather in way of environmental sound, lighting and effects. Can create

two very different levels with drastically different gameplay, even if you do not change anything else.


Most CS maps at the time, failed to utilise atmospheric ambient sound in their levels. At all.


This map, had the tension building

rumbling thunder and chirping crickets of

a summer storm. Along with the storm skybox, it created

the feeling of impending feverish

ferocity.

Most CS maps at the time, failed to utilise atmospheric ambient sound in their levels. At all.

THE PRINCIPLE APPLIED TO LEVELSInside areas had differing

sounds for different thematic impact, such as the whine of generators, hum of computers, or, the throbbing of viral fermentation vats.


It's easy to forget how much sound adds to the experience, even if the bare minimum, when we tend

to focus on what we can see foremost...


Made use of a black-ops “bio-weapons research gone awry” theme, with thematic hints, so as to

add further differentiation to the playing experience from the status quo – as well as to act as a “scenario

wrapper” for common mission mechanics.


Made use of a black-ops “bio-weapons research gone awry” theme, with thematic hints, so as to

add further differentiation to the playing experience from the status quo – as well as to act as a “scenario

wrapper” for common mission mechanics.

Commentary: As the player progresses through the game, he encounters the same mission-mechanics (ambush, assault, evade, locate, etc) in differing mixes. They are differentiated via a scenario-wrapper – supported via environments, entities and game mechanics. A good scenario can be utilised in creating a diverse and original playing experience for the player. It is one of the areas that can impact the most in creating “diversity” (80/20).


Most maps at the time – and most still for CS.

Were a series of rooms linked by

corridors, creating the illusion of a large space.


The map is a large non-linear space,

with many interesting paths.

Most maps at the time – and most still for CS.

Were a series of rooms linked by

corridors, creating the illusion of a large space.


You can play around the

buildings...


You can play on top of the buildings...


You can play underneath

buildings...


You can play through

buildings...


Pacing (linearity / nonlinearity) can also drastically change the gameplay of a level. Something also dependent on linearity, is the revisiting of locales from another perspective. For example, you see an upper walkway that you currently cannot reach. Later on you find yourself on this walkway, seeing where you have been. Twisting paths let you see areas from a new perspective, providing a renewed experience from the same space. Providing new tactical options and challenges.


This approach to design, let me maximise playing area: more from less (80/20).



This approach to design, let me maximise playing area: more from less (80/20).

However, it was also the source of

my technical headache. The old engine, was not designed for it (80/20 at work).



Half-Life engine at that time, was 5 years old and based on the

original Quake 2 engine. It was designed to run on much older

hardware, and, did not make full use of current tech's capabilities.


Limited faces, a predetermine limit, not a realistic limit but an

outdated one. Resulted in the level's development being plagued by a weird brush-entity popping bug,

where objects would disappear and reappear.


The level was never meant to be a final release, just an example of work. However, if I had kept these “limitations” in focus from the start – done more thorough research and testing. Done this part of the 80/20 equation, I would have achieved a better end result with less headaches.


Summarising some key points:

➔The building-set was designed to be as generic and modular as possible, with elements able to be mixed-matched to create something unique and complex from innately simple objects.

➔ Few unique elements were created and added, but, these added the 20% that gives the 80% of the end result – at least in art.

➔ Due to design goals, level had far more sandbox-esque scripting complexity (bots, triggers, items, etc), that would be more commonly found in singleplayer levels than a Counterstrike map.



➔There was a stronger than usual scenario and theme present in the level. This was intentional.


Levels are made up of generic game / mission mechanics. It is the scenarios that we wrap around these that make

the “difference” (80/20). Otherwise a level would be just

more of the same that came before.


➔There was a stronger than usual scenario and theme present in the level. This was intentional.


Same level, better textures, better results...?!



➔ Though I have aptitude, I am not an artist. Creating new art assets like textures and models was a NO as far as I was concerned, however...


Clearly good art can do wonders. Just make sure that you follow the principle of

function before form: interactivity. In this case, the sculpture has a

scenario function.


