Folded Level Design

Ever since Super Mario Brothers brought side scrolling levels to the masses, gamers have been running through the world without ever looking back. Kick a turtle shell to the left, and run away to the right for safety. Narrowly jump over a Hammer Brother and keep moving until he's off the screen and out of your life forever. Even though the majority of levels made nowadays aren't 2D side scrolling, they do have a starting point and an ending point with little to no backtracking.

Today I want to focus on the kind of level design that isn't about leaving things behind. I want to focus on a type of level design that is like climbing a tall tree to rescue a cat; going one way provides one kind of challenge (ie. climbing a tree), and getting back is a different challenge that builds upon the original challenge by adding a layer of depth/complexity (ie. climbing down a tree with a cat in one hand). I call this kind of level design folded level design.

Folded level design is different from back tracking, or playing new level/scenario that uses a familiar environement. Back tracking is simply traveling along previously visited paths and areas and usually involves the same challenging game elements as the original pass through. In other words, back tracking is simply going back without any significant changes or surprises. Likewise, reusing an environement from a previously visited environement is merely making a new level at a fraction of the effort.

Folded level design is like like folding a piece of paper; the two halves cover the same area but there's an addition layer to consider. For example... on your way to the kitchen you had to dodge all kinds of domestic objects that are now hazards in the dim lighting. But on your way back, you must to reconsider your approached due to the glass of water you are carrying in each hand.

The genius of folded level design is in how it develops a set of knowledge for the player and then manipulates it. In the cat tree rescue example, climbing up a tree is a challenge due to gravity, footing, and visibility. While ascending, one would gather knowledge about the arrangement and strength of the branches. Using both arms and legs, one would climb up the tree one step at a time. Upon reaching the top and with the cat (the crease) in hand, the challenge is folded. The crease is simply a term for the point at which a level folds upon itself. Now the climber has one less arm/hand to use, the pole like branches are transformed into downward steps, and the cat must be protected from stray branches. In this scenario, the knowledge of climbing branches is reanalyzed. A great path going up, could be a risky path going down.

In a video game, a level can be designed so that a player must perform certain actions before the level folds upon itself. Doing this is a safe way to ensure that the player has enough information to make the best decisions once the next layer is added. The clearest examples I can think of come from the Metroid series. Instead of using text boxes to explain what each power up does, the levels are design in a way so that the player "traps" themselves getting a powerup and then must use that powerup to escape thus self teaching the function of power up.

Perhaps it's best just to show some examples.

• Wario Land 4: Layer 1. Crease and Layer 2. In this game players delve deeper into each level searching for treasure and other monetary goodies. Upon reaching the end of the first half of the level, players must activate a switch that sets a timer for Wario's escape. The switch is the crease that folds the level back upon itself. The additional layer is the timer and the small blue bricks. These bricks will either switch on or off depending on their state before activation. The barriers created from these bricks help guide the player along their way back through the level.
  
• Boktai: Explanatory video. In this game, players journey deep into buildings/dungeons to retrieve sleeping bosses. The game can be played like an action game, but in true Kojima style stealth is the best course of action. Once inside the building, players must conserve their energy. At the boss, or the crease, players grab hold of the coffin and attempt to reverse stealth back outside the building. With coffin in hand, players travel extra slowly adding an extra layer to the mix.
  
• Pikmin 1 & 2. In Pikmin, like in most RTSs, players spend their time traveling away from their base to gather treasures/resources, fight battles, or scope out the area. Unlike in other RTSs though, Pikmin is designed to create dynamically folded gameplay in a more open world style. In general, players can seek out prized objects any way they want. If they so chose, players can sneak around enemies, climb over obstacles, and/9r jump down from higher platforms to reach treasure. The catch/crease occurs when players order their Pikmin to carry the treasure back to the base. Not only do the Pikmin carry the treasured object very slowly, but they're completely vulnerable as they take the shortest path back to base. If you're not careful, Pikmin can easily walk themselves into hazards or bump sleeping enemies. Even if the path the Pikmin take is completely clear, some enemies can be accidentally coerced out of their "zones" and wander into places you never expected them to be.
  
