Level Design Pipeline
Although the game industry involves writing a lot of detailed documentation, there is still no universal standard for how exactly this should be done. Each studio — and sometimes even each individual game or level designer — has their own way of approaching level documentation and production.
I’d like to share my personal pipeline — a process I’ve developed and refined through experience. This isn’t a strict guide, but rather a personal checklist to help me avoid missing important details. Details matter, and they’re often what separates a good level from a great one. While this pipeline may vary slightly from project to project, its core remains consistent.
I’d like to share my personal pipeline — a process I’ve developed and refined through experience. This isn’t a strict guide, but rather a personal checklist to help me avoid missing important details. Details matter, and they’re often what separates a good level from a great one. While this pipeline may vary slightly from project to project, its core remains consistent.
Stage 1: Preparation
Purpose of the Stage
At this stage, the idea for the level is formed. I define the level’s goals, its narrative placement, and key features. Thorough preparation ensures efficient development, saves time, and avoids unnecessary iteration later.
At this stage, the idea for the level is formed. I define the level’s goals, its narrative placement, and key features. Thorough preparation ensures efficient development, saves time, and avoids unnecessary iteration later.
Key Questions I Ask:
🞿 Where does the level sit in the story — beginning, middle, climax?
🞿 What is the level’s atmosphere?
🞿 Is the progression linear or branching?
🞿 What is the scale of the location?
🞿 What gameplay goals should the player accomplish?
🞿 What mechanics are used? Are new mechanics introduced?
🞿 Should I consult with a quest or narrative designer?
🞿 What is the level’s atmosphere?
🞿 Is the progression linear or branching?
🞿 What is the scale of the location?
🞿 What gameplay goals should the player accomplish?
🞿 What mechanics are used? Are new mechanics introduced?
🞿 Should I consult with a quest or narrative designer?
Concept Document
Together with a game designer, we created a concept document. It includes level goals, used mechanics, structure, atmosphere, and gameplay challenges.
Moodboard and Reference Board
I always create two boards:
🞿 Reference board — photos, architectural plans, real-world prototypes. Focuses on form.
🞿 Moodboard — mood, lighting, color palette, atmosphere. Focuses on feel.
If the project has a concept artist, they join this stage. If not, I create the boards myself using PureRef. I often use AI tools like Midjourney to generate visuals based on the concept.
I always create two boards:
🞿 Reference board — photos, architectural plans, real-world prototypes. Focuses on form.
🞿 Moodboard — mood, lighting, color palette, atmosphere. Focuses on feel.
If the project has a concept artist, they join this stage. If not, I create the boards myself using PureRef. I often use AI tools like Midjourney to generate visuals based on the concept.
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Here is an example of promts that I asked in ChatGPT.
Village Plan (Overhead Layout):
“A detailed top-down view of a small Slavic village layout. The plan shows traditional wooden houses with intricate carvings, and a central square featuring a wooden well, all surrounded by a dense enchanted forest. The image is rendered in a realistic, classical fantasy style reminiscent of The Witcher 3.”
Close-Up of the Village Center:
“A close-up view of the bustling heart of a small Slavic village. This scene highlights a vibrant central square with market stalls adorned with folk art, and surrounding wooden houses with traditional carvings. The atmosphere is steeped in ancient folk tradition and detailed realism, evoking the style of The Witcher 3.”
Village Church:
“A majestic view of a rustic village church in a Slavic setting. The church, featuring a modest yet distinctive wooden structure with ornate carvings and a small bell tower, stands proudly in a quaint village square. Traditional houses and ancient trees frame the scene, rendered in a realistic, classical fantasy style inspired by The Witcher 3.”
And here are the results that we got. In my opinion the result is good.
Village Plan (Overhead Layout):
“A detailed top-down view of a small Slavic village layout. The plan shows traditional wooden houses with intricate carvings, and a central square featuring a wooden well, all surrounded by a dense enchanted forest. The image is rendered in a realistic, classical fantasy style reminiscent of The Witcher 3.”
Close-Up of the Village Center:
“A close-up view of the bustling heart of a small Slavic village. This scene highlights a vibrant central square with market stalls adorned with folk art, and surrounding wooden houses with traditional carvings. The atmosphere is steeped in ancient folk tradition and detailed realism, evoking the style of The Witcher 3.”
