Spatial Design and Architecture in Games: Promo and Concept Art

Spatial design and architecture are key elements in creating an engaging gaming experience. These aspects help shape the emotional atmosphere, influence gameplay, interaction with characters, and the overall perception of the game world. In game design, space and architecture serve not only aesthetic but also functional purposes, aimed at simplifying or complicating the player's movement, indicating goals, and creating a narrative.

Designing spaces requires a deep understanding of architectural principles, a balance of composition, and gameplay. This lecture is dedicated to exploring the role of spatial design and architecture in games and how they influence the player's perception of the game world. In this article, we will look at how level designers use architectural theory in their work. We will examine in theory several principles of building architectural space, and then look at real examples. In this way, we will not only learn the methods by which level designers use, subvert, or otherwise reinterpret architectural theory for their own needs, but we will also see how the game's genre influences the decisions they make.

Architectural and engineering structures are an important part of human civilization, since they allow space to be organized in accordance with people's needs. With their help, order is created and the human environment is separated from the wilderness.

The work of architects and level designers is in many ways similar: both are engaged in organizing space with certain goals and constraints in mind. However, there are differences between their tasks. Level designers focus more on the player's experience and gameplay mechanics, whereas architects must take into account such factors as the properties of materials, the available budget, and the size of the plot.

Level designers also face technical limitations. For example, when creating maps for Unreal Tournament, they had to work within a limit of 160 polygons. The famous Facing Worlds map came about because the designer decided to devote most of the polygons to creating two enormous towers.

Despite this, level designers still have more freedom than architects, since in games you can create buildings of the most incredible shapes and sizes. However, if a game strives for realism, the architecture must conform to the laws of the real world, and every element must have a logical justification. This brings architecture and level design closer together: in both, every object must serve a specific function.

It is important that in level design all elements conform to the internal logic of the game. If something seems illogical, it can break the player's immersion in the gameplay.

1. The Main Functions of Space and Architecture in Games

Architecture in games performs several important functions:

1. Creating atmosphere and immersion:

   • Spaces and buildings define the character of a game and reinforce its atmosphere. It is important to understand how textures, colors, and lighting can create tension or relaxation.
   • For example, in horror games, abandoned buildings with dark corridors and shadows heighten the feeling of fear and the unknown (as in Resident Evil or Silent Hill), whereas in adventure games, bright open spaces can evoke a sense of freedom and adventure (for example, in The Legend of Zelda).

2. Navigation and movement:

   • Space should guide the player. Architectural elements such as corridors, staircases, and passages help lead the player naturally through the level, reducing the need for additional hints.
   • Level design should be intuitive so that the player understands where to go next. For example, open doors, road signs, or light can guide the player, as seen in Portal or Half-Life.

3. Gameplay mechanics and interaction:

   • Spaces and architectural elements create opportunities for interaction. For example, objects such as staircases, bridges, platforms, and elevators can be not only a visual part of the world, but also gameplay mechanics that the player uses to progress through levels.
   • In games such as Assassin's Creed, buildings and streets become part of the parkour mechanics, allowing the player to move across rooftops and walls.

4. Narrative and story:

   • Architectural elements can tell a story without words. Ruined buildings, abandoned objects, and traces of catastrophe create a narrative, explaining to the player what happened in the world before the game began.
   • In The Last of Us or Bioshock, architecture serves as a tool for conveying the story of destruction, a post-apocalyptic world, and moral conflicts.

2. Principles of Spatial Design

1. Purpose orientation and structure:

   • Space in a game should be designed with the goals that the developer wants to achieve in mind. For example, for a combat arena it is important to create equal conditions for players, where they can use objects for cover and tactical maneuvers.
   • It is important to maintain a balance between open and closed spaces. For example, in games with stealth elements, such as Hitman, closed zones create the opportunity for stealthy movement and planning.

