Help Players Navigate Through Your Levels
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When attempting to determine the correct path to follow, players draw upon both real-world and virtual experiences. These experiences are informed by principles that real-world architects and game designers have successfully applied to direct individuals effectively. Such principles encompass both visual and auditory forms of navigation.
Visual Navigation
Players primarily rely on visual input to manage the following elements:
Colors
Objects that possess colors distinct from their surroundings tend to draw attention.
Examples:
A red house situated in the middle of a green forest.
The warm colors of a burning fire are visually striking within a cold, frozen forest.
White edges on dark grey rocks clearly indicate that these edges can be used for climbing.
In Supraland, the green pipe in the bottom right corner—towards which players are intended to proceed—features a strong color contrast against its surroundings, making it highly visible and easily identifiable.
Credit: Supra Games. Screenshot captured by the author.
Brightly colored objects are more likely to attract attention.
Examples:
Brightly colored navigation signs.
Bright text displayed on a dark wall.
Objects that utilize colors consistent with their real-world counterparts help players interpret their meaning more intuitively.
In Tacoma, a red warning sign reinforces the message “This area is not accessible,” clearly communicating its intent through color association.
Credit: The Fullbright Company. Screenshot captured by the author.
Composition
- Positive space includes distinct shapes within the scene that attract attention. Negative space, though not necessarily empty, consists of less significant shapes. In general, negative space enhances the visibility of objects in positive space. The greater the amount of negative space, the less cognitive effort players must expend to process what they see.
In this example, buildings constitute the positive space, as they are points of interest, while trees and mountains serve as the negative space. When players are presented with an overwhelming number of buildings, it becomes difficult to discern which is most important. In a 3D action game, players in such a scenario might require the aid of a map or non-diegetic markers to locate their objective.
In a similar scene, the buildings again form the positive space. However, by adding more trees, one specific building becomes more prominent due to the increased surrounding negative space. This visual emphasis suggests that the building is likely the player’s objective.
- The placement of the horizon should avoid creating excessive empty space.
In Rogue Legacy 2, the horizon is occasionally positioned away from the screen’s center, reducing the amount of negative space at the bottom and enhancing the overall aesthetic appeal of the scene.
Credit: Cellar Door Games. Screenshot captured by the author.
- To emphasize the scale of a large object, such as a building, position the player camera at the same level as the object’s base and angle it upwards. This composition allows the player to view the top of the structure and appreciate its magnitude.
Modern skyscrapers in a 3D game appear especially impressive when viewed from ground level with the camera tilted at a steep angle.
When composing a scene, avoid placing important objects near the edges of the screen. Instead, position them closer to the center or at one of the four intersection points formed by two horizontal and two vertical lines. This method, known as the rule of thirds, is a common principle in visual art.
Offsetting an object away from the center of the scene often results in a more aesthetically pleasing composition than positioning the object precisely at the center.
Following a cutscene in Sundered, the player character is positioned off-center on the screen, which in this particular scene creates a more visually appealing composition than a centered layout would.
Credit: Thunder Lotus. Screenshot captured by the author.
- Conversely, placing important objects at the center of the scene may be more effective when the composition is symmetrical.
In Jotun, the player character is positioned at the center of the screen, which is visually effective due to the vertical symmetry of the scene.
Credit: Thunder Lotus. Screenshot captured by the author.
If your scene includes strong linear elements that converge at a visible or implied vanishing point, you should consider placing the focal object at this point, particularly when using a perspective camera view.
Vanishing points naturally draw the viewer’s attention. Placing objects of interest at these points ensures that players will notice them, making such points strong focal elements within the composition.
In a scene where numerous lines converge at an implied vanishing point represented by an open door at the end of a room, the door becomes a compelling focal point that strongly captures the player’s attention.
- Utilize characters or objects to frame entrances or pathways.
In Supraland, red characters are positioned in such a way that they frame the path leading to the first objective, thereby guiding the player visually at the beginning of the game.
Credit: Supra Games. Screenshot captured by the author.
The extent to which you restrict camera movement will influence your control over scene composition. In 3D games that allow players significant freedom in camera movement, it may be challenging to ensure that scenes are viewed as intended. However, certain moments present opportunities to guide the player’s viewpoint, such as when players:
Enter narrowpaces.
Transition from narrow spaces into grand spaces.
Upon beginning the game in Supraland, players exit a small house and are immediately presented with a visually striking, expansive view.
