One problem for us as level designers: the more content you make, the more time you need. If someone wants a very open world, you have to generate a lot of conent. Because erverywhere, where the player can go, has to have a certain qualitystandard. Therfore we make sometimes compromises. For instance when I know which main road the player most likely takes. Then there are also the side paths, which only the gamers see who are exploring every corner of the game. Here you are efficent and don’t put as much detail into it.
Golem
When you now begin to create an “open world level”, what do you make different than during the time of the developtment of Cryis?
Huebler:
You collect a lot of experience and recognize problems much faster. Our approach on Crysis was basically correct. We only overlooked some things at the beginning and handle these things now different. For example the size of the levels .In Crysis we made them much to big and had do scale them down. We concentrate now much more to the core of the level, the main mission.
Also I am a big fan of what the Englishman call “Location Scouting”. This is importand to make the scenes and locations authentic. For Crysis parts of our team flew to Hahiti, and i think this was good, to get the look and feel for the game.
Golem
In your presentation at the GDC here in Paris you told us about a colleague who pays a lot of attention to make a beliveable construction of the gameworld.
Huebler
The basic approach was, that a level doesn’t get automatically better when you have references like pictures. I have to analyse these pictures, because i can’t use the refernces directly, but also have to take into account the gameplay. It is only an inspriation, i have to understand, why it looks better how it looks. This step we had to learn first.
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