• What's even more dynamic though is, in the event that the player cuts their losses and calls their Pikmin back from carrying the treasure, the treasure will drop and stay in that location until the player moves it again the next time. Depending on how long the player waits to return to it, enemies can repopulate areas. So the next time you go back for that treasure, the challenge may have changed considerably with new enemies to guard it. For all these reason, the folded design in Pikmin is made up of dynamically intersecting folds upon folds thus achieving a multi-fold design or origami level design.
  
• Zelda Phantom Hourglass: This game is filled with folded level design probably because of how folded level design makes more use out of a limited space which is ideal when designing a handheld game. The battle mode is in essence an extension of the RTS style gameplay found in Pikmin. Furthermore, having to carry around the boss keys and switch gems to progress through the dungeons folds the level upon itself by adding the extra layer of Link's limited mobility and limited use of his weapons. The best example is probably the Temple of the Ocean King. Each time you visit this dungeon, Link's new abilities transform the strategies and possibilities for completing it. In some cases, they allow Link to reach new areas. In other cases, they allow Link to bypass sections reducing the progression time considerably. The notes players can write on the map are persistent which keeps the temple from completely resetting when the player leaves. Because the player must journey out of the temple to gather new items and abilities, playing the rest of the game can be thought of as the crease. Because the temple unlocks quests on the over world and visa versa, Phantom Hourglass as a whole achieves a multi-fold design or an accordion design.
  
• Zelda Twilight Princess: Temple of Time. Going up is a challenge/puzzle in itself. Once players obtain the Rod of Dominion and take control of the giant statue (the crease) at the top of the tower, the challenge is to get the statue back down. The descending challenge is more complex because of how Link controls the statue remotely with his own movements, the statue's limited mobility, and great weight. This temple is easily one of my most memorable Twilight Princess levels.
  
• The final castle in Zelda: OOT and 4 swords. You go up to do battle, and have to come back down with Zelda in your party. Protecting Zelda adds the additional layer in this folded design.
  
• Perfect Dark: mission 1,3. The first mission is all about infiltrating the dataDyne building using stealth. After retrieving the AI in the second mission, players must escape from the building by reversing the path they used to infiltrate it in mission 1. The new layer for the escape mission is that the whole building has been alerted to you presence and guards are waiting for you with traps. At the first step off the elevator, the lights are cut and players have to navigate in the dark while avoiding the barricade traps. The 2nd and 3rd mission in Area52 have a similar folded design.
• Super Metroid (and almost all other Metroid games): Speed Run. The design of Super Metroid's world involves a perfectly balanced amount of backtracking and discovery that is powered by Samus' transformative abilites that she gains along the way. With each power up, Samus gains a new way to dispense enemies with as well as a new way to move through the environement. Ball form can fit into small holes. Bombs and missiles can blast open new passage ways. The speed booster or super run can provides new ways to move through a space including straight up. This super run can also power through obstacles turning a bumpy road into a smooth track. Perhaps the most genius element of Super Metroid's folded level design is how these abilities create momentum and suspension between the game's distinct sections bringing what would other wise be independent level section into one cohesive flow of game ideas.
  
• Mario Kart Series: Because of the circular design of all race tracks in Mario Kart, items and traps left on any lap but the last lap are folded back into the game. Lay a bunch of bananas on the skinny bridge on DK Parkway and you might be the victim of your own deviousness. The layers are created from the "leftovers" on the track as well as the finish line. The pressure of finishing in first place puts a sort of fluid/dynamic timer on the gameplay experience that's relative to whoever is in first.
  
• Super Mario Bros. 3: World 7 castle. World 8 castle. One of the revolutionary new features Mario Bros.3 added to the series was the ability to move left or right at any time. Gone are the days of not being able to go back to see if you missed something. There are a few levels that use this feature to the max. In these levels Mario is stuck in an small series of distinct sections that loop in some way back into themselves. The strategy involves utilizing the respawning power ups from multiple pass through the looping level to gain the flying abilities needed to escape.
  

Flywrench Review

Flywrench is a distilled platformer that provides a rush of mechanically precise gaming from beginning to end. The music matches the minimalistic graphical style which in turn fits perfectly with the vague yet whimsically amusing story, if you can call it that. From the little information the text provided as it zipped along the screen and past my attention, I understand that something has gone terribly wrong with my computer system and now I have to take the helm and manually guide things back on track.