Credit: Supra Games. Footage captured by the author.
- If players are likely to encounter multiple viewpoints from nearby locations, ensure these vistas are visually impressive. If that is not feasible, it is preferable to offer a single, exceptional viewpoint. These vistas do not have to be limited to traditional windows; they can also be presented through doors, openings, holes in walls, ceilings, floors, bushes, or other environmental elements.
In a room with multiple windows, where players might potentially experience several views, ensure that at least one offers a remarkable vista. While an open window invites players to enjoy a scenic view, another window that reveals a less inspiring landscape remains closed to focus attention.
- Objects that form a clearly defined area or zone can effectively communicate that all elements within this space belong together. Such delineating objects may include fences, flower beds, rows of trees, pillars, water canals, or walls.
In Jotun, a ring of trees encircles the Barrow Mound—marking it as the initial destination in the game.
Credit: Thunder Lotus. Screenshot captured by the author.
Likewise, a series of pillars demarcates the area where an ancient Greek citadel once stood, reinforcing its significance.
- Spaces located at the ends of accessible areas tend to appear more important.
The final room in a cave will naturally seem significant, especially if players are tasked with retrieving a critical item located there.
- If an object unintentionally draws too much attention and cannot be altered or removed, mitigate its dominance by placing other appropriately scaled objects nearby.
A large and visually dominant building was balanced by surrounding it with other buildings of proportional size, ensuring it did not overwhelm the composition.
Connection
When two or more objects have a meaningful relationship, this connection can be visually communicated by physically linking them.
Example:
Pathways or roads, which can link different districts, zones, or areas.
A simple pathway can clearly indicate the direction players should follow to travel from one location to another.
Examples:
Water streams, which can connect distinct bodies of water.
Cables or pipes, which may link various buildings.
Elevators, staircases, catwalks, tunnels, shafts, and bridges, which serve to connect different spaces within or between buildings.
Doors, openings in walls, and windows, which link individual rooms together.
Density
Objects placed in close proximity to one another can suggest a relationship or mutual association.
Detail
Environments modeled with a high level of detail may convey that these locations hold significant narrative importance within the game.
Objects featuring distinctive or high-resolution textures may draw more attention than others, even if they are less prominent in terms of size or placement.
In Rogue Legacy 2, objects in the foreground, such as the mannequin, feature more pronounced textures than those in the background, such as the wall torches. This visual emphasis guides the player’s focus toward elements that are crucial for navigating and exploring levels.
Credit: Cellar Door Games. Screenshot captured by the author.
Direction
- Arranging objects to form an implied line or curve can indicate a direction that players are intended to follow.
Players may recognize an implicit path formed by strategically placed lights.
An imaginary route composed of old oak trees can guide the player’s movement.
In Supraland, coins that serve as rewards are used to indicate the correct path to follow.
Credit: Supra Games. Screenshot captured by the author.
- Include elongated objects that players would naturally associate with movement or progression in real life.
Examples:
Pathways.
Roads.
Lanes.
Railway tracks.
Bundles of cables or pipes.
Water streams.
In Jotun, the correct direction is occasionally implied by requiring the player to walk along a clearly defined path.
Credit: Thunder Lotus. Screenshot captured by the author.
- Position elongated objects with strong leading lines so that these lines point toward the intended direction of travel.
Two stacks of wooden logs, may be arranged to establish a path and visually guide the player forward.
Distance
Place interactable objects closer to the player than other similar objects to increase the likelihood that players will engage with them.
In an action game where players must escape quickly, they will instinctively seek the nearest usable vehicle. If the second car from the left is closer to the player’s current position than the others, it is likely to be the first one chosen.
Function
If an object has a different function from its surrounding elements, this contrast can help it stand out and draw the player’s attention.
Lighting
- Objects of interest can be highlighted by emitting more light than their surroundings.
A car intended to draw player attention might have its headlights turned on.
A beam of light shining through an open doorway can serve as an invitation for players to explore further.
- Certain types of light sources are more attention-grabbing than others.
Examples:
(Broken) blinking lights or strobes.
Fire.
Explosions.
Fireworks.
Intense beams of light or sunlight rays.
- Areas or objects that should attract the player’s attention can be illuminated more intensely than their surroundings.
Examples:
Key entrances or exits from levels.
Valuable rewards, such as weapons, upgrades, vehicles, or collectibles.
