Intuitive level design

Intuitive level design

Mikhail Kadikov

Book cover design Alexander Serbinenko

© Mikhail Kadikov, 2026

ISBN 978-5-0069-9174-3

Created with Ridero smart publishing system

Why user oriented design is importaint?

Computer games are interactive by nature. Unlike books and films, they are built around the process of interaction, and the overall impression of a game depends on how comfortable that interaction is. Therefore, to create an engaging game, a developer must devote a significant portion of their time to ensuring comfortable interaction with each of its elements, whether it is the menu user interface, character controls, or the level environment.

The level of usability can be judged by the presence or absence of irritants that cause frustration. An inconvenient menu, unresponsive controls, or a confusing level — all of these prevent a video game from fulfilling its main function: entertaining the player.

Imagine that a game is a tool for extracting fun. Developers who ignore user comfort are doomed to create something incapable of performing its main function. After all, it is impossible to extract fun with a tool that causes pain and suffering to its owner during use. The life of impractical things ends in the trash, and games that cause irritation never become popular.

Do you want your game to entertain and bring enjoyment? Then you will need to figure out how to make interacting with it comfortable.

Space and comfort

Game space is the place where players spend most of their time interacting with the environment. For this reason, level design deserves the closest possible attention.

In game development, the design of space and the direction of gameplay events are handled by the level designer. It is their responsibility to ensure that the gameplay is not only engaging but also comfortable.

In level design, the comfort of gameplay depends on two criteria: ease of movement through the virtual world and the quality of information delivered through the environment.

Ease of movement is achieved by creating conditions for the smoothest possible, barrier-free motion. This means preventing the controlled character from getting “stuck in textures” and minimizing camera shaking while moving across uneven surfaces.

The quality of information a person receives from the environment is also an important condition for comfortable interaction with the virtual world. Based on this information, the player should easily determine what goal lies ahead, what obstacles must be overcome, and what opportunities are currently available for completing tasks.

If the information embedded in the environment is insufficient, the player feels discomfort. The game seems confusing and too difficult to learn. To prevent this, the space must be highly informative.

Information is useful only when it is clearly visible and easy to perceive. Otherwise, all the careful work of the designer will be wasted. And while players might tolerate a shaky camera, the absence of information necessary to progress will inevitably leave them stuck.

To make information simple, clear, and noticeable, we can rely on the psychology of human perception.

Psychology of perception and design

If we look at fields such as architecture, urban navigation design, interface design, or industrial design, we will find that all of them — without exception — are based on the psychology of perception. This is because good design is built around how people perceive the world and how their thinking processes work.

For example, an architect considers how people perceive architectural forms and spaces in order to create a safe and comfortable environment. A road navigation designer makes signs bright and noticeable so that drivers can recognize them accurately from a long distance. An interface designer takes into account the amount of information displayed on the screen, highlighting the important elements and hiding unnecessary ones. An industrial designer uses the shape of an object to suggest its purpose and the correct way to interact with it.

Universal principles

Studying the psychology of perception has led to the emergence of a number of universal principles that have proven effective in many areas of design, including video game development.

In level design, eight universal principles are commonly identified that help make virtual spaces intuitive and interaction with their interactive elements comfortable.

Next, we will examine each principle in detail and explore ways to apply them using examples from popular games.

Visual presentation

If we take a look at the urban environment around us, we will notice that it contains a large amount of visual information.

For example, drivers use road signs, lane markings, and traffic lights as sources of information about speed limits. Shops, cafés, pharmacies, and hair salons inform visitors about their goods and services through advertising signs, posters, and notice boards. A person who finds themselves in an unfamiliar part of the city navigates using street name signs and house numbers. In case of danger, people also receive vital information visually — where is the nearest emergency exit, first aid kit, fire extinguisher, or emergency call button?

Accordingly, human behavior in public spaces, on roadways, and in industrial settings is regulated through visual sources of information — such as signs, indicators, and directive placards.