You play as that little white line.

The Missing Parts and Shortcomings

Trust me, I thoroughly enjoyed Flywrench both times I beat it. The experience as a whole reminds me of Portal for a number of reasons, but more on that later. So far, I've given you my positive opinion of Flywrench. But, to understand exactly what this game is, I have to explain Flywrench's limitations first. To do so, I'll juxtapose Flywrench to Super Mario Brothers. While this may seem utterly unfair to some, let me assure you, indie/gamemaker/free game or not, if it's a game then it can be critiqued and measured against the greats.

I called Flywrench a platformer because the player is focused entirely on moving through the environments with gravity as a constant factor. Where Mario uses the JUMP mechanic to leap off from the ground or other platforms, Flywrench uses the FLAP mechanic to gain altitude. However, because in Flywrench players can continually FLAP to stay afloat or ascend against gravity, the levels are designed around open space rather than solid ground.

Where Super Mario Bros. employs a variety of different level elements, enemies, and secrets to develop its various JUMP platforming game ideas, Flywrench core design is composed almost entirely of enemy elements. An enemy element is any game element that can harm the player. In Flywrench, just about everything can potentially kill you (and by kill you I mean snap you in half like a pencil...literally). With practically nothing to comfortably rest against to gather one's composure virtually or in reality, the tension in Flywrench is automatically set to a high level. In other words, unless you fight and fight constantly, you will perish.

"Do a barrel roll!" ~ Peppy Hare

The 2 level elements and numerous enemy elements in Flywrench cannot be transformed by the player using the primary functions or via any other mechanic. Aside from the blue circular "switches" that allow the player to pass through blue barriers, the levels churns on without player change. Likewise, there is hardly any interplay from the enemy elements. You're either alive, or dead. Able to move on, or broken into pieces. With such polarized player states, there's not much room for interplay. The two best examples of interplay in Flywrench are bouncing off of yellow surfaces while ROLLing and deflecting the green pea-like projectiles using the ROLL mechanic. Even in these examples, the interplay stops at step 1.

In Flywrench, the player's control and movement speed are razor sharp. Because these controls naturally ramp the speed of the game so high, the game is highly stressed. Between the level visibility, scroll speed, and the player's speed of movement, playing Flywrench is like driving at high speeds at night with limited vision. In other words, very dangerous. Being able to see upcoming hazards and react accordingly is extremely difficult in Flywrench. To get through many levels, memorizing the sequences of hazards is an effective strategy.

The Mechanics

So what's left of Flyrench happens to be the best part of the game; the mechanics and the design decisions that were made to support them. As I've said, the controls in Flywrench are ultra responsive offering speedy razor like precision. Beyond input precision, the trio of primary mechanics are well balanced against each other to create a well rounded set of player abilities.

The white lines represents the height gained from flapping in rapid succession the number of times displayed underneath each.

FLAP, as the name suggests, folds the player avatar into a stubby red stick that can pass through red barriers. The animation/form looks like flapping wings, and the function matches. Along with the strong sense of gravity, Flywrench is designed with a strong sense of momentum. One FLAP won't get you very far. But two or three FLAPs in succession yields a rapid change in speed. Players FLAP to gain altitude and FLAP to break from falling all according to the same additive momentum system. The amount of control the player has when flapping quantifies Flywrench's vertical platforming. In other words, the levels are successfully designed to limit the player where 1, 2, or 3+ successive FLAPs are the obvious levels of variation.

MOVE. By hitting left or right, the player can travel horizontally at a brisk speed. The tilted form the white line takes on while moving helps communicate the function of horizontal movement. When holding the FLAP or ROLL functions, it is obvious that the red and green forms don't tilt. This effectively communicates that quick horizontal movement is only possible using the MOVE mechanic.

ROLL. By holding the down direction, the player avatar turns green and rotates into a spin that can pass through green barriers and bounce off of yellow barriers. The form of a rotating stick matches the function of bouncing. The circular area that the rotating stick sweeps out is the other quantifying factor in Flywrench's level design. For example, passages that are blocked by green barriers can't be too narrow for the rotating animation to fit through.

