Tips for Creating/Editing Wolf3D Floor Designs
The following information must not be considered a definitive work
on this subject, but should help most people avoid some of the
pitfalls associated with translating their floor design ideas into
a working, error free floor.
This short manual does not explain the workings of any particular
editing program used to transfer your design to the computer.
Mapedit Version 7.0 (c) 1992 as Version 4.1, by Bill Kirby as
modified by David Huntoon, Bryan Baker, and Matt Gruson, was the
tool of choice for this writer.
The information was gleaned from many hours spent playing and
editing the custom floors. Some designers may have lacked this
knowledge or their editing program wasn't full-featured and the
results may have been disappointing to them. But it didn't effect
the quality of their floor layouts, only the action.
Floor Codes
Design problems seem to center around a misunderstanding of the
relationship of floor "codes", doors (locked and unlocked variety),
and hidden doors. First, an explanation of the use of floor codes.
There are a number of unique "codes" to use when mapping out a
floor. These codes are used to isolate areas of the overall floor
from one another such that enemy guards can be made to engage in a
fight or not, depending on how you assign floor codes. One of the
more common problems is failing to assign floor codes in all floor
space, or assigning them haphazardly. The results of either
practise are unpredictable, but some of the effects are:
- Certain sound effects may be missing.
- Hidden doors won't always open all the way.
- Stationary guards become living statues and won't fight.
(This includes Super Guards - or Bosses, but these guys have an
advantage).
- Moving guards won't fight either and will mo 12112c218m ve in place or in
crazy ways.
Unless your floor design has a very large number of rooms, there
are usually sufficient unique floor codes to assign each room its
own code, although this isn't really necessary. In general there
are 3 approaches to assigning floor codes, according to what you
want to accomplish.
1) Assign a single floor code to all floor space. Unless you take
other measures, this will have the singular effect of alerting
every guard on the floor as soon as the first shot is fired. This
can lead to some interesting fire-fights, but it isn't always the
most desired approach because the action usually (not always) ends
quickly (either they're all dead or the player is) and
he's left to
wander through a bunch of empty rooms that offer no further
challenges (or restart the level).
2) Assign a unique code to each individual room. In this scenario
guards in the next room are unaware of any carnage in the current
room - unless something causes the door between the rooms to open.
3) Assign unique codes to contiguous or non-contiguous groups of
rooms. This offers a microcosm of approach number 1) above, but is
more controlled and often the most interesting and suspenseful
strategy.
Special Floor Code and Enemy Guard Eyesight
There is one floor code that has a different effect from all the
rest. This is floor code '6a', or the code which designates a guard
as being "deaf" or "steadfast". Such a designation means 2 things:
the guard will not react to other guards shouting or shots being
fired in the area until and unless he sees the player, then he
responds just like any other guard. But his eyesight is much better
than other guards as he can see in every direction (that isn't
blocked by something) including one square behind. These guys can
even see between the cracks of wall cubes that are joined only at
the corners. (It's kind of eerie to hear a guard sound off that
can't be seen anywhere). By contrast, guards on all other floor
codes can only see straight ahead but will be alerted regardless of
their impaired vision when other guards on the same floor code are
alerted.
Changing Floor Codes
Another common error in floor design is to change floor codes when
going from one area to another but not separating the 2 areas with
a door. Doors are used as "switches". When the player moves from an
area of one floor code to another with a different floor code,
without having to open a door, the guards in the moved-into area
will not be "armed", i.e., they appear to be in a trance, until
fired at. This may be an interesting effect to create for
approaching a Super Guard, but as soon as the first shot is fired,
the player better move out of the way fast, because the "statue"
just came to life and he doesn't like having his sleep
interrupted.
Hidden Doors and Rooms
Hidden door design is critical. In case you don't remember, the
official version of Wolf3D places no guards in a room entered
through a hidden door. This is because a hidden door, unlike a
regular door, is not used as a "switch" to arm any guards on the
other side. But the problem is a bit more complicated than that.
