Research Blog for uni

1. Sam Gregory-Haigh
DD2000 Research Blog
Dave Soponski (2012). Top 5 Video Game Worlds. [ONLINE] Available at: http://sticktwiddlers.com/wp-
content/uploads/2012/08/elder-scrolls-environment.jpeg. [Last Accessed 23/03/2015].
Once I finish my degree in games design I wish to become a world/environment
designer in the games industry. This is my research blog to discover what that title
would entail in the professional industry. First I am going to research into some
sofwares and techniques that are used by people in the same or similar industries to
what I want to be in.
Unknown (2011). Maya 2011. [ONLINE] Available at: http://www.toxik.sk/img/maya2011_yb.jpg. [Last Accessed
23/03/2015].
Sofware and Applications
First of all here is an embedded video that documents a list of software that can be
used and in what capacity they are generally used. http://youtu.be/Hzq0TwZbhLo
There are a few different categories that an environment in a game is made up of here
is a short list of many of the key areas:
• Concept Art and Visual Development
• Modeling
• Sculpting

2. • Retopology
• Normal Maps and Baking
• Texturing
• UV Unwrapping
• Terrain Generation Tools
• Rendering Your Modeled Assets - Game Engines
• Video Recording and Showcasing Your Work
Forum User "Alison" (2008). How to map an image onto an irregular 3d object?. [ONLINE] Available at:
http://amber.rc.arizona.edu/lw/images/atlas1b.gif. [Last Accessed 23/03/2015].
Using some web resources I have found a list made by a professional environment
designer that shows some essential software for beginners, which is what I consider
myself at this point in time. Here is the paragraph for reference:
ESSENTIAL SOFTWARE FOR BEGINNERS
Ross "It" (2014). Unreal 4 Engine Editor. [ONLINE] Available at:
http://i.ytimg.com/vi/QX1_wFWLMZU/maxresdefault.jpg. [Last Accessed 23/03/2015].
Before we get started, a quick note for beginners. You do not need software in each
category. If you are just starting out, here is the minimum you need to get started
creating 3d game environments. Focus on the following categories.
Modeling, Texturing, Normal Maps/Baking and Rendering (Game Engines).

3. If you have one software from the above 4 categories, you should be set to get started.
As a beginner, limit the amount of software you learn and use to the core essentials.
Once you get more comfortable using the toolset within each software, then you can
begin to explore additional and alternative tools.
For example: If I were to start all over again this would be the software from the four
basic categories that I would recommend to myself.
Modeling: Maya or 3dsMax
Texturing: Photoshop
Normal Maps/Baking: xNormal and nDo2
Game Engine (Rendering): UDK (Unreal 3), CryEngine 3 or Unity
Donald Phan (Unknown). Ambient Occlusion in XNormal. [ONLINE] Available at:
http://www.donaldphan.com/tutorials/xnormal/xnormal_cavity_edt.jpg. [Last Accessed 23/03/2015].
http://www.worldofleveldesign.com/categories/game_environments_design/software-
for-game-environment-artist.php
The article then goes into detail with the options for what can programs can be
utilised in all of these areas with comprehensive details and lists on which he
recommends, why he recommends them and a small bit of detail about each area with
embedded images and videos that further explain his points. This article really did
help me when I set out on my journey to discover and possibly become an
environmental artist as it showed me that there are lots of options and ways of doing
things and that one way isn’t necessarily better than another. The lists also game me a
comprehensive understanding of what software I should be looking into and what
purpose it can serve.

4. "Admin" (2014). Creating Textures in Photoshop. [ONLINE] Available at: http://www.renderography.com/wp-
content/uploads/uv_mapping_example.jpg. [Last Accessed 23/03/2015].
Game Engines/Design Practices
After having a look at the software available to me as a starting out designer I am now
going to take a look at some possible engines and SDKs that I could use to actually
visualise my environment in 3D, then I am also going to look at some techniques used
by professional designers. To begin I am going to look at the games engines available
at this moment in time but first I must distinguish what type of environment I would
like to create, here is a short list for comparison of a level vs an environment.
Albert Chen (2009). What is Video Game Level Design?. [ONLINE] Available at: http://blog.cogswell.edu/wp-
content/uploads/2009/10/600px-UnrealEd1.jpg. [Last Accessed 23/03/2015].
STAND ALONE GAME ENVIRONMENT OR PLAYABLE GAME LEVEL
OR GAME DEVELOPMENT
Before you begin to create custom environments and/or maps ask yourself:
Will I be creating a stand-alone game environment? Or Will this be a playable level
for a specific game?
Will I take on a role of a game environment artist or level designer or both?
Here are some distinctions.
Playable Game Level:
• Playable for a specific game
• Contains gameplay (flow of the map, puzzles, enemy or friendly AI etc)

