Game Design Deep Dive

Game Design
Deep Dive
Game Design
Deep Dive
Platformers
Joshua Bycer
CRC Press
Taylor & Francis Group
6000 Broken Sound Parkway NW, Suite 300
Boca Raton, FL 33487-2742
© 2020 by Taylor & Francis Group, LLC
CRC Press is an imprint of Taylor & Francis Group, an Informa business
No claim to original U.S. Government works
Printed on acid-free paper
International Standard Book Number-13: 9780367211387 (paperback) 9780367211417 (hardback)
This book contains information obtained from authentic and highly regarded sources. Reasonable
efforts have been made to publish reliable data and information, but the author and publisher
cannot assume responsibility for the validity of all materials or the consequences of their use. The
authors and publishers have attempted to trace the copyright holders of all material reproduced in
this publication and apologize to copyright holders if permission to publish in this form has not
been obtained. If any copyright material has not been acknowledged please write and let us know
so we may rectify in any future reprint.
Except as permitted under U.S. Copyright Law, no part of this book may be reprinted,
reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying, microfilming, and recording, or in any
information storage or retrieval system, without written permission from the publishers.
For permission to photocopy or use material electronically from this work, please access www.
copyright.com (www.copyright.com/) or contact the Copyright Clearance Center, Inc. (CCC), 222
Rosewood Drive, Danvers, MA 01923, 978-750-8400. CCC is a not-for-profit organization that
provides licenses and registration for a variety of users. For organizations that have been granted
a photocopy license by the CCC, a separate system of payment has been arranged.
Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and
are used only for identification and explanation without intent to infringe.
Visit the Taylor & Francis Web site at
www.taylorandfrancis.com
and the CRC Press Web site at

www.crcpress.com
Contents
Acknowledgments ix
Foreword: A Game Design Deep Dive into Platformers xi
1 The Legacy of Jumping 1

1.1 The Timelessness of Platforming............................................................... 2
1.2 Why Platforming Is Not Going Away ...................................................... 3
2 The First Jumps 5

2.1 Defining the Platformer .............................................................................. 5
2.2 Pitfalls and Plumbers................................................................................... 6
3 Committed Jumping 9
3.1 What is Committed Jumping? ................................................................. 10
3.2 Committed Jumping Limitations ............................................................ 10
4 Variable Jumping 13
4.1 What Is Variable Jumping? ...................................................................... 14
4.2 Committed vs. Variable ............................................................................ 15
5 The 2D Mascot Platformer Era 17

5.1 Genesis Does What Nintendon’t ............................................................. 18
5.2 Mario’s World............................................................................................. 18
v
5.3 Sonic’s Boom............................................................................................... 21
5.4 Mascot Popularity ...................................................................................... 23
5.5 The Wide World of Mascots .................................................................... 25
6 Basic 2D Design 27
6.1 Jumping Logic............................................................................................. 27
6.2 Camera Angles............................................................................................ 28
6.3 The Factors of Jumping............................................................................. 30
6.4 Creating Multiple Jumps........................................................................... 32
7 Advanced 2D Design 35
7.1 Level Flow and Structure .......................................................................... 35
7.2 Teaching the Player.................................................................................... 37
7.3 Obstacle Design .......................................................................................... 38
7.4 Platforming Challenge Design ................................................................. 40
7.5 The Hardest Jumps .................................................................................... 41
7.6 Fall Damage................................................................................................. 48
8 The Adventure Platformer 51

8.1 Story-Driven Jumping ............................................................................... 52
8.2 Heroic Platforming .................................................................................... 52
8.3 The Pros of Adventure Platforming........................................................ 53
8.4 The Limitations of Adventure Platformers............................................ 54
9 Puzzle Platforming and Design 57

9.1 The Thinker’s Jump ................................................................................... 57
9.2 Skill vs. Thought......................................................................................... 59
10 First-Person Jumping Design 61

10.1 Jump and Shoot.......................................................................................... 61
10.2 The First-Person Camera.......................................................................... 62
10.3 The Limits of First Person ........................................................................ 63
11 The 3D Platformer Era 65

11.1 Two and a Half D Games ......................................................................... 65
11.2 The Rise of 3D ............................................................................................ 66
vi Contents
11.3 The Mario 64 Formula .............................................................................. 67
11.4 The 3D Mascot Rush ................................................................................. 70
11.5 Three D Adventure Platforming ............................................................. 71
12 Three D Design 73
12.1 The “Depth” of 3D..................................................................................... 73
12.2 Three D Camera Design ........................................................................... 74
12.3 The Shadow Knows ................................................................................... 77
12.4 Subjective Difficulty ................................................................................... 78
12.5 Auto-Jumping............................................................................................. 80
13 The AAA Shift Away from Platformers 83

13.1 The Growth of the Game Industry.......................................................... 84
13.2 The Blending of Genres ............................................................................ 85
13.3 The Limits of 3D Platformer Design ...................................................... 86
13.4 Endless Runner Design ............................................................................. 87
14 The Indie Impact 89

14.1 The Indie Movement................................................................................. 90
14.2 Bringing 2D Back ....................................................................................... 91
14.3 Celebrating Celeste .................................................................................... 92
14.4 The Modern Retro Market ....................................................................... 94
15 Physics-Driven Platformer Design 97

15.1 Incalculable Jumping................................................................................. 97
15.2 Technical Level Design.............................................................................. 99
15.3 Physics Problems...................................................................................... 100
16 Super Mario Maker and Kaizo Culture 103

16.1 Making Mario........................................................................................... 104
16.2 The Legacy of Mario................................................................................ 106
16.3 What Is Kaizo?.......................................................................................... 107
16.4 I Wanna Be a Platformer ........................................................................ 109
16.5 Bringing Kaizo to the Masses................................................................. 110
16.6 The Limited Appeal of Kaizo ................................................................. 111
Contents vii
17 Expert 2D Design 115
17.1 Level Philosophy ...................................................................................... 115
17.2 Creating Mechanics ................................................................................. 119
17.3 Challenging vs. Frustrating..................................................................... 121
17.4 Collision Detection .................................................................................. 125
17.5 Tracking Timers ....................................................................................... 129
18 Conclusion 131
Glossary 133
Index 137
viii Contents
Acknowledgments
For the months I spent writing this book, I had a special offer for my fans
and supporters. For anyone who donated a select amount to my patreon
(http://patreon.com/gwbycer) or via online donation, they received an acknow-
ledgment in this book. Keep an eye out for future works of mine, as I’ll be
making similar promotions there. Without further ado, I would like to thank
the following people for contributing that helped me to focus on this book:
Charles Currer
D.S.
Mike M. Garcia
Robert Leach
Irish Mojo
ix
Foreword: A Game
Design Deep Dive
into Platformers
Some of the most fascinating parts of game design occur at the individual
layer of mechanics or systems that become the basis for a title. Far too often,
new designers will approach a design and not understand the depth that sep-
arates the great titles from the not so great. For that reason, I wanted to
create a new series of books called “Game Design Deep Dive” to shine a light
and explain how simple actions can have complex designs.
And what better place to start with than one of the first game mechanics to
achieve popularity? Jumping has been around since the early 1980s, and for
a time, the platformer genre was the most popular and developed in the
industry.
Jumping is a mechanic that looks very simple to design – with many first-
time developers making their first game a platformer. As we’re about to dis-
cuss in this book, there is a lot that goes into making the mechanic feel right
in the player’s hands.
I hope you enjoy this book, as there are plenty more topics to examine in
future design dives. As always, please let me know what you think about the
book at [email protected].
xi
1
The Legacy of Jumping
1.1 The Timelessness of Platforming

1.2 Why Platforming Is Not Going Away
Jumping, and by extension, platforming, have been around for over 30 years.
It is the genre that kick-started Nintendo’s dominance of the console market;
it was the most popular genre of game being developed in the late 1990s; and
it still has relevance to this day.
For a lot of students and first-time developers, just being able to get
a character to jump is the game design equivalent of getting a program to
output “hello world.” Considering how much game design has evolved, it’s
1
easy to look at platforming and jumping as being basic elements, and that is
why this first book in this series is dedicated to it.
The line between the very best and very worst platformers is very wide,
and it can be hard for designers and consumers to understand the difference.
1.1 The Timelessness of Platforming

When we look at the growth of the game industry, it’s easy to think that jumping
and platforming are holdovers of a bygone era of the industry – like the evolution
of transportation from horse carriages to modern cars. Despite all the improve-
ments in graphics, hardware, and game design, platforming remains timeless.
The two philosophies when it comes to progressing through a game are
abstracted progression and skill-based. Abstracted progression is commonly
seen in RPGs as a way for the in-game character to grow. Skill-based is about
the player themselves becoming better at the game. Many titles today feature
a combination of the two philosophies: such as having leveling up and unlocks
in shooters like Battlefield and Call of Duty.
Platformers, along with action titles, are some of the best examples of skill-based
design. Playing one, it’s all about the player figuring out how to guide their character
2 Game Design Deep Dive

through the level with no other systems getting in the way. Some of the hardest plat-
formers challenge the player to rise up to their level with sections that require him
or her to figure out the right path while having the technical skills to perform.
And despite that, there are plenty of platformers aimed at telling a story,
and being designed so that anyone can play them.
The genre itself is almost like a blank canvas for someone to put their own
unique stamp on, and despite how far the industry has come, it is not going
away anytime soon.
1.2 Why Platforming Is Not Going Away

Since the early days when the first platformers were released, outside of Nin-
tendo, many of the companies that grew the genre’s popularity are either no
longer around or not making platformers anymore.
With the rise of cinematic storytelling and blockbuster titles like Red Dead
Redemption 2, God of War, The Legend and Zelda: Breath of the Wild, and
many more, a game that is just about jumping seems old today.
However, like 2D design in general, platformers continue to be a go-to

genre for developers for several reasons. First is the simple fact that 2D design
continues to be one of the best entry points for new designers.
The implementation of jumping is universal among game design and
gamers, making it very easy to pick up. You don’t need to spend a lot of time
1. The Legacy of Jumping 3

educating the player about what jumping is, and you can quickly introduce
the mechanics and systems that make your game stand out.
From a design standpoint, it is far easier to develop and balance a 2D game
compared to a 3D one. The simple fact that designers don’t have to worry
about camera control (something we’ll be talking about later in this book)
removes a huge technical hurdle for new developers. It is also easier to create
an aesthetically pleasing game in 2D than it is in 3D on a small budget. Des-
pite the fact that quality textures and character models will still cost good
money, it is nowhere near as expensive compared to a 3D game.
Lastly we have the nostalgic factor. There are plenty of gamers who enjoy
retro-inspired titles like Shovel Knight – that looks like a retro game, but has
modern design elements to it. There are still developers working on games for
retro consoles, and the “modern-retro” market does exist out there.
With that said it’s time to begin our history lesson: going back to the start
of platformers.

2
The First Jumps
2.1 Defining the Platformer

2.2 Pitfalls and Plumbers
2.1 Defining the Platformer

The use of jumping as a mechanic in a video game did not appear at the start of
the game industry. Early video games were played from a top-down viewpoint
which didn’t allow for any kind of jumping. Even when we started to see plat-
former-styled games, there were still some discussions about what we call
a platformer.
5
We’re not going to be focusing on individual games that much in this
book, but it’s important to talk about major milestones in platformers and
how they created the foundation for titles that featured jumping.
To start with, the term “platformer” originally referred to games where
players would climb up or down ladders with platforms between them; with-
out any form of jumping. There were several games released before and after
what would become the standard, but since this book is focused on the act of
jumping, we won’t be spending time on them.
The accepted modern definition of a platformer is a game where the pri-
mary mechanic involves jumping – usually over or around obstacles.
In 1981, we would get our first example of true platformer design with
Donkey Kong.
2.2 Pitfalls and Plumbers

Donkey Kong by Nintendo was influential in the company establishing contact in
the USA and their first major success in the arcade industry. Designed by Shigeru
Miyamoto and Gunpei Yokoi, it became recognized as our first introduction to
Mario before he got his now famous name (in the original version he was called
Jumpman). Donkey Kong’s design may seem basic today, but it was ahead of its
time when compared to the rest of the arcade industry.
In the arcade, Donkey Kong was made up of four levels comprising four
screens each.
As Mario, your mission was to reach Pauline, or the damsel in distress, while
avoiding the obstacles Donkey Kong threw. The player needed to jump over the
barrels that would follow the platforms down. Players could use the ladders as
shortcuts, but a rolling barrel could roll down the rungs hitting the player.
If the player could reach a hammer, they would gain the ability to destroy
barrels at the cost of being able to jump. The hammer was the only way to
deal with flames that would appear when blue barrels reached the fire at the
bottom of the stage.
The player’s ability to jump would be tested in stage three (stage two in the
later home version), featuring the first use of moving platforms as an obstacle.
The game was also the first platformer to use falling to hurt the player. Falling
off a platform at any height would cause the player to lose a life. The use of
fall damage appears on and off throughout the history of the game industry
and platformer genre and we’ll return to this topic in Chapter 7.
Donkey Kong, along with other early platforms, made use of committed
jumping that we’ll be talking more about in the next chapter. To briefly
define it now, committed jumping means that the player has no control over
the character’s trajectory once they leave the ground.
A key limitation of Donkey Kong compared to platformers to come was the
use of fixed screens. With each level only being one screen long, it meant that
the game was on the short side. To keep people playing, Donkey Kong had

a progressively growing difficulty that increased the speed of the obstacles
with every four screens beaten.
The first game to make use of a scrolling screen was Sega’s Jump Bug
released in 1981 after Donkey Kong. However, despite the innovation, it did
not become as recognized as our next game.
That would be Atari’s Pitfall!, released in 1982. Despite featuring graphics
that looked more primitive compared to Donkey Kong, Pitfall! had several
innovations that would begin to define the platformer genre.
The objective of the game was to guide the hero, Pitfall Harry, through the
jungle to find 32 treasures in 20 minutes. The player had 255 screens to go
through while dodging scorpions, swinging on vines, and jumping across alli-
gator-infested waters.
Besides being one of the longest games released at the time, Pitfall! emu-
lated the idea of side-scrolling screens. Side-scrolling refers to the game not
being locked to a single screen, and having the camera pan to simulate the
character moving through an area. With Pitfall!, the game did not use side-
scrolling due to it only showing one screen at a time. However, Pitfall!’s look
would become the foundation for platformers to come.
2. The First Jumps 7

Despite the incoming video game crash of 1983, Pitfall!, Donkey Kong, and
other platformers grew in popularity. With rare exception, early platformers
used a form of jumping that I’ve coined committed jumping.

3
Committed Jumping
3.1 What is Committed Jumping?

3.2 Committed Jumping Limitations
9
3.1 What is Committed Jumping?
The simplest form of jumping as a mechanic is committed jumping –
where the player has no control over their character once they’re in the
air. Without direct contact with Nintendo, I can only assume that the
reason this was in the original Donkey Kong was as a way of mirroring
real life jumping.
Of all the ways to implement jumping in your game, committed is by far
the easiest. By removing the player’s control over their character, they are able
to quickly figure out whether or not a jump will be successful. This design
extends into the UI of the game by only giving the player at minimum two
fixed ways of jumping – a standing jump and a moving one.
We’ll be talking more about level design and creating the act of jumping
in Chapter 6, but for the moment, committed jumping means that the
designer knows exactly how far and how high every jump the player will
make. From there, it’s easy to design the length of gaps and where to place
obstacles.
In this regard, committed jumping turns obstacles into pseudo-puzzles –
where there is only one intended way to get over the obstacle.
Many developers who are making their first game – or specifically making
a retro game homage – will use a committed jumping foundation for their
platformer. However, this does present several limitations that must be accom-
modated in your design.
3.2 Committed Jumping Limitations

Committed jumping severely limits what you can build in a game to challenge
the player. Every jump in your game can only be designed around the same
exact gap distance, because the player cannot adjust in the air.
From a design standpoint, you want to avoid challenging the player to
make a jump onto a small landing point that is less than their maximum
jump distance. The obvious solution is that the player must extrapolate
where to start their jump to avoid overshooting the landing point. How-
ever, this can be punishing to players who lack the ability to figure
this out.
For games that put power-ups in the air, it can be very frustrating to grab
them when there is only a few jumping angles that will hit it. For airborne
enemies or those that can only be hurt from an aerial attack, committed
jumping can take on a higher level of frustration.
When trying to attack a moving enemy, the margin for error to hit the
enemy without taking damage is low. Many times in committed platformers,
the player will jump at the enemy and hit them, but they would misjudge the
distance and fly into the enemy’s hitbox and receive damage.

“Movement” is the hardest enemy in committed jumping designs. When
you’re trying to engage a moving target or leaping onto a moving platform,
the player must make multiple mental calculations. This becomes even
harder if the ground the player is standing on is also moving at the same
time.
The player cannot make any mistakes while jumping, which can lead to
tense gameplay. One feature that some games made use of for committed
jumping is offering players the ability to “stop” the character in mid-air – pre-
venting the player from overshooting a target or jumping into an enemy and
taking damage.
Even though most designers moved away from committed jumping early in
the lifespan of platformers, they still had a place in slower-paced games that
we will return to when discussing adventure platformers.
One of the most famous examples of committed jumping was the game
Bionic Commando due to the very fact that the player technically didn’t jump.
All aerial movement was done by launching the character’s “bionic arm” to
grapple with the ceiling and swing. While this was, and still is, unique for
platformers, the game also embodied all the frustrating elements of committed
jump design. Due to the fixed arc of swinging, it was very easy to misjudge
the landing on small platforms.
During the 1980s, developers quickly evolved the platformer genre from
Donkey Kong and its peers, and gave us the second kind of jumping philosophy.
3. Committed Jumping 11
4
Variable Jumping
4.1 What is Variable Jumping?

4.2 Committed vs. Variable
13
4.1 What Is Variable Jumping?
For lack of a widely agreed upon term, I’m going to use variable jumping.
This is another form of jumping where the player has more control over their
character in the air. Instead of being locked into whatever direction the initial
jump began in, the player can move left or right within the character’s max-
imum jump range. Unlike committed jumping where there are only two kinds
of jumps, variable jumping allows for far more variety based on different vari-
ables that we’ll talk about in Chapter 6.
Obviously, this is less realistic than committed jumping, but it opened up the
door for evolving platforming design, the reason being that the player (and by
extension the designer) is not limited to only two locked velocities. Instead, the
player is given far more control over where the character will land. Many plat-
formers introduced challenges where the player must quickly jump around or
through obstacles that needed to be perfectly timed.
One of the first examples of this would come from Nintendo with Super
Mario Brothers. Even though Mario’s movement in the air was limited, it still
allowed for players to adjust his trajectory.
A major part of variable jumping is the idea of micro-adjustments, or
being able to make slight adjustments in the character’s velocity to avoid
obstacles.
The use of micro-adjustments has become a staple of expert platformers and
the Kaizo era of games, which we’ll be focusing more on at the end of this book.

