1 The Construction of Ludic Spaces a short lecture by Ernest W. Adams [email protected]+44-1483-237599 .

1

The Construction of Ludic SpacesThe Construction of Ludic Spaces

a short lecture bya short lecture by

Ernest W. AdamsErnest W. Adams

[email protected]@designersnotebook.com

http://www.designersnotebook.comhttp://www.designersnotebook.com

+44-1483-237599+44-1483-237599

http://www.ihobo.co.uka member of the design group

2

Some DisclaimersSome Disclaimers

I am a designer of commercial computer games.I am a designer of commercial computer games. I am not an architect.I am not an architect.

Most game artists have no architectural training.Most game artists have no architectural training. I know little about formal architectural theory.I know little about formal architectural theory. I will probably use some terminology wrongly.I will probably use some terminology wrongly. I know how game designers design buildings, I know how game designers design buildings,

and why.and why. This will be an extremely pragmatic lecture!This will be an extremely pragmatic lecture!

3

Human Perception of ArchitectureHuman Perception of Architecture Visual PerceptionVisual Perception SoundSound TouchTouch SmellSmell Other sensesOther senses Taste will be ignored!Taste will be ignored!

4

Visual PerceptionVisual Perception Viewing a building:Viewing a building:

120-140º visual angle120-140º visual angle Fully stereoscopicFully stereoscopic Huge light intensity range Huge light intensity range

(10(101616!).!). Total darkness possible.Total darkness possible. Steady imageSteady image 250 million receptor cells 250 million receptor cells

in both eyesin both eyes Automatically-changing Automatically-changing

focusfocus

Viewing a monitor:Viewing a monitor: 45-60º visual angle45-60º visual angle Not stereoscopicNot stereoscopic Low light intensity range Low light intensity range

(255).(255). Total darkness impossible.Total darkness impossible. Flickers at 50-100 HzFlickers at 50-100 Hz 250,000 elements in 250,000 elements in

ordinary TV pictureordinary TV picture Fixed focusFixed focus

5

SoundSound Listening to a space:Listening to a space:

Fully 3DFully 3D Viewer-created sounds Viewer-created sounds

(footsteps, etc.) audible(footsteps, etc.) audible Infinite mixing of Infinite mixing of

ambient soundambient sound Echoes created by Echoes created by

space & materialsspace & materials Person can speak or Person can speak or

sing at willsing at will Normally no soundtrackNormally no soundtrack

Playing a game:Playing a game: Approaching 3DApproaching 3D Player-created sounds Player-created sounds

(gunshots, etc.) audible(gunshots, etc.) audible Ambient sounds limited by Ambient sounds limited by

number of channelsnumber of channels Echoes nonexistent or Echoes nonexistent or

simulated inaccuratelysimulated inaccurately Player cannot usually Player cannot usually

speak or singspeak or sing Musical soundtrack to Musical soundtrack to

enhance atmosphereenhance atmosphere

6

TouchTouch Feeling a building:Feeling a building:

Texture of materialsTexture of materials Hardness of flooringHardness of flooring Ambient air temperatureAmbient air temperature Reflected heatReflected heat Air currentsAir currents HumidityHumidity

Playing a game:Playing a game: Extremely limitedExtremely limited Vibration from handheld Vibration from handheld

game controllersgame controllers Associated with game Associated with game

events, not with spacesevents, not with spaces

7

SmellSmell Smelling a space:Smelling a space:

Construction materialsConstruction materials Wood, concrete, stoneWood, concrete, stone

Decorative plantsDecorative plants Earth, flowers, etc.Earth, flowers, etc.

Relation to functionRelation to function Toilets, laboratories, Toilets, laboratories,

kitchens, machinery.kitchens, machinery.

Playing a game:Playing a game: Non-existent!Non-existent!

8

Other Senses in GamesOther Senses in Games No feeling of gravity pressing feet to floorNo feeling of gravity pressing feet to floor (And no feeling of zero-G in space, either!)(And no feeling of zero-G in space, either!) Movement and climbing are not tiring.Movement and climbing are not tiring. We can create We can create somesome claustrophobia, but…claustrophobia, but… … … no agoraphobiano agoraphobia We can create worlds with bizarre physics, We can create worlds with bizarre physics,

demonstrated visually.demonstrated visually.

9

The Costs of ArchitectureThe Costs of Architecture In buildings:In buildings:

Design costsDesign costs Land costsLand costs Infrastructure materialsInfrastructure materials Decorative materialsDecorative materials Construction laborConstruction labor

In games:In games: Design costs, but lessDesign costs, but less No land costsNo land costs NO materials costsNO materials costs

We can build the Vatican We can build the Vatican out of solid platinum!out of solid platinum!