5. • Must be optimized for performance, and for gameplay
• Requires scripting
• Requires a specific gametype
• Requires player interaction and participation
• Often involves a story; has a beginning, middle and an end
• Part of already created game, an extension of the game's world
• End result is for others to download and play your map for a specific game
Peter Mcclory (2014). Hand drawn 2D platform game level sketches and video. [ONLINE] Available at:
http://petermcclory.com/wp-content/uploads/2010/01/sketched-level-01.jpg. [Last Accessed 23/03/2015].
Stand-Alone Game Environment:
• Created in any game engine, only limited by what the game engine can do
• No gameplay elements, no player paths, no objectives, other players will not
be exploring and interactive with the environment
• Usually for a portfolio, to create an environment to share, to showcase your
skill, to get a job, to learn and expand your skill
• Usually involves custom models, textures, materials to be created and
imported into a game engine
• End result will be a fly-through video or screenshots
• No need to optimize, primary focus is on visuals
• Used to showcase and display game art, game models, game textures or arch
viz

6. Kotaku (2012). Fable's Concept Art is Like a Giant Storybook. [ONLINE] Available at:
http://img.gawkerassets.com/img/17fvom0azdfijjpg/original.jpg. [Last Accessed 23/03/2015].
After taking a look at this list I would like to make it clear that I intend to work on
playable game levels as they are what interest me the most and seem like more of a
challenge to create rather than just a show piece. The article also has some other good
distinctions between job roles and has a short list of engine comparisons:
http://www.worldofleveldesign.com/categories/level_design_tutorials/what-level-
editor-game-engine-should-you-use-how-to-choose.php
This next article also has a list of 16 popular modern game engines each with a small
titbit of information listing the features of the engine with an image to showcase some
work done using the engine. After perusing the list for some time I am most interested
in using either Unreal 4, CryEngine or Unity for future work. I already have some
experience using Unreal 4 and Unity which could come in handy in the future for
gaining employment. There is too much information for me to reference just one point
so I will embed the whole article.
CryTek (Unknown). Dedicated Road & River Tools. [ONLINE] Available at:
http://cryengine.com/assets/html/gfx/lightbox/sandbox_05_RT.jpg. [Last Accessed 23/03/2015].

7. Desura (Unknown). Unity Engine - Desura. [ONLINE] Available at:
http://d2oah9q9xdinv5.cloudfront.net/cache/images/engines/1/1/142/crop_668x400/26-normal.jpg. [Last Accessed
23/03/2015].
Unknown (2014). Unreal Engine 4 Editor Tutorials. [ONLINE] Available at:
http://www.itsartmag.com/features/itsart/wp-content/uploads/2014/03/unreal-engine-4-real-time.jpg. [Last
Accessed 23/03/2015].
http://www.worldofleveldesign.com/categories/level_design_tutorials/recommended-
game-engines.php
Now I am going to have a quick look at some techniques used by professionals in the
industry for planning out levels, creating them and some useful tips on workflow and
time management – once again there is too much to reference in one post so I will link
the articles for reference:

8. Bill Stack (Unknown). Effective Time Management Starts With Clear Vision and Goals. [ONLINE] Available at:
http://www.actioncoach.com/siteFiles/photos/articles/Effective_Time_Management_Start_with_Clear_Vision_and
_Goals.jpg. [Last Accessed 23/03/2015].
http://www.worldofleveldesign.com/categories/level_design_tutorials/how-to-have-
best-level-design-game-environment-year.php
http://www.worldofleveldesign.com/categories/level_design_tutorials/how-to-plan-
level-designs-game-environments-workflow.php
These articles really raise some good points and have helped me in the past with level
design documents and planning for levels that I have had to create as part of my
coursework. To know that I can follow some of the same practises a professional
would have to is pleasing as it shows that I could make it in the industry I want to and
it gives me prior experience to show a potential employer. The articles have also
taught me a lot of neat little tips and tricks to help with my work and how to get the
best out of the level and environment I am creating – it has always been a keen
interest of mine to make each environment feel ‘realistic’ so following these tutorials
has taught me some invaluable knowledge on how to do so.
Unknown (2011). Back On The Grid. [ONLINE] Available at: http://wordpress.quantastical.com/wp-
content/uploads/Game-Workflow-Diagram.png. [Last Accessed 23/03/2015].
Key Designers