If guards in a hidden room are somehow set in motion, they can
block the movement of the sliding door. This condition is
detectable by the sound of 2 notes for each push of the space key,
as opposed to the normal sound of trying to open a door that
doesn't exist. (These 2 notes also sound if you try to push a
hidden door from the wrong direction).
The guard(s) can be made to move away from the door and it will
open, particularly when the player moves far enough away and can
get back in a hurry before the guard does. But often, when the door
does move, it only moves part way. As you will soon see, there is
a way to get a hidden door to move more than once. (Personally, I
wish the Wolf3D engine had been designed to cause a sliding door to
crush anything on the other side, with appropriate sound effects of
course. This would be more like real life).
The first rule of thumb when dealing with guards in secret rooms is
to be sure the secret room has the same floor code as the room from
which it is entered. In addition, the room outside the secret room
must have a normal door (locked or unlocked).
To resolve the problem of guards getting in the way of a sliding
hidden door, choose one of the following three methods.
One way is to design the hidden door entrance so the door slides
side-to-side. Such a design will also permit the door to slide
forward, which an unsuspecting player may try to do first. This
approach has the advantage of not having to be concerned about
guards moving about in the secret room. Its main disadvantage is
that if it is used too often, players will start to recognize the
existence of this type of hidden door configuration unless you add
many such configurations that don't have hidden doors and the one
door then is disguised by being only one among a crowd.
Another way is to use multiple hidden door object codes such that
a sliding wall will move into another hidden object code and can
thus be moved again, in any direction you choose. The hidden door
object code can exist in open space as well as in a wall. This
opens up all sorts of possibilities. However, there's one drawback.
Extra hidden door object codes, which are often not used, prevent
the player from getting the bonus for finding all secret areas.
The other way to use guards effectively in a hidden room, and you
want the sliding door to move inwards only, is to make
sure the
guards are standing on a "steadfast" floor code so they won't be
moving around the room.
If you want more rooms beyond the hidden room, and you want them to
have normal doors, then the floor codes of these additional rooms
must either be different from the hidden room (and not be used
elsewhere on the floor), or the guards in these added rooms must be
made "steadfast" if you want to use the same floor code as the
hidden room.
One more word about hidden doors. There appears to be a problem in
version 1.4 of Wolf3D in that sometimes a door will move 3 squares
and the next time, only 2 squares, even when there's unrestricted
space in which to move. What this means is: to avoid intermittent
problems, use one of the methods described above to circumvent it.
Moving vs. Stationary Guards
All guards except the Super Bosses can be made to move in a
predetermined direction. This device is quite useful in creating
unpredictable action upon entering a room with one or more moving
guards. Since a room is never entered at exactly the same instant
each time the floor is played, the guards will be in a different
position and may or may not see the player right away.
In addition, guards can be made to move through doors to adjoining
rooms with or without the same floor codes. This is always
interesting. While you are busy teaching manners to the guys in one
room, in walks an oaf from another, which sets off alarms in the
next room or rooms with a different floor code as they will hear
the fighting and become concerned. Lesson #1: Always try to keep
your back away from all doors (including the one you entered!). By
the way, Guard Dogs are always on the move - there are no
stationary dogs. (I guess Id didn't want to design a graphic of a
dog sitting and panting for water or food - ever notice how many
rooms dogs are in that have no food or water in them? - It's a
wonder the animal rights activists haven't been on their case <g>).
It's generally a waste of time to place moving guards in a room and
not lay out a path for them to follow, although there is a trick or
two that you can use with a moving guard who has no assigned path.
(Tricks are discussed, but not explained, in this section). Also,
unless you assign the "deaf" guard floor code to an entire room, it
doesn't do any good to put a moving guard on the deaf guard code.
The Effect of and on Activated Guards Moving About the Floor
Activated guards will mostly move to the point where the player is
currently located. Their progress in locating him can be slowed and
often stopped by complicated room patterns, by putting solid
objects (barrels, etc.) in their way that they have to move around,
or by sheer distance.