➔ Though I have aptitude, I am not an artist. Creating new art assets like textures and models was a NO as far as I was concerned, however...


Areas that could have been better from the start:

➔Should have realised that at least sourcing art for the level. Would have resulted in a better finish.


Interface into the game world is a visual one, we are visual creatures.






➔Technology. If I had done this part of the planning, done my research into how to achieve my goals (one large “room” with Half-Life engine!), I would not have wasted as much time fixing bugs.



80/20 at work, this time 80% of my headaches came from 20% of the bugs in pushing old tech.



➔Technology. If I had done this part of the planning, done my research into how to achieve my goals (one large “room” with Half-Life engine!), I would not have wasted as much time fixing bugs.


NOW APPLIED TO GAMES...NOW APPLIED TO GAMES...

Common traps, mixing up needs with wants:

➔ Mistaking a scenario, however good, as a replacement for gameplay – games are an active entertainment, not a passive one.

➔Mistaking art as a substitute for gameplay – function before form, so where is the interactivity?

➔Mistaking technology for gameplay – sure it creates great visuals, but again, where is the interactivity, where is the functionality?

NOW APPLIED TO GAMES...NOW APPLIED TO GAMES...

What these have in common, is that they have taken the 80% that was easy to create, and

mistaken it for the 20% that matters the most.

Common traps, mixing up needs with wants:

➔ Mistaking a scenario, however good, as a replacement for gameplay – games are an active entertainment, not a passive one.

➔Mistaking art as a substitute for gameplay – function before form, so where is the interactivity?

➔Mistaking technology for gameplay – sure it creates great visuals, but again, where is the interactivity, where is the functionality?

NOW APPLIED TO GAMES...


Fantastic raw technology.


Fantastic raw technology. Great visual

effects = great art.




Traces of an interesting scenario.




Traces of an interesting scenario. Where was the

gameplay... ?!


Modelling of missing back-end game mechanics like: soft / hard cover.



Modelling of the important and missing front-end behaviours

to AI.




to AI.

Now we are getting

somewhere: a playable demo!




to AI.

Now we are getting


And it does not need to be 100%. Just enough to achieve 80/20!




to AI.

Now we are getting


And it does not need to be 100%. Just enough to achieve 80/20!

Commentary: Playable prototype / gameplay demos are another expression and effective use of 80/20. They focus development so as to achieve your project's vision, sooner. It does so by focusing on the 20% needed in order to bring your vision to life and demonstrate a viable concept. It may do so with various elements missing or implied in place – not complete robust systems, but quick and dirty solutions to fill in the pieces. It is not meant to be the final result, just a template and validator for the rest of the game. Doing so earlier as a polished vertical-slice – in modern development nomenclature – will solidify the game's concept / vision within everyone's mind.

However, Far Cry didn't just focus on the 80% that everyone else had (indoor) but the 20% that no one else had (outdoor and a compelling AI). You will have to do the same with your game.


In the arena of the professionals:

➔ More methodologies and practices that either utilise this principle or tend to have it at the very heart of them, are becoming the norm: OO programming, analysis and design – Agile / XP.

➔ Tools: today are becoming more object-oriented and “end-results-sooner” driven: WYSIWYG.


Tools themselves are a powerful expression and facilitators of the 80/20

principle, however...

In the arena of the professionals:

➔ More methodologies and practices that either utilise this principle or tend to have it at the very heart of them, are becoming the norm: OO programming, analysis and design – Agile / XP.

➔ Tools: today are becoming more object-oriented and “end-results-sooner” driven: WYSIWYG.


It is important to remember, that 20% of the features in way of available tools, or tools / features you will develop; will provide you with the

80% in way of productivity that you

really needed.


It is important to remember, that 20% of the features in way of available tools, or tools / features you will develop; will provide you with the

80% in way of productivity that you

really needed.

Tools allow designers to simply and quickly create content for your game. Tools that reduce the number of stages between asset creation and visualisation in-game, reduce the likelihood that something can go wrong – WYSIWYG (80/20). Both Fallout Tactics and Far Cry had such editors, allowing for playtesting of levels from within the actual editor.

