More From Less -- Ivan Beram

v1.1

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

IVAN BERAM – GAME & LEVEL DESIGNER
● FALLOUT TACTICS (MICRO FORTÉ)
● FAR CRY (CRYTEK)

sELFiNDUCEDcOMA.com

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!

TALK OVERVIEW 100%

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. 20%

0%

0% 80% 100%

TALK OVERVIEW 100%

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. 20%

With the odd digression. 0%

0% 80% 100%

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.

Simply put:
➔All
games are comprised of smaller
components: levels
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:
➔All games are comprised of smaller
Commentary: Player's want more from their playing
components: levels tired of being confronted with
experiences, they grow
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
components yet: game objects. Focusing on the
seems quite enough if not inadequate.
key 20% helps us in meeting their expectations, with
our limited less, in way of budget and resources.
From this base of largely generic (and
modular) components, we create complexity and
variation in the player's gaming experience.

THE LOPSIDED SUCCESS OF GAMES
Successful developers understand:
➔Thatdue 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.

money) constraints, that this is a necessity.
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.

Commentary: If we look at successful
money) constraints, ascertain that a necessity.
titles, we may that this is they have
better utilised their fixed budgets for
developing components that enabled
what will them to create more with their less – effort.
give them the most returns for
creating more diversity and complexity.
➔ But they have done so, eithercreated
Those less successful, have intentionally
or not, by utilising complex and less modular
fewer more an underlying principle.
components – less creating less.

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

THE 80/20 PRINCIPLE
Also known by:
➔The Pareto Law,

➔ Principle of Least Effort,
➔ Principle of Imbalance,
EFFORT RESULTS
➔ Less is More,
➔ The Iceberg Effect,
➔ Function before Form
➔ KISS (Keep-It-Simple-Stupid)
And the list goes on...

THE 80/20 PRINCIPLE
Also known by:
➔The Pareto Law,

➔ Principle of Least Effort,
➔ Principle of Imbalance,
EFFORT RESULTS
➔ Less is More,
➔ The Iceberg Effect, These are all
differing
➔ Function before Form expressions, of
the same
➔ KISS (Keep-It-Simple-Stupid) principle at
And the list goes on... work.

THE 80/20 PRINCIPLE
States the following:
➔That 80% of the end-result is
derived from just 20% of the
contributing effort.
➔ While the majority of effort, EFFORT RESULTS
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 lopsidedness, is always
the same, rarely 50/50

THE 80/20 PRINCIPLE
States the following:
➔That 80% of the end-result is
derived from just 20% of the
contributing effort.
➔ While the majority of effort, EFFORT RESULTS
will only contribute a minority to
the end results – the flip-side. It does not just
apply to the
➔ It is not a static ratio but can effective
be found as: 90/5, 60/30, etc. aspects, but
also to the
The lopsidedness, is always ineffective.
the same, rarely 50/50

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.


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.

Also the driving force
behind the increasing
rate of performance and
quality of computer chips
in achieving moore's law.

THE PRINCIPLE APPLIED TO LEVELS

I've utilised a CS
hostage map of mine
called: Biohazard. With
pics showing both old
and newer texturing.

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.

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.

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.


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
Modular
that will attain 80% of the end result,
“lego-block”
and a unique level and playing
experience. Sometimes building set
limitations,
provide advantages as with optional
well.
objects (80%)


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.

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

Including unique
structures like
this tower.

This tower, like much of the
existing internal objects. Were
actually downloaded prefabs
which were heavily modified to
This is a key aspect to
better fit my purposes, as well as,
80/20 design. As it is limit poly count. Prefabs saved
this 20% that is the creation time, even if, a great deal
differentiator and was built from scratch.
quality adder

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.

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...

Other scripting,
added ways into
the facility, such
as blowing an
entry hole in the
outer fence...

Another way in,
were via tunnels.
Claustrophobic, and
offering little
cover from attack.

Another 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.

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).


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.

Inside 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.

Commentary: As the player
progresses through the game, he
encounters the same mission- Made use of a black-ops
mechanics (ambush, assault, “bio-weapons research
evade, locate, etc) in differing gone awry” theme, with
mixes. They are differentiated via thematic hints, so as to
a scenario-wrapper – supported add further
via environments, entities and differentiation to the
game mechanics. A good playing experience from
scenario can be utilised in
the status quo – as well
creating a diverse and original
playing experience for the player. as to act as a “scenario
It is one of the areas that can wrapper” for common
impact the most in creating mission mechanics.
“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 Most maps at the
non-linear space, time – and most
with many still for CS.
interesting paths. 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.

Pacing (linearity / nonlinearity)
can also drastically change the
gameplay of a level. Something
also dependent on linearity, is the
revisiting of locales from another
currently cannot reach. Later on
This approach to Twisting paths let you see areas
design, let me from a new perspective, providing
maximise playing a renewed experience from the
area: more from same space. Providing new
less (80/20). tactical options and challenges.

However, it was Pacing (linearity / nonlinearity)
also the source of can also drastically change the
my technical gameplay of a level. Something
headache. The old also dependent on linearity, is the
engine, was not revisiting of locales from another
designed for it
(80/20 at work). currently cannot reach. Later on
This approach to Twisting paths let you see areas
design, let me from a new perspective, providing
maximise playing a renewed experience from the
area: more from same space. Providing new
less (80/20). tactical options and challenges.


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.

➔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.


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...

➔ 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.

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.


➔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.

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?

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?
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.


Fantastic raw
technology.


Fantastic raw
technology. Great visual
effects =
great art.


Fantastic raw
effects =
great art.

Traces of an
interesting
scenario.


Fantastic raw
effects =
great art.

Traces of an
interesting
scenario. Where was the
gameplay... ?!

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

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

Modelling of the
important and
missing front-
end behaviours
to AI.