Some activated guards have a tendency to move away from an
immediate threat by going into other rooms and waiting at a door in
ambush or simply refusing to come out, waiting instead for the
player to come in. All this means is if a large body of
"overheated" guards is encountered, one way to counter their threat
is for the player to move off in some other direction. This will
often cause them to begin to scatter, but may make it easier for
them to be engaged in ones and twos later on. Of course the main
disadvantage to this tactic is it is not known where they'll be
when next seen, unless they're in a bounded area. Always good for
a laugh though!
The other thing about guards moving from room to room while
searching is that they will often open a door into an unrelated
floor code and if a shot is fired at the time the door is open,
even more guards can become involved in the search. Heh, heh! I
love finding dogs in rooms where they shouldn't be. Took me a while
to figure out how they learned to open doors.
Effect on Play of Guard Choices vs. Design Decisions
While sitting at your computer testing a floor design, you
may not always recognize what the effect of your choice of guard
types will have on game play when viewed against your design
decisions.
As you already know, the tan guards move slowly and react the same
way. The blue SS guards are a bit quicker and more deadly (takes
3 or more shots to bring them down, depending on distance between
player and guard).
The white uniformed "officers" move much more rapidly, will swerve
to make a player miss and are more intelligent acting. Finally, the
mutants are the greatest threat of all (except for the Super
guards). The mutants move silently and shoot more quickly than all
other guards.
The effect on design of using officers and mutants is important
because of how quickly these latter guards can react.
When your floor design is played, the player must be given a way to
defend himself, especially from officers and mutants, or be
provided a way to attack without being totally overwhelmed. A niche
in a wall, a narrow room with no cover, or no way to back off, is
inadequate in those cases where the player will have to
defend
against a host of attackers. Conversely, a medium to large room
with enemies everywhere, no cover afforded, and with nowhere
else to go, should also be avoided.
The most critical example is designing an opening sequence which
has the player standing in a room 1 or 2 squares deep and 1 square
wide with the a door immediately in front. As soon as the door is
opened, and a shot is fired which alerts numerous guards, the
player will be overwhelmed. Particularly if the guards are
officers or mutants and a better defensive position cannot be taken
by moving out into a larger area.
The problem is exascerbated by how doors are programmed to open. As
far as the program is concerned, the door is considered open the
instant someone (the player or a guard) signals it to open. The
program does not wait for the door to physically move far enough so
actor and player are visible to each other. The mutant guard
shoots so fast that the player won't even see the door start to
move before the mutant's shot arrives to kill or maim. There's no
defense except to try and kill a guard in the doorway so the door
will stay open. But if nothing but officers and mutants arrive
first, there is little hope of doing this. Besides, guards don't
usually try to enter the room before shooting unless the player is
out of sight.
Review your designs carefully and take this information into
consideration. The game is played to be ultimately won by the player,
not by the game's designers.
Elevators
I don't know if most people notice it, but all elevators in the
official game are oriented east/west. No elevators are entered from
the south or north. This is to ensure that when an elevator is
entered, the control will always be directly in front of the
player. (When you're hurrying, you don't want to have to stop and
look for the switch!) Entering from the north or south will provide
two controls on the left and right as the player enters - one of
these can be safely eliminated in your designs.
Also, if you place an elevator control in a wall with a single
thickness, the control will be available for use on both sides!
You need to put something on the outside to prevent use of the
outside control if you don't want it used, or else put a second
thickness of wall behind the elevator.
Finally, when you create an elevator to go to the Secret floor,
don't forget to use the floor code inside the elevator that
signifies you want the player to go to the secret floor when the
switch is thrown.
Secret Floors
Two things about secret floors: 1) you don't have to have one in an
episode and 2) if you do have one, you need to place the elevator
to the secret floor on designated floors in each episode if you
want to come back to the correct floor.