The Design Decisions

With the 3 primary mechanics, players can pass through 3 different colors of barriers and move in three unique ways (ie. FLAP for quantified vertical control, MOVE for smooth horizontal control, and ROLL/bounce for dynamic level dependent control). To focus the game on these tight mechanics, Messhof and his co-developers made several apt design decisions. Because the game moves so quickly and the player can die in the blink of an eye, Flywrench is designed to restart the level in the blink of an eye. This quick restart keeps the player synced into the fast pace of the game with zero time to mull over mistakes. Because of the simple straight forward design of the game, the player always knows it's their fault they died. Knowing this gives them more incentive to try again. In this way, the quick restart makes sure that Flywrench doesn't get in the players way.

Though playing through a level successfully involve a bit of memorization, it is kept to a minimum due to the short bite sized levels. By the time the player memorizes the hazard for one section and moves past it, chances are the level is almost over. This keeps the player from being bogged down when they're unable to keep everything straight in their head.




Each of Flywrench's 9 planets contains only a few levels. Some planets have upwards of 8 levels while others have around 3. The part that I appreciate most about the planets is that each one is designed with a particular focus or theme based around a different mechanic or group of mechanics. Each theme is fleshed out through levels that are designed to teach the player the intricacies of the primary mechanics. Pluto, the first planet, is all about understanding gravity, horizontal movement, and vertical movement when in either the MOVE or FLAP state. Neptune is all about the ROLL mechanic. The next planets focus on pink moving barriers, then blue switch barriers, then heavy brown gravity and beyond.

Let's look at Pluto's level design and idea development using translation. Translation is simply the rewording or paraphrasing of a game idea into another medium (typically words).

Click on image to enlarge.

1. Gravity makes you fall whether you like it or not. White passes through white!
2. The MOVE mechanic moves you. Good thing you're already white.
3. Gravity makes you fall, remember? Even if you FLAP and hold, you'll eventually fall.
   
4. You can't just MOVE through this one. Gather some momentum and FLAP-hold to slip through.
   
5. You can gather momentum vertically too.
   
6. Let's see if you can put together the concepts from 2. 3. and 5. Oh, and there's less room now.
   
7. Can't you do it reversed? This level uses concepts from 1. 4. and 5.
   
8. Same concepts, but a little tricker. Timing is key.
   

Clearly the concepts or game ideas behind levels 1-5 are the core mechanical concepts for the FLAP and MOVE mechanics. Developing these concepts by designing a focused level for each is a highly effective way to guide the player into learning the intricacies of the core mechanics of Flywrench. Pluto contains the most levels of any planet in the entire game. Taking the time to slowly build this foundation is what helps make Flywrench a tight and entertaining experience from beginning to end.

With the addition of new each new mechanic, Messhof only designed as many levels featuring the mechanic as needed to communicate how the new mechanic changes the existing strategies. Once this was accomplished, the levels end and the player moves on to the next planet. By not simply filling up the game with levels that reuse previously experienced concepts, Flywrench feels fresh and concentrated. In all, it took me 23 minutes to beat the game on my first try. Like Portal, the quirky story elements and player mechanics really come together succinctly by the end with a final level that puts the strawberry on the cake so to speak.

Though the core design is extremely limited, Flywrench intelligently focused on what it does best and made the most of the rest. The levels are unique, creative, and most importantly appropriately difficult. Because all the levels are pretty short, even the most difficult sections are manageable. Infinite lives takes the edge off of survival and keeps things focused on playing and getting through this short but memorable game.

At its best, Flywrench has an exhilaration and flow that is very reminiscent of Super Mario Bros. 3. This is one of the highest compliments possible for a 2d platformer. If you don't believe me, then you should play the game for yourself. While you're at it, be sure to pay attention to this level. It's my favorite in the whole game.

The non-stop flow follows the numbered path I outlined transferring falling to bouncing to rising preserving momentum all the way through.

To the Repair Shop

Due to Flywrench's tight concentrated nature, there simply isn't much to repair. Fixing the camera issues would involve changing the game at the core level, which would result in a cascading effect on the rest of the game design. In the end, going down that path wouldn't be so much of a repair as creating a sister game/sequel.