Village Church:
“A majestic view of a rustic village church in a Slavic setting. The church, featuring a modest yet distinctive wooden structure with ornate carvings and a small bell tower, stands proudly in a quaint village square. Traditional houses and ancient trees frame the scene, rendered in a realistic, classical fantasy style inspired by The Witcher 3.”
And here are the results that we got. In my opinion the result is good.
Level Block Diagram
A simple logic map that shows major zones, routes, and points of interest.
For shooters — rooms and connecting corridors.
For RPGs — hubs, quest zones, and functional spaces.
For shooters — rooms and connecting corridors.
For RPGs — hubs, quest zones, and functional spaces.
Sketch and Key Frames
Next, I draw a sketch of the level. I highlight environment elements where players might stop, explore, or learn something. I often add key frames or storyboards to guide the player’s attention to specific moments
Output of this Stage:
🞿 Concept document
🞿 Moodboard and reference board
🞿 Block diagram
🞿 Sketch and storyboards
🞿 Concept document
🞿 Moodboard and reference board
🞿 Block diagram
🞿 Sketch and storyboards
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Stage 2: Blockout
What Is It?
Blockout is a rough level assembly using basic shapes (cubes, blocks) to test layout, gameplay flow, and spatial readability.
Metrics
One of the most important components. Metrics include:
🞿 Character height and collider size
🞿 Dimensions when crouching or prone
🞿 Jump height and distance (from standstill and running)
🞿 Door and passage sizes
🞿 Fall damage thresholds
🞿 Movement speeds
🞿 Ramp and stair angles
🞿 Camera position and FOV
🞿 Weapon range and type
I log all these in a “General Info” section of the concept document for reuse across levels.
Blockout is a rough level assembly using basic shapes (cubes, blocks) to test layout, gameplay flow, and spatial readability.
Metrics
One of the most important components. Metrics include:
🞿 Character height and collider size
🞿 Dimensions when crouching or prone
🞿 Jump height and distance (from standstill and running)
🞿 Door and passage sizes
🞿 Fall damage thresholds
🞿 Movement speeds
🞿 Ramp and stair angles
🞿 Camera position and FOV
🞿 Weapon range and type
I log all these in a “General Info” section of the concept document for reuse across levels.
Test Ground / Metric Playground
Before building the first level, I create a test scene — a metric playground — to verify all player metrics in a live environment. It helps catch scale issues early. Critically, the environment is built to match the metrics, not the other way around.
Before building the first level, I create a test scene — a metric playground — to verify all player metrics in a live environment. It helps catch scale issues early. Critically, the environment is built to match the metrics, not the other way around.
Building the Blockout
Once the playground is validated, I begin level blockout:
🞿Transfer the sketch layout
🞿Use basic geometry (cubes, primitives)
🞿Test navigation, spatial rhythm, and sightlines
Before moving on, I save screenshots and record walkthrough videos — for portfolio or documentation.
Once the playground is validated, I begin level blockout:
🞿Transfer the sketch layout
🞿Use basic geometry (cubes, primitives)
🞿Test navigation, spatial rhythm, and sightlines
Before moving on, I save screenshots and record walkthrough videos — for portfolio or documentation.
Stage 3: Greybox
Toward a Playable Prototype
In this phase, primitives are replaced with basic meshes. Enemies, items, scripts, and interactive elements are added. This is the first fully playable version of the level where key gameplay beats can be tested.
In this phase, primitives are replaced with basic meshes. Enemies, items, scripts, and interactive elements are added. This is the first fully playable version of the level where key gameplay beats can be tested.
Composition and Cameras
If the level contains cinematic or narrative elements, I place cameras based on the storyboards and test framing. It’s crucial to guide player perception and ensure the right objects are visible from the right angles. Sometimes, I have to adjust the geometry to support better composition.
Placeholder Objects and Logic
I make heavy use of placeholder content (floating text, proxy meshes, triggers) to simulate future logic: cutscenes, enemy behavior, conversations, interactions. This allows for fast iteration without being tied to final implementation.
If the level contains cinematic or narrative elements, I place cameras based on the storyboards and test framing. It’s crucial to guide player perception and ensure the right objects are visible from the right angles. Sometimes, I have to adjust the geometry to support better composition.
