Level design in top-down shooters: creating diversified experience using maps

In this article, we continue to analyze exactly how to make top-down maps have a sense of replayability and endless fun: characters, modes, hazards, covers, map design — it’s all here.

Hello! I’m Denis Kozin, Level Designer at Pixonic studio, MY.GAMES. In this post, we’ll continue our conversation about level design in top-down shooters. If you missed the first article, here it is.

We previously covered how aspects of the game mechanics should be supported by the map layout for a comfortable gaming experience. Now, let’s touch on another important point: replayability. What exactly helps us make maps in top-down shooters so interesting that players don’t get bored with them over dozens (or hundreds) of matches? At minimum, the map layout should generate unique gameplay situations for the player in each new battle, and at the same time, it should evoke different emotions by alternating settings and varying the visual situation.

In this article, we’ll look at the aspects of maps that help achieve this desired gameplay and visual variety. Let’s consider the same popular top-down shooters from the previous article — including our latest game, Little Big Robots.

Little Big Robots

In our top-down shooter Little Big Robots, gameplay diversity is created through different modes with different maps for each mode. When the mode changes, not only do the goals change, but the way these goals can be achieved do too, depending on the specific map.

The map layout is always built around the goal of the mode and plays a particularly important role. In Crystal Rush mode, players must collect crystals that spawn at a special point on the map (and keep them) in order to win. Accordingly, cover areas in the central arena and the paths to approach it can greatly influence the course of the battle.

On the Canyon map, the spawn points for the crystal pickups are on the bridge. It can be approached from two sides, and accordingly, player collision takes place within the cramped confines of the bridge. Meanwhile, on the Ruins map, the crystal spawn point is located right on an elongated cover that divides the center into two parts. Here, players move freely in the center, and collisions occur on the sides, along the edges of the cover.

In Beacon Rush mode, players must capture and hold beacons, special areas on the map; there are three: A, B and C. The location of the beacons and the paths between them help us shape player movement and collision within the map. For example, one beacon in the center of the map and one closer to the team spawns suggest intense battles in the center. And if you place all three beacons along the front line, this will scatter the players across the map, and battles will take place in different places.

Battle Royale is a familiar mode to all of us; players have to survive in an ever-shrinking play zone. The battle scenario depends on the map layout at the convergence point of the damage zone and the options for moving to this point. In one scenario, players will move towards the center of an open space, moving freely between small covers. And in another, on the same map, the endgame will be in an area with massive obstacles, creating more corridor-like movement with bushes in the center.

And it’s not only geometry that helps us diversify the gameplay on maps — environmental mechanics do, too.

On all our maps, we use bushes where players can hide, and covers that are destroyed by the robots’ ultimate abilities. These mechanics have become universal within all of our layouts for a reason — they help create arenas for different tactics and maintain the desired level of tension in the battle. Let’s take another look at the Ruins map, which has a cover dividing the center in half. Here, bushes stretch across both sides between team spawns, allowing you to sneak right up to the central arena unnoticed. On the Ice Cave map, on the other hand, a large area around the central arena is free of bushes, meaning players need to act more carefully.

Many maps also have unique mechanics that further motivate players to change tactics. For example, on one map, platforms rotating around the beacons change its layout throughout the battle, and with each turn of the platforms, players enter the beacon capture zone from different directions.

A good example of diversifying the same layout through different mechanics is Port Royale, our first map for the Battle Royale mode. First, the power-up positions are randomized so that the player doesn’t move along the same route from battle to battle. Second, there are two options for the position of player spawn points: they can spawn along the edges of the map or in its center. This changes their movement pattern significantly. And finally, in some battles, meteorites may begin to fall on the map, creating temporary damage zones in random places.

The visual variety of the maps is influenced by the Little Big Robots style — that is, cute and, as the name implies, small robots. This allows for a potentially huge number of configurations. Our robots are fighting and shooting from cannons, so why shouldn’t they destroy skyscrapers in a metropolis? On the other hand, they look miniature and, to some extent, even toy-like. So, they’ll fit nicely amongst the sandcastles inside a children’s sandbox. Actually, both options work great for our maps, as do many other unique settings.

Although our robots move in the same plane, we still use the visual depth of the frame to add variety to the maps. For example, on the Rift map, rocks and trees aren’t only located in the gameplay area, but also in the fog below it. And on the Space map, one can see planets and stars along the border of the layout — the map itself is an asteroid where the players can fight.

Each map in Crystal Rush and Beacon Rush modes is created with contrasting settings so that players find themselves in a new environment from battle to battle. Additionally, we collect large maps for the Battle Royale mode by using a combination of settings from small maps of other modes. This is how we support zoning with different biomes, which helps the player navigate and not get bored with monotonous visuals.