2. Open and linear spaces:

   • Linear levels guide the player along a predetermined route, creating a clear sequence of events. An example of this is the game Uncharted, where the player moves through linear but design-diverse levels.
   • Open spaces (open-world) provide freedom of action, allowing the player to explore and interact with the world in any order. Games such as Red Dead Redemption or The Witcher 3 offer vast open worlds with various types of landscapes and architecture.

3. Scale and proportion:

   • The proportions of space play an important role in the perception of a game. Spacious, open areas can evoke a sense of grandeur and freedom, whereas narrow corridors create tension and a feeling of claustrophobia.
   • In games such as Shadow of the Colossus, enormous statues and monumental structures help convey the scale of the world and make the player feel small in comparison with the grandeur of the surroundings.

4. Visual landmarks:

   • Visual landmarks such as large buildings, towers, or monuments help the player orient themselves in space. These objects can serve as beacons that the player strives toward.
   • In Dark Souls, landmarks such as castles or enormous trees are used to point to key zones and motivate the player to move forward.

3. Architectural Styles in Games

1. Realistic architecture:

   • Games such as Assassin's Creed use architecture based on real historical prototypes. The developers recreate cities, buildings, and streets based on archival data, which adds realism to the game and immerses the player in a particular historical period.
   • In games with realistic architecture, it is important to pay attention to details and historical contexts in order to create a believable environment.

2. Fantastical architecture:

   • In fantasy or science-fiction games, architecture can be more abstract or eccentric. In games such as Elder Scrolls or Halo, structures can be of unrealistic sizes or shapes, reflecting the nature of the world.
   • Such architecture helps create a unique atmosphere, different from the real world, allowing players to feel the novelty and magic of the game space.

3. Architecture of the future and retrofuturism:

   • In science-fiction games such as Cyberpunk 2077 or Deus Ex, architecture often represents a concept of the future. These worlds combine elements of classical architecture with high-tech structures and design.
   • In retrofuturistic games such as Bioshock, architecture can combine styles of the past with visions of the future, creating a unique aesthetic experience.

4. The Influence of Spatial Design on Gameplay

Spatial design directly affects how the player interacts with the game and what emotions they experience. Architectural elements can control the player's movement, hide or reveal information, and also shape game strategies.

1. Controlling the pace:

   • Developers can use space to control the pace of a game. For example, narrow corridors can slow the game down, creating tension, while open areas allow the player to move freely, reducing tension.
   • In games with a fast combat pace, such as Doom, open arenas allow players to engage in active battles, whereas narrow spaces increase risk and evoke a sense of anxiety.

2. Functional elements of the environment:

   • Important objects and elements of the environment should be obvious and easily identifiable to the player. For example, in puzzle games such as Portal, it is important that interactive environmental elements (buttons, portals) be noticeable and intuitive to use.

3. Social spaces:

   • In multiplayer games, architecture and space can influence interaction between players. Common areas such as cities or hubs create opportunities for communication and trade.
   • In games such as World of Warcraft, the architecture of cities and settlements plays a key role in creating social interaction between players.

5. Architecture in Games

The theory of architecture encompasses many aspects and is essentially a fusion of numerous artistic, social, and psychological techniques. However, regardless of the architectural movement or era, one idea always remains unchanged: architecture is a reasoned way of organizing space.

Despite the fact that levels in video games are immaterial, players interact with game spaces the same way their physical bodies would interact with the surrounding world. And this means that an architectural approach can be applied to level design as well.

In games, architectural spaces are always created with gameplay mechanics in mind, in order to provide the necessary experience for the user. For example, narrow corridors and labyrinths restrict the player's visibility, which heightens the atmosphere of uncertainty and tension. This technique is often used in the horror genre. In Silent Hill, the player often found themselves in enclosed spaces where danger could be hiding around every corner, which heightened the tension.

On the other hand, labyrinths and catacombs can awaken curiosity. The player does not know where rewards await them, and therefore strives to explore everything. In the indie game Ape Out, tangled labyrinths help the player feel like a wild animal caught up in human structures, striving to break free.

Open spaces in games, unlike closed ones, give players more freedom to choose their path and playstyle. In linear levels, the player is guided by walls that restrict their movement, while in an open world, landmarks and points of interest that help them stay on course are important.