9. I have also been researching into some key designers that work in a similar role to the
one I hope to be able to acquire at some point in my career and the first POI so to
speak is a man called Richard Gray, who is better known as The Levelord. He is most
well known for the Duke Nukem series of games which as a matter of fact is one of
my favourite series of games, so I am familiar with his work first hand and can see the
impact he has had on other games as he was the first to try out many features we take
for granted in games today, here is an article for reference: “He is well known for
hiding difficult to find Easter eggs in his levels in the form of hidden messages. Some
of these can only be found by viewing the level in an editor program or cheating in
the game, with a message such as "You're not supposed to be here! - Levelord". Duke
Nukem 3D is known for having many such messages written on walls in some levels.
He also created the very first suspended platform, aka "void", deathmatch called
HIPDM1 or "The Edge of Oblivion" for the Quake add-on pack Scourge of Armagon.
This “islands in space” design of this multiplayer map became a staple in Quake III
Arena and many other deathmatch games. He also created the first player-the-size-of-
a-rat deathmatch level with the release of SPRY or "Behind Zee Bookcase" for SiN.”
User "Ninjak" (2015). Richard Gray. [ONLINE] Available at:
http://static.giantbomb.com/uploads/original/1/13641/1715782-r_levelord.jpg. [Last Accessed 23/03/2015].
http://en.wikipedia.org/wiki/Richard_Gray_(game_designer)
Another key designer is John Romero, one of the men behind DOOM, yet another of
my favourite game series’. He co-founded iD software and proceeded to work on
classic like DOOM and Quake – he designed many of levels alone and many of them
still stand up as some of the most memorable and best levels ever conceived in many

10. top lists. Many also say he coined the term ‘Deathmatch’ whilst working on the
original DOOM title. He also developed many of the SDKs used by iD to work on
their games like DoomED and QuakeED, which were both level editors for DOOM
and Quake respectively.
John Romero (Unknown). John Romero. [ONLINE] Available at:
http://upload.wikimedia.org/wikipedia/commons/thumb/7/77/Small_romero_head.jpg/220px-
Small_romero_head.jpg. [Last Accessed 23/03/2015].
http://en.wikipedia.org/wiki/John_Romero
The third and final designer I have chosen to research into and document my findings
about is Cliff Bleszinski, better known as CliffyB. He is primarily known for his work
at Epic Games on titles such as the Gears of War series, not one of my favourites but
good games nonetheless. Cliff has also worked extensively on the Unreal Tournament
series designing some of the most iconic maps that are still played by thousands
today. Although he eventually quit Epic Games his legend is one that will live on
there until the company dies.

11. Michael Li (2008). Cliff Bleszinski. [ONLINE] Available at:
http://upload.wikimedia.org/wikipedia/commons/f/f5/Cliff_Bleszinski.jpg. [Last Accessed 23/03/2015].
http://en.wikipedia.org/wiki/Cliff_Bleszinski
Whilst this isn’t a comprehensive list of all the key designers who work in
environment/world design it does document some of the most well known and
influential people in that industry. Now I am going to look at some of the practices
that these people used when they were working on projects.
Techniques of the pros
Whiteboxing
The first technique which is definitely more commonly used today rather than back
then is whiteboxing. It has been made popular by Epic Games and the Unreal team,
with many other designers implementing it after realising the capabilities of how it
works – here is a small paragraph quoted from a forum post on the term which
explains what whiteboxing is and how it is used most commonly:
“1. A Designer/Level Designer will rough out their level idea from 'concept' to in-
engine without really measuring distance or heights just to get a real idea of their
design in a 3d perspective.
2. Second Iteration of whiteboxing would be to clean up areas and set up the
measurements for correct functionality of gameplay, game cameras/ framerate ...etc. It
will be very similar to the image feanix posted. This Stage will certainly be tested the
most. Alot of feedback should be coming up - so changes for gameplay, cameras and
playable areas are imminent
3. Once most areas of the whitebox ( or what ever color it is by now) are decided on.
It can be cleaned up even more. Cutting Meshes up into sections. Thinking of

12. tillable,reusable parts. Fleshing out areas with minor details to get a good hint of the
full scope of the level. ( my self have combined steps 2 & 3 depending on the size and
complexity of a map).
Then youre all ready to farm your work out to the Artists! Spending more time on the
whitebox eliminates alot of backward steps found later on in building an
environment!”
I have used this technique a few times in my coursework and I have to say from
personal experience that I didn’t find it particularly useful in application and whilst it
did give me a better sense of scale the overall effort and time used didn’t seem worth
the outcome.
Jon Tittley (2014). THE TRUTHS AND MYTHS OF BEING A LEVEL DESIGNER. [ONLINE] Available at:
http://community.vfs.com/arcade/files/2014/04/Whiteboxes.jpg. [Last Accessed 23/03/2015].
http://www.polycount.com/forum/showthread.php?t=84317
Pre-production planning
Another common technique is using a pre-production document to plan your level in
great detail; these documents usually have around 13 subsections that document
something about the style and flow of the level/environment. Then finally the level is
built sticking to a timed plan created before production begins. I have used this
technique to plan a simple level as part of my coursework and I have to say from
personal experience that it rally did help with the scope and idea of the level and if I
ever thought I was straying or had no direction I would simply take a look at my
document and carry on building my level with complete focus.
Sareesh Sudhakaran (Unknown). A Quick Guide to Planning your Pre-production Schedule. [ONLINE] Available
at: http://wolfcrow.com/blog/wp-content/uploads/2013/05/PrepSchedule.jpg. [Last Accessed 23/03/2015].