As a result, Little Big Robots’ variety of gameplay on maps is based, not only on different layout geometry, but environmental mechanics are also of great importance: both bushes and destructibles are used everywhere, as are elements unique to each map. At the same time, the style of the game allows for the use of a wide choice of environments for new maps, relying on a high degree of imagination and conventionality to play out in the context of toy robots.

Bullet Echo

Moving on to a different game, Bullet Echo has many maps for different modes, and their rotation in matchmaking has been designed to ensure that players do not get bored. But that’s not all: the layout of each individual map also contains many features that increase replayability.

For instance, there are a lot of covers on each map. This supports positional gameplay and allows you to create a variety of geometry patterns. So, from map to map players can be directed and pitted against each other in various ways.

There are different types of characters in the game, and the maps offer something different for each of them. Some characters have a small size, while others are distinguished by the penetrative power of their weapons. For the former, there are narrow passages on the maps where only they can enter (and attack an enemy from behind). And the latter can kill the enemy even from behind special covers. So, the layout also allows the player to try different tactics with different characters.

In battle, the player picks up various items: ammunition, first aid kits, armor, upgrades. Moreover, each loot point will spawn different equipment from battle to battle. This randomization motivates the player to act in a new way in each battle, in accordance with the items found, rather than moving along a proven path every time.

Some maps have special environmental mechanics that add variety to the game. For example, on some maps there are bushes where the player can hide, or a periodically passing train that knocks down everyone in its way.

In terms of the visual variety with Bullet Echo’s maps, the situation is somewhat more complicated. For starters, the action always takes place at night. Next, the game has a vertical camera, and this limits the use of objects of different heights and scales. But even in such conditions, the maps convey different environments well. Let’s take a look at how that is.

The floor of the location takes up most of the frame, and its texture creates contrast in the surroundings. For example, we see the cold tiles of a bank lobby and the warm carpet of a casino, but it’s only due to the background we actually achieve a very different visual picture. In addition, there are always a lot of decals on the floor, and these complement the setting.

Each map uses covers with unique visuals that support the setting along with decals. Yes, these covers are always darker so that the user can always quickly determine where the character will be able to pass and where not — but even so, it’s easy to understand that you’re hiding behind a police car at the scene of a criminal showdown. (By the way, the clash between police and lawbreakers is the main scenario of the game; the maps only differ in the location of the action.)

Continuous night limits visual diversity, but allows for the active use of many sources of artificial light. These help create contrasting environments from map to map through color, shape, and placement patterns. The lights of police cars and garlands in the store convey different moods.

As a result, in Bullet Echo, gameplay diversity is provided by contrasting layouts, support for the abilities of different characters, and randomization of loot. On some maps, additional mechanics like bushes and a moving train increase the variability. And the visual design of the environment is largely conveyed through the floor and lighting.

Tacticool

Tacticool has several game modes with different map layouts. But, unlike the other mentioned games, here the player cannot choose the mode — they are assigned randomly along with the map whenever the player presses the “Battle” button. This change of game goals greatly diversifies the gameplay: in each new battle you need to act in your own way and play with the characters as best suits the situation. The maps provide a high level of replayability, and let’s discuss how.

The layouts give the player the opportunity to use different battle styles. In addition to the open space for mid-range skirmishes, all the maps have hills for snipers and tight corridors for brawlers.

The geometry of the maps actively use height differences, and this helps create more contrasting layouts. The vertical character of the game not only provides more tactical options through sniper positions, but also supports different encounters from map to map through movement across uneven terrain and various steps.

Imitation of physics together with high dynamics make the battles fun and chaotic. Elements of the environment can explode from shots, scattering into debris. Cars knock down players and scatter map objects in different directions.

All this complicates the readability of the environment — in a heap of scattered debris it’s difficult to distinguish which cover will completely hide you and which one can be shot right through. On the flip side, such an abundance of dynamic objects enlivens the frame and adds variety to each battle. Even when playing for the hundredth time on a certain map, a player is unlikely to be prepared for the fact that they will be killed by an errant board flying past them.

Each map has a bright, memorable landscape that influences the mechanics of the environment. For example, on the McReady Station map in Capture the Bag mode, a huge submarine emerges from under the ice, significantly changing the layout around it. Mechanics like this are harmoniously integrated into the setting of the environment and help distinguish this map from other maps, while also ensuring more gameplay variety.

Beyond the core landmark mechanics, many maps have additional interactive objects. For example, these include cars which you can drive and use to shoot down enemies, and stationary machine guns you can use to inflict a large amount of damage. These interactions are quite situational — there are battles when players don’t use them at all. But they give everyone more options and can suddenly change the course of the fight. Hence, unpredictability and, accordingly, replay value.

Visually, each map is made in the same military style, but with a contrasting environment. Some layouts are covered with snow, and others with a dense jungle, or a map will involve rainfall on the open sea. The player is always immersed in the theme of the game, and at the same time, in each new battle, they find themselves in different places.