No construction labor No construction labor (design IS construction).(design IS construction).

10

The Costs in GamesThe Costs in Games In 3D games the primary cost is In 3D games the primary cost is detaildetail

3D spaces are constructed from polygons3D spaces are constructed from polygons There is a limited number of polygons availableThere is a limited number of polygons available 3D buildings in games tend to look rather sparse3D buildings in games tend to look rather sparse Curves are expensive, straight lines are cheapCurves are expensive, straight lines are cheap

In 2D games the primary cost is In 2D games the primary cost is varietyvariety More architecture requires more artist timeMore architecture requires more artist time More images require more disk spaceMore images require more disk space

11

A Sparse Hotel LobbyA Sparse Hotel Lobby

12

A Cheap BoulderA Cheap Boulder

13

A Cheap BoulderA Cheap Boulder

14

The Rules are Different in GamesThe Rules are Different in Games Normal engineering considerations do not applyNormal engineering considerations do not apply

mass, strength, volumemass, strength, volume

Normal habitability considerations do not applyNormal habitability considerations do not apply Toilets, fire safety, fresh air, temperature controlToilets, fire safety, fresh air, temperature control

Scale is irrelevant - a thing is as big as we say it is.Scale is irrelevant - a thing is as big as we say it is. We can put a palace in a matchbox.We can put a palace in a matchbox.

We can build spaces that are physically impossible.We can build spaces that are physically impossible. Infinitely-long staircases, Escher rooms. Infinitely-long staircases, Escher rooms.

15

The Functions of Real BuildingsThe Functions of Real Buildings To protect people/goods/animals from the weatherTo protect people/goods/animals from the weather To organize human activity efficientlyTo organize human activity efficiently

Factories, theaters, offices, sports arenasFactories, theaters, offices, sports arenas To conceal and protect goods/animals from theftTo conceal and protect goods/animals from theft

Warehouses, barns, shops, storage facilitiesWarehouses, barns, shops, storage facilities To offer personal privacyTo offer personal privacy

Toilets and private housesToilets and private houses To protect people from other peopleTo protect people from other people

Fortifications, military installations, prisonsFortifications, military installations, prisons To impress, commemorate or simply decorateTo impress, commemorate or simply decorate

Civic monuments and religious buildingsCivic monuments and religious buildings

16

Real-World Functions in Games? Real-World Functions in Games? Weather is irrelevant; normally it is only cosmeticWeather is irrelevant; normally it is only cosmetic Organizing human activity is useful in multi-player Organizing human activity is useful in multi-player

games. Buildings not necessary, but a metaphor.games. Buildings not necessary, but a metaphor. Theft may or may not be possible; if possible, buildings Theft may or may not be possible; if possible, buildings

offer a convenient metaphor for protectionoffer a convenient metaphor for protection Privacy is normally irrelevantPrivacy is normally irrelevant Military protection is a very common game functionMilitary protection is a very common game function Impressiveness and decoration are also commonImpressiveness and decoration are also common Buildings in games mimic the real world Buildings in games mimic the real world when necessarywhen necessary. .

There are no buildings in chess.There are no buildings in chess.

17

Outdoor Spaces are ProblematicOutdoor Spaces are Problematic It is hard to make sweeping vistas or panoramas, It is hard to make sweeping vistas or panoramas,

because of screen resolution and size limitations.because of screen resolution and size limitations. Players can often move fast, so it is difficult to Players can often move fast, so it is difficult to

create meaningfully large spaces.create meaningfully large spaces. Natural objects (trees, etc.) require far more detail Natural objects (trees, etc.) require far more detail

than man-made objects. Games avoid them, which than man-made objects. Games avoid them, which makes many games feel sterile.makes many games feel sterile.

Aerial perspectives reduce the impressiveness of Aerial perspectives reduce the impressiveness of any structure or space.any structure or space.

The Great Pyramid isn’t a big deal from 5000 feet up.The Great Pyramid isn’t a big deal from 5000 feet up.