Many of the advanced forms of jumping that we will be talking about in
this book required variable jumping to be even possible. Given the importance
variable jumping has had on the genre and jumping as a whole, it does beg
the question: What’s the better form of jumping?
4.2 Committed vs. Variable

Both forms of jumping have become popular in their own ways. Committed
jumping is a lot easier for novices to perform, while variable jumping offers
players more technical challenges.
If jumping/platforming is not a part of the core gameplay loop of a title,
a committed system that has fixed jumping and angles can work. As we men-
tioned earlier, many games built on retro designs or emulating that feel will
go with committed.
Variable jumping requires more work on the design side to get the feeling
right, and can be harder for new players to learn who didn’t grow up playing
platformers. We’ll be talking more about level design in Chapter 7 and dis-
cussing the ways levels can teach the player how to jump. For most gamers,
they do prefer variable jumping over a committed system as it has been used
in so many titles.
For now, it’s time to turn to arguably the zenith of 2D platformer design in
the mainstream market.
4. Variable Jumping 15
5
The 2D Mascot
Platformer Era
5.1 Genesis Does What Nintendon’t

5.2 Mario’s World
5.3 Sonic’s Boom
5.4 Mascot Popularity
5.5 The Wide World of Mascots
17
5.1 Genesis Does What Nintendon’t
When most people think about 2D platformers, they will go with a mascot plat-
former. The 2D mascot platformer started with the original Super Mario Brothers in
1985. Tracking the end of this period is difficult, as major studios were still making
2D platformers into the 2000s, with the torch being passed to indie developers last
decade. With that said, we begin with the rivalry that changed the game industry.
The Sega/Nintendo rivalry of the late 1980s into the 1990s marked
a monumental period of the game industry, which has been discussed in
many other books. These two companies made decisions that would come to
impact the game industry to this very day – such as Nintendo causing Sony to
develop the PlayStation after cutting them out of a partnership deal.
Both companies put out marquis platformers that set the standards for
mascot-driven games. With Nintendo having a head start with the Nintendo
Entertainment System (NES) in the USA, Sega branded themselves the oppos-
ite of Nintendo, and by extension Sonic vs. Mario.
At the time of Sonic the Hedgehog’s release in 1991, Nintendo was ahead in
the USA with Super Mario Brothers 1, 2, and 3 already out, and Super Mario
World to be released shortly after Sonic’s first game in the USA. We could
dedicate entire series of books examining each series, but for now, we want to
examine the platforming design.
5.2 Mario’s World

Mario’s platforming has always been built as a slower, more technical focus
compared to Sonic. As mentioned, the Mario series was one of the first to
make use of variable jumping to allow players control over Mario’s velocity in
the air.
One element that has become a subtle standard of Mario games was having
variety beyond just the platform levels. Super Mario Brothers featured under-
water sections, and the infamous puzzle section in the final Bowser Castle.
This trend would extend into all future Mario games as a way of breaking up
the formula and giving the designers more leeway in terms of creating
challenges.
We’re not going to talk about the US version of Super Mario Brothers 2 in
this section, and the reason why will be discussed in Section 5.4. Super Mario
Brothers 3 grew all aspects of the design seen in Super Mario Brothers 1,
including the jumping.
Players had more control over Mario’s velocity in the air. Besides having
different variations of jumping based on how long the player held the
A button, Super Mario Brothers 3 introduced a new mechanic in the form of
“P-Speed.” If the player continued to run, they would fill up a meter at the
bottom of the screen. Once full, Mario’s speed would be faster and he could
jump farther than otherwise allowed.

This also factored into one of Mario’s most iconic power-ups: the Raccoon
Suit. While running at P-Speed and using the suit, Mario could fly through
the air until the P-Speed ran out.
Super Mario Brothers 3 was also released at the time when Nintendo
began to experiment with level and world themes. Each world in the game
had a different theme to it, affecting the enemies, obstacles, and level design.
Many situations in the game were locked to their specific world, and some-
times just a level.
The improvements to Mario’s design would continue into the first 16-bit
outing by Nintendo: Super Mario World. Besides massively growing the level
design and variety, Super Mario World also expanded the number of jumping
options for Mario. Mario still had his trademark jump that could be tweaked
based on how long the player held the button down for, but this would be the
first time that he would be given additional ways alongside it.
Pressing the A button would cause Mario to “spin jump,” which had
a shorter jumping distance, but unique properties to it. Mario could des-
troy blocks in his super state, bounce off enemies who would otherwise
hurt him, and was faster on the descending part of the jump. This jump
also had a shorter minimum height to it – making it easier to dodge obs-
tacles above him.
A new character in the form of Yoshi was introduced. While riding Yoshi,
Mario could safely cross certain hazards and could leap off Yoshi for the high-
est possible jump in the game.
5. The 2D Mascot Platformer Era 19

Besides Yoshi, the most iconic addition added in Super Mario World was
the cape. While equipped with it, Mario’s jumping ability changed dramatic-
ally. He was able to slow his descent in mid-air – enabling greater control of
micro-adjustments and increasing his maximum jump distance.

Given enough running distance, players could fly with Mario’s cape, allowing
them to bypass entire stages and perform complicated aerial maneuvers. Unlike
Super Mario Brothers 3, there was no P-Speed to dictate maximum speed. Instead,
the designers simplified it to whether or not Mario was able to run a fixed distance
to achieve maximum speed. For a greater breakdown of Super Mario World’s
design, check out Patrick Holleman’s Reverse Design: Super Mario World.
The impact that Mario 1, 3, and World had on platforming design cannot
be understated. Despite Nintendo moving to different designs in later games,
fans have been taking things further thanks to Super Mario Maker and the
growth of the Kaizo community (both will be discussed at the end of the
book). As Nintendo evolved Mario’s design over the 1990s, Sega did every-
thing they could to stand out with Sonic.
5.3 Sonic’s Boom

Sonic’s adherence to being the opposite of Mario could be seen in every
aspect of the game: from his speed, to his mannerisms, and primarily in the
level design. Sonic’s jumping ability was far more impacted by his momentum
compared to Mario. Running at full speed and jumping, Sonic would jump
lower in the air, but would cover a farther distance.
Even just slightly moving in either direction would impact the trajectory of
his jump. Due to the momentum being carried into the jump, players had less
control over Sonic’s aerial velocity compared to Mario and other platformers.
This would also be the first example of physics impacting a character’s velocity
in a number of ways, which we will be returning to in Chapter 15.
Due to Sonic’s speed being much faster than Mario’s, the levels were
designed to be longer to compensate. This created an interesting difference
between a Mario level and a Sonic level in relation to the platforming.
With Mario, levels were designed as a series of challenges for the player to
complete in a set order. The developers knew exactly where the player would be
at any given point, and could design challenges in a progressively harder variety.
Sonic’s levels were designed around at minimum two different paths for
the player to go through depending on their platforming skill. Missing a jump
in one path could send the player to the other one without any way of getting
back. Many times, the player would lose control of Sonic while he automatic-
ally gets “carried” through a section. Depending on how someone played
a level, they may never see entire sections and secrets, but all paths converged
at the end post.
The chaotic nature of Sonic’s levels made them less memorable in my opin-
ion. While players certainly remember obstacles such as the water levels, the
overall designs don’t stick out the same way as the levels in the Mario series.
Sonic’s game structure during the 2D era was different as well.
Instead of building a lot of levels around a specific theme, Sonic Team
went with just two levels tied to a “zone,” with the first Sonic having three.

The zones had completely different backgrounds, hazards, and always ended
with a battle with series’ villain Robotnik (later renamed Eggman).
In Sonic, the player spends more time running (or rolling) compared to
jumping when moving through levels. The focus switches when the player runs
into obstacles like platforms, enemies, and hazards. Many bosses and enemies
could only be defeated by the player jumping into them at the right time.
Despite Sonic’s place in the console wars, most players will agree that the
platforming design was superior in the Mario games. It was harder to control
Sonic compared to Mario due to the need of building up momentum to make
most jumps or run up hills. Trying to calculate Sonic’s trajectory based on the
speed and direction he was moving was harder compared to Mario. It was
easy to misjudge the distance when jumping onto small platforms. The
increased speed grew to become a major problem due to trying to create
diverse levels and sections.
Sonic Team was stuck between a rock and a hard place. Levels were either
so fast that the player could easily skip through most sections, or slowed
down so much that the level became boring to go through. Despite having
multiple sequels, the level design (and platforming) didn’t come close in terms
of design evolution to what Nintendo was doing with Mario.

Sonic Team to this day never figured out how to properly give the player a view
to compensate for the increased speed. If the player moved at top speed, there was
no way for the average person to be able to react fast enough to dodge obstacles or
make jumps (and something we’ll be talking about in more detail in Chapter 6).
With that said, Sonic was more important to the history of the game industry as it
was the first true competitor to Mario, and he would certainly not be the last.
5.4 Mascot Popularity

The success of Mario in terms of worldwide appeal has placed the character in
the same realm of brand awareness as Mickey Mouse and Bugs Bunny, and
started the mascot platformer trend. Mascot platformers are titles where the
player controls a recognizable character – either from an existing property or
created for the game. Often times, these games would feature elaborate (for
the time) stories to help pull players in.
This kind of branding is different from the 1970s and early 1980s, where
players controlled non-descript characters or vehicles. Mascot branding is
a major part of advertising, and something far too vast to cover in this book.
We were seeing similar trends with cartoons being “toy friendly” with fran-
chises like GI Joe, Teenage Mutant Ninja Turtles, and many more.
The reason why mascot branding took over came down to marketing.
People respond better to properties that they recognize. Why should someone
play a game with a character they never heard of, when they could play as
Mickey Mouse, Aladdin, or even the 7 Up Spot and Domino’s Noid.

Returning to Super Mario Brothers 2 for a second, Mario fans know today
that Nintendo took the game Doki Doki Panic and changed all the character
models to the Mario brand to get people to buy it as the supposed sequel in
the USA. Japanese players would get a Super Mario Brothers 2 that was in the

same style as the first game, but featuring harder level design. The USA would
eventually get this game in the form of Super Mario Brothers: The Lost Levels.
From a franchise point of view, popular characters could have their like-
nesses used in many other mediums. Licensing various rights off to other
companies became as lucrative as the property itself, as fans of The Simpsons
and Star Wars can attest to.
Despite Nintendo holding on to their game rights in the 1990s (except for
that ill-fated partnership with Philips), they were more than happy to license
Mario off to toys, cereals, and the famous Super Mario Bros Super Show, and
the infamous Super Mario Brothers movie.
The console game industry up until the mid-1990s became dominated by
mascot platformers on every platform available.
5.5 The Wide World of Mascots

As we entered the 1990s, more properties were getting converted to platfor-
mers. Disney struck a deal with Capcom to develop and release some of the
best examples of the genre with games like Ducktales, Darkwing Duck, The
Magical Quest Starring Mickey Mouse, and many more. Many popular ani-
mated series and characters for the time were turned into platformers across
all the major systems.
We already talked about Mario, but there were original franchises like
Mega Man and Castlevania that were celebrated. And when those series grew
popular, they would spin off into other licensing deals – such as the show
Captain N and the Game Masters.

Despite the high bar from notable developers, there were many platformers
released of varying qualities. Platforming became the go-to foundation for any
developer wanting to make a video game. Even if the property wasn’t inherently
known for platforming, that didn’t stop developers from turning The Simpsons,
Bugs Bunny, and even movies like Nightmare on Elm Street, Home Alone, Lethal
Weapon, and The Addams Family into platformers. While some of these games
did stand out by their quality or uniqueness, one of the most infamous pub-
lishers of licensed games was the company LJN.
They secured numerous licensing rights before and after being acquired by
Acclaim to create games from. Their published games lists could be con-
sidered the worst collection of games from one publisher until their closure in
1995. The lack of quality in licensed games became a running joke and stigma
for consumers that lasted well into the 2000s.
We could spend an entire book chronicling the designs of LJN’s most infam-
ous games, but as we continue our talk about good and bad jumping design, keep
in mind that a lot of the bad in 2D design came from the mascot era.
Now that we’ve discussed the history of traditional 2D platforming, it’s
time to talk design.

6
Basic 2D Design
6.1 Jumping Logic

6.2 Camera Angles
6.3 The Factors of Jumping
6.4 Creating Multiple Jumps
6.1 Jumping Logic

Welcome to the first of four chapters that focuses on the design of jumping
and platformers. These chapters will explore more of the gameplay logic that
goes into jumping. For this one, we’re going to talk about the basics of jump-
ing that make up every 2D platformer.
27
Even though this is not a programming book, it’s still important to understand
the basic principle of implementing a jump. At the simplest level, the character
has two states they can be in – a “ground” state and an “aerial” state.
When the character is on the ground, pressing whatever button performs the
jumping action will lift the character up in the air dependent on several variables
that we’ll talk about in Section 6.3. While the character is considered “aerial,”
depending on the game, pressing the jump button again will not let the character
jump again. Likewise, walking off a platform will trigger the aerial state, due to
the game checking for whether or not the character is on a surface.
No matter the design of the game, every platformer will feature at minimum
two kinds of jumps – a standing jump and a moving one. While jumping is obvi-
ously important, the camera plays a crucial role in design and pacing.
6.2 Camera Angles

The next important element of 2D design is the “camera.” One of the reasons
for the continued popularity of 2D design for game designers is the fact that
the game screen and camera are one; as opposed to the camera being
a separate entity in 3D design (that we’ll be coming back to in Chapter 12.)
With that said, there are still important considerations to understand about
the camera. In older 2D games, enemies only existed when they were on
While you can’t see it in this image, the enemies all infinitely respawn whenever
the camera reaches invisible trigger points

screen due to technical limitations. This meant that the player could not
attack an enemy until they were on screen, and they could be “de-spawned”
by moving past them. Enemy spawns were set to “trigger” when the camera
would pan to certain spots on the level. This often led to enemies being killed
and being brought back instantly if the camera was still at the spawn point.
First generation 2D platformers would often lock the screen’s scrolling to
one direction which meant that the player could not go backwards.
As design and technology evolved, games allowed the player to move in
multiple directions and attack (or be attacked by) off-screen enemies. Later
titles would also remember if an enemy was killed and would not respawn
them if the camera returned to the spawn point.
The camera itself pans in relation to the player’s movement and simulates
the action of moving through the environment. Good 2D design will keep the
character model at about a quarter of the screen’s length and on the opposite
side of where they’re moving. For platforming vertically, the same rules apply
along the Y-axis of the screen. When the character changes direction, the
camera must also be set up to change the perspective it’s showing.
The reason for this kind of positioning is that it gives the player enough view
of what’s coming to be able to respond. Returning to Sonic the Hedgehog, when
Sonic was running at full speed, the character model would move to the halfway
point of the screen. The position, combined with the speed of the camera pan,
made it hard for players to respond in time to obstacles or jumps.
It would have been better to either zoom out the camera, or keep Sonic’s
position locked to the quarter portion.
6. Basic 2D Design 29
Level design and the camera go hand-in-hand, because the player’s only
view of the obstacles and level come from the camera. We’ll be talking more
about level design in Chapter 7, but for the moment, there is a difference in
structure between the player only viewing one screen’s worth of information
at a time, versus the camera continually panning.
It’s time to turn our attention to how jumps in platformers are defined and
what your options are when creating them.
6.3 The Factors of Jumping

Jumping, and by extension platforming, is a form of gameplay built on the play-
er’s skill as opposed to RPG progression. The player must learn how the charac-
ter will behave in the air to extrapolate the correct timing and movement. To
facilitate that, it’s important from a design point of view to understand that
jumps are fixed elements hard-coded by the game engine. Pressing the jump
button the same way 1,000 times should get the same velocity every time.
While that may seem limiting at first glance, there are many ways from
a design point of view to impact jumping, and even create different variations
of jumping (as we’ll talk about in the next section).
The following variables are the DNA of every jump in every platformer
ever made:
• Jump Delay;
• Jump Max Height;
• Jump Minimum Height;
• Jump Canceling;
• Jumping Ascending Speed;
• Jumping Descending Speed;
• Committed or Variable;
• Momentum;
• Horizontal Movement Speed;
• Number of Additional Jumps;
• Jump Distance.
While this book is focusing on jumping, it’s important to briefly mention how
running impacts the player’s ability to jump. The faster the player is moving
on the ground, the greater the momentum they bring to the jump. Some titles
have fixed movement speeds, whereas more complicated titles will use physics
to constantly impact the player’s speed. If the player achieves top speed too
quickly, then it becomes harder to control their character. On the other hand,
a character can feel sluggish if it’s the other way around.
For each factor outlined above, we can look further at what they can
impact when it comes to jumping and the general design of your title.

Jump Delay. This occurs if there is any delay from when the player presses
the jump button until the character performs the action. The delay itself is usually
represented by the animation of the character preparing to jump, but could some-
times just be the character taking a few milliseconds before leaping. Committed-
based jumping will typically have a grandiose animation which is a part of adven-
ture platformers. For variable games, jump delay is looked down upon, as it
makes it harder to time more difficult jumps with the additional factor.
Jump Max Height. This determines the maximum height that the character can
reach. When combined with horizontal movement speed and jumping descending
speed, they will create the maximum distance the character can jump. Once the
character hits their maximum height, the descending speed will take over.
Jump Minimum Height. The lowest height a character can jump. This deter-
mines how low you can make obstacles for the character to jump below. The
quickest jump a player can make is just tapping the jump button and letting go.
Jump Canceling. Can the player stop the jump while the character is
ascending? Combined with the ascending speed this allows the player to jump
at different heights. When the player cancels their jump, the jumping descend-
ing speed will take over.
Jumping Ascending Speed. This is the rate at which the character will
reach their maximum jumping height. The slower the player ascends affects
the avoiding of obstacles. If the player is allowed to cancel the jump while in
the air, this will in turn create multiple jumps for the player to use.
Jumping Descending Speed. How fast does the character fall after they
have finished descending? This affects dodging obstacles as well as the max-
imum jump distance. Some titles will purposely slow the descending speed
slightly if the player is still holding the jump button down once the character
has begun to descend to give them extra distance.
Committed or Variable. As we mentioned in previous chapters, this concerns
the decision to allow players to control the character while they are in the air or not.
Momentum. When the player is in the air, will their character continue to
move without further input, or will the direction need to be held the entire
time? While it is realistic for momentum to carry the player, this does lead to
increased difficulty for the player having to sometimes fight the momentum
while controlling their character. This is only a factor if the game features
variable jumping. Note: momentum has no impact on the jumping distance.
Horizontal Movement Speed. This is the rate at which the character
moves while in the air; when combined with the other factors it will deter-
mine the maximum jumping distance.
Number of Additional Jumps. How many times can the character jump
while they are in the air? This is used in advanced platformers to add greater
challenge to the design. Some games allow the player to gain or recover jumps
by doing a specific action (killing an enemy in the air for example).
Jump Distance. This is the total length that a character can jump and is
affected by the other variables mentioned. It determines how far gaps should be
and balances all obstacles in your game. The closer you make the distance of gaps
to the jump distance, the harder it will be to make those leaps. Older platformers
sometimes placed ledges just at the edge of the maximum possible jumping dis-
tance, requiring players to time their jump perfectly to succeed. The character’s
maximum run speed will also determine the maximum jump distance.
These variables are locked from a design standpoint and each one will have
dramatic impacts on the design and balance of your game. Even though that
may seem limiting, with enough creativity, there is plenty of room for making
your jumping and platforming different.
6.4 Creating Multiple Jumps

While the attributes that determine how jumping work are fixed, how you use
them is entirely up to you, and this has led to a variety of jumping styles over
the years. For instance, the first recorded use of a double jump came in 1984
by Namco in the game Dragon Buster. If you allow the player to control the
descending speed, you can create a gliding or hovering effect as we saw in
Super Mario World 2 Yoshi’s Island.
A famous example of altering jumping properties comes with underwater
sections. In the Mario series, the player is essentially allowed to jump infinitely
with a slower ascending and descending rate. However, Mega Man went
a different way. In the water, the player is able to jump as far up as the water
with a slower descending speed.

An interesting take on multiple jumps was the game Gargoyle’s Quest for
the NES. Besides giving the player a standard jump, they were also able to fly
in the air for a set period of time. Throughout the game, the player would
receive upgrades that would augment their ability to jump.
In our previous chapter talking about Super Mario World, we discussed
how Nintendo gave Mario two different jumps – his normal jump and the
“spin jump.” This was a rare case of a platformer having jumping actions
mapped to two different buttons.
Depending on the complexity of the design, platformers of the 1990s went
in one of several directions for their jumping.
1. Variable jumping, with the character only having one fixed jump
height;
2. Variable jumping with the character having a high standard jump,
and a slightly higher one while holding down the button;
3. Variable jumping where the character has a high maximum jump
height and can cancel out at any time.
When you apply other buttons and actions to the act of jumping, even more
combinations can be created. While we will be talking about 3D design later
in this book, the 3D Mario games each feature multiple jumps based on differ-
ent factors and button presses.
With Super Mario 64, Galaxy 1 and 2, Sunshine, and Odyssey, Mario expanded
his jumping to (but not limited to) spin jumping, back flipping, wall jumping,
triple jumping, long jumping, diving, horizontal flip, and much more.
Speaking of wall jumping, there are multiple properties that go into just
that one kind of jumping – to the point where we could even dedicate
a section just to it. To be complete, wall jumping is the act of pushing off
a wall in the same way as a character jumps off a ground surface. Some games
allow the player to “jump up” walls parallel to each other.
Depending on the player’s horizontal speed, it could be possible to jump
up just one wall, as is the case with titles like Super Meat Boy and N++ (both
will be talked about later in the book).
If you’re going to make use of additional jumps that are tied to button
combinations, it’s important to have something in-game to reference that.
Some older titles gave the player an enhanced jump that could only be per-
formed by holding down on the controller for a second, or pressing both up
and the jump button.
In the platformer Tom and Jerry, Jerry has a higher jump that could only
be performed by pressing the jump button just after he lands from a regular
one. One of the most infamous examples came from the game Batman Forever
that is the only game I’m aware of that tied the select button to a jump com-
mand. These kinds of jumps would not be figured out by someone who was
just trying to learn the game.
The kinds of jumping in your title will impact the level design of your
stages. Any tweaks made to the jumping in your title will often require the
levels to be redesigned in order to accommodate them. As an example, if you
increase the player’s maximum jump distance, then all gaps will have to be
widen if you want to keep the game challenging.
Now that we’ve gone over the basics of jumping, it’s time to talk about
what someone is going to be using it for.

