I Hate Mountains

When we began to think about a campaign title and a slogan, we naturally tried to highlight our montainous environment with a catchy title, just like every official campaign. Once the title and slogan found, the second step was the creation of a movie poster, an essential step for every Left 4 Dead campaign, because this will probably be the first thing people will see before downloading it. With his artwork/photoshop/drawing skills, Geoffroy decided to work alone on this task using the photoshop poster template built by Adam “Supernorn” Riches. Once the global layout fixed, we all had a meeting to discuss every little detail of the poster and compare a good dozen of different versions.

This poster wasn’t unveiled until then simply because the website design already uses it to some extent. It allowed us to start releasing material without repeating the same error than most custom campaigns seems to do. Which means, find an idea, make a kickass poster, don’t show anything more for two months and reward people with a few crappy screenshots that don’t even match the campaign poster. Now that everybody seems to know what we’re doing, it’s time to unveil our poster:

But unveiling the poster is also and above all an opportunity to talk a bit more about the campaign, and especially the fourth map which ressemble the poster the most. Lumberyard begins when underground ends (what a surprise), after travelling through a long underground tunnel system, the survivors finally reach fresh air again using the railway passing through the mountain. While walking in this fourth map, you’ll realize very quickly where you are (vertically talking) and this is also where the mountainous background at the origin of the title of the campaign will make its greatest appearance.

Walking through the fourth map, you’ll have to travel along a lakeside road, inspired by Canadian landscapes. This road is larger than most roads you’ll have already faced during the campaign, these are not forest trails anymore, and this one is scattered with corpses and multiple car crashes. It seems to have been used for a mass exodus who went terribly wrong. Then, what happened? In the distance, along the lake, some buildings stand out from the horizon: the sawmill. Why do they all seemed to head for this installation? This is what you’ll have to discover when the campaign will be ready to play.

From the developer viewpoint, Geoffroy, who is in charge of the level, always tries to keep a significant coherence. This credibility problem is reflected through the architecture of the level and the placement of the various buildings and props. Thus, the sawmill was entirely built for the sake of realism even before it had a gameplay layout. It may seem like a controversial way of building a map, but lumberyard was entirely imagined this way, the gameplay often adapts to the environment and not the opposite. Each 3D prop, each car on the road, each bush and tree was scattered in a realistic way, which is kind of our main goal with this campaign after all. We’re trying to put a bit more design work than what Valve did with the poorly designed survival maps released with the recent update (who said smoky rocks, invisible walls and uncrossable 2 foot height fences?). Just kidding, we love you Valve <3

Stay tuned for more developer banter until the release.

Two weeks ago, we talked about the manor level and why we decided to do things the way they are right now. This week, the focus continues on the third level, the underground and on the overall campaign difficulty.

When Nicolas wrote the game design document about the campaign, one of the key elements was to build a rather long campaign with changing environments and gameplay. The goal was to provide players with a non-monotonous campaign that would work perfectly well as a whole, but also when playing each level independently. The global path had to be logical, but the gameplay type (open space/close combat) and the environment (exterior/interior) had to change beetween each map, following this approximative pattern :

As you can see, when you combine the different elements that make a Left 4 Dead level more or less difficult, we get the overall difficulty of each level. In game, this is pretty much correct for the moment, when testing we feel that each map is as difficult as it should be, and the third map is really difficult. Much like every official campaigns, we tried to balance the difficulty around the third map. The campaign starts slowly, progressively reach a crescendo at the third map (No Mercy’s sewers, Death Toll’s church, Dead Air’s construction site, Blood Harvest’s bridge) and slows down until the final arrives. But our third map is really hard.

At start, the underground level was supposed to be a catacomb-ish level, with crypts, coffins and all the extra cliché things you can think about. But when the prototyping time came, it was clear that it would never work the intended way. No one would ever want to walk in an endless network of catacombs and crypts during half an hour, plus that didn’t seem very realistic from the start. That’s why we decided to mix several underground environments in the same level. This choice was not really popular among the team until we all actually saw the result when the level reached a decently polished state. The different environments blended together perfectly well and if you didn’t pay attention to it, you didn’t even notice the changes until the end. For the moment, the level is composed of four different underground environments and architectures.