Concept Art

Concept art is the first stage of creating a game's visual style, a tool for searching for and developing ideas, not a final result. Its main goal is to lay the foundation for further work on the visual part of the project, providing the team with a starting point for discussion and experimentation.

Main characteristics of concept art:

1. Functionality, not beauty:
   Concept art is not created to be a work of art. Its task is to convey an idea quickly and clearly. What matters is not how beautiful it is, but how effectively the art helps the team move forward.

2. Speed and variety:
   Concept artists must quickly create sketches, offering different variations of characters, environments, objects, or other game elements. This speeds up the decision-making process and helps find optimal solutions.

3. Variety of techniques:
   Concept art can be executed by any means: from a hand sketch on paper to combining photographs and fragments of other works to save time. What matters is not the tool, but the result.

4. Workflow:
   The concept artist works closely with game designers and other members of the team. Their work helps clarify how game elements will look and develop a common visual style.

5. Limited availability:
   Concept art is rarely shown to a wide audience. Usually only members of the development team see it. Players encounter it only if it is used for marketing, for example in trailers or promotional materials.

The role of concept art in development:

• Creating atmosphere: Sets the tone and style of the future project.
• Saving time: Allows ideas to be visualized at an early stage and unnecessary work to be avoided.
• Communication: Ensures a shared vision between departments (game designers, artists, developers).
• Testing ideas: Helps check how a particular concept will fit into the game.

An example of the workflow with concept art:

1. The game designer describes an idea, character, or scene.
2. The concept artist makes several quick sketches.
3. The team discusses the proposed variations, choosing the most suitable one.
4. The artist refines the chosen idea, adding more detail.

Concept art is not about final beauty, but about creating the game's visual language. It is an important stage that helps turn ideas into reality and lay the foundation for creating a cohesive and engaging game world.

Promo Art

Promo art is artistic material created specifically for marketing campaigns and promoting a game. Unlike concept art, promo art focuses on maximum quality, detail, and visual appeal, since it is directly aimed at the audience and often becomes the "face" of the game in advertising.

Characteristics of promo art:

1. Purpose orientation:
   Promo art is created to attract attention, form a first impression, and increase interest in the game. It includes banners, posters, icons for digital stores, images for social media, and other promotional materials.

2. High detail:
   Work on promo art requires maximum attention to quality. The images must be bright, professional, and memorable in order to compete effectively in the market.

3. Close work with marketing:
   The promo artist works with the marketing team to accurately reflect the key aspects of the game that they want to convey to the audience. This could be its unique atmosphere, main character, or an iconic scene.

4. Creating additional materials:
   In addition to illustrations, promo art often includes edited screenshots, artistically designed logos, animations for trailers, and other media elements.

5. Versatility:
   Promo art must be suitable for various formats and platforms: banners, printed products, app store pages, and social media.

Differences from concept art:

• Purpose: Concept art is created for internal use and developing the visual style, whereas promo art is oriented toward the external market and promotion.
• Quality: Promo art requires maximum detail and final processing, while concept art often remains in the form of sketches.
• Creators: Promo art is created by specialists oriented toward marketing, whereas concept art is developed by artists working on the visual part of the game.

Examples of using promo art:

• Posters for exhibitions such as E3 or Gamescom.
• Main images on Steam, App Store, or Google Play pages.
• Banners for social media and advertising campaigns.
• Illustrations for boxes or collector's editions.

Promo art is a visual tool that creates the first impression of a game, attracts new players, and shapes the brand image of the project. It is one of the key elements of successful promotion in the industry.

Game Art

Game art includes all the visual elements that the user sees directly during gameplay: characters, environments, game locations, special effects, and interface objects. It is the most important component, which determines the visual perception of the game and influences the player's immersion in its world.

Key aspects of game art:

1. Variety of elements:

   • Characters: Protagonists, NPCs, enemies.
   • Environment: Scenery, landscapes, interiors.
   • Game objects: Weapons, tools, potions, etc.
   • Special effects: Explosions, magic spells, weather effects.