Why is this visual method of conveying information so effective? Because it frees a person from the need to constantly store information in their memory. In any unclear situation, it is enough to simply look around and obtain all the necessary instructions directly from the environment — this is extremely convenient.

The same principle applies to everyday objects. Well-designed items intuitively communicate their function and proper mode of use through their appearance. In contrast, poorly designed objects fail to convey such cues and compel users to consult instruction manuals.

What conclusion can we draw? Good design is always communicated through visuals.

Show, don’t tell

In real life, people use all their senses to obtain information from the environment — sight, hearing, smell, touch, taste, and the vestibular system. In computer games, this is limited mostly to sight and hearing. Because of this, many beginner designers try to convey information to the player through direct text instructions on the screen or voice-over messages. This method can work, but the problem is that reading hints or listening to speech requires focus, which distracts the player from full immersion in the gameplay.

So how can information be delivered to the player without pulling them away from the gameplay? The answer lies in the psychology of human perception.

Our brain is capable of instantly analyzing the surrounding environment and interpreting large amounts of data on a subconscious level. For this reason, a designer should learn to convey information indirectly, addressing the player’s subconscious directly.

In this case, the player will not feel as if they are constantly being led by the hand or given the solution to a puzzle. If the environment provides enough information to complete the level, the player will feel that they figured everything out on their own, without anyone’s help. In reality, their brain received all the necessary hints unconsciously in the background.

To summarize: embedding clear visual information into the environment allows the designer to communicate with the player on a subconscious level without distracting them from the gameplay. How is it implemented in practice?

In computer games, the principle of Visual Presentation is implemented through visual language. In level design, four types of visual language are commonly distinguished: the shape language, the symbol language, scripted scenes, and environmental storytelling.

Shape language

The shape language is the first type of visual language that uses simple geometric forms to convey gameplay possibilities to the player.

The shape language is intuitively understood even by young children and requires no instruction, as it is based on our real-world experiences.

If you take a look at the design of any modern playground, you’ll find a full range of basic geometric forms such as steps, slides, bars, and so on.

On a playground, a child learns how to interact with their surroundings and begins to understand the physics of objects — they climb up the steps, slide down, hang from bars, and roll balls. Through play, a child develops an understanding of what to expect when interacting with objects of different shapes. The experience gained in early childhood becomes deeply ingrained and remains with a person throughout their life.

That’s why it’s so important for a level designer to build environments using simple geometric forms as a foundation — shapes that visually suggest how the player can and should interact with them.

Next, we’ll explore examples of the most commonly used shapes, examine the feelings they evoke, and see how they influence player behavior.

Sharp shapes are subconsciously associated with pain and tend to evoke a sense of repulsion. Because of this, they are often used to define the boundaries of the game space, signal danger, and create a feeling of discomfort. Let’s look at these uses one by one.

Pointed objects are most commonly used to mark the edges of the playable area.

For example, in urban environments, this role is effectively played by barricades made of construction debris, wrought iron fences with spikes, barbed wire obstacles, or wooden palisades (Fig. 1).

Fig. 1

The Last of Us © 2013, Naughty Dog

Dishonored © 2012, Arkane Studios

The Last of Us Part II © 2020, Naughty Dog

Shadow of the Tomb Raider © 2018, Eidos Montreal

In natural environments, space can be limited by sharp tree branches and roots, thorny bushes, icicles, stone stalactites, and similar features (Fig. 2).

Fig. 2

The Last of Us Part II © 2020, Naughty Dog

Shadow of the Tomb Raider © 2018, Eidos Montreal

In games with climbing mechanics, sharp environmental elements are used to mark ledges that cannot be grabbed.

For example, in the Uncharted series (2007—2017, Naughty Dog), level designers mark the boundaries of climbing routes using spikes and barbed wire (Fig. 3).

Fig. 3

Uncharted: Drake’s Fortune © 2007, Naughty Dog

Uncharted 3: Drake’s Deception © 2011, Naughty Dog

Sharp shapes are perfect for signaling danger. In most games, damage-dealing elements are designed using pointed and jagged forms. Since sharpness is instinctively perceived as dangerous, players tend to avoid physical contact with such objects.