18

The Primary Function of Ludic SpaceThe Primary Function of Ludic Space The primary function of a ludic space is to The primary function of a ludic space is to

support the gameplay.support the gameplay. Ludic space is NOT analogous to real buildings Ludic space is NOT analogous to real buildings

and spaces, but to movie sets.and spaces, but to movie sets. The function of a movie set is:The function of a movie set is:

a) To create context by mimicking the real worlda) To create context by mimicking the real world b) More importantly, b) More importantly, to support the narrativeto support the narrative Movie sets often diverge from the real world for Movie sets often diverge from the real world for

narrative purposes.narrative purposes. They can make NY seem cleaner, or dirtier, than it really is.They can make NY seem cleaner, or dirtier, than it really is.

19

So What Is Gameplay?So What Is Gameplay? Sid Meier defined gameplay as “A series of Sid Meier defined gameplay as “A series of

interesting choices.”interesting choices.”

The The rulesrules define the gameplay, specifically: define the gameplay, specifically: The The challengeschallenges the player(s) must face before the player(s) must face before

they can achieve victory PLUSthey can achieve victory PLUS

The The actionsactions they are allowed to make in order to they are allowed to make in order to

overcome those challenges. overcome those challenges.

20

Types of Challenges - 1Types of Challenges - 1 Physical challengesPhysical challenges

Speed and reaction time (twitch games)Speed and reaction time (twitch games) Accuracy and precision (steering and shooting)Accuracy and precision (steering and shooting) TimingTiming Learning special moves (fighting games)Learning special moves (fighting games)

Races - achieving something firstRaces - achieving something first PuzzlesPuzzles

Should be based on a hidden principleShould be based on a hidden principle Trial-and-error solution is a sign of bad designTrial-and-error solution is a sign of bad design

21

Types of Challenges - 2Types of Challenges - 2 Exploration ChallengesExploration Challenges

Locked doors and trapsLocked doors and traps Mazes and illogical spacesMazes and illogical spaces TeleportersTeleporters

ConflictConflict Strategy, tactics, and logistics (logistics rarely seen)Strategy, tactics, and logistics (logistics rarely seen) Survival & reduction of enemy forcesSurvival & reduction of enemy forces Defending vulnerable items or unitsDefending vulnerable items or units StealthStealth

22

Types of Challenges - 3Types of Challenges - 3 Economic ChallengesEconomic Challenges

Accumulating wealth or pointsAccumulating wealth or points Achieving balance or stability in a systemAchieving balance or stability in a system Caring for living things within a systemCaring for living things within a system

Conceptual ChallengesConceptual Challenges Understanding something newUnderstanding something new Deduction, observation, interpretationDeduction, observation, interpretation Detective games offer conceptual challengesDetective games offer conceptual challenges

23

How Space Creates Challenges How Space Creates Challenges ConstraintConstraint

Limits the movement of the player’s avatarLimits the movement of the player’s avatar Limits the influence of weaponsLimits the influence of weapons

ConcealmentConcealment Hides players from one anotherHides players from one another

Obstacles or Tests of SkillObstacles or Tests of Skill Players must pass around obstacles, avoid trapsPlayers must pass around obstacles, avoid traps

ExplorationExploration Players must learn the shape of the space.Players must learn the shape of the space.

24

Designing a Ventilation ShaftDesigning a Ventilation ShaftText reads:

Shutters that open and close. Must jump down when open and fan is on. When closed you plummet and shutters are electrified. Have 2 sets of fan/shutter. Must land on ledge above fan. Blades will kill you.

Equipment room with ducts and access doors to labs.

Image copyright by and courtesy of Peter Lok.Image copyright by and courtesy of Peter Lok.

25

This is Architectural Idiocy!This is Architectural Idiocy! This building consists of an equipment room This building consists of an equipment room

and a ventilation shaft. The remainder is and a ventilation shaft. The remainder is undefined.undefined. It does not exist in the game. It does not exist in the game.

The fans apparently blow OUT, not in (if they The fans apparently blow OUT, not in (if they are not on when you jump, you plummet).are not on when you jump, you plummet).

The shutters are electrified. (Why?!)The shutters are electrified. (Why?!) Two fans may be needed to move the air, but Two fans may be needed to move the air, but

why two sets of shutters?why two sets of shutters?

26

… … but Sensible Game Design.but Sensible Game Design. ConstraintConstraint

The player starts on the roof and the only way in The player starts on the roof and the only way in is through the ventilation shaft.is through the ventilation shaft.

Obstacles and Tests of SkillObstacles and Tests of Skill Must land on the ledge and avoid fan blades and Must land on the ledge and avoid fan blades and

electrified shutters.electrified shutters. ExplorationExploration

The player does not know what lies below the The player does not know what lies below the bottom of the shaft until he gets there.bottom of the shaft until he gets there.