Iterative screenshots of a part of the underground level

The underground level was entirely made in a really short time, I’d say three weeks. Prototyping, gameplay tests, architecture and prop flooding were all completed in a matter of weeks. The only problem with this level is its length. For the moment, this is the longest level I ever played on Left 4 Dead. Taking the shortest path, it takes 3 minutes to run from the beginning to the end, while it only takes 2:25 on the longest Left 4 Dead level (No Mercy’s sewers, which is already a quite difficult level). For the moment, we believe the map is good as it is, because we’re able to finish it using the expert difficulty, but we are not against the idea of cutting a whole part if it’s really too long and difficult.

One of the key elements of making a level more or less difficult without interfering too much on its length and geometry is to tweak the item/weapon spawning. Unlike Left 4 Dead official campaigns, we decided to give more than 4 first aid kits in this level. Because the crescendo event is located in the middle of the level, you often reach it in an already bad shape… thus, you leave it in a terrible shape (if not dead), and there’s a whole half of the level left to do. That’s why we decided to give more than 4 first aid kits, because we know every player isn’t the best player in the world. The trap here is that we’re not really giving 4 extra first aid kits just before the crescendo event, so there won’t be enough for everyone… We believe it will force players to play efficiently and work as a team (or they will just insult each others and keep their first aid kits for themselves).

That’s all for the underground level, we are against spoiling everything before the release, so you probably won’t get more details before the release. On a side note, a few people asked us if we could give an approximative completion percentage for each level, so here it is:

• Forest: 90%
  What’s left: soundscapes, items/weapons tweaking, nav tweaking
• Manor: 60%
  What’s left: exterior, sounds, event, items/weapons, nav
• Underground: 95%
  What’s left: soundscapes
• Lumberyard: 50%
  What’s left: detailling, event, sounds, items/weapons, nav
• Lakeside: 15%
  What’s left: everything except prototyping and ambient

Stay tuned for more developer banter until the release.

During the last week, we talked about the forest level and how we managed to get around some of the limitations of the engine. This week, we’ll focus a bit more on the second level, the manor. When the survivors get out of the forest, they must reach the highest point of a dusty manor and try to launch a distress call from the radio.

Since we first talked about the campaign, some people asked the following question a few times : Will you be paying homage to any movies or games? Is the manor the same as the mansion from Resident Evil? This is one of the questions David from GamesModding.com asked us a few days ago, and the answer is no, not really.

We’re paying homage to multiple things and we’re borrowing from multiple sources for inspiration, but we’re not trying to reproduce anything existing. […] I personally think it’s uninteresting, people should try to innovate and create something new and fresh instead of always copying and reproducing everything from game to game. The original work/game will always be the best. Our primary sources of inspiration are the Canadian mountains and a bit of Dawn of the Dead for some details. […]

When we first imagined the manor, the campaign wasn’t even born. It was still an early prototype of what could become a single player horror adventure. We had a lot of troubles to find how we should handle this manor, how many rooms it should have and what should be it’s global age and state. At first, we decided to go for an exact copy of the Disneyland Resort Paris Haunted Manor, it was so cliché that we couldn’t miss the point. But eventually, we never found how to develop this idea. Wooden manor were usually not large enough to contain all the space we needed. Which means a lot more than what you can found in the last level’s mansion of Blood Harvest.

We browsed hundreds of plans from dozens of real estate websites until we found something that could suit our needs perfectly. The manor is called Fontainebleau, just like the French castle, but it has nothing else in common. We studied the plans, built a prototype in Hammer and spent many hours trying to figure out a path between the numerous rooms. I (Nicolas) built the prototype, expanded it and moved away from the original plan until the gameplay path got pretty solid. Then, Marc took over the prototype and decorated the whole manor with the help of the team (it’s not so easy to find a unique idea for more than fifty rooms). The process mostly destroyed the original manor and transformed it into a dusty emmental.

The final ambience progressively moved from “haunted manor” to “recently abandonned manor” and the main idea behind it became “provide the players with an extremely closed environment”, just like the hospital or the apartments in No Mercy, but without any defined path and with a darker setting (watch out for your teammates). It’s up to the players to make their way to the highest room of the manor and there’s a lot of solutions to reach it. Let’s just hope the final Left 4 Dead SDK will provide an easy way to compute multi-paths between indoor and outdoor environments.

Stay tuned for more developer banter until the release.
… and be sure to read the little interview on GamesModding.com.