7
Advanced 2D Design
7.1 Level Flow and Structure

7.2 Teaching the Player
7.3 Obstacle Design
7.4 Platforming Challenge Design
7.5 The Hardest Jumps
7.6 Fall Damage
7.1 Level Flow and Structure

Levels in platformers are typically broken down into sections that represent
a collection of obstacles the player must get past before they are considered
35
safe. Some games allow the player to checkpoint after any section is complete,
while others will make use of specific areas that save the player’s progress.
The further the player has to go before the game saves the progress typic-
ally means that the game is on the harder side of platforming. It’s considered
fair in today’s market that if your level goes on for more than a few minutes
to include at least one checkpoint.
To keep things streamlined, we’re going to refer to a section as the sum total
of obstacles before the player’s progress is preserved via a checkpoint. There is no
limit to the number of checkpoints you want to include in your game, but the
less progress the player loses when failing usually makes for an easier experience.
In our previous design chapter we brought up how important the camera
is to 2D design. For some games, a section may literally be one screen’s worth
of obstacles for the player to get past. This kind of design is usually seen in
adventure and puzzle-based jumping. As 2D platforming evolved, sections
grew to encompass multiple screens and require different kinds of skills.
We’ll be talking more about the philosophy of level design in Chapter 17, but
for now, it’s important to understand that a level typically gets more challenging
over the course of the entire level. You don’t want to start the level with your
hardest situations, as it would upset the flow of the stage. By extension, the diffi-
culty curve of the overall game also grows harder from beginning to end.
When it comes to very challenging or unique sections, it’s considered good
form to have a checkpoint before and after. This way, the player is able to
concentrate on doing something very technical and then focus on a new sec-
tion when it’s done.

Depending on the game and what kind of challenges you want to test the
player on, some end a stage with a boss, while others simply end when the player
reaches the end; but there aren’t any hard rules when it comes to this point.
In the last section, I referenced the game Gargoyle’s Quest as an early
example of a title that gave the player new and upgrade forms of jumping
over the course of play. This kind of practice became adopted by
metroidvania-designed titles, but there is an important lesson here for
level design.
If your game expands the player’s ability to jump, and by extension overall
movement, then the level design must grow to accommodate the additional
features. This can include new obstacles, increasing the spacing between jump-
ing, and much more.
From the outset, the level’s design will always be dependent on what kinds
of jumps you have in your game. As we get further into this chapter, we’ll be
talking about obstacle and platforming challenges, and depending on how you
designed your jumps, the easier or harder they will be.
Throughout playing your game, the player should be learning how to con-
trol their character, and that requires you to teach them.
7.2 Teaching the Player

Without any abstracted elements to get in the way, it’s up to the level design
itself to educate the player on how to perform the actions needed to win. The
platformer genre doesn’t need extensive tutorial lessons, and is more about
“learning by doing.”
This kind of tutorial design is what I’ve coined an organic tutorial, where
the game teaches the player through the design of the levels themselves instead
of taking them out for a specific tutorial.
Regardless of your game, just about every platformer I’ve ever played starts
with the player simply trying to jump over an obstacle. Ideally, there will be
no penalty for failure and the experience is a way for the player to get their
feet wet. This kind of “safety net” is typically used when a game introduces
a brand new concept or obstacle at any point in the title.
From a design point of view, it’s crucial for you to understand the mechan-
ics and techniques needed to play your game. Taking that concept further,
you can begin to set up challenges for each of your mechanics in terms of
“beginner, moderate, and expert” sections.
It can be hard to break down your sections at that level of detail. It’s not
just about the complexity of the technique, but the type of challenge you’re
making. The two key variables to look at is the complexity of the section and
the margin for failure you’ve set up.
If you want to teach something hard to the player, then you want to make
sure that they aren’t punished for messing up while learning it.
7. Advanced 2D Design 37
This is the first introduction of the spring mechanic, and it’s designed to be a simple
as possible for the player to use
The more important a technique is to playing your game, the earlier you
should introduce it. If there is a mechanic that requires a specific action to
perform it that the player wouldn’t figure out through regular play, then you
must introduce the player to its existence.
We can use the game Celeste as an example. Celeste is a platformer that
allowed the player to dash in any direction and carry that velocity into differ-
ent actions. There is a maneuver that requires the player to dash up a corner
and perform an extended wall jump. The game makes no mention of its usage
during the normal route, even though it would be usable in various situations.
It officially gets introduced when players enter the B-side (or extra-hard) set
of levels where it’s required to win.
7.3 Obstacle Design

Platforming is unique among game genres by providing two kinds of obstacles
for the player to deal with. We can categorize them simply by obstacles that the
player must avoid or defeat, and having to reach a specific point by jumping to it.
We’re going to start with anything that is an active hazard for the player.
The most recognizable examples are enemies in a level. Enemy design in any
form is far too big a topic to talk about in one section here, and could easily
be a future Deep Game Design Dive entry.

When it comes to platformers, there are three kinds of ways of dealing
with an obstacle:
1. The player does not interact with it at all and avoids it at all cost;
2. The player has an actual weapon of attack by which they can defeat
the obstacle;
3. The player can defeat an obstacle by landing on it while jumping.
Obstacles that fall into the first group are the most common in the platformer
genre. The most famous example would be the ubiquitous “death pit” – where
the player would fall off screen and lose a life. Older games that made use of
vertical scrolling tended to turn the bottom of the screen into an ever present
death pit for the player to avoid. Another popular form was the use of “spikes”
to denote an area that would kill the player if they touched any of them.
In platformers where the player has no means of attacking an enemy or defeat-

ing an incoming obstacle, their only option is to jump over it. The model’s hitbox
in relation to the character’s maximum jump height impacts the difficulty of this.
Weapons in platformers can either be infinite, such as in Contra, or the
player has to keep picking up power-ups to refill.
The idea of bouncing off an enemy in a platformer was first seen in Super
Mario Brothers, but we could also count the hit arcade game Joust as an earlier
example. In the game, players rode flying ostriches and whoever was higher
upon impact would win.
With the wide range of platformers released, some allowed the player to
defeat enemies this way, while others didn’t. This could often lead to mech-
anic confusion by the player if they played a variety of titles. If your game has
enemies that you can and cannot defeat by jumping on them, then you need
to make some kind of visual distinction between the two – such as Mario’s
“spiny” enemies.
Regardless of the obstacle, a big distinction in platformers comes down to
the number of hits the player has to take to lose a life. The more chances the
player has, the easier the game would be. Advanced play in titles where the
player can take multiple hits is to purposely take damage, or to “damage
boost” their way through harder sections.
With that said, many platformers will feature obstacles that are instant
death no matter what; such as the death pits mentioned above.
7.4 Platforming Challenge Design

Obstacles that the player must use jumping in some capacity are more apt for
this book for obvious reasons. Despite platformers and jumping being around
for so long, the number of ways of challenging the player is limited. The
ultimate goal of the player is to use their understanding of the mechanics and
physics of the game to extrapolate the correct jump to reach the next piece of
ground.

When it comes to creating a jumping-based obstacle, there are only
three areas as a designer that you can influence the difficulty:
• Where the player is jumping from;

• What the player is doing in the air;
• Where the player has to land.
Let’s go over each point. Typically the surface that the player is jumping from
is static – allowing the player to focus on what they’re doing. Messing with
the jumping point requires the player to process additional factors and
increases the difficulty (we’ll go into more detail in the next section).
What happens in the air is dependent on the mechanics of the game. The
simplest way to add challenge is to have obstacles that the player must avoid
while the character is in the air. This can be from dodging projectiles coming
at the character, to making sure that they don’t hit something above or below
the character. Advanced platformers may give the player the ability to double
jump or propel themselves a limited number of times. The more elements the
player has to manage ultimately adds to the complexity of the jump.
Finally we have the landing point. The basic way to make landing harder is
to have the platform or piece of ground moving. The player must figure out
the best time to jump by judging the speed of the movement with their own
movement in the air.
The size of the landing point is also a factor. The less room for the player to
land on can lead to some of the hardest jumps in games. For games that allow
the player to bounce off enemies, landing on them creates a one-time platform
that the player must use or they will miss their opportunity to keep going.
The more elements at play, the harder it will be for a player to put all that
together. With the factors mentioned, we can now discuss some of the hardest
forms of jumping and platforming seen in the genre.
7.5 The Hardest Jumps

In the previous section we talked about the philosophy of designing
a platforming challenge and the variables that can be tweaked to make things
easier or harder. When it comes to making hard jumps, there are several areas
of focus that will increase the difficulty, and some famous examples.
A major factor is using the player’s own control over the character against
them. The player’s control can be influenced by requiring a high level of tech-
nicality, or using the game mechanics against the player.
Technical challenges require the player to perform very specific actions at the
right time in order to win. At the highest level, we can talk about sections that
only have one exact motion that will get the player through safely. Many Kaizo
games will feature sections made up of constantly different maneuvers that must
all be performed exactly as designed, and any slip-up will cost the player the run.
The player’s control over their character is a delicate thing, and if they feel
like they’ve lost control – or the character is not behaving how they expect them
to – the game experience will suffer as a result. Elements that purposely mess
with the player’s control are where we get to the hardest kinds of jumps. What
you don’t want is the UI itself affecting the player’s control over their character.
An example would be if the player can’t easily cancel out of a jump – lead-
ing to many accidents of hitting something above them. A big issue is if the
game itself dictates the nature of the jump – such as automatically deciding
the velocity of the jump without further input from the player.
With all that said, we’re going to discuss some of these challenges seen in
platformers from the early days to the modern era.
Blind Jumps
A blind jump is where the player must leap to safety without being able to see
their character or the platform they’re trying to reach. Oftentimes, these jumps
occur when the camera is not properly showing the game space to the player.
Some games will purposely design these sections by having on-screen elements
that reduce the player’s vision, such as darkness or foreground details.
At the moment, Mario is off the top part of the screen
Many older platformers would have the player jump so high that it caused the
camera to pan up while they’re in the air. The problem was that while the player
was in the air, there was no way to also view the platform they were aiming at.

If the camera doesn’t pan, then the character will go off screen, and the player
will have to figure out where they are without having anything to guide them.
Some titles will have the camera pan up or down depending on the velocity
of the player. If the player is moving faster than the camera, you can have
situations where the character must be moved, but the camera hasn’t caught
up yet and the player is going to miss their chance.
A partial solution is if your game features collectible items, such as coins in
Mario, which can be arranged in a path that the player can follow while jump-
ing blindly.
Character-Wide Challenges
A character-wide challenge is when the player must maneuver around some-
thing where the amount of space that is safe is equal to the width of the char-
acter, or more specifically their hitbox.
The margin of error is the highest when it comes to character-wide chal-
lenges, which is why they are so difficult to perform. The more of these in
a row that need to be performed leads to very frustrating challenges.
When trying to jump to or from character-wide platforms, the player needs
to be careful not to fall off the platform. An interesting challenge is when the
player must make repeated jumps to character-wide platforms in a single
maneuver. The reason why is that, depending on the spacing between them,
the player will not be able to gather enough momentum from a standing
jump to reach the next one in the chain.
We’ll be talking about Super Mario Maker later in this book, but many
designers love to throw in sections of the player maneuvering around charac-
ter-wide obstacles; sometimes even building the entire level around it.
What makes character wide-challenges so polarizing is that they’re not
about learning the level or growing in terms of skills, but performing a highly
specific set of motions without any sense of mastery or further input by the
player. That kind of difficulty can be seen in the next jump.
Pixel Perfect Jumps

When designing the distance of a jump, the more leeway you give the player
in terms of how far they need to jump impacts the difficulty. The pixel perfect
jump refers to games that set the distance the character needs to cover to be
exactly, or almost exactly, the maximum jumping distance.
In this situation, there is literally only one way for the player to make the leap.
Adding difficulty to these jumps is that it can be very hard to determine how far
the player needs to be on the edge before making the leap. Oftentimes, the hitbox
of the character is not consistent with the character model itself, leading to cases
where the character model can be barely on the edge yet still count.
Many of these jumps end with the player either leaping too soon and not
bridging the gap, or waiting too long and the character just falls off the edge
without jumping. Similar to character-wide challenges, pixel perfect jumps are
harder to balance due to the precision required to complete them.

Bouncy Jumps
As we mentioned above, the player’s control over their character is instrumen-
tal in figuring out how to get through a platforming obstacle. Our next three
examples are when said control is taken away from the player.
The “bouncy jump” is when the player is leaping off a platform that is con-
stantly propelling the player upward. When the player hits the jump button
affects their maximum jump height.
The difficulty of the bouncy jump is based on how many jumps the
designer has implemented. Some games will only have a few fixed possible
jumps from a bouncy platform, and if the player holds down the jump button,
they will get the same jump every time.
Other games will have multiple jumps all dependent on what position the
player is at on the platform. What makes these kinds of jumps difficult is the fact
that the player has no control over the platform itself and its impact on the play-
er’s jump. Many expert challenges will require the player to make a jump some-
where in-between the minimum and maximum position of the platform. This is
further complicated by the speed at which the platform is moving up and down.
Icy Jumps
The second example of when the player’s control is taken away from them is
performing a jump while dealing with “slippery conditions.” Even though icy
elements primarily affect ground movement, they can lead to increased diffi-
culty when jumping.
The first point is that when the player is on a slippery surface, their
momentum is not completely in their control. From a standing position, this
requires more movement to build back up to maximum speed. Once they are
moving, it becomes harder to stop and regain control over their character.
In Super Mario World, if any part of the stage is slippery, then all surfaces will be
slippery for that stage
Once they are in the air and trying to land somewhere, if the landing point is
also slippery, then the character will continue to move once they land. There were
platformers released on the NES and SNES where the character may slide instead
of coming to a complete stop, or the walk animation would keep going after the
player’s input has ended, which would also have elements of an icy jump.
Moving Jumps
Trying to figure out the correct jump to make becomes further complicated if the
player has to make use of moving platforms. In this case, the player must jump to
a platform that is moving either from a still platform or one that is also moving.
The faster the platforms are moving will directly add to the difficulty,
requiring the player to account for that speed when jumping. Depending on
the physics of the game, the character’s jump can also be affected by the speed
and direction of the moving platform.

A classic platforming section is when the player must dodge obstacles while
returning to a singular moving platform. Not only must the player be avoiding
things, but they must keep track of their velocity in the air to make sure that
they return to the platform safely. A rare exception to this was in the game
Super Mario World 2 Yoshi’s Island. The player did not need to adjust Yoshi
in the air to land back on a moving platform, as the character naturally kept
to the pace of the platform.
Trick Jumps
A trick jump is when the player must perform a second (or sometimes third)
action while they are in the air. Obviously, the more actions the player must
perform in the air, the harder the jump will be. The trick jump category is
different from the other ones listed, because it relies on secondary mechanics,
which is why we won’t spend time describing them in detail. The one factor
to keep in mind is how this relates to the control scheme of your game.
If someone is holding the controller in the default position (left thumb on
left analog stick, right thumb either on right analog stick or face buttons), you
need to be concerned if performing the action will require shifting their hands
or putting them in a weird position.
As an example: if the player is already pushing “X” on an Xbox controller,
requiring them to hit “B” at the same time will require them to shift their
hands into a different position. Not only can this be hard to do in the heat of
the moment, but it can start to hurt someone’s hands if they have to repeat it
constantly.
It’s considered good form that the more important a mechanic or action is
to the gameplay, the easier it should be to perform at a moment’s notice.
Aborted Jumps
The final category is what I call “aborted jumps.” The reason most platfor-
mers will build their jumps to be less than the character’s maximum jump
distance is that it allows the player to only worry about the jump from the
landing point. If the player goes long, then there will still be ground for
them to hit.
This is why one of the hardest kinds of jumps in all videogames is that one
which requires the player to “stall” in mid-jump to land on a platform. The
player must now not only compensate for the jump itself, but also know when
to stop the character’s momentum hitting the platform.
Further compounding the difficulty is the fact that once the player stops
the momentum, there is no way to get it back, often leading to undershooting
the jump. If the character’s horizontal jumping speed is too fast, they can
easily overshoot the jump if they’re not paying attention.
The various jumps that we just described by themselves are harder than
normal jumping in a platformer, but they rarely occur individually. To
increase the challenge, many platformers will combine these jump types into
brutal sections, where the player must make an aborted jump onto
a character-wide platform that is also bouncy.
With all that said, what we just talked about are not considered bad design,
but simply listing the ways that platforming challenges can be taken to their abso-
lute hardest. In Chapter 17 we’ll be talking more about level philosophy and
design that allows these challenges to be considered fair instead of frustrating.
One category we didn’t cover are elements that change the screen or controls.
In Super Mario World 2: Yoshi’s Island, there is an enemy called a fuzzy. If the
player runs into them in a stage, Yoshi will get dizzy, causing the screen to start
shifting and Yoshi to start stumbling around. There have also been games where
conditions could reverse the controls, flip the camera, and much more.
The reason why we’re not covering them here is that they make all aspects
of the game harder, and we just want to focus on platforming.
Before we switch topics, I want to return to the topic of fall damage, and
how it has become polarizing.
7.6 Fall Damage

Fall damage as we discussed earlier is having the character take damage, or
just die, if they fall from too high a distance. This was a popular feature for
early 2D platformers, and remains a part of 3D platforming.