• There are some story/text glitches that should be addressed.
  
• The hitbox for the blue circular switches could be a lot bigger. I don't know how many times I thought I hit the switch only to fly to my death.
• After beating the game (or maybe even at any time) I would like to be able to select levels to play again.
  
• When I beat the game, I experienced an error that froze everything up.
  
• Toward the end of the game, the music was dark and nearly drove me crazy as I tackled the more difficult levels. I turned off the sound at that point. The music should never drive the player to play without sound.

Taking CHARGE

CHARGE should be a very familiar mechanic to us by now. Since the NES, with games like Mega Man players have been able to charge their attacks to make their next shot more powerful. More specifically, the CHARGE mechanic only applies to cases where a move's strength, speed, or other positive property can be augmented by not using the move for some period of time. Some moves get a wider range (Mega Man X). Some become slower but home in on enemies (Star Fox 64). Some moves gradually get more extravagant the longer they're charged (FF6 Cyan's Sword Tech, Secret of Mana). Others require a move to be charged to activate it in the first place (Halo's Spartan Laser). Whatever the game, the weapon, or the situation, the CHARGE mechanic is quite genius in how it develops flow, creates momentum, and effectively punctuates negative space while giving the player the ability to adjust their own difficultly level by relying on knowledge and timing. Let's look at an example.

I'll be using Mega Man X as the main example.

In Mega Man X, there are 4 different types of shots with 3 levels of charge. The standard shot is very small. All damage is quantified by this attack. Though each bullet only does 1 unit of damage, this shot can be fired about as rapidly as the player can push the fire button (faster than 13 shots per second). This attack is only limited by the player speed and how the game is limited to displaying 3 shots of any type on the screen at any one time.

The green shot does 2 units of damage and travels at the same speed as the standard shot. To charge, players must hold down the fire button for approximately .6 seconds and release.

The blue shot does 4 units of damage and travels slightly faster than all other shots. It takes approximately 2 seconds to charge.

The pink charge is a devastating attack. By doing 12 units of damage from a 3.5 second charge, for the additional charge time, this attack triples the damage and the range of the blue charge shot.

In my experience, I use every type of charge in the game. Unlike other games where the most powerful attack strategy is used in every situation to efficiently progress (RPGs - attack-attack-heal), the 4 levels of shots in Mega Man X are balanced by time and space. The rapid standard shot is most effective at close range and on stationary targets. The green and blue charge shots are effective on most targets, but the player must sacrifice time to build each charge. However, because shooting and moving are directly related (ie. Mega Man can only shoot in the direction he's facing) there will naturally be times where the standard shot would be completely ineffective as the player is dodging, getting into position, or aiming.

Because the blue charge shot is slightly faster than the standard shot, it's possible for the player to hit targets that the standard shot would not be fast enough to reach. And finally, the pink charge shot takes the longest to charge but does the most damage of any single shot. Though this attack is large and travels at the same speed as the standard shot, it takes the longest to active upon releasing the fire button. This slightly changes the timing needed for aiming unlike all the other shot attacks. Using the pink charge shot involves the most risk-reward out of all of the shot attacks. As the charge time increases, the pressure on aiming increases. After all, in the world of gunplay, victory and death are both either hit or miss.

Adjustable Difficulty

By investing in a charge shot, players put more weight into hitting the target with their next shot. To successfully land a charge shot, players have to rely more on their knowledge of their enemies and environement.With spamable unlimited rapid fire attacks, aiming is less emphasized because there is no penalty or drawback from filling the screen with bullets (especially if there isn't a limit to how many bullets can be on th screen at one time).

Punctuates Negative Space

With unlimited rapid fire attacks, negative space is created when destructible obstacles block the player's progress. When these obstacles have lots of health, the only option for the player is to shoot and shoot and shoot until the obstacle is destroyed. As the obstacle's health is being whittled down, the player is at a short of standstill. By repeating the same efficient strategy, the only thing for players to do is wait until they can move forward again. In addition to having lots of health, when such obstacles fight back and/or are only vulnerable for small windows to time, the negative space increases.