2. Defining the art style:
   At an early stage of development, it is necessary to choose the game's overall visual style:

   • 2D or 3D: Flat graphics or three-dimensional models.
   • Stylization: Cartoonish, stylized, or photorealistic approach.
   • Technical requirements: For 3D models — polygon count and textures, for 2D — resolution and format.

   This decision influences the overall tone of the game and sets the direction for the artists' work.

How to properly draft a brief for artists:

1. Clarity and specifics:
   The brief should clearly state exactly what needs to be created. For example:

   • Character: The protagonist is the savior of the world, must evoke a feeling of hope, and be visually charismatic.
   • Object: A potion sold for real money should stand out against other objects.

2. Description of the art style:
   Specify all the details:

   • Visual aesthetics (color palette, atmosphere).
   • Comparison with existing games, if possible.
   • References: images that will help the artist better understand the task.

3. Technical specifications:
   Specify the requirements for the final result:

   • For 3D: polygon count, texture size, model weight limits.
   • For 2D: screen resolution, image formats.

4. Functionality and context:
   Explain where and how the art being created will be used:

   • The character will be animated, so a topology convenient for movement is important.
   • The object will frequently appear on screen, which means noticeable icons are needed.

5. Feelings and emotions:
   Describe what emotions the characters or environment should evoke. This will help the artist better convey the atmosphere of the game.

The role of the art director:

In game studios, the decision about the game's overall visual style is made by the art director. They are responsible for coordinating the work of the team of artists and ensure that the content being created corresponds to the goals of the project. The art director also approves the final versions of the art and interacts with other departments in order to achieve unity of all the visual elements.

Game art is the result of teamwork, in which a clear brief, the right choice of style, and attention to detail play a key role. A properly organized art development process helps create a visually appealing and functional game world.

A person's emotional reaction depending on the human-likeness of the observed object (hypothetical graph)

Emotionally Oriented Spatial Planning

«Parti pris» or «parti» is a design method that some architects use in the early stages of planning to determine the spatial parameters of their project. Being a schematic interpretation, a kind of starting point for the entire project, a parti can be supplemented with external ideas that often go beyond the physical form of the object. In this way, an architectural object can become the physical embodiment of a certain philosophical concept, if such a concept was laid into its foundation.


Figure 1. An example of a parti: the design of a Mining Center for the engineering faculty of the Catholic university (Santiago, Chile)

The Roman concept of genius loci, or the «spirit of place», is also directly related to architecture: it says that every place possesses not only certain physical parameters, but also its own character. In the case of level design, the spirit of place can be created through the lens of a certain presumed experience already gained by the player. Thus, in the chapter «Déjà Vu on the «Ishimura» of the horror game Dead Space 2, the player once again finds themselves at the starting location of the first part of the game and, in their flashbacks, passes through its most memorable moments. The spirit of place here can be regarded as a way of heightening dramatic tension throughout the entire spatial volume of the level.

The «Figure-Ground» Principle

So, both architects and level designers must possess a deep understanding of how to properly organize forms and spaces. Here Gestalt psychology comes to their aid — a theory that studies human perception of the visual world.

Level designer Christopher Totten calls level design the «art of contrasts», to which the figure-ground principle — one of the components of Gestalt theory — can be applied. According to this principle, all objects in a person's field of vision can be divided into two contrasting types of elements: figures and ground.

In the words of Gestalt psychologist Kurt Koffka, «the whole is nothing but the sum of its parts». This idea is presented by him through the lens of architectural design: form and space need to be given equal attention so that they are distinguishable and correctly interpretable. Architect Francis Ching defines the relationship between figure and ground as a «unity of opposites», thereby pointing out that both components are equally important for visual composition.

There are two ways of placing figures in space, which determine how the surrounding ground will be visually perceived:

• Positive space is formed when figures are arranged so that there is yet another form between them. The ground itself in this case can also be perceived as a separate figure.
• Negative space arises when figures are placed at some distance from one another, as a result of which the ground between them turns out to be uncontrolled and formless.