Most gamers agree that it’s not something they enjoy in 2D platforming, but
are willing to accept it in 3D spaces. The problem with fall damage is that it’s
often seen as throwing salt on the wound. The common occurrence of fall
damage happens when the player misses a jump that they were trying to make.
Many 3D platformers give the player an ability that can mitigate any fall damage,
such as being able to hover or float
The penalty of having to get back to the position where they need to make
the jump is often punishment enough. If you want the act of missing the
jump to hurt the player, then you can simply add in environmental obstacles
to add danger to the act of missing.
Fall damage is also a binary situation: the second the player falls the desig-
nated distance, they will always receive damage. The reason why it’s still
viewed as acceptable in 3D games is that they offer larger stages, with many
titles having platforming sections thousands of feet above ground level.
Another point is that due to the number of ways the character can jump,
oftentimes players can cancel the fall damage by performing another action.
In the 3D Mario games, simply performing a dive command at the right
moment can cancel the fall damage. For 3D adventure games, fall damage typ-
ically occurs if the distance is fatal, such as falling from over 50 feet and up.
Moving on, it’s time to talk about an interesting fork in the road that some
designers went down.
8
The Adventure
Platformer
8.1 Story-Driven Jumping

8.2 Heroic Platforming
8.3 The Pros of Adventure Platforming
8.4 The Limitations of Adventure Platformers
51
8.1 Story-Driven Jumping
Traditional platformers quickly adopted variable jumping, with rare exceptions
like the Ghost n’ Goblins series. As we referenced earlier in this book, platformers
became known for testing the technical skills of the player, oftentimes at the
expense to storytelling. However, there is a subsection of platformers that focus
more on storytelling and puzzle solving compared to the technicality of jumping.
There isn’t an official genre or sub-genre for this category, so we’re going
to call them “adventure platformers.” Adventure platformers will always fea-
ture a committed jumping system, and the core gameplay loop is split between
platforming and oftentimes one other system, usually combat.
Unlike other platformers where the player is usually conditioned and
rewarded for moving fast, adventure platformers are more methodical. Many
times, a careless player could run from one screen to the next and get killed due
to a trap. Instead of the player being challenged to perform a variety of maneu-
vers to avoid obstacles, adventure platformers were more about “puzzles.”
We’ll be talking more about puzzle-based platforming in the next chapter,
but let’s talk about some of the notable examples.
8.2 Heroic Platforming
The first example I could find that checks the boxes for adventure platforming
would be the 1989 game Prince of Persia. Designed by Jordan Mechner, the

game challenged players to save a princess from an evil Vizier in under 60 minutes.
The player had to navigate their way through dungeons while avoiding traps. The
other major gameplay system was getting into sword duels with a variety of guards.
While not as plentiful compared to the main platformer genre, we did see
other adventure platformers come out through the 1990s. Titles like Flashback:
The Quest for Identity and Another World would define the genre. Perhaps the
most recognizable from this era would be Oddworld Inhabitants’ breakout hit
Abe’s Odyssey which helped launched the company and their Oddworld branding.
Due to the slower pace and less focus on jumping, we’re not going to be
spending as much time on this style of platforming, but it’s still part of the
history of the genre.
8.3 The Pros of Adventure Platforming

Adventure platforming allows players to experience platforming without the
need of a high skill level. Since jumping is not the focus, as with traditional
platformers, it allows designers to create original sections and challenges with
their unique systems.
Many adventure platformers were more story-driven, and removed more of

the “gamey” elements such as scoring, lives, and boss fights. The greater focus
on storytelling at the time helped them stand out from contemporary platfor-
mers that had more over-the-top tales.
The fact that the levels were designed to be shorter and with a slower pace
gave designers the opportunity to focus on graphics and aesthetics. While they
8. The Adventure Platformer 53

may not look it now, games like Another World and Oddworld stood out
graphically back in the day.
With that said, adventure platforming has been hit the hardest in terms of
popularity thanks to the growth of the videogame medium.
8.4 The Limitations of Adventure Platformers

While adventure platforming did have its time in the sun during the 1990s, its
adherence to committed jumping did hurt its long-term viability.
Due to the split focus of jumping paired with another game system, adven-
ture platformers were limited in terms of how much they could stretch their
game systems. With variable platforming, you could always keep building
things harder and harder thanks to the nature of the design.
Adventure platforms that were locked to only a number of fixed jumps
and angles were far more restrictive. There’s only so much original con-
tent you can make when the player only has a few mechanics to use
before you start to repeat. Many adventure platformers had slower move-
ment and animations which led to them feeling clunky to play. Adventure
platformers are noticeably shorter compared to variable platforming for
this very reason.

When 3D platformers were developed in the mid-1990s, most of them took
the committed design further and combined that with the action-adventure
genre. In fact, as storytelling developed across the game industry, adventure
platformers quickly disappeared.
As an interesting point, even variable platformers, when we got to the indie
era (which we’ll be talking about later in the book), would make use of the
platforming design, though they paired it with original storytelling. For the
concept to work today, the other game system would have to be fleshed out
enough to be the focus, and jumping would be the secondary system.
With that said, the use of puzzle-based jumping continues to thrive and
has been a part of many 2D and 3D platformers.
8. The Adventure Platformer 55

9
Puzzle Platforming and
Design
9.1 The Thinker’s Jump

9.2 Skill vs. Thought
9.1 The Thinker’s Jump
Starting from the adventure platformer genre, we started to see more games
devised with ways of testing the player with platforming instead of through pure
57
skill. Puzzle platforming refers to games where the player must figure out how to
move through an area by using the environment or specific items to help them.
The difference between puzzle platforming and traditional platforming is
that the focus is on reading the environment as opposed to pure skill. Plat-
forming challenges such as Super Meat Boy or Celeste would not be considered
a puzzle platformer, as even though the player has to figure out the correct
way through each section, it is still focusing on technical skill.
Puzzle platforming also gave way to a different form of creating a puzzle
that we’ll call an environmental puzzle. Traditional puzzles are situations that
require the player to either perform a specific task or use the correct item and
are always pass or fail with no exploration of the games’ mechanics. Often-
times, these puzzles exist separately from the game space or design – such as
stopping the game until the player wins a game of tic-tac-toe.
An environmental puzzle is built directly into the game space and challenges
the player with a puzzle that is completely in-universe, and often the player may
not realize that they’re even doing a puzzle. The most popular examples of envir-
onmental puzzles are those that require the player to figure out how to get their
character to reach a specific point/item or how to get a door open.
Going back to the Oddworld franchise, many of the puzzles not only tested
the player on getting the main character through a section, but also NPCs
that had to be escorted.
In our last chapter we talked about how adventure platforming combined
the act of jumping with a secondary mechanic. Puzzle-based platforming will
make use of additional systems or rules to devise challenges to test the player.
When 3D became the norm in the mid-1990s, many action-adventure titles
adopted puzzle platforming as a way of breaking up the combat in those titles.
Some famous examples would be Tomb Raider and The Legend of Zelda: The
Ocarina of Time.
We’ll be talking about first-person design in our next chapter, but many
first-person-based games made use of puzzle platforming. In the hit game
Portal, the player had to figure out how to use physics to propel themselves
through portals to reach the desired areas. Half-Life 1 and 2 both featured sec-
tions where the player’s focus is on moving through the environment as
opposed to fighting enemies.
Another big difference between puzzle and traditional platforming is with
section design. Many 2D games will have a puzzle literally be the size of
a single screen. Puzzle-based challenges are smaller than a traditional plat-
former, with the bulk of the time spent on figuring out what the correct path
is as opposed to performing it.
There are several unique challenges to puzzle platforming compared to
traditional platforming. From a design standpoint, it is harder to come up
with different and progressively more challenging sections to test the player.
The actual platforming itself in these kinds of games is never the focus,
which means that you must rely on the secondary mechanics to keep creating

new puzzles. If you don’t have enough mechanics to create different situations,
then the game will start to feel repetitive.
From a pacing point of view, while the use of checkpoints in traditional
games is up for debate, the same can’t be said of puzzle platformers. The
game should checkpoint every time the player finishes a section. Due to the
slower pace of this kind of design, you don’t want the player to be repeating
content they have already finished.
Another major difference is that, as the designer, you need to understand
the two competing elements that go into a puzzle platformer.
9.2 Skill vs. Thought

Puzzle platforming requires both critical thinking and technical skill, which
presents an unusual balance for a videogame. Being good at only one will not
let the player complete the task, and this can create frustration.
The player can run into a situation where they don’t know what the solu-
tion is, and they keep performing options thinking that they’re just messing
things up. On the other hand, the player could know the solution, but they
keep running into problems with performing the necessary steps needed to
pull it off.
This is why for most puzzle platforming titles, the actual platforming is not
as challenging compared to a traditional platformer. The only exception to
this rule is when we talk about Kaizo games later on in the book. There are
9. Puzzle Platforming and Design 59

Kaizo games that make use of puzzle levels – combining technical challenges
with a specific order of actions to get through a section.
One way of drastically lowering the difficulty of a puzzle platformer is taking
the technical skill requirement out of the equation. In the game The Swapper, the
player must aim at specific points on the screen while in the air to create clones
and “swap” positions with them. Whenever the player is aiming with the swap-
ping device, the game will slow down time to a crawl to allow them all the time
needed to perform the action.
Another example would be the title The Talos Principle which dealt with
first-person puzzle solving and platforming. Whenever the player had to make
a jump onto a moving target, they could place the cursor over where they need to
jump to, and the game would take over and guide the character to the position.
Depending on the audience that you’re aiming for, you need to be mindful
as to just how challenging the platforming is going to be alongside the puzzles.
If you want the puzzle-solving to be the focus of the gameplay, then you don’t
want the platforming to require a high technical level.
This can lead to sending mixed signals to your audience – saying that your
game is a puzzle title, but requiring skills seen in a challenging platformer.
We’ve been talking about 2D design over the last nine chapters, but it’s
time to begin talking about 3D movement and spaces.

10
First-Person Jumping
Design
10.1 Jump and Shoot

10.2 The First-Person Camera
10.3 The Limits of First Person
10.1 Jump and Shoot

A first-person viewpoint is when the player’s viewpoint is literally the camera
itself, typically used to simulate the idea that we’re looking through the character’s
61
eyes. First-person design in and of itself is worthy of being studied – we could
dedicate an entire book to it.
The first-person shooter genre much like the rest of the industry can be hard to
trace its roots. Older fans will probably say that their first experience was with
a game like Quake or Doom, but there was the precursor to those titles in the form
of Wolfenstein 3D. Even then, there were older examples of titles that made use of
the viewpoint.
When it comes to performing platforming in first person, the oldest example
I could find of a game that used the mechanic similar to 2D platformers was the
game System Shock released in 1994. Many early first-person shooters would have a
pseudo-form of jumping. By moving fast enough off an edge, the character could
cross gaps similar to a platformer. However, because this was not tied to a com-
mand or became a major system, I wouldn’t call them first-person platformers.
An interesting point about first-person games is that they featured a unique
form of jumping which has been dubbed “crouch-jumping.” When the character
crouches, their model condenses and takes up less space in the environment. By
jumping and crouching at the same time, the character model’s legs would be
higher off the ground compared to a regular jump. In turn, this allowed players to
jump up obstacles that they would normally get stuck at. When first-person games
became more realistic in the 2000s, the use of crouch-jumping had all but disap-
peared in modern shooters.
Jumping in first person is different compared to 2D, or even 3D, design,
and has its own set of considerations.
10.2 The First-Person Camera

The biggest difference in terms of design from a 2D title to what we saw with
3D and first person has to do with the camera and information being displayed.
In a 2D space, the camera itself automatically tracks the environment around
the character – presenting the best viewpoint of the obstacles and level design.
In a 3D space, the camera becomes a controllable element that the player decides
what view they will be seeing (for more on camera design in 3D spaces, see Chapter
12). For first-person games, your view is limited to what’s directly in front of you.
Playing from a first-person perspective has its own set of unique challenges.
As the player, you will never be viewing the entire span of the environment
from a limited viewpoint. This means the player has to be constantly turning
and adjusting the camera in order to get the information that they need.
If the camera panning is too slow, then it can lead to the player not being able
to properly track enemies or make quick movements and jumps. If the camera is
too fast in how it moves, this can lead to disorienting the player – with many
people suffering from sea-sickness when playing first or third-person titles.
Camera design in first-person titles has not changed since the genre was
popularized in the 1990s, and continues to be the reason why first-person
platforming is very limiting.

10.3 The Limits of First Person
Despite the evolution of technology and design, first-person gameplay in all
forms is always limited by the camera system. When it comes to platforming
design, gamers will agree that first-person-based platforming is never as popu-
lar compared to 2D and 3D platforming.
There are several different areas where first-person design clashes with plat-
forming. Many first-person titles are built around shooting (hence the genre
FPS), these titles tend to focus on high-speed movement that takes into account
the character’s momentum.
Due to how fast the character is moving, they tend to “slide” upon landing
or when they stop running, which we talked about in Chapter 7 with slippery
jumps. Without any rails or small walls to stop them, it’s very easy for players
to jump, land, and then slide right off a platform.
The next issue has to do with the jump itself. To save time in terms of
rendering characters and animating, many first-person titles will not show the
character’s legs when the player looks down. This presents a major problem
when it comes to knowing where the character is in relation to any edges the
player wants to jump from.
Making matters worse, many first-person titles will not show a shadow
under the character. Typically, the shadow is present in 3D games as a way
for the player to figure out where their character is within the gamespace.
Even though first-person games are shown through the viewpoint of the char-
acter, without having a shadow or something to reference, it makes precision
jumping a lot harder for the player.
10. First-Person Jumping Design 63

If you’re going to do a lot of jumping in a first-person game, then you want to
give the player a wide berth when it comes to making the jump. Pixel perfect
jumping is not recommended due to the frustration factor. It’s not uncommon
for first-person titles to always have something that will stop the player’s momen-
tum once they clear a jump to avoid the sliding issues we mentioned above.
One final issue has to do with the camera itself. As we mentioned, a first-
person camera only shows information that the player is directly looking at.
This also means the player is not able to quickly turn around to reposition
their character as in a 2D or 3D game. Their only option is to rotate the
camera in order to realign in a new direction.
Due to how slow camera orientation is, it has a dramatic effect on what
kind of obstacles the designer can realistically set up. Challenges that require
a lot of camera shifting can be hard on the player’s hand to keep turning the
mouse, and can once again cause dizziness and sea-sickness in people due to
the constant motion. If you’re going to have maneuvers that force the player
to do a 180-degree turn, you might consider having the camera automatically
adjust to make it easier to pull it off.
The three issues we talked about all greatly restrict the kinds of platforming
challenges that can be built into a first-person game. The first-person platfor-
mers we’ve seen that focus on platforming tend to be very repetitive in their
obstacle design. Similar to puzzle platformers, there are usually secondary
mechanics and systems to help keep things from becoming stale.
While first-person platforming hit a wall, 3D would dominate platforming
for at least a decade.

11
The 3D Platformer Era
11.1 Two and a Half D Games

11.2 The Rise of 3D
11.3 The Mario 64 Formula
11.4 The 3D Mascot Rush
11.5 Three D Adventure Platforming
11.1 Two and a Half D Games

Before 3D was fully adopted, we began to see the use of 3D in a smaller
scope; 2.5D is a style of game that gives a greater illusion of 3D, but still oper-
ates on a 2D plane. There are two popular examples of this kind of design.
65
Many games used isometric perspectives to create the illusion of 3D. This was
used heavily in strategy and city building games to try and make buildings
and units stand out from each other.
The other examples are games that made use of 3D characters in a 2D
space, such as the Donkey Kong Country series. Later games that made use of
2.5D would sometimes allow the player to move in and out of the plain or
depth that they’re in to make the world seem larger. One of the first examples
of this would be the Sega Saturn game BUG!, but it’s not a requirement of
2.5D design.
In terms of design, anything that could work in 2D would be fine in 2.5D.
From a technical standpoint, it is more work to design a 3D character than it
would be a 2D, and is why most 2D platformers still made today tend to stay
with a 2D aesthetic, with some exceptions.
There have been platformers that went with a unique aesthetic and the 2.5D
really makes it stand out; such as Ori and the Blind Forest. While 2.5D has earned
its place among platforming fans, it’s time to talk about how 3D became the norm.
11.2 The Rise of 3D

As with first-person platforming, trying to find what would be considered the
first game of the 3D platformer genre is tough. Developers were experimenting
with 3D viewpoints and depth of field as far back as the 1980s. Many of these
titles would still have movement restricted, but the viewpoint was different.
During the 1990s, we saw more console manufacturers appear on the scene to
try and take the #1 spot away from Nintendo. This also led to a hardware war of
each company trying to be the most powerful on the market. From a technical
standpoint, the SNES was capable of 3D graphics, but did not have many 3D
titles. Sega’s add-ons to the Sega Genesis – the 32X and Sega CD – were also
powerful enough for 3D. In terms of new competition, we saw the Atari Jaguar
and Panasonic 3DO in 1993, along with other handheld competitors.
Part of the challenge of defining 3D platformers was that there were many
games that made use of an isometric viewpoint that created the illusion of 3D.
The critically acclaimed Super Mario RPG: Legend of the Seven Stars made use
of that perspective to allow Mario to jump in more directions than just left
and right, while Sonic 3D Blast allowed players to move him in any direction.
For the purpose of this book, we’re going to focus on games that made full
use of a 3D gamespace around the player in order to perform platforming
challenges. The first game that would technically fit as a 3D platformer would
be the 1990 title Alpha Waves. In it, players had to maneuver around a 3D
world trying to get geometric shapes to reach specific points.
When most gamers think of 3D platforming, the games that would define
the genre began to appear in the mid-1990s, with the first 3D platformer of
this era also being the first one to be in the first-person perspective: 1995’s
Jumping Flash! for the Playstation 1.

Despite not being the first 3D platformer, the game that would go on to
become the blueprint to this very day for 3D platformers would undoubtedly
be Super Mario 64, and it also was the first title for Nintendo’s next successful
console after the Super Nintendo: the Nintendo 64.
11.3 The Mario 64 Formula

Mascot-driven games were not slowed down by the development of full 3D.
Before Super Mario 64 became the standard, there were attempts by other
developers to try and create the next mascot hit before Nintendo appeared on
the scene. Following their break with Nintendo, Sony took the, at the time,
smaller developer Naughty Dog and published the platformer Crash Bandicoot
which would become the “mascot” of the Playstation 1 era.
Up until Super Mario 64’s release, the early 3D platformers would present
themselves in a similar form to 2D games. Gameplay only existed within the
levels themselves and there was no real connection from one level to the next.
To say that Super Mario 64 (or just Mario 64 from this point on) changed
things would be an understatement. If it wasn’t for the fact that Mario was so
well known, Mario 64 would have definitely made the list for my previous
book, 20 Essential Games to Study.
11. The 3D Platformer Era 67

There is a lot to cover here, and we’ll be continuing the design discussion
in the next chapter focusing on 3D elements. From the beginning, Mario 64
gave us the standard of 3D cameras for platformers.
The camera itself would focus on Mario from an almost 3/4 isometric per-
spective, but would adjust the angle based on the situation at hand. The game
would take over the camera at specific obstacles to allow the player to focus
on the obstacle at hand and not on orienting the camera. Even though the
camera was designed to show the best possible angle, players could still
change the elevation and perspective to meet their needs.
A subtle change to the platformer formula was the introduction of the hub
or over-world. One of the design philosophy changes going from 2D to 3D
was trying to build a greater sense of place within the gamespace. Instead of
looking at a map or going from one nondescript level to the next, the idea of
the hub was to tie everything together into one grand adventure. Some 2D
games did have an over-world structure, but nowhere near the depth or com-
plexity as what we would see in 3D.
With Mario 64, the game itself took place within Peach’s (renamed from
Princess Toadstool) castle and the surrounding area. Within the castle there
were magical paintings that would transport Mario to a new area/level.
In 2D design, many levels would be tied together, either from an aesthetics
point of view or in terms of the types of challenges. With Mario 64 and the
other 3D platformers, there were fewer levels, but they were deeper in terms
of the gameplay and design.