For example, in Shadow of the Tomb Raider (2018, Eidos Montréal), the developers inform the player about the fatal consequences of falling to the bottom of a pit by placing sharpened spikes (Fig. 4.1 and 4.2). In another episode, when the main character is caught in a powerful stream of water rushing through the city streets, dangerous environmental elements are marked by piles of construction debris with sharp pieces of rebar sticking out of them (Fig. 4.3).

Fig. 4

Shadow of the Tomb Raider © 2018, Eidos Montreal

If a game includes mechanics such as kicking or throwing, players will immediately associate them with the gameplay possibility of damaging enemies using sharp environmental elements.

For example, one of the distinctive features of the level design in Dying Light (2015, Techland) and Bulletstorm (2011, People Can Fly) is the presence of a large number of pointed objects. The threatening appearance of these objects practically screams to players that they can deal with enemies by pushing them onto sharp spikes (Fig. 5).

Fig. 5

Dying Light © 2015, Techland

Bulletstorm © 2011, People Can Fly

Sharp forms can also be used to create a sense of discomfort. Environments filled with pointed elements generate a feeling of danger and hostility that seems to emanate from the surroundings themselves.

For example, the city of Yharnam in Bloodborne (2015, FromSoftware) is designed in a dark Gothic style, characterized by pointed towers with spires as well as wrought-iron fences with sharpened spikes (Fig. 6.1).

In the level design of The Evil Within (2014, Tango Gameworks), the developers use a large number of sharp elements — barbed wire, rotating blades, circular saws, spikes, and more (Fig. 6.2).

Bandit camps in Horizon Zero Dawn (2017, Guerrilla Games) are subconsciously perceived as dangerous places precisely because of their sharp decorative elements — dry roots twisting around buildings and barricades made of sharpened stakes (Fig. 6.3).

Fig. 6

Bloodborne © 2015, FromSoftware

The Evil Within © 2014, Tango Gameworks

Horizon Zero Dawn © 2017, Guerrilla Games

Steps are another key environmental element whose shape is easily recognizable from a distance, and whose gameplay function is immediately clear. The rectangular shapes that form steps visually suggest to the player that they can be climbed.

Upon closer inspection, nearly every level in a platforming game is filled with oversized steps (Fig. 7, 8).

Fig. 7

The Legend of Zelda: The Wind Waker HD © 2013, Nintendo

Fortnite © 2017, Epic Games

Rime © 2017, Tequila Works

Fig. 8

Assassin’s Creed Unity © 2014, Ubisoft

Dishonored © 2012, Arkane Studios

Call of Duty: Warzone © 2020, Infinity Ward

The developers of The Last of Us Part II (2020, Naughty Dog) often use passenger cars and trucks as steps (Fig. 9).

Fig. 9

The Last of Us Part II © 2020, Naughty Dog

In natural environments, step-like shapes are often formed by terraces, sunken parts of the landscape, or ruins (Fig. 10).

In the flooded city sequence from Uncharted: Drake’s Fortune (2007, Naughty Dog), the main characters ride a jet ski upstream along the river. The step-like shape of the river rapids visually guides the player, indicating the correct route upward (Fig. 11).

Fig. 10

The Last of Us Part II © 2020, Naughty Dog

Uncharted 2: Among Thieves © 2015, Naughty Dog

Fig. 11

Uncharted: Drake’s Fortune © 2007, Naughty Dog

Using rocks that resemble giant steps improves navigation through the language of shapes. When moving through mountainous terrain, players naturally search for the most convenient walking route, subconsciously analyzing the rough forms of the landscape.

In Genshin Impact (2020, miHoYo) and Death Stranding (2019, Kojima Productions), developers shape rocks like giant steps to indicate the main path. Players will almost always prefer to climb upward along these natural terraces rather than scale a steep vertical wall (Fig. 12).