In Tacticool, we again see that the map geometry supports unique gameplay on different characters. Plus, each map has its own environmental mechanics, combined with bright landscapes. Compared to the Bullet Echo example, the position of the players behind the covers matters less here, but this is compensated by the vertical gameplay and fun physics simulation.

Zooba

Zooba differs from the previous shooters because players only compete in Battle Royale mode on the same map for quite a long time until they unlock new content. Nevertheless, each battle remains exciting, and the map doesn’t get boring, even after dozens of matches. To achieve this, the level designers came up with many interesting solutions.

The map consists of areas with different biomes: green meadows, red steppes, snow and ice, various bodies of water and museum rooms. Each biome has its own characteristic arenas based on environmental mechanics. This type of zoning increases replayability and facilitates player navigation on the map, not only through visuals, but also through gameplay.

Let’s look at the environmental mechanics that create special conditions for clashes in different arenas. There are rivers and lakes on the map that players can swim in, but slowly and without the ability to attack. This creates alternative routes for moving around the map, and at the same time, special battle conditions are created. For example, in the screenshot below you can see a standalone island where it’s convenient to hold the defense and attack swimming players.

Moreover, some cool arenas are located on ice and players glide along and move by inertia. Ice in Zooba is used in a large area of the snow biome, which is free of geometry, but full of holes with water, and players may accidentally fall into them if they are inattentive.

Bushes are actively used when creating contrasting arenas. Players can hide in them both when fleeing from pursuers and for ambushes. In the red steppes, the bushes stand in many small zones, and in the green meadows they form a vast area for continuous stealth.

All characters interact with the environment in their own way. Bruce, the gorilla brawler, makes better use of his melee potential in bushes with limited visibility, and Ollie, the panda, can actually eat these bushes to heal. The kangaroo Molly quickly overcomes water obstacles by jumping, and the alligator Donna can hide in water, just like in the bushes. Accordingly, when changing characters, player tactics also change.

The map has a special mechanic: guardian bots. These bots move around the map and attack players. Guardians are important points of interest: players flock to them for weapons and first aid kits, which drop from them upon death. At the same time, battles between players next to bots become less predictable, because the latter attack everyone, and their loot can suddenly change the outcome of the encounter.

Guardians can be ordinary or golden. Golden guardians are more dangerous, but they drop the most powerful weapons. This division of guardians further increases the player’s options; the player sees the guardians on the map at the beginning of the battle upon landing and chooses how to act: whether to engage the bots or look for loot on the ground — or maybe take a risk and immediately attack the golden guardian.

In each battle, guardians and weapons appear in random places, creating new points of attraction in different arenas. At the same time, there is a certain zone on the map, a museum, where the most powerful weapons are located, and there are often many guardians there. So, players have different points of contact for valuable loot from battle to battle but they always understand where the most dangerous place and the most valuable rewards are.

That said, the museum is not the only cramped space; there are various buildings scattered on the map that you can enter in search of loot or to escape enemy fire, and they support both the visual and gameplay diversity of the map. After all, this is not only a change of scenery, but also a contrast between the open space of a street in comparison with cramped rooms.

As a result, Zooba uses a large number of environmental mechanics to support varied gameplay on a single map. They help create contrasting biome-based arenas, support unique tactics on different characters, and provide different combat scenarios in each match due to random points of interest.

Conclusions

So, we’ve looked at four mobile top-down shooters and analyzed the features of their level design that help make the gaming experience varied in each match. Now, it’s time for some brief conclusions, and these will be valid for any game in the genre, so you can easily use them when planning development.

• Different arenas serve as the basis for increasing the variability of player actions. Their geometry should provide for different combat tactics: skirmishes at different distances or the use of unique character abilities.
• The difference between arenas is created not only by covers, but also by the contrast of open and closed space or height differences. In the top-down shooter genre, the layout is heavily influenced by environmental mechanics such as bushes for stealth or damage zones for extra damage. Since the character often moves and shoots in one plane, the camera movement is limited — and therefore it’s the mechanics of the environment that make it possible to create a contrasting playing space.
• Environmental mechanics can create a strong “wow-effect” if they are connected with the map landscape (for example, a train flying across the entire map). They can also rely on different biomes: slippery ice or vast bushes in the meadows. This makes for memorable arenas, and helps the player navigate the map better.
• Randomizing points of interest on the same map gives the player more varied goals from battle to battle. In each new match, both the items picked up and the location of the most valuable reward on the map may differ.
• In top-down shooters, the map floor takes up most of the frame. And it is through its visuals that the game’s setting, environmental narrative, or gameplay mechanics can be highlighted.
• The change of open (outdoor) and closed (indoor) spaces, different lighting sources and depth of space helps to convey the variety of settings. The former is created with the help of accentuated verticality, such as abysses outside the gameplay area or effects that set vertical dynamics, such as snowfall.