Each level in Mario 64 was essentially a one-off, featuring a different envir-
onment, enemies, obstacles, and challenges to overcome. One such level took
place in an Egyptian setting, while another was inside a giant clock tower.
A key element of 3D platforming was the idea of collecting a “mcguffin” as
a form of progression. In Mario 64, there were a total of 120 stars hidden
throughout the over world – and within each level. Completing challenges
would reward the player with a star – either by reading the endpoint of it or
finishing a specific task. The actual over world itself would be locked behind
different thresholds of stars; collecting enough stars in one area would allow
the player to visit new levels. With each threshold came a special Bowser stage
that required players to complete a level and defeat Bowser at the end.
The challenges themselves were unique to each stage for the most part.
There were always two-star challenges per stage that were shared between
them – collect 100 gold coins and collect the hidden seven red coins.
To officially beat the game, players just had to collect 70, while expert players
could go for all 120 stars. An important reason for having a minimum number
was that it allowed players of differing skill levels to at least see the ending of
the game. In 2D design, you had to complete every level in the exact order to
get to the end. With this design, if there were stages or challenges that you
couldn’t complete, you could still collect the required total elsewhere.
From a platforming standpoint, Mario 64 would be the most evolved take

in the series seen at the time. The game still had a control scheme centered
around movement, jumping, and a general “action” command for Mario’s

controls, but the number of ways Mario could be manipulated were increased
(which we covered in Section 6.4).
The variety of ways to move Mario around led to a phenomenon I’ve coined
subjective difficulty, which we’ll be discussing at length in the next chapter.
One of the more important aspects behind Mario 64’s evolution was a change in
level design philosophy. In 2D games, levels were linear and required the player to
perform exact jumps and motions to get through them the same way every time.
Given the wider space and number of ways to manipulate Mario, players were
able to get through the levels with different techniques. This kind of design philoso-
phy we’re going to come back to in the next chapter, as it has become a staple of 3D
platformer design. For lesser skilled players, if they were unable to perform a task,
there was always something else they could do to keep moving forward in the game.
The number of power-ups was cut down to just three that were all based
around wearing different hats – one gave Mario the power to fly, another
turned him metallic, and the last one made him intangible and able to pass
through certain walls. These power-ups were not designed around engaging
with enemies compared to previous entries, but were about solving the various
puzzles and challenges in the game.
Super Mario 64’s design and impact are so great that we could dedicate an
entire book just to it, but let’s move on and talk about the rest of the industry.
11.4 The 3D Mascot Rush

Despite the Super Nintendo continuing to have games released, the mid-1990s
began the transition into 3D for the console market.
As videogames became more cinematic, licensed games based on movies
and TV would fall under the action umbrella, with games based on Charlie’s
Angels, Hercules, and many more.
For mascot-driven games, we saw both old and new mascots given the 3D
platformer treatment. Older characters like Earthworm Jim, Sonic, Donkey
Kong, and even Bubsy the cat were joined by newcomers like Spyro, Gex, and
Banjo-Kazooie, to name just a few.
With rare exception, if there was a mascot platformer that came out during
the 2D era that was relevant, a 3D sequel was going to be added to its fran-
chise. With that said, we can talk briefly about some of the standout examples
of 3D platformers.
Rare became known as one of the best developers working on 3D platformers
outside of Nintendo. In 1998 they released Banjo-Kazooie which followed Mario
64’s formula, with the addition of having new abilities unlocked through play.
The Sega Dreamcast and Sonic the Hedgehog’s first, but certainly not last,
3D entry was in 1999 with Sonic Adventure. Sonic Adventure mixed the trad-
itional Sonic gameplay with exploration and puzzle solving. Playing as Sonic
and other characters, each character had stages designed exclusively for them
with unique gameplay mechanics.

Conker’s Bad Fur Day released in 2001 also by Rare still stands as one of
the few “Adult’s Only” games to be released, and the only one in the 3D plat-
former genre. The game has achieved a cult status for its raunchy situations
and gameplay variety.
In 2005, Traveler’s Tales would begin their lucrative franchise of making Lego-
themed licensed games with Lego Star Wars. Each game would be an action plat-
former based on a popular property aimed at children and family play. Since
then, they have made games based on DC, Marvel, and many other properties.
Given the push to make 3D games, it was only a matter of time before developers
would try 3D adventure platformers, and we did get to see some interesting entries.
11.5 Three D Adventure Platforming

The move to 3D gave a shot in the arm to adventure platformers. The greater
focus on environmental design and exploration gave developers more room to
come up with interesting and different challenges in the sub-genre.
The franchise that would become the standard for 3D adventure platfor-
mers was Tomb Raider released in 1996 by Core Design. In it, players con-
trolled Lara Croft in a series of adventures. The objective was to guide Lara
through different environments while avoiding traps and solving puzzles.
The bulk of the gameplay was built on puzzle platforming. Players had to
figure out how to get Lara through or around obstacles using the environment
around her. As we discussed in Chapter 9, the use of environmental puzzle
solving would become a major part of 3D adventure platformers.

Unlike Mario and mascot-driven platformers, Lara’s jumping was commit-
ted – jumping over large pits and climbing around structures to explore.
There was combat that involved moving and jumping around while firing her
weapons at enemies, most notably when she fought a T-Rex.
Instead of having progress tied to an open-world or collectible progression,
Tomb Raider and other adventure platformers were designed with a linear
structure – going from one level to the next. Players could find bonus treas-
ures hidden in the levels, but they were not required to win.
The Tomb Raider franchise would have highs and lows until its reboot in
2013, and was turned into a third-person action-adventure game.
The Prince of Persia franchise had a lackluster first 3D entry with Prince of
Persia 3D, but bounced back with Prince of Persia: The Sands of Time in 2003.
Built on a combination of third-person combat and puzzle platforming, the
series’ original mechanic was the ability to rewind time.
As long as the player had enough of the game’s resources available, they
could rewind to avoid any damage or correct any jump. Following the game’s
fourth entry, the franchise has been retired since 2008.
Despite the evolution of adventure platforming in 3D space, much of the
same problems that affected its viability in 2D were still around. You were still
limited in terms of the variety of challenges, which is why combat was added
in as a secondary mechanic. As we’ll talk about in Chapter 13, this trend led
to the AAA market moving away from platforming design.
Regardless of the genre, it’s important to understand the differences that
3D brought to game design.

12
Three D Design
12.1 The “Depth” of 3D

12.2 Three D Camera Design
12.3 The Shadow Knows
12.4 Subjective Difficulty
12.5 Auto-Jumping
12.1 The “Depth” of 3D

Depth is the biggest difference between 2D and 3D gameplay. Players are no
longer locked to one plane in terms of viewing the game space, and now have
360 degrees around them to explore.
73
Three D design is infinitely more complex than 2D. Not only do you need to
design grander levels, but there is the increased work on art with designing 3D
models. You cannot approach 3D game design the same way as in 2D. Earlier in the
book we talked about the timelessness of 2D design and pixel graphics. The same
can’t be said about rough 3D titles that have not aged as well compared to 2D.
From an environmental standpoint, the environment needs to “make sense.”
Many 2D games feature level designs and architecture that, while they looked
interesting, made no logical sense – stairways that lead nowhere, buildings that
are maze-like, pits all over the place, and so on. This is often why designers will
usually cite studying architecture for designing buildings that make sense.
Scale is another area that differentiates 2D and 3D design. A village doesn’t

have to be abstracted in a 3D space – you can literally build and model every
structure, road, and piece of landscape. There is a lot more that goes into 3D
design than we can fit into this section, and most of it is unrelated to jumping.
However, it’s time to talk about the 3D camera, and why it has become
a nightmare for many game developers to work with.
12.2 Three D Camera Design

As we touched briefly on in Chapter 10 concerning first-person cameras, the
3D camera is a separate entity when it comes to using it in a videogame.
What that means is part of your UI must be set up to manipulate the camera
at almost any time. Designers have standardized either the right analog stick

or the mouse for controlling the camera with a gamepad or keyboard and
mouse control scheme respectively.
In 3D design, there are several popular camera systems used in develop-
ment; not all of them are suited for platforming.
The most popular style at the moment is the “behind the back” camera.
Here, the camera is presented behind the character model and slightly above.
This allows the player to keep the bulk of the character model at the bottom of
the screen, only coming up to about the middle, while presenting the widest
possible view in front of the character. The camera can usually be adjusted to
show the character looking down and making it possible to gauge jumps.
The major disadvantage is that this camera tends to have trouble if
a character is near a wall or too close to a larger enemy model, since it becomes
difficult to see. The camera can get “stuck” in the model and prevent the player
from seeing their character unless they move away from the offending object.
This is not the same as the “over the shoulder” camera system, which posi-
tions it so that the character is either on the left or right-hand side of the
screen. This camera system is popular in horror and action games, and is often-
times used for aiming and included in games with the behind the back style.
For platforming and combat that occurs 360 degrees around the character,
an angled or isometric camera system is considered the best. This system allows
the player to fully see their character model and their relation to the enemies
and environment around them. The character model is kept positioned around
the middle of the screen – allowing perfect vision of everything around them.
12. Three D Design 75

There are two disadvantages to this system. First, it is not good at showing
the player what’s in front of them or coming up. This can make it difficult if
the player is moving too fast or trying to find something that is off camera.
The other issue is that since the camera is completely separate from the char-
acter, it does require more work to get it positioned and adjusted properly.
Early 3D titles and those going for a cinematic touch would use fixed
camera angles. Popularized by the Resident Evil franchise, the game could only
be viewed by the angles chosen by the developer. Oftentimes this was used to
hide key information to scare the player, and to cut down on the number of
elements that needed to be rendered in the environment.
For platformers, when a section is especially tricky, developers will lock the
camera to the best possible angle – allowing the player to only focus on the
specific event. Otherwise, fixed camera angles are not popular in 3D platform-
ing. If you put the wrong fixed angle in, it could make your game a lot
harder – or even impossible – to play.
Many 3D action games tend to run into issues if they only present things at
fixed camera angles, allowing the enemy to oftentimes attack the player off camera.
Due to the unique advantages and disadvantages of these systems, designers
will often use several in a game to allow the player the best possible views of the
gameplay. Many 3D platformers will allow the player to switch view styles: from
isometric, to behind the back or first person, and allow further manipulation.
Because there are so many ways of adjusting the camera, many games will
feature a “reset camera” command to bring the camera back to the viewpoint
chosen by the game.

One final detail is how moving a character in a 3D space works. Early 3D
titles would make the direction pads or analog stick control the character in
relation to their position. If you press “left” the character will start rotating left,
and the only way to move them is by pressing “up.” This is where the term
“tank-like controls” came from and was a part of the survival horror genre.
For any kind of platforming, you want the control based on the camera’s pos-
ition, that is if you press “left” then the character will start moving to the left side
of the screen. This is a more natural way of moving the character and is easier to
process if the player has to perform multiple jumps while the camera is moving.
Another important feature is locking the character’s movement independ-
ent of the camera until they change direction. In some 3D titles, if the camera
changes while the player is moving, the character will change immediately
based on the camera, often leading to the player moving in a way they didn’t
intend. By locking the character’s direction, it makes it easier for the player to
know where the character is going to be moving until they readjust things.
One of the major difficulties that happen in 3D platforming is being able to
make proper jumps within a 3D space, and that takes us to a simple, but vital
inclusion.
12.3 The Shadow Knows

The added plain and depth of field present in 3D creates a unique problem
for 3D platformers. In a 2D space, the character’s relation to where they are
in the air and what’s below them is easy to follow; the same can be said of
first-person platforming. With 3D on the other hand, depending on the direc-
tion and angle of the camera, you cannot track where the character model is
to the environment simply by the model itself.
Without having that reference, it becomes impossible to gauge any kind of
jumping in a 3D space. The answer to this problem was simple: use a shadow
to provide a frame of reference to the player.
Despite that simplicity, there are still several important factors to be aware
of. The shadow must always be visible to the player when they are making
any jumps. Some titles would have darker levels or special effects on screen
that would hide the shadow.
If the player is making jumps from high up and there is no ground to cast
a shadow, then the camera must be able to provide a viewpoint that can give
them a frame of reference. The common solution was to position the camera
behind the character’s back, so that the player could see from the character’s per-
spective where they were going. Another option is for the camera to look directly
down onto the environment – or a top-down view. While it’s not the most
attractive way of showing off your game, it makes it very easy to gauge depth.
From our previous section we can see why having multiple camera systems is
an important point in 3D platforming. Even with the behind the back camera,
you still want to always show the shadow when possible to help the player.

One of the most frustrating platforming experiences I had in a 3D game
was sadly Epic Mickey 2. This was due to the camera not showing a shadow,
usually because the player was too high up, or not allowing the camera to go
behind the back at specific points to provide proper reference for the player.
If you cannot provide any frame of reference in the 3D space for the player,
then you will not have the capacity to design 3D platforming challenges.
Moving on, one advantage that 3D brought to game design was giving
designers a chance at a new kind of difficulty curve.
12.4 Subjective Difficulty

The added depth that 3D brought to a title created a situation in which what
I’ve coined subjective difficulty can occur. In a 2D title, the player is required
to perform the same tasks and obstacles through a linear path. If a player
cannot do the task required of them, then all progress would be halted.
In a 3D game, the open nature of the level design means that the same
obstacles could be handled in different ways. Subjective difficulty is a case
where the game’s challenge is dependent on the player’s skill level, and will
rise or fall depending on how well the player has mastered the systems.
For the purpose of this book, we’re only going to talk about how it relates
to platforming, but another example would be learning the timing and master-
ing combat in the Dark Souls series.
Three D platforming is a great example of how subjective difficulty can be
applied to games. With the 3D Mario titles, the games were designed to

accommodate multiple skill levels, but at the same time, to help novice players
improve.
There are two areas where subjective difficulty can be applied – via the
level design and mastery of the game systems. The levels will have fixed goals
or challenges to achieve, but the path through can differ based on how well
the player is at controlling the character.
This is done by creating a game space that offers the opportunity to find
shortcuts (either intentional or improvisational) through the obstacles. In Super
Mario Galaxy 2, the first level was set up around basic platforming obstacles. As
a new player you would perform regular jumps to get through the level, albeit
on the slower side. Advanced players could make use of triple jumping and wall
jumps to bypass entire challenges and get through it a lot faster.
Both strategies were perfectly valid, and you were free to progress at your
own pace. As the game went on, the difficulty curve would increase in terms
of the basic path through a stage. Later levels would “officially” introduce
advanced jumps like the long jump, wall jump, and so on, even though those
options could be used earlier in the game. At this point, a novice player
would start to learn how to integrate those actions into their normal play.
By the end of the game, both the expert – and originally – novice players
should have the same skills needed to finish the final sections. The beauty of this
system was that the progression was still organic – the novices never felt like they
were being rushed to learn the game, and the expert players would immediately
be presented with challenges and situations suitable to their understanding.

A key element of subjective difficulty is how someone plays through the
title will change as their understanding grows. In my previous book 20 Essen-
tial Games to Study, I talked about how the puzzle game Infinifactory was
designed to encourage players to return to previous puzzles with a new found
understanding of how to play the game.
With the 3D Mario titles, once those novice players have gone through the
game at the base level of understanding, they could repeat the game and play
it entirely differently than their previous run.
While 3D platforming was growing, there is one alternative if you want
platforming in your game, but not require technical skills.
12.5 Auto-Jumping
As we’ve discussed, jumping is one of the base mechanics of game design.
Even if your game is not a platformer, the use of jumping to explore can still
be a part of your title. For games that want to have that element, but not be
about platforming, there is the system that we’ll call “auto-jumping.”
Typically in any platformer, the player must press a button to make the
character jump, and if the player doesn’t time it right, they will miss the
jump. Auto-jumping removes the button press and makes the character auto-
matically jump when they run off an edge of a platform.
The player only has a few ways of affecting the jump: determining the dir-
ection at the start of the jump, and sometimes having the option to abort it.
One of the first examples of this system was in The Legend of Zelda: The Oca-
rina of Time and would be featured in all 3D Zelda games going forward.

The auto-jump is always set up to happen if the player is moving at
a certain speed, usually if they are running. This is done to prevent the player
from making the character jump when they don’t need to.
While being easier to do than regular jumping, auto-jumping can have its own
challenges. By removing the need to press a button, you can have multiple jumps
occur in a rapid-fire motion – testing the player to direct the character in the
right direction. Environmental puzzles can still be used with auto-jumping, and
allow the player to focus on the puzzle or exploration as opposed to worrying
about the platforming.
With that said, if your game is about testing the player’s skills at platform-
ing, then you don’t want the game to take over and plot out jumps for them.
This is why we don’t see an auto-jumping option in 2D platformers.
Three D brought a lot of new elements to game design, but it wasn’t long
before the AAA industry began to move away from platformers.

13
The AAA Shift Away from
Platformers
13.1 The Growth of the Game Industry

13.2 The Blending of Genres
13.3 The Limits of 3D Platformer Design
13.4 Endless Runner Design
83
13.1 The Growth of the Game Industry
The platformer genre’s popularity continued into the 2000s, but things began to
slow down. Sega continued to try to make Sonic relevant with reboots of the design
following the end of the Dreamcast, but none of them stuck. Each title following
Sonic Adventure 2 rebuilt Sonic’s gameplay from the ground up with varying
degrees of success and failure. Sony quietly moved away from having an official
mascot and Naughty Dog stopped working on the Crash Bandicoot franchise.
With Microsoft’s new system, the Xbox, the company did try early on to
get a platformer mascot – with games like Kameo and Voodoo Vince, but the
popularity of Halo became the new focus.
The only AAA studios still putting out pure platformers was Nintendo, and
the 3D Mario titles continued to be some of the best 3D platforming around.
For the rest of the industry, times were changing. The mid-2000s was an
important point when it came to the growth of the game industry. The increased
power of the latest generation of consoles afforded developers the ability to create
cinematic experiences. Hits like the Final Fantasy series, Metal Gear Solid, and
Uncharted wowed gamers with polished gameplay and impressive graphics.
As we mentioned in relation to Halo, console gamers were now getting
access to online multiplayers of their own; not a watered down version from
the PC, but long-term supported multiplayers. The ability to play with your
friends greatly extended the life of many titles, which was something platfor-
mers could not compete with.

Speaking of the PC, consoles were beginning to have the power to compete
with the PC. Standardization began to happen with control schemes and UI
design – making it easier to port games from the PC to console and vice
versa. For a time, there were even talks about the PC industry dying and
everyone just buying consoles.
At this point, I know some of you reading this are wondering when I’m going to
mention the big game that came out during the 2000s. A lot of these changes and
focus on mature storytelling could be dated to 2001 with Rockstar Games’ Grand
Theft Auto 3 (or GTA 3). GTA 3 was a watershed moment for the game industry.
There were mature games before this, but none like GTA 3. The game allowed
players to fully explore a 3D city doing what they want, while following a brutal
revenge story with professional actors voicing many of the characters. Despite the
level of violence, profanity, and mature situations, the game showed developers
and consumers alike that there was more that could be done with M-rated games.
One aspect that isn’t talked about as much surrounding GTA 3 was how it
combined three different genres of gameplay – third-person shooting, driving,
and third-person exploration – into one experience.
This would begin a trend of designers focusing on unified game experiences
as opposed to being purely labeled by a single genre.
13.2 The Blending of Genres

A major shift in design philosophy occurred in the 2000s and into this
decade. As game design evolved along with the technology to run it, designers
began to combine elements of different genres together. Instead of a game just
being a shooter, or a driving game, and so on, systems from other genres
were introduced to provide more replayability or create a new experience.
Arguably the most popular (and profitable) was combining RPG progres-
sion and persistence in first-person shooting. The gameplay loop of powering
up characters and unlocking new abilities over the course of playing was
a cornerstone in the growth of the Call of Duty franchise, and soon became
a core part of multiplayer shooters.
Platforming soon became a part of other designs, such as in the Uncharted
and Assassin’s Creed series. This is different from the era of adventure-based
platforming where the platformer system was the core gameplay loop.
Jumping simply became a form of exploring the map instead of part of the
challenge. You were jumping around to get to the next section where you
would perform the main gameplay loop; usually combat or puzzle-solving.
The mechanic of jumping was not a part of the challenge of the game. Many
titles would introduce mechanics to even downplay the need of jumping –
such as auto-jumping that we talked about in the last chapter. In this regard,
we began to see the difference between a game that had jumping to it, and
one that tested the player on jumping.
13. The AAA Shift Away from Platformers 85

The obstacle and jump-based challenges we talked about in Chapter 7 were
nowhere to be seen. AAA developers fully embraced 3D graphics and engines,
and no one was making 2D platformers at that scale except for Nintendo and
a handful of other studios. Three D design began to show the limitations of
what you could do with platforming.
13.3 The Limits of 3D Platformer Design

In our previous chapter about designing a 3D camera, we spoke about the
challenges that go into building an effective camera in a 3D space. It was a lot
harder to create unique obstacles and platforming sections in 3D compared to
2D. With the additional cost in terms of time and money working in a 3D
space, developers wanted to focus on what was popular, and the open world
genre was the hot trend at the time.
Another roadblock developers were having with pure platformers was that
they were hitting a wall in terms of how to create new takes on the genre. As
we mentioned, Mario 64 set the standard for 3D platforming, and it felt like
everyone else was always chasing Nintendo.
Despite the freedom 3D brought in terms of environmental design, it
proved to be harder to create technical challenges. The camera became
a limiting factor, because if the camera couldn’t keep up or show the right
angle, then an obstacle could become unbeatable.