Fig. 12

Genshin Impact © 2020, miHoYo

Death Stranding © 2019, Kojima Productions

The step shape can also be used creatively to design puzzles, allowing the player to form a set of stairs using movable objects. Such as boxes, carts, dumpsters, and so on.

For example, in the Uncharted (2007—2017, Naughty Dog) and The Last of Us (2013—2020, Naughty Dog) series, designers often present the player with a puzzle involving an initially unreachable platform and a movable crate hidden somewhere nearby (Fig. 13).

Fig. 13

The Last of Us © 2013, Naughty Dog

Uncharted 4: A Thief’s End © 2016, Naughty Dog

The Last of Us Part II © 2020, Naughty Dog

In the trial dungeons of The Legend of Zelda: Breath of the Wild (2017, Nintendo), the player uses the ability to move massive metal blocks to create steps (Fig. 14.1).

Similarly, in Half-Life: Alyx (2020, Valve), there is a classic crate-as-step puzzle, where the player must use a crate to climb into a locked house through a window (Fig. 14.2).

Fig. 14

The Legend of Zelda: Breath of the Wild © 2017, Nintendo

Half-Life: Alyx © 2020, Valve

The shape of a ramp — also known as a slope or incline — catches the eye and naturally guides the player’s attention, encouraging them to run upward.

To climb a set of stairs, the player usually has to press the jump button several times and spend extra time. Ramps solve this problem by allowing continuous movement without loss of speed. At the same time ramps acting as natural guides.

When players need to move quickly through a level, they will usually prefer ramps over stairs.

For example, in games with parkour elements such as Dying Light (2015, Techland) and Assassin’s Creed Syndicate (2015, Ubisoft), ramps are used to draw the player’s attention to the main movement routes (Fig. 15).

Combat arenas in Call of Duty: Warzone (2020, Infinity Ward) are designed in a way similar to high-speed racing tracks. Players, like race cars, are expected to keep moving forward without slowing down. Fast, unobstructed vertical movement is achieved through the use of ramps (Fig. 16).

Fig. 15

Dying Light © 2015, Techland

Assassin’s Creed Syndicate © 2015, Ubisoft

Fig. 16

Call of Duty: Warzone © 2020, Infinity Ward

In natural environments, the shape of a ramp appears in the form of mountain slopes, which are easy to recognize even from a distance.

The mountainous landscapes in Genshin Impact (2020, miHoYo) and The Legend of Zelda: Breath of the Wild (2017, Nintendo) are good examples of effective use of the language of shapes. Wherever the player goes, they encounter triangular mountains with ramp-like slopes leading up to their peaks (Fig. 17).

Fig. 17

Genshin Impact © 2020, miHoYo

The Legend of Zelda: Breath of the Wild © 2017, Nintendo

In the “Volga” location from Metro Exodus (2019, 4A Games), two harbor cranes can be found with their booms tilted downward, resting against nearby buildings. This creates a ramp-like shape, allowing players to easily notice the possibility of climbing onto the crane tower even from a very long distance (Fig. 18).

Fig. 18

Metro Exodus © 2019, 4A Games

In Shadow of the Colossus (2018, Team Ico), the main character must find a way to reach the weak points on the bodies of the colossi in order to defeat them. To indicate new, dynamically emerging opportunities, the developers skillfully use the Shape Language.

In the battle with the knight-like colossus, the player initially cannot climb onto the giant’s body because its legs have a rounded shape that offers no grip. However, when the giant slams his sword down at the protagonist, the enormous stone blade briefly turns into an improvised ramp. This gives the player the opportunity to run up the blade, grab onto the colossus’s arm, and begin searching for its weak point (Fig. 19.1).

A similar situation occurs in the fight with the flying serpent-like colossus. If the player destroys the air sacs on the creature’s body, the monster begins dragging its wings along the ground. The wings form a ramp-like shape that invites the player to climb up onto the serpent’s back (Fig. 19.2).

Fig. 19

Shadow of the Colossus © 2018, Team Ico

From a gameplay perspective, ramps can also serve as an engaging puzzle element. You can give the player the opportunity to create a ramp themselves by performing a certain action.