Library
The Cores of Game Design · 6 of 12
The Cores of Game Design
ARG Design HIGH

Level Design and Pacing

level-design pacing challenges breaks gates risk-reward push-pull golden-path antepiece

Key Principle

Levels are planned sequences of challenges and breaks that alternate in a sawtooth pattern to maintain flow. Three challenge orderings (linear, non-linear, random) control difficulty, while spatial design tools — push/pull, golden paths, antepieces, and reconnect-the-dots — channel player movement through the designed experience. (Chapter 7)

Why This Matters

Without deliberate pacing, tension accumulates unchecked toward anxiety, or dissipates into boredom. Without gates in non-linear designs, the designed tension curve breaks down entirely. Without push/pull spatial control, players in levels larger than their viewport become lost and the designer loses control of sequencing. Backtracking through cleared space is dead time that trains players to avoid optional content.

Good Examples

  • Three orderings: Linear gives fully designed escalation with no player agency over sequence. Non-linear uses gates to control access while players choose paths. Random (shuffled decks, procedural generation) uses structural constraints like deck partitioning for pacing control. (Chapter 7)
  • Risk-reward in Another Starry Sky: Easiest outer-ring path = 7 collectables over more levels; shortest path = 8 collectables over fewer but harder levels. Same physical space, different outcomes based on risk tolerance. (Chapter 7)
  • Antepiece design: A simplified, low-risk version of an upcoming challenge placed before it. Implements the Forced Obvious Task from the Forced Action Framework. Dual-purpose collectables among hazards reward engagement and slow players enough to observe the mechanic. (Chapter 7)

Counterpoints

  • Risk without choice is not risk-reward: "If the player has no decision upon taking or not the risk, then you are not properly applying this technique; you are simply imposing a challenge." Player agency is a prerequisite. (Chapter 7)
  • Reward type mismatch: A star badge satisfies an achiever but frustrates a story-oriented player who wanted narrative payoff. Reward type must match player motivation, not just challenge magnitude. (Chapter 7)
  • Empty spaces are not wasted: "Not all of the level need to be covered with spikes and coins. Some parts can be empty or used for the other cores, such as a story moment or a nice view." (Chapter 7)

Key Quotes

"A break is a moment in which the player is not confronted with objectives and can relax. It does not mean that players cannot engage in objectives during a break, but that those will be at the player's will instead of by design." — Yvens R. Serpa, Chapter 7

"If the player can assess the risk and the reward before making a decision, there is no room for immediate frustration." — Yvens R. Serpa, Chapter 7

"Instead of having the player backtrack all the way from the start of the path, have the end of the path lead back to a good position towards the door." — Yvens R. Serpa, Chapter 7

Rules of Thumb

  • Alternate challenges and breaks in a sawtooth pattern — each peak higher, each floor slightly elevated
  • Use gates to preserve difficulty curves in non-linear designs
  • Narrative nudging: story-invested players can experience non-linear structures as functionally linear through in-game clues
  • Push/pull: pulling elements (collectables, light) attract; pushing elements (walls, hazards) repel — chain awareness across the viewport
  • Golden path first, then layer alternate routes, hidden rewards, and break spaces
  • Post-golden-path checklist: other paths, hidden rewards, balance challenges, ladders/elevators, empty spaces
  • Reconnect the dots: detour endpoints should loop back near the gated objective, never force retracing
  • Risk-reward is scale-invariant — same analysis applies to world maps and individual level blocks
  • Paper-prototype spatial logic before committing to assets — separate layout iteration from production polish

Related References