Despite the open nature of the game, platforming was reduced to linear sections
In our previous chapter about subjective difficulty, we noted how Nintendo

was the only developer showcasing how to design platformers built around
different skill sets, and it just kept them further in the lead compared to other
developers. Platforming franchises like Ratchet and Clank and Jak would even-
tually downplay their platforming in favor of combat and exploration.
Nintendo’s impact on platforming could arguably be another reason for the
decline of the genre. While there were many 3D platformers, Nintendo con-
tinued to raise the bar in terms of design and gameplay, and no one wanted
to compete against one of Nintendo’s marquis franchises.
As the AAA industry embraced the “games as a service” model, platfor-
mers did not work with this model of continued development the same way
that multiplayer titles did. A platformer is built purely on level design meant
to be played solo. There was no way that a developer could keep creating con-
tent at that level and charge consumers for it.
When mobile gaming grew popular thanks to smartphones, we saw plat-
forming come back, but in a simpler form.
13.4 Endless Runner Design

The idea behind an endless runner is that the character on screen is always
moving forward (AKA running), and it’s up to the player to steer them
around, through, or above obstacles. The path the character is running on is
13. The AAA Shift Away from Platformers 87

procedurally built and designed to throw in harder obstacles and move faster
the longer the character stays alive.
Despite that simple premise, there have been a variety of runners and
runner-based titles released. One of the most famous examples didn’t even
involve running, but flying – Flappy Bird.
For this book, we’re not going to spend a lot of time on runners due to the
limited nature of the design. Since the character is always moving forward, it
greatly limits the obstacle design and variety of gameplay. Obstacles usually
only have one way to pass them, and messing up would send the player back
to the beginning to try again. Some runners have persistence systems in the
form of unlocking new content or costumes as they complete objectives or
spend money.
Interestingly, Nintendo did try to create an elevated runner in the form of
Super Mario Run in 2016. The game did not sell as well due to its high cost
for mobile games and that it was still releasing 2D and 3D Mario games on
their main platforms.
So far in this book we have discussed platforming and jumping from the
AAA and AA market. However, some of the best and most advanced platfor-
mers released came from somewhere else.

14
The Indie Impact
14.1 The Indie Movement

14.2 Bringing 2D Back
14.3 Celebrating Celeste
14.4 The Modern Retro Market
89
14.1 The Indie Movement
The impact of indie development on the game industry could fill its own book at
this point. For as long as there were major companies putting out games, there
have always been smaller teams trying to create their own. Figuring out the exact
date of when indie games appeared would be difficult due to the many games that
were released outside of conventional methods. Early PC games such as the ori-
ginal Ultima were created entirely by game developer Richard Garriott.
From my own experience, I started to see indie games in the mid-1990s.
Studios like Croteam, Introversion Software, Spiderweb Software, and more
were creating titles their own way. Many early indie games were only available
from the developer themselves, and this was a long time before there was any
centralized source for buying digital games.
One of the most recognizable indie games to be released was also an action plat-
former with 2004’s Cave Story. Developed solely by Daisuke Amaya, the game man-
aged to deliver a great action/adventure tale without the need of a studio or team.
For the mainstream market, their first real exposure to indie development
would happen with the Xbox summer of games event at the end of the 2000s.
In order to market their digital store “Xbox Live Arcade,” Microsoft promoted
indie games from up and coming developers. The most notable at the time
were Braid, Super Meat Boy, and Fez, each one a platformer with vastly differ-
ent design. These three games and their developers were also featured in the
documentary Indie Game: The Movie.

The popularity and widespread use of Steam provided a storefront for gamers to
buy titles from developers all over the world, and led to the legitimizing of indie
development and indie games. There is still so much we could discuss on the topic
of indie development, but let’s focus on their contributions to platforming.
14.2 Bringing 2D Back

In our previous chapter we talked about the move to 3D design shifting the
focus among AAA studios. With developers focusing on big budget titles, this
left a lot of room open for indie developers to work in 2D.
To say that indie developers picked up the 2D ball would be an understate-
ment with hundreds of platforming-based titles released over the last decade.
As we’ve mentioned, 2D is a lot easier to work in than 3D, and it became the
perfect canvas for first-time designers and indie teams.
While there have been plenty of traditional 2D platformers, we have also seen
developers trying to elevate the design in unique ways. Puzzle platformers like
The Swapper challenged players to use clones to solve puzzles, while titles like
Thomas Was Alone added storytelling beyond just jumping from point A to B.
We could spend a few thousand words detailing all the different mechanics and
systems that indie developers have made use of over the last decade in 2D games.
The important point was that the indie scene has kept 2D gameplay and design
alive in a big way.
In other mediums, when a new standard is introduced (color TVs vs. black
and white, DVD vs. VHS, etc.) the previous iteration is dropped in favor of
14. The Indie Impact 91

the new version. For a time, you could see the AAA industry trying to move
away from 2D and phase it out for the larger studios.
However, the popularity of Nintendo’s handheld line and the growing indie
market proved that there were still heights to reach in 2D design. The limita-
tions in terms of scope and technology that indies faced provided them with
the perfect outlet for expanding 2D gameplay and storytelling.
In terms of aesthetics, there have been many indie developers who have pushed
pixel graphics further than AAA developers did during the 1980s and 1990s.
One of the best examples of this indie expansion would be 2018’s Celeste,
which deserves to be talked about further.
14.3 Celebrating Celeste

Celeste is that rare platformer that blended storytelling, challenge, and accessi-
bility all in one, which led to it winning numerous Game of the Year awards
in 2018. From a platformer design standpoint, Celeste’s difficulty curve started
out higher than other platformers, and only got harder from there.
The game wasn’t physics-driven, but it did take into account the character’s
momentum that accompanied all jumps. The basic system relied on being able to
jump, wall jump, and perform a dash in any direction. As we mentioned earlier in
the book, when the player dashed, the momentum of the dash would affect the tra-
jectory of any movement. Dashing before a jump would extend the length of the
jump, as an example.

Knowing when to dash and how it would affect your momentum became
crucial as the game went on. Each stage featured unique environmental obs-
tacles and challenges to get through. The environmental obstacles were used
to create unique sections within each stage that were one-offs for that stage.
Beating the game at the basic difficulty would be a challenge for any gamer,
but there was more to it.
Featuring two additional difficulties of levels, the game demanded a lot out of
a player if they wanted to do everything. Harder stages would require the player
to learn new ways of combining the dash and jump. Instead of Celeste only being
known in hardcore circles, the game was celebrated for being open to everyone.
The reason for this was down to how the developers handled accessibility
by allowing the player to adjust the difficulty outside of the game design. At
any time, the player could turn on a number of options that would radically
reduce the difficulty of the game. These included infinite dashing, increased
jumping, and invincibility.
The player was never pressured or rewarded around their use of these sys-
tems. If someone wanted to beat Celeste without them, they would find one of
the hardest commercially released platformers in 2018. On the other hand, the
game could be the absolute easiest for people who just wanted the story.
The story was tied into the plot and accessibility about providing a game
that anyone could enjoy without feeling like they’re playing it wrong. The
heroine suffered from depression and anxiety attacks, and the plot was about
her overcoming those feelings and learning to be a better person because of it.
The important element of Celeste in terms of difficulty balance was that the
accessibility options were not factored into the design of the stages. Celeste was

balanced around expert players, but became open for anyone to enjoy. The acces-
sibility options were akin to a wrapper outside of the gameplay – and mattered as
much or as little as the player wanted.
Celeste, and many other indie platformers, helped to foster this idea of
a “modern retro” market.
14.4 The Modern Retro Market

“Modern retro” is a term that has gone to define titles that are made today,
but have the look and feel of older games. Some designers take this literally
and try to create some of the hardest titles. Other designers use the old school
aesthetic and design as a jumping off point to try and create original games
that exceed the games that they copied.
While these games may look like a NES or SNES title, they often feature
enhanced graphics, different gameplay modes, and more. One of the best
examples of this would be the hit Shovel Knight developed by Yacht Club Games.
The title has the look and feel of a long lost NES game, but the developers
put their own spin on the design. The game featured original levels and mech-
anics that paid a little homage to the classics. At the same time, the game was
modern in terms of its accessibility – offering frequent checkpoints and pro-
viding players with bonus challenges and rewards.
At the time of writing, the game has had two successful expansions adding
in new characters that had completely different mechanics, and a third one
along the way.

Another favorite is the developer Locomalito who has put out original titles
inspired by retro games. One of his most famous was Cursed Castilla that was
a homage to Ghosts N’ Goblins, but was built from the ground up as an ori-
ginal title.
As with Yacht Club Games, there have been developers who did unique
mechanics within the retro environment. Odallus the Dark Call by Joymasher
is the only 2D game to my knowledge that used a double vertical UI instead
of a horizontal.
There are countless more examples of indie developers who have used retro
design in this fashion. In earlier chapters we talked about why 2D design is not
going away, and the modern retro market is proof of it. For the truly dedicated,
there are after-market companies that put out their own versions of classic hard-
ware, complete with cartridges you can buy and use in retro consoles.
As with all genres, there is a wide margin between successful modern retro
games. If you don’t understand why retro games worked and only focus on
the difficulty, you’re not going to have a successful game. A lot goes into suc-
cessful retro design – not just with platformers – that would be too far off
topic to get into here. In Chapter 17, we’ll talk more about difficulty design
which hits many areas of game design.
The indie market pushed platforming design in ways that the AAA devel-
opers never did, and created a more complicated form of platformer.

15
Physics-Driven Platformer
Design
15.1 Incalculable Jumping

15.2 Technical Level Design
15.3 Physics Problems
15.1 Incalculable Jumping

In our previous chapters discussing 2D design, we talked about how early
games would feature preset jumps based on the variables discussed in
97
Chapter 6. For basic platformers, the levels and obstacles were designed
and balanced around only a small number of jumps the player could per-
form. This also had the side effect of keeping things simple in terms of
level and obstacle design.
In order to create higher skill challenges and design, indie developers
began to use what we’ll call “physics-driven platforming” to greatly
expand what a player could do. When we use the term “physics” in this
way, it’s kind of a misnomer. Every action-based title ever made has its
own internal physics regarding how characters behave. All the factors we
talked about in Chapter 6 were always different in every game.
With physics-driven platforming, a character still has a minimum and max-
imum jump distance, but the jumps in-between are not locked. When we say
that the jumps are “locked,” we’re referencing the developer hardcoding any
and all possible jumps within the game. In a physics-driven platformer,
every minute movement the character makes will change the trajectory of their
jump. The game is constantly monitoring the character’s velocity and momen-
tum and using that to create jumps. Not only that, but if the character is being
pushed or gaining extra velocity in some way, they can gain additional height
when it gets applied to the jump. In this way, it is almost impossible to calculate
the number of jumps a character can make in a single game.
Sonic the Hedgehog was the first time a AAA developer made use of physics-
driven platforming, but my first exposure to it on the indie side was the N series
by Metanet Software. Now up to its third iteration, N looks simple from the
outside – your mission is to reach the exit in each stage while collecting gold.

Where the difficulty comes in is guiding your character (a ninja)
through the stage with your momentum constantly being factored into
jumping, running, and most importantly dodging. Many stages featured
jumps or sections where you only had one chance to do it right, because
you would not be able to regain the velocity to make a second attempt.
Earlier we touched on Super Meat Boy during the Microsoft promotional
campaign. Super Meat Boy also featured physics-driven platforming, but was
more focused on obstacle design. Every stage had elements that the player
had to avoid, or would impact the momentum of the titular Meat Boy.
Even though physics-driven platforming allows for the same obstacle
and enemy designs as traditional platformers, they do require a different
focus on level design to make them work.
15.2 Technical Level Design

Physics-driven platforming is about presenting a highly technical challenge to the
player. Due to the freedom the player has in controlling their character, basic pits
and traps will not be enough to present a challenge.
The focus instead becomes about presenting an obstacle that requires the
player to perform a specific set of actions to get around it. Earlier in the book
we talked about the term micro-adjustments to describe the player constantly
altering the character’s trajectory while in the air.
Physics-driven platforming will often challenge the player to steer and
readjust their character multiple times per second to pass an obstacle. Due to
the increased focus and challenge, the pacing of levels will be different com-
pared to traditional platformers.
Levels as a whole will be shorter to run through (once the player knows
how to get through it), and there are far more checkpoints. With the game
Celeste, every room was its own unique challenge that tested the player in dif-
ferent ways. It would be unfair to the player to require them to memorize
multiple solutions at the same time and punish them to repeat content if they
failed. Going back to the N series, every stage was only one screen long and
designed around a single core obstacle.
Fighting enemies or solving puzzles are not usually seen in these kinds of plat-
formers, as the focus is put on the technicality of movement. If there are enemies
in the game, they will either have to be avoided, or used in service of the platform-
ing. In the title Dustforce, players would attack enemies to carry their momentum
across gaps.
The amount of focus and skill required to play physics-driven platformers
or just technically focused ones makes them popular for speedrunners to show
off. At that level of play, finding the best way through a stage is akin to racers
trying to find the perfect line through a course.
Physics-driven platforming has evolved the design of jumping, but it’s not
without some considerations to keep track of.
15. Physics-Driven Platformer Design 99

15.3 Physics Problems
While there have been many platformers released in the indie space, physics-
driven platformers only make up a small subsection of that. With the focus
being entirely on the platforming, it does limit the design and audience.
People who play physics-driven platformers want a challenge and aren’t inter-
ested in a story for the most part. Due to the higher skill level involved, these plat-
formers can be rough for new players. The technical skill required to play them can
cause players to hit a wall that they may not be able to get past. In the last chapter
we talked about how Celeste used accessibility options to mitigate the challenge in
it, but most physics-driven platformers focus on just the hardcore experience.
In terms of camera placement and tracking, you need to make sure that
the camera can move fast enough to track the player’s position at all times. In
the game Dustforce, there were several sections where the player, having their
velocity increased, would move so fast that the camera could not keep up in
time. This led to sections where you had to react faster than the camera in
order to make it through safely.
Ultimately, the issue that hurts the long-term play of physics-driven platfor-
mers is that they are very hard to design new and interesting challenges around.
The high skill level required to play them from the start quickly assimilates play-
ers with the kind of obstacle and environmental design the game will use.
Unlike titles that introduce new mechanics or systems, these kinds of plat-
formers are limited due to the degree to which the player has control over
their character. There are only so many ways that you can make a jump over
a pit interesting. Once you master the rules and advanced maneuvers required,
the designer can’t create anything new to challenge the player without adding
in brand new elements or gameplay.

And if the player can’t figure out the maneuver needed, then they would
become stuck at the game. Going back to Dustforce for a minute, the entire
game’s progress was about mastering the stages in order to unlock harder
stages. If the player can’t get the best ratings on the levels, they would not be
able to make any more progress at the game.
In this way, physics-driven platformers tend to be on the short side once
the player knows what he or she is doing. Even if the game comes with a level
editor or continued support, without new elements or obstacle design, an
expert player will not be fazed.
This is why we have seen developers focus on a limited number of ways of
manipulating the character, and then coming up with creative options to test
the player’s mastery of the character. For that, we turn to the rise of player-
created levels and the Kaizo sub-genre.
15. Physics-Driven Platformer Design 101

16
Super Mario Maker and
Kaizo Culture
16.1 Making Mario

16.2 The Legacy of Mario
16.3 What is Kaizo?
16.4 I Wanna Be a Platformer
16.5 Bringing Kaizo to the Masses
16.6 The Limited Appeal of Kaizo
103
16.1 Making Mario
One of the most surprising games released on the Nintendo Wii U was Super
Mario Maker: a game aimed primarily at giving players the ability to create
levels in the styles of Super Mario Brothers 1, 3, World, and New Super Mario
Brothers. Despite the industry’s growth over now 30+ years, there have been very
few games released with a focus on letting players design levels without needing
a programming background. The previous example would be the hit series Little
Big Planet, and if we wanted to go further back, there was Klik and Play in 1994.
Super Mario Maker was, and still is, a big deal among game design. The
entire program works without letting the player look at – or create – com-
puter code. Instead, Nintendo used the iconography of the Mario franchises as
shorthand for explaining what everything does.
If you’ve played any of the Mario games in Super Mario Maker, then you
knew the logic behind every object you can put in your level.
Nintendo expanded their functionality by allowing the player to combine
and alter items and characters in ways that were never in the original game.
This also meant creating new forms of obstacle design and challenge; all tied
to the Mario formula.
Following the game’s release, Nintendo released several content patches
meant to add in new obstacles and allow designers to create challenges never
seen in a traditional Mario game. Some examples would be the use of

checkpoints in older Mario games, red coin challenges (collecting red coins to
unlock a door), and as we’re about to discuss, some of the most fiendish levels
ever created.
Before and just after the game’s release, the general thought was that
creators would simply create traditional levels built on Mario’s formula
over the years. Nintendo invited many high profile game designers to
create their own interpretation on a Mario level. However, they quickly
transformed Super Mario Maker into something that no one was
expecting.
The Super Mario Maker UI gave players an unprecedented amount of
detail when it came to Mario’s jumping and momentum. You could see the
pixel-perfect velocity behind every jump, test every section, and create levels
as big or as small as you could dream.
With that newfound freedom, creators soon turned things up to 11 … or
maybe 200, in terms of difficulty. At this point, trying to examine all the levels
designed in Super Mario Maker would be impossible. The game has a feature
where you can send people your levels based on a code, or follow people so as
to always view their stages.
This has opened the door up for another form of content when streaming
videogames on YouTube or Twitch. Well known creators have streams of
them designing levels or playing the hardest levels out there.
When I say the word “hardest,” that is not hyperbole. There are levels that
are made up of nothing but pixel perfect jumps, speed runs where you only
have 30 seconds to clear a stage, puzzle stages that can take hours to clear,
and many more.
For casual fans, they would see this in the “100 Mario challenge” mode. In
this mode, the game pulls a random assortment of levels based on their overall
clear percentage. At the highest difficulty known as “super expert,” the levels
that can show up could have clear rates less than 1 percent. You only have
100 lives to clear all the stages, and it’s very easy to go through them.
Levels that simply focus on design fundamentals or emulating the same
things seen in the original games aren’t as popular these days. Super Mario
Maker 2 was released in the summer of 2019, and it didn’t take long for cre-
ators to push the difficulty and designs using the updated editor.
The extreme levels of difficulty have created polarizing opinions when it
comes to quality. Many of the hardest levels designed have no rhyme or
reason to them, or any considerations towards platforming philosophy. In our
next chapter, we’re going to talk about that line between challenge and frus-
trating gameplay.
As we said at the start, there have been previous attempts at introducing
non-programmers to level design, and even an unofficial Mega Man Maker
available, but Mario continues to be the go-to for creating levels, and that
bears further investigation.
16. Super Mario Maker and Kaizo Culture 105

16.2 The Legacy of Mario
Super Mario Maker continues to highlight Mario’s longevity when it comes to
platforming design and why it’s considered to be the popular template for
Kaizo levels. From a historical standpoint, Super Mario Brothers 1, 3, and
World are some of the most recognizable platformers ever made.
In turn, it reduces the learning curve needed to understand what’s going
on. Part of the reason for Mario Maker’s popularity was the fact that someone
didn’t need to know programming in order to start building levels. It doesn’t
take long for someone to understand what a goomba does or what the fire-
flower power-up does.
The popularity of these titles also meant that there were plenty of copies avail-
able for people to examine, which we’ll be coming back to in the next section.
From a design point of view, all three games aren’t that hard to play, but
they do have a wide range of elements that can be tweaked. By using obstacles
or items in unique ways, they open up the door for creating unique levels and
situations that Nintendo never put into a Mario game.
One of the first such examples of this was an early Mario Maker level that
tasked players to actively avoid super mushrooms in order to complete it.
Designers were not adding in new elements to Mario’s design, but simply
using what’s there in a different way.

Even though Super Mario Maker would become known for overly difficult
levels, designers were simply copying a style that has existed underground on
the internet.
16.3 What Is Kaizo?