Modelling of
Now we are
missing back-end
getting
game mechanics
somewhere: a
like: soft /
playable demo!
hard cover.

Modelling of the
important and
missing front-
end behaviours
to AI.

Modelling of
Now we are
missing back-end
getting
game mechanics
somewhere: a
like: soft /
playable demo!
hard cover.

Modelling of the
important and And it does not
missing front- need to be 100%.
end behaviours Just enough to
to AI. achieve 80/20!

NOW APPLIED TO GAMES... demos
Commentary: Playable prototype / gameplay
are another expression and effective use of 80/20.
They focus development so as to achieve your
Modelling vision, sooner. It does so by focusing on the
project's of Now we are
missing back-endorder to bring your vision to life and
20% needed in getting
gamedemonstrate a viable concept. It may do so with
mechanics
somewhere: a
like: soft /
various elements missing or implied in place – not
playable demo!
complete robust systems, but quick and dirty solutions
hard cover.
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
Modelling of the / vision within everyone's mind.
game's concept
important and And it does not
missing front-Cry didn't just focus on the 80% that 100%.
However, Far need to be
end everyone else had (indoor) but the 20%Just enough to
behaviours that no one
else AI. (outdoor and a compelling AI). achieve 80/20!
to had 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.

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...


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
It is important to creation and visualisation in-game,
remember, that 20% of reduce the likelihood that
the features in way of something can go wrong –
available tools, or WYSIWYG (80/20). Both Fallout
tools / features you Tactics and Far Cry had such
will develop; will editors, allowing for playtesting of
provide you with the levels from within the actual editor.
80% in way of
productivity that you
really needed.

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.

Part 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.

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.

were In my opinion, they actually detracted from the overall
mini-missions randomly
generated the title by player
quality of as the their generic gameplay
traversed theWhich was ill-suited compared to the
blandness.
game map from
specificity of the tactical squad gaming of the Fallout
one Tactics missions the next.nothing beyond irritating
mission to – achieving
and frustrating the player more than necessary. The
time and resources spent on these could have been part
Though historically
better utilised in polishingof the RPG of the game. we as
other aspects game, and
the development studio were
contracted to develop them.
They added very little to
the strategy (RTT / TBT)
game beyond some “special”
encounter novelty.

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:

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.
trying to create something far too perfect in every
➔ 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.

You may be thinking that point clear, you will find
Commentary: to make a this is perhaps a “lazy”
approachnot all of the “80%” need be attempted. Some
that to design. It is not:
of it is crucial, as you do need such tech / features
➔ Important to realise the core gameplay. However,
– as they are part of that though this approach is
not a much is one, itthathowever an economical one.
“lazy” just fat is 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
trying that createof your level / mod /too perfect inthe
to which will actually takefar game.diminish every
end quality
something away and
Which you implement depends on what your (core
➔ You will also still need whetherthe other it in
gameplay) vision is and to do it supports 80%,
however, you rich interactive experience.this far more
creating a should be able to do
smartly:
Th!nk: modular building-set = quick 80% majority.
Th!nk: unique structures = 20% key minority.


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.

When 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.

When the more the level
Commentary: In contrast to the generic building modular.
assets / art is
set, excessive objects that appear different but it is to
Then the easier
act exactly the same as another or others. and create
diversify Leads
to a lot of unnecessary clutter in design “original” and
something and
confusion in the player. Like two weapons with generic.
complex from the
differing models, sounds It also has yettendency to
and animations, a
have exactly the same stats – same gameplay.
become more functional in
Or, a race that is exactly the sameto another,
usage as a finer-grain –
just cosmetically different. Worse than“tactical” gaming
like this this, are
those that do nothing at all – a focused junkyard.
tease. Something
that demands investigation to see what it does,
but, will never do anything interesting at all.

The 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.

The 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.

These 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.

These 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
FINAL EXAMPLE... - The Junkyard

Fallout Tactics MP Level
FINAL EXAMPLE... - The Junkyard

Prefab “cargo”
containers made up
of multiple tiles.
Easily customised
with windows,
doorways, hatches
and ladders.

A limited range of Fallout Tactics MP Level
- The Junkyard
objects used in
varied groups to
create unique areas
of play – some even
help tell a story.

Prefab “cargo”
containers made up
of multiple tiles.
Easily customised
with windows,
doorways, hatches
and ladders.

- The Junkyard
objects used in
varied groups to
create unique areas
help tell a story.

Prefab “cargo”
Unique structures containers made up
used once off to of multiple tiles.
create more distinct Easily customised
areas of play. with windows,
doorways, hatches
and ladders.

- The Junkyard
objects used in
varied groups to
A unique complex level
create unique areas
created from a limited
range of simple objects
help tell a story.
– with effective tools.

Prefab “cargo”
Unique structures containers made up
used once off to of multiple tiles.
create more distinct Easily customised
areas of play. with windows,
doorways, hatches
and ladders.

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...

one day you might
make the next...
Just
remember to
focus on the
20% that
will make
you stand
out from the
rest!

one day you might
make the Commentary: Always focus on the 20%
next...
that will give you the 80% of end results,
in whatever it is you are undertaking. In Just
this manner, you can't go wrong. The end remember to
result, the vision, is usually summarisedfocus on the
in the form of a concept brief: executive 20% that
summary, high-concept, vision statement, will make
one-liner (or paragrapher). you stand
out from the
If you don't have one, why not... ? In fact I
created one for my Counter-Strike map – rest!
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.
Richard has a few books devoted to the
80/20 principle.
➔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.

TO LEARN MORE OF 80/20 TRY...
➔Book: The 80/20 Principle, Richard Koch.
Richard has a few books devoted to the
80/20 principle.
➔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.

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!

More From Less -- Ivan Beram

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