13. http://www.worldofleveldesign.com/categories/level_design_tutorials/how-to-plan-
level-designs-game-environments-workflow.php
Potential Salary/Other Opportunities
In this section I am just going to take a brief look on potential salaries that this role
would command in a professional capacity. Judging from a reliable internet based
source I have deducted that this role typically command anywhere from around 23k
p/y – 35k p/y depending on experience and location. Some of the 'higher-up' roles like
seniors and the like typically earn closer to 30k a year whereas the typical
environment designer will earn anywhere in the stated above area. For me this sounds
like more than enough to be able to earn a good living from and with the
competitiveness of the industry and the jobs in it I feel that the salary will only
continue to rise. There are also other factors such as entry level to be considered as
these sorts of roles will only command somewhere in the region of 15-20 thousand a
year, which is by no means bad but could require you to work 2 jobs if needed. The
career path I would be undertaking is fairly simple as it generally relies on experience
and the number of years in the 'business' with many sources stating that usually
around 3 years experience with a company is mandatory to become a senior in a role.
"AVCF" (2011). QUANTO GANHA UM PROFISSIONAL DA INDÚSTRIA DE GAMES NO EXTERIOR?.
[ONLINE] Available at: http://wac.7725.edgecastcdn.net/807725/website/wp-
content/uploads/2013/04/designers.png. [Last Accessed 07/04/2015].
http://www.glassdoor.co.uk/Salaries/environment-artist-salary-SRCH_KO0,18.htm
The experience required for the role however would allow me to be open to a few
different areas of media industries, such as television and film – as the skills and
knowledge required for lots of the roles in these media areas such as animators, artists
and set design. All of these areas have varying salaries but the skills I am going to
learn will enable me to pursue these career paths if I so choose.

14. Portfolio Planning and Techniques
The main point you need to consider when putting your portfolio together is does it
stand out? Because if not then no matter your skill you most likely wont be receiving
any job offers. When creating a portfolio to show to potential employers you always
want to have a clear idea of what work you are going to show to the company. This
can be important depending on what company you are applying to, for example if you
applied to Rockstar games with a portfolio full of fantasy based designs you would
probably be declined due to the subject matter irrelevant of your skills. You always
also want to show your best work in the genre and style the company uses, this will
show you have a wide variety of styles and can work in many different ways. The
placing of your work can also be important as if you throw all of your best pieces to
the front they will be quickly be forgotten and overshadowed by any poor pieces, so
make you need to make sure that you don’t include any work you view as subpar.
Anthon Thomas (2008). November 2008 Portfolio. [ONLINE] Available at:
http://4.bp.blogspot.com/_n2WHlLOgdm4/SQYVj040QMI/AAAAAAAAAAU/-
DRlukjAF4E/s400/1Front+Cover.jpg. [Last Accessed 07/04/2015].
These are some extra points from an online article that documents a list like structure
of what makes a good portfolio in the games industry. The list goes as follows:
- Show You’re Already Making Games
- Let Us Play Those Games
- Talk About Your Experiences
- Don’t Rely On The Design Docs
The article then gives a brief conclusion of the fundamentals of creating and planning
your portfolio so it can create the best impact. “With your portfolio, you are trying to
convey your ability to look at games from a design perspective, whether it be a simple
indie title or a trading card game you made out of pieces of cardboard. The best (and
perhaps only) way to do this is to actually make games. So focus on demonstrating
your passion and desire as a game designer and your portfolio will no doubt stand out
because of it.”
https://www.nyfa.edu/student-resources/how-to-create-a-game-design-portfolio-that-
stands-out/

15. To get a visual understanding of what work and what doesn’t I did some internet
research and came across a blog that has documented some good and bad portfolios
and listed the reasons for each verdict, I definitely recommend checking it out as it
gave me a lot of good tips for what to do and more importantly what NOT to do.
http://digitalegypt.blogspot.co.uk/2012/10/good-bad-ugly-portfolios-1.html
This concludes my research blog into becoming a level designer in the professional
games industry. This blog is the second part of my presentation module for the
DD2000 module for the second year at futureworks on the games design course. I
have covered all of the areas I intended to as referenced in my project proposal.