Since the 2000s, there has been a style of platformer design that has existed
away from mainstream consumers. Kaizo is a Japanese term that has become
adopted by the community and has been translated as “reorganize” and other
synonyms. The general concept of a Kaizo game is focusing on extremely
challenging levels and situations that you would never see from a mainstream
game. The skill ceiling for a Kaizo game easily puts other titles to shame.
The first known example of this kind of game being recognized was the
title Kaizo Mario World in 2007 after footage of it was posted on YouTube.
Kaizo games are considered “hacks” of the respective game they’re based on.
In the last section I mentioned how widely available the original Mario games
were in terms of physical copies.
Many early modders would take the files off the cartridge for distributing –
or pirating – the game to the PC. A discussion over piracy is a serious part of
the game industry, but far too big a topic to discuss here.
Nevertheless, taking and modifying these files has allowed modders the
ability to create patches that can be applied to the game and make it run the
specific Kaizo hack. There is now an unofficial software specifically designed
to edit and create Super Mario World hacks that has streamlined the process.

Regardless of the hack and modder, as we already mentioned, Kaizo games
are all built on a similar concept of difficulty. The level designs in a Kaizo
game are always on the expert side. Back in Chapter 7 when we described the
different kinds of jumps, Kaizo games always combine jump types into very
challenging sections.
A level in a Kaizo game is typically split into two difficult sections, both
making use of different obstacles to challenge the player. There is no break
between obstacles, as the player must perform each section in its entirety on
a single run or be sent back to the start or checkpoint.
An infamous element of Kaizo games is the concept of a “kaizo trap.”
A kaizo trap is an obstacle that will kill the player if it gets triggered, but
there is no way of knowing where a trap is unless it gets sprung. A basic
example of this is an invisible block set up along the easiest jumping trajectory
to clear a platforming obstacle. To avoid it, the player must purposely jump at
a different angle while still clearing the obstacle.
Despite the difficulty, it hasn’t stopped players and modders alike from
embracing these Kaizo games. Some of the most popular Kaizo hacks have
original assets made exclusively for them. With that said, due to the fact that
these titles are run on modified game files, they will never be made available
for commercial sales on any storefront. Likewise, I legally cannot mention any
places here as to where to find them.

While Kaizo hacks have become associated with Mario, there is another
series I want to briefly touch on.
16.4 I Wanna Be a Platformer

Another Kaizo game that debuted back in 2007 was I Wanna Be the Guy (or
IWBTG). While Kaizo Mario World was a hack for the game, IWBTG was
original in terms of structure and gameplay. The game did make use of
assets taken from other games, and was more than happy to mix up elements
at any time.
Each screen was loaded with traps of both the regular and Kaizo variety to
kill players. Their only means of preserving their state was with checkpoints
put in-between sections. The player’s only mechanics was jumping and a shot
for attacking enemies and bosses. Unlike Kaizo Mario World, IWBTG did
feature originally designed boss fights that were homages to classic games
and characters.
This is another game that became an underground hit as word spread
about it. There were a few direct sequels made by the original creator, but it
has since become its own subgenre with fans making their own takes on the
IWBTG formula. Some takes focused more on fighting bosses, others empha-
size the platforming; and there are many other examples. At this point, there

are too many of them out there for us to break down in this book, which
could easily fill another Game Design Deep Dive.
Despite these games never being sold or featured on major stores, their
popularity and notoriety has increased this decade.
16.5 Bringing Kaizo to the Masses

The popularity of Kaizo games and levels in the mainstream market has
grown with the continuing awareness of speed running. A biannual event
known as Awesome Games Done Quick, or AGDQ, has done a lot to show
off speed running culture while donating to charity.
At each event, speed runners show off ways of beating the games in the
fastest ways possible. Sometimes this is through only skill, other times they
will use glitches and exploits to utterly crush a game. At some point, someone
needs to write a book chronicling the rise of speed running culture if there
already isn’t one out by the time this book is published.
As AGDQ grew in popularity, it soon began to be picked up by major sites
and mainstream audiences. At each event, there is usually a block of time
dedicated to Kaizo games due to the amount of technical skill required to play
This is from my (brief) world-record speed run of Cuphead after the game’s release

them. While it may take hours to master, or even just beat a Kaizo game,
experts can play them in far less time.
Given the popularity of Kaizo now, some may think that there is a market
to develop a commercial Kaizo game. However, the design has some import-
ant considerations we need to be aware of.
16.6 The Limited Appeal of Kaizo

Kaizo-based gameplay has such a high degree of technical skill required to get
through it that it greatly limits the audience. Many Kaizo games will eschew
modern game design and structure in favor of the high difficulty.
The progression curve in a Kaizo game is different from traditional games
and represents a specialized form of gameplay.
For lack of a better term, we’re going to classify this as mechanical game-
play and define games that are built on a singular way to get through them.
This kind of design was popular with early console games and attributed to
the higher difficulty back then.
Classic titles would make use of fixed trigger events and scripting when it
came to enemy AI and obstacle design. Instead of you fighting an enemy or
boss that would be directly reacting to your actions, you would fight some-
thing with a fixed pattern. Expert players would learn how to exploit these
patterns to essentially make enemies and bosses do what they want.

In terms of design, this meant that obstacles would behave on a fixed timer
in terms of where elements would be on screen or within the level itself.
Given the fixed nature of mechanical gameplay, it becomes possible to pro-
gram an AI to go through a title in the most optimal way possible. This is
where the concept of a “tool assisted speed run” or TAS come from. The AI is
capable of performing actions faster than any human could input them, and
often leads to crazy runs being done.
The problem with mechanical gameplay and by extension Kaizo design is that
there is no room for anything but the perfect play. You’re not reacting to the
game, but performing a precise set of actions again and again until you get it right.
This is why even the best Kaizo players out there will still have hundreds
of deaths when they’re playing a new game for the first time. An interesting
element of mechanical gameplay is that these games don’t have a progression
curve. While the skill ceiling is obviously higher, you’re not playing a Kaizo
game in the same way as other titles.
In a traditional videogame, the progression through a title will introduce
new elements to challenge the player and make them become better at it. Each
new level will build upon the previous to keep presenting new things and test
the player’s knowledge.
If someone finishes Super Mario Odyssey, they will be a far better plat-
former player at the end than they were at the beginning, because the game
continues to test their abilities. Such a player could go back and play through
the game again – or go for the post-game content, and find that they’re play-
ing it at a higher level of skill.
In a Kaizo game, while each level has the same platforming foundation,
they feature sections and obstacles unique to the individual level.
Learning the best way through one stage means nothing when you are
playing a different stage. It’s all about execution and memorization, which
aren’t transferable elements. Going from one stage to the next is like starting
back at zero in terms of figuring out what to do. What’s worse is when a level
makes use of a technique or mechanic that you’re not good at. It is very likely
that the majority of people who pick up a Kaizo game will hit a wall when the
game asks them to perform something they can’t do.
The closest a commercially released game got to being a Kaizo title that
I’m aware of would be the indie game 1001 Spikes. Each stage required the
player to memorize the patterns of obstacles and perform a perfect run to get
through it.
Earlier in the book we talked about subjective difficulty and how it allows
different skill levels of players to progress through a game. Mechanical game-
play is the complete opposite of it, as there is no room for anything but the
one way to beat the stage. We could also point to games that feature random-
ized or procedurally generated content and situations as another counter-
example to mechanical gameplay.

Modern games tend to make use of more randomly generated or less
scripted content. This is why it would be a lot harder, or even impossible, to
set up a TAS for modern games when there are less opportunities for a set
pattern.

17
Expert 2D Design
17.1 Level Philosophy

17.2 Creating Mechanics
17.3 Challenging vs. Frustrating
17.4 Collision Detection
17.5 Tracking Timers
17.1 Level Philosophy

Level design is a multi-faceted topic when it comes to game development –
every genre has its own rules, examples of good and bad designs, and more.
115
To keep things focused, we are only going to be focusing on platforming
design. One area that we will not be talking about is building a Kaizo game,
as we already discussed how it is a sub-genre of platforming and not one
aimed at commercial markets.
When it comes to building a platformer, there are three key areas in my
opinion that should be considered.
What’s the Theme?

Every level in a platformer needs a theme or mission statement. Do you want to
make a level based on bouncy jumps? Do you want an underwater level? How
about one long set of Kaizo traps? Having a theme is an important point about
platformer design, as it’s very easy to go overboard. It’s better to have one focused
theme in your level than just putting down every idea that you have at once.
Many Super Mario Maker levels that are criticized will try to just over-
whelm the player with all manner of objects, sounds, and effects going off. By
adhering to a theme, you are focusing your thoughts on making one level the
best it can be, as opposed to going all over the place.
Each area in Super Mario World affected the level designs, obstacles, and more

Even Kaizo games, despite their high difficulty, will stick to a similar con-
cept with their level designs. Oftentimes, a Kaizo level is two distinct sections
tied by a theme or obstacle.
Another advantage is that if you start coming up with ideas that don’t fit
within the current theme you can use them for another level.
Progressing
Great level (and by extension game) design will always have a sense of pro-
gression to it. The challenges in the level should grow harder the further the
player goes. This should always culminate with a final challenge – a boss fight
or the hardest section.
The ideal difficulty curve of a game is that each stage grows progressively
more challenging to go through, but you shouldn’t always keep escalating the
challenge. For example: if stage 3 has a difficulty rating of 3 out of 10, stage 4
shouldn’t immediately start at 4 out of 10, and so on.
The problem is obvious: you are going to run out of ways of making the
game harder without providing a balanced challenge. Instead, try to introduce
new elements, or reintroduce older elements in a new way.
Despite the number of levels in Super Mario Brothers 3, the game only has
a few levels that would be considered hard to play. Instead, what the develop-
ers did was use the theme of each world as a starting point and experiment
with different level designs. It didn’t take long for the player to understand all
the mechanics of platforming, and could instead focus on each level’s unique
elements.
Another major point about progression and difficulty is that you also have
to take into account the player’s understanding of the game. The further
someone gets in a title, the harder it will be to keep providing challenges due
to their growing skill level. At some point, one of two things will happen: the
player will become so good at the game that nothing in it will challenge them,
or they cannot improve anymore and hit a wall that will force them to stop
playing.
The former is something that you cannot stop, and the latter leaves a bad
impression for your game. We’ll be talking more about having challenging
levels in the next section, and difficulty balance is a topic that goes beyond
just platformers, and will show up in later books in the series.
As you start building your levels, you should have an understanding of the
skill level of the player you are aiming for. A game that is aimed at expert
players from the get-go would start with harder levels that would be
a challenge for them. If you want to appeal to a greater audience, then you
want to design your levels to ease players into the gameplay.
One other aspect of progression is allowing the player to maintain their
progress through a level. In most platformers, the more checkpoints you have
17. Expert 2D Design 117

The Mario games tend to throw in more elements at once to test the player near
the end of the game
in a stage, the easier it is to go through. Longer stages should have at least

one checkpoint to save the player’s progress.
If during playtesting you find players are getting stuck at a particular section,
place a checkpoint before and after it. You don’t want someone to keep repeat-
ing content they’ve already finished to get back to where they’re struggling, and
the checkpoint is a reward to let them know that they’ve gotten past it.
Knowing When to End

The final point is one that has frustrated many designers – understanding
when to end a level. Good level design is built on a “quality over quantity”
philosophy. Going back to the first point about themes, your level should
make use of everything that you wanted out of the theme you’ve chosen. The
more ways that you can test the player on a specific theme, the more you can
add to the level. There is one important rule you must follow: you should
never repeat the same exact challenges in a single level. This is viewed as
“padding” your game out and is frowned upon by gamers.
Lesser platformers will repeat the same obstacles multiple times in a row or
throughout a level in an attempt to increase the size of a level. A level should only
be as long as the number of unique ways that you can challenge the player. You
can repeat obstacle design at a higher level further in – making a kind of “final
test” for the player. As long as the situation is not exactly the same, you’re good.

The Mario games have all been great examples of this, and have only
gotten better with later iterations. Every stage has something new added to
make it stand out from everything else. The levels are only as long as they are
to make use of the new element in different ways, and then it’s over.
On the other hand, the game Voodoo Vince frequently repeated sections
and challenges to pad out the experience. The simplicity of the mechanics
meant that the player reached mastery early on, but must still repeat the same
elements: sometimes in the same level.
Speaking of elements, we need to talk about what it means to create the
ways the player will interact in the game.
17.2 Creating Mechanics

Creating mechanics in a platformer falls into two groups: how the player inter-
acts with the character and how the character interacts with the environment.
Starting with the first group, as we mentioned, the main form of inter-
action in a platformer is obviously jumping. We’ve already spoken about how
to design jumps back in Chapter 6, but I want to focus at least briefly on
what it means to create and decide on what mechanics you want in your
game.
With platformers built on jumping as the core gameplay loop, you need to
make sure that the act of jumping feels right in the player’s hands. What we
A good mechanic or element is one that can be used in a variety of situations

and challenges

haven’t discussed in this book is having additional mechanics like attacking,
wall jumping, and more.
Even though the act of jumping is going to be your main system, you must
still make sure that any other mechanics can be used comfortably with it.
From a UI standpoint, it’s important to understand the difference between
a primary action and a secondary one.
Primary actions are mechanics that the player is going to be using con-
stantly – jumping and running for platformers. Secondary actions are mechan-
ics that are conditional to specific events – wall jumping, throwing an item,
picking something up, and so on.
Primary actions should always be assigned to separate buttons on
a gamepad or keys on a keyboard, to reduce the chance of hitting the wrong
action. You need to be careful with how your UI is laid out to make sure that
the player can comfortably use all the mechanics in your game.
The player should not have to shift their hands around to reliably play
your title. If the player must make use of two or more actions at the same
time, make sure that it is easy for the player to do so. One option is to set
actions that are meant to be used in unison so that both hands must be used.
This way, the player can better associate an action to one of their hands, and
not have to worry about the same hand hitting multiple buttons at once.
For secondary actions, you can make them context sensitive so that they
are only triggered when the game calls for them.
Given the skill intensive nature of platformers, you want to do your best to
limit the number of buttons the player needs to use in a game. Many platformers

have tied secondary commands to button combinations: in Castlevania, the
player will use their sub-weapon by pressing “up” and “B” at the same time.
To make it easier for the player to remember these commands, try and
associate them with similar actions in your game. The Castlevania example
works because the player already knows that B is used for attacking, and then
it’s just one additional button press.
The other side of the equation is mechanics that are explicitly tied to the
environment. This can be anything from hitting switches to controlling
vehicles and more. The Super Mario series still remains one of the best
examples of creating a variety of mechanics through environmental design.
Controlling Mario doesn’t change, but by adding new hazards, items, and
situations, they continue to keep the game interesting from start to finish. The
more mechanics in your title means that you have a greater pool of elements
to draw from when designing new levels or sections.
There are two points to keep in mind whenever you add in a new mech-
anic to your platformer. The first goes back to our previous section and con-
cerns making sure not to pad your game out. The best additional mechanics
in a game add depth to the design and can be used in a variety of situations –
such as wall jumping.
If you come up with something that would take a lot of additional time
and work to add, but it only makes sense for a few minutes of gameplay, then
it may be better to focus on mechanics that you can get more mileage out of.
The other point is that the more additional mechanics you add to your
platformer, the more you “dilute” your core gameplay loop. Always keep an
eye on whether or not a mechanic can be tied back to your platforming.
Many platformers do feature mini-games or sections that don’t involve jump-
ing to break up the gameplay. If those sections are required to progress, they
can sometimes be viewed as taking away from the rest of your game if they
come up too often.
What’s worse is if the new mechanic was not integrated well into the game-
play – such as having an impromptu stealth section in an action game. If
someone buys your game for its platforming, they may not want to spend
an hour driving around on a map.
No matter what you add to your game, everything will factor into the diffi-
culty of your title, and that takes us to one of the hardest topics to discuss.
17.3 Challenging vs. Frustrating

Difficulty in a platformer, as with most action-based titles, is ultimately
based on the player themselves. When you’re designing your title, keep in
mind that you will have players of all skill levels looking at your game: from
people who have never touched the genre, to masters who have beaten the
hardest games.

The La-Mulana franchise is known for its brutal difficulty as part of its appeal to fans
There is a greater discussion to be had about difficulty than we could fit in

this book. Many expert players feel that difficulty is equal to quality in all
walks of game design. The infamous phrase “git gud” has been tossed around
whenever discussions regarding challenging games happen.
There is a fine line between a game that is challenging to play and one that
is considered “cheap.” In this instance, “cheap” refers to games that are
designed intentionally to frustrate the player through its design or UI.
Another aspect is if the difficulty is there just to frustrate people instead of
providing a unique challenge. Going back to Super Mario Maker, you could
design a five-minute-long level of nothing but pixel perfect jumps where any
mistake requires the player to restart the whole thing.
Getting through it would be difficult, but would the player actually grow or
improve their skills or knowledge by playing it? Another debated case would
be the use of Kaizo traps and what they represent.
A Kaizo trap is something that no one can truly prepare for, as there is no on-
screen indication when there is a trap, and no amount of skill will allow someone
to avoid a trap. A common theme of frustrating games is when the player loses
and it’s not their fault. Sometimes it’s because the game was purposely set up to
introduce a high difficulty spike out of nowhere. Other times the game trains the
player to do X, and then without warning punishes them for doing so.

Ultimately, it should always be the player that’s the reason why they suc-
ceeded or failed at any challenge in your game. With that said, getting the player
to the point of understanding that is difficult no matter what the genre is.
It takes a lot of skill as a designer to balance difficulty in your game. It’s
very easy to create levels on either extreme, either for novices or expert play-
ers, as it’s all a matter of tweaking the variables.
If you want to make a jump very hard, turn it into a pixel precise one; if
you want to make it easy, reduce the distance to the point that any jump
would clear it. A great designer can make a level that provides new and expert
players with something unique for them to try.
One of Nintendo’s skills as a game company has been creating titles that fit
for a wide audience of skill levels. Every Mario game has a difficulty curve to it,
but Nintendo knows that they have expert players wanting more. As far back as
Super Mario World, there have always been bonus stages designed at the absolute
hardest the team could devise. These levels may unlock something extra for win-
ning, but they are never required to see the end of the game.
That last point is important, as you want to be mindful of a player hitting
“the wall” – or when a player cannot move forward due to a lack of personal
In this scene, a player would have to make this tough jump, or have a far easier
time if they found the respective “switch palace”

skill. For platformers, because of how player skill is factored into the design,
you cannot just take a section and easily create different versions of it based
on difficulty. For titles where they expect the player to grow over the course
of playing, if someone cannot figure out an earlier section, skipping them
ahead would simply get them stuck at the next one.
An area that Kaizo games – and titles that only cater to hardcore players
tend to fail at – is providing a learning curve for players. Back in Chapter 7,
we talked about how it’s important to teach the player new rules and
mechanics.
If you’re going to feature original obstacle design in your game, then you
must try to teach the player about it before hitting them with hard examples.
This is where organic level design shines in cutting down on the difficulty of
a game. Just by playing through the stages from beginning to end, a player
will learn the mechanics and obstacle design of your title.
You cannot assume that your player base knows obstacles and techniques
from other games. Some of the hardest Kaizo titles will use glitches and tech-
niques that have been discovered over the years and many of them will not
reference what they are or how they work. While Kaizo is again an extreme
example, any techniques or maneuvers that are required to beat the game
should be formally explained by the design.
The “wall dash jump” maneuver can be done at any time in Celeste, but the
game waited to formally introduce it

Going back to Celeste, there were advanced maneuvers that players could
have used from the very first level that the game didn’t reference. The reason
was that the levels were designed around not having to make use of them,
similarly to the subjective difficulty discussion we had earlier with Super
Mario Galaxy. The game waited until the additional difficulty levels arose,
when those maneuvers then needed to be introduced to the player.
If you want to guarantee that people will be able to finish your game, you
can look at accessibility options like the ones we mentioned in Celeste back
in Chapter 14. Starting with Super Mario Galaxy 2, Nintendo has been
adding in assist modes in their main franchises. A second player can provide
backup to someone who is struggling – usually a parent helping a child out.
For their platformers, if someone fails at a section too many times, they can
turn on a special assist item that removes any penalty of failure until the end
of the level.
Our final point for this section is the importance of playtesting. If you’re
trying to aim your title – no matter the genre – at a specific audience, then you
need to get feedback from them. Skill-focused titles like platformers in particular
need to be carefully balanced. Testers will be able to comb over every inch of
a game in ways that the designer would never have the time to do.
Understanding how to conduct proper playtests is beyond the scope of this
book, but you want to pay attention to any “pain points” in your levels.
A pain point for our purpose is a section that players get stuck at for a long
time, or just end up quitting your game at.
As already mentioned, there are many ways to make something easier or
harder; even the addition or removal of one platform can completely change
a section. The only way you’ll be able to figure these things out is to have
people examine your level design.
Moving on, another element of design that any good designer needs to
comprehend is how collision detection works.
17.4 Collision Detection

The use of hitboxes are vital in any game that makes use of collision detec-
tion, and the implementation and design of hitboxes are too many for this
book to cover. To make sure everyone is on the right page, a hitbox is an
invisible box defined by the designer around the character model.
The hitbox is the game engine’s way of knowing when objects collide with
each other. Enemies and enemy attacks will typically have a hurtbox, which is
simply a hitbox that determines if something has been hit and should report
damage. When it comes to platforming, we’re focusing on the size and shape
of the hitbox and how it affects jumping, avoiding hazards, maneuvers in the
air, and landing.
In most of the early 2D titles, the character’s hitbox was not designed per-
fectly around the character model, or in other words a 1:1 mesh – this was

Many “shmups” are designed around pixel-precise movement and hitbox
understanding
most likely due to technical constraints. Instead, developers would place the
hitbox to cover what players would consider to be hitting the character. Given
the improvements in game engines and technologies, many modern titles do
have hitboxes shaped to a character’s body.
This is often why obstacles or attacks that just barely touch a character’s
model may not register as a hit, because the two hitboxes did not come into con-
tact. As a quick aside, understanding hitbox positioning became a vital element of
the shoot-em-up or “shmup” genre. For people who speed run videogames,
understanding the hitboxes on a character model can lead to discovering specific
bugs or glitches they can exploit while running a game. Some famous examples
would be from Super Mario 64, and allowing Mario to go through specific walls,
break event triggers, and much more.
Depending on the action at hand, the hitbox’s size and shape may change.
For platformers where characters can jump on enemies, a hitbox around the
feet will detect if the character lands on an enemy’s hitbox and defeat them.
A basic form of collision detection is how the game engine will always be
checking for whether the character’s hitbox is colliding with any surface that is
considered “ground.” This is how the game checks for whether the character is
either in the ground or in an aerial state, which we examined in Chapter 6. For
3D titles that have “invisible walls” to prevent the character from leaving the
game space, the game uses the character hitbox to detect and stop the character.