THE PRINCIPLE APPLIED POORLY

There are cases where less is less and more is even more of less. So, here are some examples to help you NOT use the 80/20 principle poorly. Or more importantly, not use it as an excuse to do less – believe me, most gamers will not be fooled by such attempts at laziness ;).


Having both a real-time and turn-based option to play the game as in Fallout Tactics. Each required compromises so the other could work, resulting in two modes but with neither achieving their full potential. Creating a diminished overall experience for the player, along with, an increase in production time due to balancing. It's generally a waste of development resources as well.


Commentary: Creating unique non-generic objects that are highly recognisable and complex structures, and then using them all over the place; the player will notice this repetition, even if you differentiate these in some way – which depending on context, may be difficult to achieve. It can only work in a limited or “special case” context, like the premise for a level and only for that level. An example of this taken to the extreme, is the original Halo. Whole level sections (not just singular objects), terrain, objects, enemies and even scripting. Repeated over and over again to the brink of repetitive canyon and valley, nauseating boredom.


Causing players to exhaust time and effort in reaching interesting

and attractive locations, with nothing interesting to find, such as an obstacle to overcome or a reward to be found; can leave the

player feeling frustrated – function

before form.

THE PRINCIPLE APPLIED POORLYPart of the Fallout experience up until Fallout Tactics, were the “Random Encounters.” These were mini-missions randomly

generated as the player traversed the game map from one mission to the next.



Though historically part of the RPG game, and we as the development studio were contracted to develop them. They added very little to the strategy (RTT / TBT) game beyond some “special” encounter novelty.



Though historically part of the RPG game, and we as the development studio were contracted to develop them. They added very little to the strategy (RTT / TBT) game beyond some “special” encounter novelty.

In my opinion, they actually detracted from the overall quality of the title by their generic gameplay blandness. Which was ill-suited compared to the specificity of the tactical squad gaming of the Fallout Tactics missions – achieving nothing beyond irritating and frustrating the player more than necessary. The time and resources spent on these could have been better utilised in polishing other aspects of the game.

IMPORTANT TO REMEMBER

You may be thinking that this is perhaps a “lazy” approach to design. It is not:

➔ Important to realise that though this approach is not a “lazy” one, it is however an economical one.

➔Otherwise you will merely overwork yourself with trying to create something far too perfect in every little minor detail – regardless of its “impact.”

➔ You will also still need to do the other 80%, however, you should be able to do this far more smartly:



Th!nk: modular building-set = quick 80% majority.Th!nk: unique structures = 20% key minority.






Th!nk: modular building-set = quick 80% majority.Th!nk: unique structures = 20% key minority.




Commentary: to make a point clear, you will find that not all of the “80%” need be attempted. Some of it is crucial, as you do need such tech / features – as they are part of the core gameplay. However, much is just fat that can be trimmed in that it adds very little or nothing to the end-result to warrant the effort. But what you really must be vigil against, is that which will actually take away and diminish the end quality of your level / mod / game.

Which you implement depends on what your (core gameplay) vision is and whether it supports it in creating a rich interactive experience.


Commentary: You could say in Fallout Tactics, that this “building-set” concept was taken to the extreme due to the tile-based 2D engine and tools – even if 2D was also a limitation. Not only where the tiles very modular in use, but the NPCs themselves were very versatile. You could set their individual hair, skin, armour and clothing colours – along with what weapons and equipment they had, and, AI scripting. Allowing greater depth in control in creating variation in experience for the player.

IMPORTANT TO REMEMBERWhen the more the level assets / art is modular. Then the easier it is to

diversify and create something “original” and complex from the generic. It also has a tendency to become more functional in usage to a finer-grain –

like this “tactical” gaming focused junkyard.

IMPORTANT TO REMEMBERWhen the more the level assets / art is modular. Then the easier it is to

diversify and create something “original” and complex from the generic. It also has a tendency to become more functional in usage to a finer-grain –

like this “tactical” gaming focused junkyard.