If you decide not to have a secret floor, when tahe ninth floor is
exited (the so-called "boss" floor) the player will find out it was
really the secret floor, which only means the 10th floor becomes
the "boss" floor. So you need to lay out your floors accordingly.
It is possible to place an elevator to the secret floor on every
floor in an episode. However, if you did this for episode one, each
time, upon return from the secret floor, the player would be back
on floor #2 (which would get a bit tiresome after a while).
Elevators to secret floors for all episodes should be placed on the
following floors within episodes 1 to 6, respectively: Floors 1, 1,
7, 3, 5, and 3. This way the normal progression of floors will work
right.
Inaccessibility of Objects and Acquiring Bonus Points
There are, obviously, 2 approaches to playing Wolf3D. One approach
is for the player to get through a floor quickly enough to beat the
Par time so as to get some bonus points. Such an approach
automatically ignores the need to kill all guards, find all hidden
doors, and get all the treasure. These last three items constitute
the other approach, i.e., taking time to kill everyone, open all
doors and get all the treasure, which also earns bonus points.
(Once in a great while, a player might be able to do both!)
If you design a floor that makes it impossible to award bonuses for
using the latter approach, then you have chosen to award only those
who use the former approach of getting in and out as quickly as
possible. How do you do this? By making treasure, guards and hidden
doors inaccessible. One other way is to use the Pacman ghost on any
level except the secret floor. The "ghost" is considered to be a
guard, but is invincible. No matter what guards are used on the
secret floor, the player will be awarded 15,000 bonus points just
for getting there and out. There is nothing wrong with denying
bonus points in chosen situations. This is just to make you aware
when designing a floor what the effects of your choice will be.
Trickery
The official version of Wolf3D employs no "tricks" to fool you.
However, if you design and edit enough floors, you'll soon learn
about the "tricks of the trade". Guards can be made to walk through
walls (which the player can then walk through). Objects can be made
transparent, and so forth. Although Wolf3D purists will probably
argue the point, I personally think a trick or two adds a new, and
interesting element to the game as long as it's done
sparingly.
It's probably fair to warn the potential user of your custom floor
that you've added a trick or two without telling them what or
where.
I began this section by stating the official version has no tricks.
This is true if you discount built-in "errors". The distributor of
the official version of Wolf3D insists that some floors are not
completely playable on purpose. I.e., hidden doors were
deliberately misplaced so you can never enter the area behind.
There are one or two more "impossible" situations built in. This
explanation fails to account for why so much design work went into
an area that you can't get into if no one was ever intended to see
a map of the area. Or why the official hint book urges you to enter
an area that is unenterable.
Balance
When designing a floor, you should strive to achieve a balance
among the various skill levels. For example, don't overload with
skill 1 & 2 guards, nor fail to add skill level 4 guards. With the
latest additions to Mapedit Version 7.0 by David Huntoon, Brian
Baker, and Matt Gruson, it is now possible to quickly see not only
what the balance looks like from the STATS, but you can
individually view the placement of all skill level guards. Plus you
can isolate the display of treasure, ammo, and health items, and
Super guards (bosses).
Narrow vs. Wide passages.
This'll seem obvious to you old hands. But for those just creating
their first floor(s), it is probably worth reminding you that
creating narrow passages slows the player who wants to set a record
for going from entrance to exit. Of course, every player who uses
that same hallway will have the same problem, but it's worth
considering. Interestingly enough, a narrow passageway seems to
make it a bit easier to nail "Arnold" if he's forced to follow the
player down the passage. The reason is, a narrow passage creates an
environment for a better aim and actors that are hit squarely will
not be able to shoot back if they can't move out of the way.
Why do narrow passages slow progress of the player? Any enemies
hidden in niches off a narrow hallway will impede movement by just
being there. The player won't be able rush by them without engaging
them in battle. If you want to hide someone off a long hallway,
place him at least two squares deep or widen the hallway, if
possible.