In other words, in architecture, positive space equals built-up space, and negative space equals unbuilt space.

The principles underlying the «figure-ground» theory, when applied to architecture, are also transformed into another formulation: «architectural form arises at the junction between mass and void». This statement is reflected in all applications of spatial theory both in architecture and in level design. Here mass and void are the material equivalents of figure and ground, and to preserve visual clarity there must always be a tangible contrast between form and space.

The contrast between figure and ground has many ways of being achieved. Among them are color, volume, and texture.

Being a two-dimensional platformer, N++ cannot take into account all possible architectural aspects. But despite this, the minimalist level design of the game emphasizes the symbiotic dichotomy between mass and void: figures and ground here are easily distinguishable from one another thanks to contrasting colors.


Figure 2. N++ (2016), the Parkour Park Prototype level

Here the white rectangles act as physical objects, and the dark-blue void around them is the space in which players move. The correctly chosen placement of obstacles and enemies in the game space helps prevent the player from misunderstanding what on the screen is a figure and what is ground. Such a problem can arise when both elements of the visual composition have roughly equal proportions.

Some levels in N++ do indeed suffer from this: their physical masses and empty spaces occupy visually equal amounts of space and thereby disrupt the distinction between figures and ground. This situation can be aggravated if the level's masses seem like visual continuations of the game's border. An example of this is the Learning Process level.

Possessing a minimalist color palette, such scenarios can potentially confuse the player, since in this way the game environment becomes more difficult to read. On the other hand, such abstract visual compositions can be chalked up to the distinctive style of the game, creating a peculiar spirit of place.


Figure 3. N++ (2016), the Learning Process level

Landmarks

Kevin Lynch, the well-known American urban planning specialist, in his book «The Image of the City» proposed that the urban environment consists of five key forms: paths, edges, districts, nodes, and landmarks. One of these elements — the landmark — can be considered an important tool in level design as well. On the urban scale, landmarks are usually physical structures such as towers, buildings, or statues that stand out against the general background and serve as spatial anchors, reliably indicating direction during movement. In addition, being for the most part bright and memorable structures, landmarks can also contribute to a city's spirit of place.

Lynch believed that the main factor for an object to be considered a landmark is its visual contrast with the ground, which can be achieved with the help of the figure-ground principle. The Eiffel Tower is perhaps one of the most famous examples that effectively uses this principle. Here the sky is that very ground onto which the figure is placed. The Eiffel Tower represents a landmark of enormous scale for Paris, which can be observed at a distance of up to several kilometers from its location.


Figure 4. The Eiffel Tower. Architect: Gustave Eiffel, 1889

Naturally, to achieve a similar effect, level designers can use skyboxes. A skybox can be given such settings that it is visually distinguishable from the game's horizon, as a result of which a huge amount of negative space will be used as ground for landmarks.

In the MMORPG «World of Warcraft: Battle for Azeroth», when arriving in the fictional city of Dazar'alor, players see a monolithic construction: it is a gilded pyramid resembling similar structures in Central America. This pyramid houses the upper echelons of local society and the pinnacle of power. Visually, the pyramid contrasts with the sky ground in exactly the same way that real-life landmarks like the Eiffel Tower do.


Figure 5. World of Warcraft: Battle for Azeroth (2018). The pyramid in Dazar'alor

The placement of the Dazar'alor pyramid conforms to the architectural rules of spatial elevation. Thus, the physical elevation of a figure above the general terrain is often a culturally motivated decision, since it speaks of the religious or social significance of the object for the area over which it is visible. The pyramid is one of the highest places on the entire continent of Zandalar, which points to its significance for the cultural identity of the city. Its location in the midst of the homeland of the Zandalari trolls symbolizes the race's dominance over the adjacent land. This idea is also continued in the bold triangular shape of the structure, imitating the surrounding mountains.