Commentary: In contrast to the generic building set, excessive objects that appear different but act exactly the same as another or others. Leads to a lot of unnecessary clutter in design and confusion in the player. Like two weapons with differing models, sounds and animations, yet have exactly the same stats – same gameplay. Or, a race that is exactly the same as another, just cosmetically different. Worse than this, are those that do nothing at all – a tease. Something that demands investigation to see what it does, but, will never do anything interesting at all.

IMPORTANT TO REMEMBERThe use of prefabricated structures and objects,

allows us to quickly create a base structure – once we have our foundation, all

that is left is to differentiate it to create

something unique.

IMPORTANT TO REMEMBERThe use of prefabricated structures and objects,

allows us to quickly create a base structure – once we have our foundation, all

that is left is to differentiate it to create

something unique.

Having a building set and tools, allow us to rapidly create complex and varied structures from a limited number of high quality (gameplay focused / tested) components.

IMPORTANT TO REMEMBERThese bunkers, are all created

from a range of individual generic tiles built up in layers. These tiles were

created for another purpose, but due to their flexible

nature, I was able to create these functional level assets.

IMPORTANT TO REMEMBERThese bunkers, are all created

from a range of individual generic tiles built up in layers. These tiles were

created for another purpose, but due to their flexible

nature, I was able to create these functional level assets.

Created in varying orientations, these were then used as “prefabs”

all over the entire St. Louis map and could be easily customised, so

as to differentiate them further in appearance or for gameplay.

Fallout Tactics MP Level- The JunkyardFINAL EXAMPLE...

Prefab “cargo” containers made up of multiple tiles. Easily customised

with windows, doorways, hatches

and ladders.

Fallout Tactics MP Level- The JunkyardFINAL EXAMPLE...



and ladders.

Fallout Tactics MP Level- The Junkyard

A limited range of objects used in varied groups to

create unique areas of play – some even help tell a story.



and ladders.


Unique structures used once off to

create more distinct areas of play.





and ladders.


Unique structures used once off to

create more distinct areas of play.



A unique complex level created from a limited range of simple objects – with effective tools.

AN 80/20 CONCLUSION...By understanding and using the 80/20 principle you will find that:

➔ It is the 20% minority of a level that will benefit from your effort, and give the most results.

➔ The same applies to a campaign of missions; 20% will carry the rest which are merely more of the same – filler to put it bluntly.

➔ 20% of a level's mission mechanics, comprise the 80% of the derived player enjoyment.

➔20% of a game's mechanics / features, give rise to 80% of the game's quality in gaming experience.

Apply this principle successfully, with a little know how. And one day you might make the next...


Just remember to focus on the

20% that will make you stand

out from the rest!


Just remember to focus on the

20% that will make you stand

out from the rest!

Commentary: Always focus on the 20% that will give you the 80% of end results, in whatever it is you are undertaking. In this manner, you can't go wrong. The end result, the vision, is usually summarised in the form of a concept brief: executive summary, high-concept, vision statement, one-liner (or paragrapher).

If you don't have one, why not... ? In fact I created one for my Counter-Strike map – there was even one for this presentation in the form of an abstract.

TO LEARN MORE OF 80/20 TRY...➔Book: The 80/20 Principle, Richard Koch.

➔Online: a search string of “80/20 rule” or “Pareto Principle” should bring up helpful pages.

Try the same search on Wikipedia.org, to find links to the other principles listed at the start.

Richard has a few books devoted to the 80/20 principle.

TO LEARN MORE OF 80/20 TRY...

I hope you've come away with how to effectively apply this underlying principle to your designs. Whether it be: levels, game mods, indie games, and, commercial titles.And I hope it helps you as it has helped me!

➔Book: The 80/20 Principle, Richard Koch.

➔Online: a search string of “80/20 rule” or “Pareto Principle” should bring up helpful pages.

Try the same search on Wikipedia.org, to find links to the other principles listed at the start.

Richard has a few books devoted to the 80/20 principle.

http://selfinducedcoma.com/

http://creativecommons.org/licenses/by-nc-nd/3.0/

more from less -- ivan beram

Design

design game

game mechanics mechanics

game objects

game development

game world

levels levels

talk overview

talk slides