Look at this green enemy for example. As you can see, all shots are ineffective on all spots except its head. The only way to hit the head is by repeatedly jumping and shooting. Because the enemy claw attacks is so predictable and avoidable by jumping, the advantages gained by charging are diminished. In other words, the time it takes to charge and fire just about equals the damage players can inflict by repeatedly jumping and firing standard shots. Because this enemy has so much health, and the strategy doesn't change even when the battle speed increases, this battle contains a lot of negative space.


For most bosses and enemies, the increased range and damage from charge shots offers strategic alternatives to the player's offensive approach. Due to Mega Man's solid platforming elements, dodging attacks, jumping over enemies, and moving through the environment naturally creates opportunities where it is advantageous for the player to start charging. In the image above, when Mega Man jumps over the missile or the electric balls, the enemy is ducking too low for a standard shot to hit. In this situation, charging a shot turns the negative space where the player would have to wait into positive space by investing in the next attack opportunity. So, as the the player moves through ever changing situations, the advantages and difficulty of the different shot strategies changes dynamically.

Creates Momentum

The easiest way to understand how charging creates momentum is understanding that the range/damage increase over time only matters if the players connects with the charged attack. If the player misses, then the opportunity is lost. If the player hits, then the investment reaps benefits beyond simply using the standard shot.

Develops Flow

In Mega Man X, when moving from one distinct section to another, there are typically no enemies to shoot. With nothing to SHOOT (the primary function of Mega Man X), the player is only left to platform to the next area. However, by CHARGing before coming up to the next set of enemies, the player's actions/mechanics are linked across distinct sections creating suspensions or syncopation. This kind of flow has a very strong drive forward.


MegaMan is just one game series that has nailed the CHARGE mechanic. Let's look at some others.

• The Legend of Zelda Series: spin attack. By holding down the attack button, players can hold out their sword for a powerful 360 degree spin attack. While holding the charge, player mobility is limited to facing in one direction. Though the outstretched sword is an attack, if it hits anything the charge is lost. Also many attacks can be held and charged for additional speed/damage/effects.
  
• Team Fortress 2 sniper class: By saying in scope, the sniper shot slowly charges to maximum damage. When the player drops the scope view, the charge is lost. This mechanic helps keep snipers playing like snipers (ie. long range shooters with careful, patient positioning).
• Super Mario Strikers Charged: Skill Shots. The non-captain characters all have a special skill shot they can make on the goalie if they charge the ball long enough. Some charges are quick, but don't have high scoring abilities. Some charges are long with nearly guaranteed goals as certain ranges. You can tell when a character is charging because they have to stop moving to charge. When the blue energy comes out, the charge is nearly complete. In addition to skill shots, the captains can charge mega strikes for multiple goals. And chip shots can be charged as well.
  
• Super Smash Brothers Series: All smash attacks can be charged to increase their damage and knock back. Additionally, there are many projectiles and special moves that can be charged including Giant's Punch, Needle Storm, Spin Charge, Peanut Popgun, and of course the Wario Waft.
  
• Halo 3: Spartan Laser. This powerful gun is strong enough to destroy ground based vehicles and flying crafts in one blast not to mention completely eliminating human players. To activate, players much charge the shot. While charging, a warning laser is sent out of the gun to tell targets that they're in a danger zone.
• Final Fantasy Crystal Chronicles. Players can charge their melee attacks and magical spells. After charging, a cursor will appear indicating where the attack will land. If multiple players line up their cursors and time the release of their charges, new combination attacks are made. The cursor system is similar to the warning laser in Halo 3. It shows the intent of a player visually on screen so others can react appropriately. In this case, the possible reactions are for cooperative attacks.
  
• Star Fox 64. Homing shot. By charging the laser attack, players gain a slower projectile that can home in on targets and explode in a powerful blast.
• Super Mario Bros. 2: Players can charge their jumps by holding down.
• Super Mario Bros. 3/Super Mario World: Players can charge their run by running for an extended period of time. Once at max speed, with the aid of specific powerups, Mario can take off and fly around.
  

That covers the CHARGE mechanic. Many games have used it well, and there are still many that could benefit from incorporating the CHARGE mechanic to help them reduce clutter and negative space in their core design. Geometry Wars... Everday Shooter.... I'm looking at you. More on those later.