In the same way, the Citadel in Half-Life 2 dominates the surrounding landscape, but does so in such a way that its peak, lost in the clouds, seems overwhelmingly oppressive. The futuristic, muted outlines and monstrous size of the Citadel give it a contradictory yet contrasting appearance compared to the old brick houses of City 17. It evokes a feeling of fear and unease, which, according to Totten, is entirely appropriate, since in this way the game immediately signals that the Citadel is the dwelling place of the game's main antagonist.

Figure 6. Half-Life 2 (2004). The Citadel of City 17

Using Landmarks as Path Indicators

Among other things, level designers can use landmarks as physical goals or places that the player needs to reach. The effect of using such waypoints can be reinforced by an architectural technique called «denial and reward». Its goal is to derive the greatest satisfaction from arriving at a landmark or other destination.

In the context of level design, the «denial and reward» technique is used in the process of the player following a landmark. Sometimes the landmark temporarily disappears from view and then is shown from a different distance or angle. Discovering the landmark at an increasingly close distance can indicate the passage of time for the player in a natural and unobtrusive way, prompting them to continue their journey.

During travel, this technique shows itself at its best. Suppose the main goal of the game is to reach a mountain, a distant landmark that is introduced into the narrative from the very beginning. The mountain often disappears from sight when the player completes side quests and crosses abandoned terrain, but then reappears — and each time closer to the player. As they approach it, ever more visual details become available to the observer: among them changes in weather or fragments of ruins that were impossible to see from a greater distance.

Positive Spaces in the Urban Environment

In the urban environment, architectural figures are often placed in such a way that they form additional spaces within themselves. These positive spaces perform the functions of «public spaces», in which interaction between people takes place. On the Nolli map presented below, one can observe such spaces located throughout Rome.


Figure 7. A fragment of the Nolli map (1748)

Large cities in World of Warcraft are social environments that use the same properties of positive space. As in many real cities, positive spaces in Stormwind are formed through the rational placement of architectural figures. On the map of Stormwind, one can see that the city has its own districts, distinguished from one another by roof color. This is the main and simplest way to reflect the visual identity of this yet another of Lynch's five forms. In addition, for a clearer and more visual division of the space into districts, Stormwind has water canals, thanks to which the transition from one district to another becomes more obvious for players.


Figure 8. World of Warcraft. Map of Stormwind

In Stormwind, the trade district is the place of the main concentration of social interactions between players' avatars. Their large number can be explained by the presence here of services that are rarely found in the rest of the game world. This refers to the bank and the auction house. The positive spaces in the trade district can be regarded as a «social canvas», where a high concentration of players increases the likelihood of their interaction. As in the case of many public spaces in the real urban environment, the high activity of players can also be taken as a landmark of this district.


Figure 9. World of Warcraft. The «figure-ground» diagram of Stormwind

Negative Spaces in Multiplayer Shooters

Like positive space, negative space in urban design is determined by the spatial relationships between architectural figures. As in the case of landmarks, game spaces can be visually identified by comparing them with the surrounding negative space. This space, in turn, arises when the arrangement of figures does not imply gaps, causing a ground that is chaotic by nature to arise between them.

The abnormal popularity of the Facing Worlds map from the game Unreal Tournament is often explained by the correct use of negative space. In the case of arena shooters, negative spaces allow players to distinguish other players — both allies and enemies — from a greater distance. In addition, negative space helps identify game objectives and large-scale threats.


Figure 10. Unreal Tournament (1999), the Facing Worlds map

Level designer Jim Brown contrasts the rational use of negative space in Facing Worlds with its lack on the Favela map in Call of Duty: Modern Warfare 2. Here the negative space of the surrounding world is difficult to distinguish from the game space, which leads to confusion and hence to the logical dissatisfaction of players. However, Brown insists that the environmental design on this map merely corresponds to its architectural source — Brazilian favelas.


Figure 11. Call of Duty: Modern Warfare 2 (2009), the Favela map

The main threat to players in competitive shooters is the presence of players from the enemy team. Therefore, level designers must emphasize negative spaces in order to make the figures of players distinguishable against the background of the environment. This approach should reduce external factors of frustration unrelated to the play skill of each individual player — in this case, frustration can result from losing by being killed at the hands of an enemy.