A brightly lit building entrance at night suggests to the player that this entrance is critical for progressing in the game.
- When a light source is weak or absent, maintaining a dim rather than completely dark environment can help players better orient themselves and navigate the game world.
Motion
- Animated objects typically draw more attention than static ones. These animations can be either stationary or mobile.
Examples:
A piece of cloth waving in the wind near an area the player is expected to explore.
Non-player characters gesturing to the player character to draw attention.
In Supraland, an NPC points toward a location that players should investigate.
Credit: Supra Games. Footage captured by the author.
- Moving objects are generally more noticeable than stationary ones.
Examples:
A vehicle in motion while others remain stationary.
Rising smoke from a burning vehicle or building.
Leaking steam or water.
Possibility of Interaction
The following examples of interactive objects or characters may effectively attract player attention:
Rewards that players can collect and use to their advantage.
Non-player characters who are waiting to engage with the player regarding the current objective.
Rewards
Placing one or more rewards in a linear arrangement can indicate the intended path the player should follow, even if that path is not immediately obvious.
Yellow coins in Supraland are placed near puzzle locations that players must solve in order to progress in the game.
Credit: Supra Games. Screenshot captured by the author.
Shape
The more distinct the individual locations are from one another, the easier it becomes for players to form associations between these places and their corresponding experiences. These differences can be reflected in:
Architectural styles.
Types of structures, such as buildings and landmarks.
Local flora and fauna.
Color schemes.
Settlements should feature distinguishable districts or areas that players can recognize visually without relying on a map. If all areas appear too similar, players may struggle to navigate. These districts can vary in terms of:
Architecture.
Age of buildings.
Level of maintenance.
Types of buildings.
Social class distinctions.
Spatial layout.
Color palettes.
A certain level of internal consistency should be maintained within each area to ensure it is recognizable as a cohesive unit.
Landmarks contribute significantly to making locations more memorable. Landmarks do not necessarily need to be large structures such as buildings, statues, or mountains. Smaller elements such as fountains, ancient trees, or unique flower beds can also serve this purpose. Landmarks may also be used indoors, such as an ornate piece of furniture or an indoor water feature.
Ensure that landmarks are visible from multiple vantage points so that players can enjoy and identify them over time, whether during the day or at night.
The larger the level, the more landmarks should be distributed throughout the environment to help players orient themselves and recall the layout more easily.
If you intend to create a landmark, distinguish it by making it different from its surroundings in one or more of the following ways:
Age.
Architectural style.
Color.
Level of detail.
Functional purpose.
Maintenance level.
Lighting.
Shape.
Size.
Texture.
Position landmarks at the intersection of pathways or roads to reinforce their significance and utility.
Incorporate distinctive sounds around landmarks to make them more memorable when players approach.
Use asymmetrical designs for landmarks to help players determine their position relative to the object based on its orientation.
The asymmetrical design of a building on the right allows players to easily identify which side they are viewing. In contrast, a symmetrical tower looks the same from all sides—front, rear, left, and right—except when accounting for the location of the entrance.
- Place multiple distinct landmarks near each other to help players more accurately determine their location in relation to each landmark. However, avoid overcrowding, as too many landmarks in close proximity can diminish the individual impact of each.
Example:
- A dancing fountain that moves in sync with music played from nearby speakers.
Street layouts that form regular grid patterns can make individual streets difficult to distinguish. To enhance navigability, consider designing streets in a more irregular and organic arrangement.
To help players identify the purpose of a structure, ensure the structure has recognizable characteristics appropriate to its function.
Examples:
An expensive hotel may be represented by an elegant, multi-story historic building with large decorative windows, a reception area, ornate furnishings, and well-dressed individuals arriving or departing in taxis and private vehicles.
A pharmacy might feature a typical green cross sign prominently displayed on the building’s facade.
- Use in-game signage to clearly communicate the location of important areas, environmental hazards, or objectives.
In Tacoma, players are unlikely to overlook navigation signs due to their strategic placement.
Credit: The Fullbright Company. Screenshot captured by the author.
In Gone Home, players can discover a secret passage between two rooms by reading a map found inside a folder placed on a table.
Credit: The Fullbright Company. Screenshot captured by the author.
- Living creatures tend to draw more attention than inanimate objects.
Examples:
People, especially those who are looking at the player character, making noise, posing a threat, or appearing visually distinct from others.