Weapons
If you design a series of floors, be sure to leave a machine gun on
several of the floors (also a chain gun). Don't assume that all
your floors will remain together. Also, when someone has to start
a floor over after being killed, they need to find a
machine gun in
a hurry. (I know, they should've remembered to save their game at
the start of each level, but....)
You can either hide a machine gun somewhere, or else place an SS
guard near the start. When he's killed, he'll drop his machine gun
for the player to pickup.
Over Designing - or Too Much of a Good Thing.
While there's a limit on the number of static objects (anything on
the floor except walls and guards) that can be placed on 1 floor
(400), if you try to place too many in one room/area, the game will
suffer from screen background clutter. This means that actors that
are in a room with too many other objects, will literally be
invisible, as will some of the objects, depending on the angle of
vision of the player. This is also true if too many actors come
streaming out of room. You'll lose 1 or more as your display screen
will not be able to refresh quickly enough to catch all of them
moving through the door.
The secret floor of Episode 4 of the official game is a perfect
example of this. When the player waits in the hidden room on this
floor for all 74 officers to come for a visit, they'll arrive too
fast for the screen to keep up and before you know it they're shot
from behind and they didn't see anyone go by.
There is a tendency for designers to load up a room or rooms near
one of the Super Bosses with ammo and first aid so the player has
a chance of surviving. As long as the player keeps these objects to
his/her back, there usually won't be a problem. But if the player
backs up too far and exposes lots of objects on the floor between
himself and the actor, the actor may flicker on and off the screen.
Not good!
One other example worth mentioning is a room filled with barrels
that are placed so as to provide an intricate pathway through the
area. Depending once again on the angle of view, many of the
barrels will disappear from view. As you turn they will reappear.
Any actors on the other side of the room will be invisible until
the player can get closer (if he/she survives that long).
So if you find you've got a room like those described above,
redesign it to limit the objects to a smaller area of view. Use
walls for partitioning off parts of the room or use smaller rooms,
or just eliminate some of the objects by placing some of them
elsewhere if you think you need them all.
Wrapping it up
It is hoped the above tips will help you design your floors with
greater confidence and fewer errors. At least you should be able to
recognize the symptoms when, for example, you come across a guard
in a trance, or doors open and close without sound.
Floor designing isn't difficult, only time consuming. Just get out
a large sheet of graph paper and grow your design. Then use the
Mapedit program to transfer your design to the screen. Next, test
it, fix it, test it, fix it, etc., etc., until you're satisfied
with the results. This is obviously an oversimplified explanation.
Your floor has to be saved to disk, then merged into the GAMEMAPS
file of a running game to test it.
All floors occupy an area 62 x 62 squares in which to layout your
designs. (The actual area is 64 x 64; the extra 2 squares in either
direction are the peripheral wall which has to be there. You can
add designs to it and change its color if you want). Try to leave
some space for your name to be added somewhere, and a floor title,
if you want one.
What To Do With Your Designs
If you already have 1 or more floor designs or would like to try
your hand at creating them, I would like to include your designs in
another episode of another package like this. You will get full
credit for your work by having your name placed in the floor design
(if it isn't already there) as well as listed in the credits
section of the manual. If you want to include any hints, put them
in a small file for inclusion in the manual.
Your designs will not normally be tampered with unless something in
them presents a problem. You will be contacted to see what you want
to do, or you can trust me to resolve the problem for you. Actual
inclusion into an episode will depend on, among other things,
factors such as complexity and originality, as judged by myself.
You will be informed if your design needs more work before being
included. The current 60 floor package did not always meet the
above criteria, but it was a start.
All designs remain the property of their designer, but cannot be
withdrawn after distribution. You're free to include your designs
in any other form, but I reserve the right to exclude them from my
package, if appropriate.
Cost of transmitting or mailing the file to me will be borne by
you. Diskettes will be returned if you include sufficient postage
(usually two 29 cent stamps are enough for one diskette). Contact
me in advance for my mailing address.
Warren Buss
Compuserve ID: 71044,3477
Prodigy ID: HNHM14A
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