27

Another ExampleAnother ExampleNote the strange Note the strange and wasteful and wasteful design of this design of this building complex. building complex. This space is This space is designed to be designed to be explored, not explored, not used.used.

28

A Combat SpaceA Combat SpaceThis space consists This space consists of an oddly-shaped of an oddly-shaped valley with a 2-story valley with a 2-story building at one end. building at one end. The green line is an The green line is an underground tunnel. underground tunnel. The building is The building is architecturally fairly architecturally fairly rational, but the rational, but the structure of the valley structure of the valley is optimized for is optimized for combat challenges.combat challenges.

29

Analysis of Sniping AreasAnalysis of Sniping AreasNotice that the Notice that the red team red team (defending the (defending the building) can building) can cover much but cover much but not all of the not all of the valley, while valley, while the blue team the blue team can cover can cover much but not much but not all of the all of the building.building.

30

Guard PositionsGuard Positions

Two of the entry points Two of the entry points (() for the building can ) for the building can be guarded by snipers be guarded by snipers in protected positions in protected positions (() , but the third ) , but the third cannot be: an excellent cannot be: an excellent example of game example of game balance. Gropius, balance. Gropius, however, was not however, was not consulted!consulted!

Unguarded position.Unguarded position.

31

Secondary Function of Ludic SpaceSecondary Function of Ludic Space The secondary function of ludic space is to inform The secondary function of ludic space is to inform

and entertain in its own right.and entertain in its own right. Familiar locations offer cues to a space’s function and Familiar locations offer cues to a space’s function and

likely events there.likely events there. Allusions and homages carry symbolic meaning.Allusions and homages carry symbolic meaning. New worlds require new architectures.New worlds require new architectures. Surrealism warns the player not to rely on logic.Surrealism warns the player not to rely on logic. Atmosphere carries an emotional message.Atmosphere carries an emotional message. Comedic effects offer pure amusement value.Comedic effects offer pure amusement value. Clichés set a scene rapidly.Clichés set a scene rapidly.

32

FamiliarityFamiliarityA hotel room is a A hotel room is a space we fully space we fully understand. understand. Gabriel Knight is Gabriel Knight is waiting for the waiting for the maid to finish her maid to finish her work and leave work and leave so he can search so he can search the room.the room.

33

AllusionAllusionGrim FandangoGrim Fandango borrows from the borrows from the Mexican tradition Mexican tradition of the “Day of the of the “Day of the Dead.” This Dead.” This building is the building is the Department of Department of Death. Note the Death. Note the combination of combination of Aztec and Art Aztec and Art Deco elements.Deco elements.

34

AllusionAllusionSoul ReaverSoul Reaver is is about a vampire about a vampire who eats souls, who eats souls, so a cathedral so a cathedral has powerful has powerful connotations. connotations.

35

New Architectures for New WorldsNew Architectures for New WorldsThis one aerial-This one aerial-perspective view in perspective view in Planescape: Planescape: TormentTorment includes a includes a wide variety of wide variety of buildings in many buildings in many styles, from tents styles, from tents to large edifices.to large edifices.

36

SurrealismSurrealismMystMyst had a had a strong surreal strong surreal element that element that contributed contributed greatly to its greatly to its sense of sense of mystery. It mystery. It also warned also warned the player that the player that things would things would not be as they not be as they seemed.seemed.

37

AtmosphereAtmosphereA dangerous A dangerous city street in city street in The Longest The Longest JourneyJourney, , reminiscent of reminiscent of New York. New York. The rose The rose window of the window of the cathedral, cathedral, mostly hidden mostly hidden on the right, on the right, suggests a suggests a place of place of sanctuary sanctuary nearby.nearby.

38

Comedic EffectComedic EffectNote the Disney-Note the Disney-esque bulging esque bulging walls and off-kilter walls and off-kilter windows in windows in Escape from Escape from Monkey IslandMonkey Island. . This isn’t so much This isn’t so much a building as an a building as an architectural joke.architectural joke.

39

Architectural ClichésArchitectural ClichésMany games, like Many games, like other types of other types of popular culture, popular culture, rely on cultural rely on cultural clichés and clichés and stereotypes to set stereotypes to set a scene quickly.a scene quickly.

40

The Construction of Ludic SpacesThe Construction of Ludic Spaces

a short lecture bya short lecture by

Ernest W. AdamsErnest W. Adams

[email protected]@designersnotebook.com

http://www.designersnotebook.comhttp://www.designersnotebook.com

+44-1483-237599+44-1483-237599

http://www.ihobo.co.uka member of the design group