Placeholder Objects and Logic
I make heavy use of placeholder content (floating text, proxy meshes, triggers) to simulate future logic: cutscenes, enemy behavior, conversations, interactions. This allows for fast iteration without being tied to final implementation.
Readability and Flow
At this stage, I test whether the space communicates its intent: where to go, what to do, what’s important. I establish visual landmarks, silhouettes, height variations — key components of spatial clarity.
Playtesting
Greybox levels go through several playtests:
Internally (by the level designer and the team)
Cross-discipline (QA, narrative, art)
The result is a playable gameplay skeleton, ready for visual iteration.
At this stage, I test whether the space communicates its intent: where to go, what to do, what’s important. I establish visual landmarks, silhouettes, height variations — key components of spatial clarity.
Playtesting
Greybox levels go through several playtests:
Internally (by the level designer and the team)
Cross-discipline (QA, narrative, art)
The result is a playable gameplay skeleton, ready for visual iteration.
Stage 4: Whitebox
Pushing Toward Visual Legibility
Whiteboxing brings visual believability to the greybox. At this stage, rough geometry is replaced with low-poly models using basic materials. Initial lighting is introduced to convey basic atmosphere.
Models don’t have to be final, but they must have correct proportions and recognizable forms. The goal is to make the level not just playable, but also visually coherent and emotionally legible.
Interface and Interactions
Here, I test UI and interactions: triggers, cutscene activation points, highlight areas, hotspots. Placeholder text is replaced with working scripts or visual markers.
Light and Volume
I add preliminary lighting and test how space reads in both bright and shadowed areas. Are important elements visible? Is there too much visual noise? Lighting is also used to guide the player and draw focus.
The whitebox stage produces a recognizable draft of the level — still not polished, but already showing its identity.
Whiteboxing brings visual believability to the greybox. At this stage, rough geometry is replaced with low-poly models using basic materials. Initial lighting is introduced to convey basic atmosphere.
Models don’t have to be final, but they must have correct proportions and recognizable forms. The goal is to make the level not just playable, but also visually coherent and emotionally legible.
Interface and Interactions
Here, I test UI and interactions: triggers, cutscene activation points, highlight areas, hotspots. Placeholder text is replaced with working scripts or visual markers.
Light and Volume
I add preliminary lighting and test how space reads in both bright and shadowed areas. Are important elements visible? Is there too much visual noise? Lighting is also used to guide the player and draw focus.
The whitebox stage produces a recognizable draft of the level — still not polished, but already showing its identity.
Stage 5: Level Art and Dressing
Final Visual Pass
Once the level is working mechanically, it’s time for polish. Level artists add final models, textures, shaders, lighting setups, ambient effects, sound, and VFX. Every asset is finalized.
What gets added:
🞿 Fully animated NPCs and enemies
🞿 Cutscenes and dialogue
🞿 Quest objects and scripted interactions
🞿 Environmental storytelling (battle damage, props, signs of life)
Final Testing
This is a full team effort — art, design, QA, and narrative all contribute. Several rounds of integration tests ensure everything functions correctly and the player experience matches the design vision.
This phase is about refinement, optimization, and preparing the build for release.
Once the level is working mechanically, it’s time for polish. Level artists add final models, textures, shaders, lighting setups, ambient effects, sound, and VFX. Every asset is finalized.
What gets added:
🞿 Fully animated NPCs and enemies
🞿 Cutscenes and dialogue
🞿 Quest objects and scripted interactions
🞿 Environmental storytelling (battle damage, props, signs of life)
Final Testing
This is a full team effort — art, design, QA, and narrative all contribute. Several rounds of integration tests ensure everything functions correctly and the player experience matches the design vision.
This phase is about refinement, optimization, and preparing the build for release.
Conclusion
This pipeline is the result of my experience and many iterations. It’s not universal, but it works. Every designer can adapt it to their style and project needs. The key is to think systematically — each step impacts the next.
I hope this guide helps level designers — beginners and experienced alike — structure their process and focus on what matters: building engaging, meaningful, and memorable worlds.
I hope this guide helps level designers — beginners and experienced alike — structure their process and focus on what matters: building engaging, meaningful, and memorable worlds.
Thanks for your attention!
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© 2025 Niko Timo
nikotimo11@gmail.com