In Modern Warfare 2, the single-player mission Takedown also takes place in a Brazilian favela: here the same elements are used as in the case of Favela, and therefore the same lack of visual clarity is characteristic of it as in its multiplayer equivalent. Level designer Dan Taylor uses this level to prove that «confusion is cool», but acknowledges that such an idea needs to be implemented very carefully. So it can be argued that here the absence of negative space would distract from a quality playthrough of the level to the same degree as its presence would in Facing Worlds.

Rethinking Architectural Conventions for the Needs of Level Design

Although many spatial aspects of level design are analogous to their architectural sources, the ways these spaces are perceived by users are different. Guided by the philosophy of the architect Le Corbusier regarding modern architecture, Totten argues that level design is often built around problems or other situations that must be overcome by the player: «a game level must be a machine for living, dying, and creating tension, using all available means to achieve this goal». To this end, some classic principles of architecture must be altered or overturned.

Spatial Aspects of Designing a Multiplayer Map

First appearing in Call of Duty: Black Ops, the Nuketown map was warmly received by the gaming community and has since appeared in later installments of the franchise as well. The popularity of Nuketown, like that of many other well-known multiplayer maps, can be partly explained by the skillful use of synergy between positive and negative spaces.

The organization of space in Nuketown is based on a typical suburban «bedroom» district. Positive and negative spaces are combined here in order to separate residential houses and movement zones from one another. Similar solutions can be found in the layout of various university campuses.


Figure 12. Call of Duty: Black Ops (2010). The Nuketown map, laid out according to the «figure-ground» principle

Although multiplayer maps like Nuketown do correspond to the same arrangement of architectural forms as in real suburban spaces, their purposes are adapted to better suit the shooter genre. The open positive spaces of Nuketown are located on either side of the barrier and contain the player's initial respawn points. These areas are well protected from enemy fire. In order to encounter members of the enemy team, players must make a conscious decision to leave the safe zone provided by these spaces and move into the central zone, where lines of sight for shooting open up. The vehicles on the map are used to separate this negative space.

This map also features the concept of dividing space into safe and combat zones. To identify them, certain architectural solutions regarding positive and negative space are also used, where the central area of Nuketown can be regarded as a combat zone, since it is an open area exposing the player to potential threats. The houses, occupying the largest area on each team's side, are, by contrast, shelters, since their positive space is used to block enemy lines of sight and protect the player from fire.

The dichotomy between combat and safe zones in the design of a multiplayer level should influence the player's spatial experience by using their survival instincts. Thus, players who are in a combat space probably subconsciously seek shelter and its protection. From there, the player can once again risk venturing out into the central zone in order to engage in battle with enemies.


Figure 13. Call of Duty: Black Ops, the Nuketown map

In addition, players can use the balconies of the houses to gain a height advantage over an enemy in the combat zone, although this solution requires sacrificing the safety provided by the house.

Finally, it is worth mentioning that the size of this level is small compared to other maps used in this genre. This means that transitions between positive and negative spaces happen more frequently here, and therefore the frequency with which players encounter one another also increases. The spirit of place of this level can be classed among the most intense, thrilling multiplayer experiences.

Conclusion

Spatial design and architecture in games play a central role in shaping the player's experience. From navigation to atmosphere, from pace to narrative — every space must be carefully designed to support gameplay and immersion. The use of architectural principles and an understanding of how the player interacts with the surrounding environment make it possible to create complex and engaging game worlds that are memorable and inspire players.

See Also

• gameplay
• game structure
• level design
• [[b12586]]
• level metrics
• game mechanics
• [[b12578]]
• [[b12577]]
• [[b12576]]

See also

• Practical Level Design for Different Game Genres
• Spatial Design and Architecture in Games: Promo and Concept Art
• Designing Game Levels and Environments: Procedural Generation and Patterns