FUNDAMENTALS:
Movement impetus- How fast the player goes
through the level.
- · Increasing Impetus- Continual movement. Pace a level in a basic way, introduce a threat from behind, enemy behind makes the player more want to run rather than hide. Present an objective ahead, a reward to move ahead. Something to aim towards. Imposing a time limit. Narrow physical options, corridors can make the player move faster as there is less to take in and look at. Focal points, makes the player want to get to it. As simple as an item the player can see at the end of a corridor etc. Architectural pressure, this is more psychological. Getting to an object before it is taken away. An mpc leading the way, a leader of the group or partner etc.
- · Decreasing Impetus- Slowing the player down. Soaking up atmosphere, making them explore the immediate environment. Wow moments. Obstacles, lush scenery. Thinking about how to progress ahead. How the player moves, the terrain can physically slow the player down. A threat ahead, increased tension. As the player can see the threat before they see the player the player has to think and slow down about how to progress. Open world games because of their multiple routes. MPC halts or slows player through dialog or role-play. Collecting inventory items. Story exposition, cut scenes for example. Though it can effect the player from feeling progression, don’t let the player feel bored.
Threat-
- · Environmental. Falling etc. Traps can slow pacing. Destructive landscape can fasten pacing etc.
- · Combat. Can slow or quicken the player. Being pursued will speed the player, a blockade will slow them down. A group of enemies can slow the player down as the player needs to figure their tactics out.
- · Proximity of threats. A surprise close combat attack will quickly fasten the player. Enemies at a distance will slow them down. Finding cover can quicken the player.
Tension-
It occurs in the belief of an unknown
danger; it is hugely significant when pacing a horror game.
- · The unknown is massively powerful; when a monster reveals itself it can take the scariness away. Hints and environment structure can achieve tension too.
- · Atmosphere can be excellent when executed well. Audio and striking visuals can achieve this.
- · The known. Sneaking around in the dark, stealth. The anticipation of being caught. Knowing what the monsters look like but not when they will appear.
Tempo-
Always think about ho will be playing it,
put yourself in their shoes.
- · Tempo in Movement. High tempo is fats decisions, can be frantic. Low tempo is calm game playing. Have neither for too long. It’s determined by the mechanics and environment. Looking around and exploring is low tempo. More acrobatic movement will be high tempo, like battles. When there is great flow in the design high tempo is achieved.
- · Tempo in puzzles, their nature tends to be low tempo. Time pressure can make puzzles high tempo.
- · Tempo in combat. Usually high tempo. Requires high levels or reaction and split second decisions. General skirmishes it goes up then down, with a boss fight it stays quite high and completely drops once beaten.
Structures of Pacing-
- Peaks and troughs. How these fundamentals interact with each other. A game needs to use both well, using one for too long can ruin pacing. Timing of events can determine game pace. A sequence of events in a level can keep the game going. Mechanics need to work well together, as any mechanics put together wont always work. Pattern in gameplay can structure the form. The mechanics use to achieve the desired gameplay. How many things are happening at one time in the level? The number of enemies, heights of jumps etc.
Form- The manner in which the level and
pacing is formed. It does not have to be just peaks and troughs throughout.
Timbre- Defines what is required of the
player. The quality of the gameplay because of mechanics etc.
Dynamics- The specifics of the mechanics,
how many shots fired, how much damage caused, how many enemies in a fight etc.
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