Landing Operation
Landing Operation is an exploration into the level design for Hitman. Utilizing processes taught by Peter Vesti Frendrup, we focused on creating a well-designed level that serves its purpose in the best way possible.
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Level Designer
3 weeks
Solo
Summary
Landing Operation is a non-linear, third-person stealth level featuring the main components from the Hitman trilogy represented in blockout form.
PLAYER START
STAGE
MISSION STORY
GUEST SUITE
VIP PARTY
MASTER BEDROOM
MAIN HALL
Project Role
Level Designer
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Conducted research and compiled essential data in a format suitable for presenting to my peers
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Created 2D paper designs to demonstrate intent
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Presented designs and iterations to colleagues
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Made multiple blockout iterations based on feedback from course leader and other level designers
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Hosted guided and unguided playtests to acquire high-quality feedback
Production Framework
Quick Breakdown:
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Research: Analyze the reference game and define the problem space. What are the key parts of the game that must be considered when creating the level?
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Plan: Create a paper design based on level goals delivered by course leader.
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Prove the Fun: Create a blockout, present it to the lead and peers, and defend design decisions. Conduct playtests and collect data.
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Iteration: Apply feedback and playtest data to further refine the blockout.
Level Goals
While there are multiple goals, they can be summarized as:
Create a sandbox-style level which offers the player multiple ways to play. There should never be only one way to kill a target, for example.
Therefore, I made sure to focus on creating a dynamic and emergent experience for the player.
Pre-Production
Research and Analysis
Before I could even consider what kind of level to make, I needed to understand what characterizes a Hitman level. The games are deep, complex, and require a thorough examination of their qualities.
I started by playing the campaign of the Hitman trilogy. Additionally, I watched several developer interviews, video essays, and GDC talks to get a more holistic view of the design philosophy underpinning Hitman.
I approached the analysis from two perspectives:
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Mechanics-driven design
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Public and private spaces
Mechanics-Driven Design
I identified three core components which comprise the bulk of the systems and mechanics influencing the player experience.
I further broke these down into the specific elements for each category.
Public and Private Spaces
Hitman has applied a general framework around how spaces influence decision making:
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Public spaces: Almost always the player start position. These areas are defined by their openness and lack of deterrents. Players are encouraged to explore and get a feel for the area.
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Private spaces: Adds a layer of depth to the roleplaying experience. Social enforcers are present, and the player must therefore start utilizing core stealth mechanics
Bringing It All Together
Hitman is all about probing for vulnerabilities and exploiting weaknesses. This allows players to attain high-value disguises leading to access to privileged areas.
Once in position, the game offers several potential execution opportunities.
Full Analysis
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Gathering References
Hitman is known for its visually distinct settings with multiple unique areas or districts attached to them.
One of my favorite missions from the trilogy is Death in the Family. It takes place at Thornbridge manor in Dartmoor, England.
What stood out to me was how full the manor was with gameplay opportunities, and how each area had a clear identity. They all told a story and offered a glimpse into life at this manor.
I wanted to explore this dynamic further, except I knew I wanted to build a more modern version of Thornbridge manor.
The Location
I have always been captivated by Tony Stark's Malibu mansion. It communicates wealth, elegance, and flash. I learned that his mansion is built at the northernmost tip of Point Dume, which is a nature preserve.
This detail further illustrates the entitlement and arrogance his character portrays. I used parts of his personality as a reference for the target in my level.
The Mansion
I examined the concept design of Phil Saunders to get a better understanding of how he approached the design of Stark's mansion.
Insight: His early sketches utilize terraced rectilinear structures which gave a strong sense of layered depth.
I wanted to use this level as an opportunity to use structural design to communicate status and taste. Therefore, I chose to go with a more modern mansion design with a focus on belieavability.
The Level Outline
I was starting to have a clear picture of the setting that the level takes place in.
Goal: Start crafting a player journey which addresses the level goals. The blockout should represent the insights gathered from the analysis regarding key characteristics of the Hitman games.
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The Paper Design
I had clear goals, a solid moodboard, and a rough outline of what I wanted to represent in the level. I felt like I had a strong starting point.
Next, I wanted to create three possible scenarios for the player at this location.
Challenge: Creating a visual representation of a Hitman level
Include final topdown with reflections on why it changed, challenges faced, etc.
The Blockout
First Iteration - The Mansion
At the start of the blockout phase, I was completely focused on creating this expansive, believable mansion. I was so caught up in selling the fantasy of Hitman that I overscoped and spent too long building individual rooms.
Feedback
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The scale felt off. The walls were too tall, the ceiling felt too high.
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Why did it have to be so big?
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It was hard to visualize the player start position and how it connected to the mansion.
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The rooms felt like they lacked a purpose. Because I had spent so much time piecing together a base floorplan, there was a lot of empty space. It was hard to read.
Solution
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Bring the ceiling down. Explore methods of communicating vastness without introducing so much emptiness.
- Remove an entire floor of the mansion. Three floors was enough.
- Reassess the space, and how the rooms are represented. Ask: What does the player do here?
Second Iteration - Party on the Beach
Based on feedback, I shifted priority to the player start location: The Beach. This way, I could guarantee I had something playable and more easily understood for new playtesters.
On the beach, I needed to represent the concept of public and private spaces as described by IO Interactive's Mette Podenphant Andersen:
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Public spaces should be available from the start. Give the player room to breathe and explore.
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Private spaces require a disguise. Make the player curious about how they gain access.
Goals:
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Introduce the different types of spaces.
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Show the target on the upper balcony.
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Provide several possible paths for the player.
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Blockout the necessary features for Hitman's sandbox gameplay.
Establish the Tone
Provide context and give players time to take in the level.
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The player feels safe
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They should not feel watched, as a large part of the Hitman experience is the strong sense of freedom and autonomy during missions.
NPC Dramas
During level creation, the Hitman team utilizes special nodes and graphs to create "dramas". They serve to:
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Establish clear NPC behavioral patterns.
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Present potential vulnerabilities to the player inviting exploitation.
I wanted to showcase that here and reward players for observing a guard leaving their post to take drinks from the bar.
If the player spots this, finds emetic poison, and adds it to the drink, the guard will run to the toilets. This gives players a safe takedown opportunity and a high-value disguise.
Mission Stories
Even with sandbox gameplay, Hitman offers players the option to take more guided paths to executing their target.
In this blockout, I wanted to represent two such stories.
For the first story, players discover a load of unregulated pyrotechnics. They are encouraged to join the event crew, and angle the machine to be pointing at the performer (the target in this case).
For the second mission story, I wanted to lean more into exploiting the target's admiration for their prized exotic fish.
The target, Silas Ray, has a large piranha tank on display which connects the downstairs guest space with the main part of the mansion upstairs.
Sabotaging the tank ecosystem causes the target to receive an alert on their phone, and send them rushing to the tank to investigate.
The player can then push Silas into the tank and watch as he is devoured by his beloved piranhas.
Feedback
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I was encouraged to lean into the VIP space upstairs more since I had established a firm starting point for players.
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The player should feel a strong contrast if they successfully leave the beach and infiltrate the exclusive party.
Solution
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I focused on communicate a strong identity on the beach. Players should feel familiar with the various gameplay opportunities, and those opportunities should reinforce their goals and progress the mission.
Third Iteration - Defining an Exclusive Space
Once I established a clear identity for the player starting area,