Animals, which often attract curiosity or convey environmental storytelling.
Unusual or unfamiliar objects also tend to attract player interest, as players are naturally curious about their purpose.
Place rewards in logical, contextually appropriate locations to mirror real-world expectations, thus guiding players intuitively.
Examples:
Vehicles should be found in garages or parking areas.
Weapons, ammunition, and tactical gear should be located in caches or armories.
Books and magazines should be placed on bookshelves or tables.
Documents, letters, notes, and digital media should be found on desks, in safes, or inside folders.
In Gone Home, magazines are realistically placed on tables, reinforcing immersion and enhancing environmental storytelling.
Credit: The Fullbright Company. Screenshot captured by the author.
Examples:
Place tools on workbenches or in toolboxes.
Place medals, badges, and trophies on shelves.
Place drinks and food on shelves, in cupboards, or in refrigerators.
Place keys, access cards, gold, and money in safes.
If players are required to search for locations that offer safety and protection—where they may rest after a challenging event, inspect their equipment, or sell items to a trader—such locations should include bunkers, forts, shelters, or similar environments.
If you wish for players to proceed in a specific direction, design your buildings, rooms, or environments to be elongated along that axis.
Example:
- An entrance hall that is square or circular in shape may not intuitively direct player movement. However, elongating the space into a rectangular or oval shape can encourage players to move along the longer axis, thus implying a preferred direction of travel.
If you place the same unusual object in multiple positions within a confined area, players may be more likely to remember and recognize that space.
Example:
- Multiple fountains placed along the same street can make that street distinctive and memorable.
If your intention is for players to find alternative routes to their destination, ensure these paths are discoverable without requiring exhaustive searching or excessive trial-and-error, which may frustrate the experience.
Size
- Objects or characters that are significantly large in scale can effectively capture player attention.
Examples:
Large structures, such as fortresses, castles, and towers.
Large machinery, such as construction or transportation equipment.
Prominent natural features, such as volcanoes, mountain ranges, bodies of water, and waterfalls.
Exceptionally large or tall non-player characters.
Such elements will appear even more significant if the player is aware that they are critical to making further progress in the game.
- Large, open spaces within the environment can also convey a sense of importance.
Example:
- A spacious entrance hall in a gallery can serve as a central hub, from which multiple paths lead to various exhibition rooms.
Spacing
- To ensure a specific element stands out, it is effective to leave adequate space around it. This separation can draw attention and signal its significance.
Example:
A grand building should be surrounded by open space to allow players to perceive its size and importance from a distance—something that may not be possible if the view is obstructed by nearby structures.
Texture
- Apply distinctive textures to interactive objects or characters, differentiating them from non-interactive elements.
Example:
- A door featuring a unique texture can be easily recognized as one that the player can open or close.
Unusual 2D graphical elements applied to objects may also attract player attention.
In some cases, textures can act as a navigational tool, guiding players toward a specific destination.
Examples:
- Trails of blood on the floor, tire marks on the road, or footprints in the mud can lead players to critical locations or clues.
Visual Acuity
If the game camera simulates depth of field effects, strategically place important objects or characters at a distance where they remain sharply focused. This will help them stand out from their blurred surroundings and draw the player’s visual attention.
Auditory Navigation
Sound Source
Certain types of sound can strongly attract player attention. These may include:
- Sounds signifying freedom or safety.
Example:
Sounds originating from outside an enclosed or hazardous space. When players are trapped inside a burning house, they may instinctively follow the sound of distant screams to locate an exit.
Sounds produced by dangerous or threatening sources.
Examples:
Gunfire.
Explosions.
Fire.
Enemy vocalizations.
Enemy footsteps.
Earthquakes.
- Unfamiliar or mysterious sounds originating from unknown sources can evoke curiosity and alertness.
Speech
Speech generally attracts more attention than other types of sound.
Examples:
Non-player characters engaged in conversation.
NPCs giving players instructions, either face-to-face or remotely.
Announcements made via loudspeakers.
Radio or television broadcasts discussing important events.
In Gone Home, players are drawn toward the voice of a television presenter delivering a weather forecast as they pass through the hallway.
Credit: The Fullbright Company. Footage captured by the author.
Volume
Sounds or music with higher volume levels tend to command more attention.
Examples:
NPCs who are yelling or shouting at the player character.
Sounds made by hostile or deadly entities that appear closer than others.