For platformers that made use of grabbing ledges or interaction points, the
character’s hitbox would have to connect with the part of the object in order
for the character to interact. Grabbing interaction points should never be hard
or frustrating. A lot of the difficulty comes down to how the character jumps.
If there are only a few ways of jumping in your title, make sure that the
interaction points can be easily accessed. Earlier in the book we talked about
committed jumping and how hard it was sometimes to hit floating items or
power-ups due to the fixed angles.
When it comes to jumping, we’ve talked about how the game should be con-
stantly checking for whether the player is touching the ground or in the air. If
the game’s engine isn’t checking fast enough, you can run into situations where
the character can jump despite not touching the ledge. The reason is that the
game hasn’t done the check yet, and still thinks the character is on the ground.
With that said, we have seen platformers in the past leave this element in
as a hidden trick, but you don’t want to base obstacle design on it. The reason
is that it’s not something that would be made apparent by simply playing
your title, and players may not know that it even exists.
An important function of hitboxes is when it comes to avoiding obstacles
and hazards. You must always be aware of the safe way through the obstacles
in your game. Ultimately the hitbox will determine whether or not the player
has made it through unscathed. You want to avoid solutions that require the
player paying more attention to the hitbox than the character model.
The character’s hitbox is the sole judge when it comes to avoiding obstacles
and dealing damage. Any changes to the size or shape of the hitbox must be
reviewed carefully with the rest of your design.

A major case of how a hitbox can impact everything came with the Crash
Bandicoot N Sane Trilogy released in 2018. The N Sane Trilogy was an attempt
by studio Vicarious Visions to remake the original three titles by Naughty
Dog for the modern era. This included redesigning the entire game around
a new 3D engine and building new assets to accommodate everything.
With the N-Sane Trilogy, Vicarious Visions used a “pill-shaped” hitbox for colli-
sion detection, for which I’m assuming the original used more of a square shape.
Because of the rounded edges of the hitbox, it made it easier to slide off edges if the
character barely makes it on. Fans found that this also led to increasing the jump
distance if you performed Crash’s slide and jumped at the right moment.
However, I ran into a separate issue that occurred near the end of the game.
During one of the game’s final sections (which you can see in the screenshot),
the player needs to perform a jump over an environmental hazard while a laser
beam is fired from above.
By increasing the size of Crash’s model and changing the hitbox, this simple
maneuver became a lot harder to perform. Crash is so big now that a regular
jump will have him hit by the laser. Jumping too low would cause Crash to
touch the hazard and die that way. In performing this section about 30 times,
only once was I able to jump high enough to clear the obstacle while avoiding
the laser and not taking damage.
Crash Bandicoot features a mechanic where if the player dies enough times
at a single section, the game will provide them with an “Aku-Aku mask” that
grants one free hit of damage. For anyone who reaches this section in the
N-Sane remake, I can only assume they got through it using the mechanic or
already having a mask from earlier.

Returning to 2D design, it’s often considered frustrating design to create
sections that rely on hitbox manipulation. What that means is intentionally
designing a section that requires more attention to the character’s hitbox than
their model. For platformers, this could be requiring the character model to
stand in a hazard to make a jump, but technically be fine because the hitbox
did not connect.
No matter what kind of platformer you are designing, you must also be
mindful of collision detection. Any changes to the size or shape of character
or environmental models must have their hitboxes adjusted to accommodate.
17.5 Tracking Timers

For our last topic, I want to briefly discuss the concept of timers and how
they relate to level design. A unique element of level design when it comes to
platforming is the fact that you have multiple obstacles moving around at the
same time. In order to keep everything synchronized, developers will make
use of timers to keep track of where elements are.
A section will be designed around a repeated loop of time; usually a few
seconds at most. Within that loop, platforms or elements that the player will
come in contact with will be repeating the same cycle of actions.
In this section, the moving platforms have had their movement synchronized

When the timer is up, that simply means that the elements would have
returned to their original position to restart the cycle again. Without player
interference, the cycles and their elements will keep repeating.
If you don’t think about timers, you can run into situations where sections
are out of alignment and it will be impossible to predict at the time if the section
can actually be completed. Another problem is if the design didn’t properly test
the loop of time – what ends up happening is that the correct path may only
show up one time out of ten cycles of loops. Not only does this slow down the
game, but will lead to wasted time if the player must repeat the section.
There are two kinds of timers used: global and local. A local timer means
the cycle will not start until the player and the camera reaches that section.
A global timer is when all the cycles that will take place in a level are running
regardless of the player’s position.
Local timers are easier to manipulate on a case by case basis, which means
that it is possible to find the perfect path through a level, knowing where
everything is at one time. From a design point of view, you need to be careful
about a local timer becoming misaligned if the player only triggers part of the
cycle when they reach a section. Having only one part of the section activate
will completely mess with the timing until the player reaches another section.
Global timers once set up will allow your level to run like clockwork. For 3D
titles where the level design is not locked to the camera, global timers are standard.
Depending on the secondary systems in your game, there is a lot more that
goes into pairing them with platforming design. Even though there’s too
much to talk about with this point, don’t be afraid to combine elements, as
you never know what combination could spark a brand new gameplay loop.

18
Conclusion
Whenever I think about game design as a field of study, it reminds me of

something a developer I interviewed said: “Game design is the combination of
entertainment and programming.” You need to understand both in order to
create a videogame.
This is why I wanted to write this book and why platforming was a no-
brainer as our first topic. No one has had a discussion about the act of
making a character jump off the ground at this level of detail. As long as
people are designing videogames, there will always be another platformer
ready to make you jump and dodge your way through levels.
With just this genre alone, I don’t think I’ve ever written this much on
a single topic at once before writing a book, and that’s for good reason. Many
people view platformers as just being simple, and yet it’s one of the easiest
genres to mess up at the design level. I hope that you all took away the com-
plexities and intricacies and have a new respect towards game design.
Thank you so much for reading this book and I hope that this is the start
of many more Game Design Deep Dives to come.
131
Glossary
2.5D: A kind of style where the game will be designed around moving in 2D,
but features a 3D character and environment.
Assets: A blanket term to describe any aesthetical elements in a game.
Camera: How the player views what’s going on in the game. There are mul-
tiple variations based on 2D and 3D design, and depending on the
respective genre.
Character: Who the player is controlling in a videogame.
Checkpoint: An in-game save point placed by the developer to preserve the
player’s progress.
Collision detection: How a game engine decides any character’s relation to
everything else in the videogame.
Committed jumping: A form of jumping design where the character can only
jump at fixed velocities with no further input from the player.
Context sensitive: An action the player can do that will only trigger when it is
applicable to the gameplay.
Core gameplay loop: The primary mechanic and/or system that a videogame is
about.
Cycle: Describes a loop of actions that are repeated by the elements in a level,
which are then set to a timer to repeat.
Difficulty curve: A term to describe the rate of the game growing harder over
the course of play.
Difficulty spike: A term used to describe when a game becomes a lot harder
and at a faster rate compared to what went before it.
133
Environmental puzzle: A form of puzzle design where the puzzle itself is about
moving through the environment of a game instead of relying on items
or puzzle-solving to get through.
Fall damage: A mechanic where the character will take damage or die if they
fall from a predetermined height.
First person: A form of gameplay typically used in shooters where the camera
represents the character’s vision and the player is looking through their
eyes.
Fixed pattern: Also known as a set pattern, when an enemy or boss in a game
is designed to repeat the same attacks and motions regardless of the
player’s actions.
Games as a service: A term that describes videogames that are meant to be
sustained after release via continued development and in-game
purchases.
Gamespace: Another way to describe the environment around the character.
Hitbox: An invisible box or wireframe around a character model that is used to
determine collision detection in a game.
Hub: A non-linear area that connects to all the levels in a videogame.
Indie: Shorthand for “indie developer.” A person or team making games with-
out a major studio or budget behind them.
Isometric: A viewpoint in videogames where the camera is looking down and
at an angle at the game space, giving a 3/4 perspective. Can also be
used to create a faux 3D look.
Kaizo: Can mean “rebuilt” and other synonyms in Japanese, but has been
adopted to stand for brutally difficult games; usually those based on
hacked or modded titles.
Mcguffin: A colloquial term to describe an object that is the focus of a story.
Mechanic: A term used to define actions or verbs that the player can make use
of in a videogame.
Mechanical gameplay: A way of describing a game that is designed around
having a set experience and a limited number of options that will
beat it.
Metroidvania: A genre where the character gains new abilities over the course
of playing that change how they respond or behave.
Micro-adjustments: A term to describe making minute changes to a character
while they’re in the air to either avoid hazards or safely land.
Mini-game: A section in a title that features a completely different gameplay
loop for a short experience. Typically used as a change of pace or as
a reward.
NPC: Stands for “non-playable character” and describes any character in
a videogame not controlled by a player.
Organic tutorial: A way of designing a tutorial that teaches the player without
stopping the flow of gameplay by using the level design itself.

Platformer: A genre of videogames that typically focuses on jumping as the
core gameplay loop.
Player: The person who is playing the videogame.
Playtesting: Having people outside of the game’s development team to examine
a title and weigh in on what they think about it.
Power-ups: An item that can either appear randomly or is directly placed by
the designer to provide some kind of benefit to the player.
Progression curve: A way to describe how someone grows over the course of
playing a title, either by becoming better at the game or having their
character grow stronger.
RPG: Stands for “role playing game” and describes a title where characters
become stronger via abstracted systems.
Section: A collection of obstacles the player must clear before reaching safety.
Can be one screen or multiple screens of obstacles.
Skill ceiling: Used to define the maximum skill level someone has when it
comes to playing a title. If the game’s difficulty is higher than the play-
er’s skill, then they will not be able to beat the game without assistance.
Speed running: The act of playing a game in the fastest way possible. Can be
done via exploiting in-game bugs and glitches, master level play, or
a combination.
Subjective difficulty: A term to define titles where the difficulty is dependent
more on the player’s understanding of the design instead of just by the
level and obstacle design.
System: In this situation, the term is used to define a collection of mechanics
that all operate together. For example, all the different kinds of jumps
in a platformer would fall under the jumping system.
UI: Stands for “user interface” and represents anything the player uses or needs
to experience a title. This includes on-screen elements to the control
interface.
Variable jumping: A jumping system that allows for multiple kinds of jumping
based on specific variables.
Glossary 135
Index
2.5D games, 65–66 Celeste, 92–94, 99, 100, 124, 125

2D games: advanced design, 35–49; basic challenging vs. frustrating, 121–125
design, 27–34; bringing 2D back, character-wide challenges, 43–44
91–92; expert design, 111–125; modern checkpoints, 36
retro, 94–95 collision detection, 125–129
2D mascot platformer era, 17–25 committed jumping, 8, 9–12, 15
3D games: design, 73–81; Conker’s Bad Fur Day, 71
limits of design, consoles, 84–85, 95
86–87 context sensitivity, 116
3D platformer era, 65–72 core gameplay loop, 15
Crash Bandicoot, 128
A crouch-jumping, 62
Abe’s Odyssey, 53
D
aborted jumps, 8, 47–48
adventure platformers, 51–55 depth of 3D, 73–74
Alpha Waves, 66 difficulty, 117–121
Another World, 53 difficulty spikes, 118
auto-jumping, 80–81 Donkey Kong, 6–8, 10, 11
Dustforce, 99–101
B
E
blind jumps, 42–43
bouncy jumps, 45 endless runner design, 87–88
environmental puzzles, 58–59, 81
C
Call of Duty, 85
F
camera angles: 2D games, 28–30; 3D fall damage, 48–49
platformers, 74–77; first-person, first-person jumping design, 61–64
62–64; Super Mario 64, first-person shooters, 61–62
67–70 fixed patterns, 108
Cave Story, 90 Flashback: The Quest for Identity, 53
137
G 120; Super Mario Maker, 101–113;
Super Mario Odyssey, 112; Super Mario
game industry growth, 84–85
Run, 88
‘games as a service’ model, 87
mascot platformer era, 17–26
genre blending, 85–87
mechanical gameplay, 111–112, 134
Ghost n’ Goblins, 52, 95
mechanics, 119–121
Grand Theft Auto 3 (GTA 3), 85
metroidvania-designed titles, 37
H modern retro, 94–95
moving jumps, 46–47
heroic platformers, 52–53
multiplayer, 84–85, 87
hitboxes, 125–127, 129
hub, 68 N
I Nintendo: 2D games, 18; difficulty, 119;
impact on platforming, 87; Super
I Wanna Be the Guy, 109
Mario Maker, 104–105
icy jumps, 45–46
Nintendo 64, 67
incalculable jumping, 97–99
N-Sane Trilogy, 128
Indie movement, 90–91
isometric perspectives, 66 O
J obstacle design, 38–40, 64, 88, 98
Oddworld, 53, 54, 58
jumping, 1; camera angles, 28–30;
organic tutorial, 37–38, 134
challenge design, 40–41; committed,
over-worlds, 68
9–12; creating multiple jumps, 32–34;
factors of, 30–32; the first jumps, 5–8; P
first-person design, 61–64; hardest
PCs, 84–85
jumps, 41–48; logic, 27–28; mechanics,
physics-driven platformer design, 97–101
117–124; physics-driven platformer
pixel perfect jumps, 44, 105, 122
design, 97–101; variable, 13–15; see also
platforming games, 2–3; 2D mascot
platforming games
platformer era, 17–26; advanced 2D
K design, 35–49; adventure platformers,
51–55; basic 2D design, 27–34;
Kaizo games, 41, 59, 60, 107–113, 117–124
challenge design, 40–41; deep dive,
Kaizo traps, 116, 122
127; defining, 5–6; first-person
L jumping design, 61–64; hardest jumps,
41–48; physics-driven platformer
The Legend of Zelda: The Ocarina of Time,
design, 97–101; pitfalls and plumbers,
80
6–8; puzzle platforming, 57–60; shift
Lego Star Wars, 71
away from, 83–88; timelessness of
level flow and structure, 35–37
platforming, 2–3; why platforming is
level philosophy, 115–116
not going away, 3–4
M playtesting, 118
Prince of Persia, 52–53
Mario: Kaizo games, 107–109; legacy of,
Prince of Persia: The Sands of Time, 72
106–107; mascot platformer era, 17–26;
progression curves, 108, 113
new obstacles, 104; Super Mario 64,
puzzle platforming, 57–60
67–70, 86; Super Mario Galaxy, 79,
138 Index
R Super Mario Maker, 103–113, 116, 122
Super Mario Odyssey, 112
Rare, 70–71
Super Mario Run, 88
retro, 94–95
Super Meat Boy, 58, 90–99
RPGs, 2, 30, 85
The Swapper, 60, 91
S
T
scale of 3D, 74
The Talos Principle, 60
sections, level flow and structure, 35–37
teaching the player, 37–38
Sega: 3D platformer era, 66; Dreamcast,
thinker’s jump, 57–59
70; mascot platformer era and Sonic,
Thomas Was Alone, 91
18, 21–23; remaking Sonic, 83–84
timelessness of platforming, 2–3
shadows, 77–78
Tomb Raider, 71–72
shooters, 62, 85–86
tracking timers, 129–130
Shovel Knight, 94
trick jumps, 47
skill ceiling, 107
Sonic the Hedgehog, 18, 29, 66, 70, 84, 98 V
speed running, 110–135
variable jumping, 13–15
story-driven jumping, 52
Voodoo Vince, 119
subjective difficulty, 70, 78–80, 135
Super Mario see Mario X
Super Mario 64, 67–70, 126
Xbox, 84, 90
Super Mario Galaxy, 79, 125
Index 139

Game Design Deep Dive

Uploaded by

Copyright:

Available Formats

Game Design Deep Dive

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Game Design Deep Dive

Uploaded by

Copyright:

Available Formats

Game Design

and the CRC Press Web site at

1 The Legacy of Jumping 1

2 The First Jumps 5

5 The 2D Mascot Platformer Era 17

8 The Adventure Platformer 51

9 Puzzle Platforming and Design 57

10 First-Person Jumping Design 61

11 The 3D Platformer Era 65

13 The AAA Shift Away from Platformers 83

14 The Indie Impact 89

15 Physics-Driven Platformer Design 97

16 Super Mario Maker and Kaizo Culture 103

1.1 The Timelessness of Platforming

1.1 The Timelessness of Platforming

2 Game Design Deep Dive

1.2 Why Platforming Is Not Going Away

However, like 2D design in general, platformers continue to be a go-to

1. The Legacy of Jumping 3

4 Game Design Deep Dive

2.1 Defining the Platformer

2.1 Defining the Platformer

2.2 Pitfalls and Plumbers

6 Game Design Deep Dive

2. The First Jumps 7

8 Game Design Deep Dive

3.1 What is Committed Jumping?

3.2 Committed Jumping Limitations

10 Game Design Deep Dive

4.1 What is Variable Jumping?

14 Game Design Deep Dive

4.2 Committed vs. Variable

5.1 Genesis Does What Nintendon’t

5.2 Mario’s World

18 Game Design Deep Dive

5. The 2D Mascot Platformer Era 19

20 Game Design Deep Dive

5.3 Sonic’s Boom

5. The 2D Mascot Platformer Era 21

22 Game Design Deep Dive

5.4 Mascot Popularity

5. The 2D Mascot Platformer Era 23

24 Game Design Deep Dive

5.5 The Wide World of Mascots

5. The 2D Mascot Platformer Era 25

26 Game Design Deep Dive

6.1 Jumping Logic

6.1 Jumping Logic

6.2 Camera Angles

28 Game Design Deep Dive

6.3 The Factors of Jumping

30 Game Design Deep Dive

6.4 Creating Multiple Jumps

32 Game Design Deep Dive

34 Game Design Deep Dive

7.1 Level Flow and Structure

7.1 Level Flow and Structure

36 Game Design Deep Dive

7.2 Teaching the Player