My past two blog posts have been focused on open world gaming. These posts have been continuations of an earlier post about the narrative "limbo" that many open world games create via their quest structures. In the first post in this second series, I pointed out what I perceive to be a problem with open world games that insist on turning their sandbox worlds into little more than convoluted mission-select screens and collectible checklists. In the following post, I described some games that I think managed to make successful open worlds by including features or mechanics that made traveling through the space (or knowledge of the space) into a meaningful mechanic. This time, I want to go back to some of the games that I singled-out in the first post in this series, and brainstorm some ways that they could have made better use of the large spaces that their maps offered so that traveling around the world wouldn't become so boring later in the game.

But before I do that, I want to re-emphasize that I don't hate these games. They're just not very good at using their space, and that's what I'm criticizing. Well, the newer Assassin's Creed games have been pretty terrible. Anyway, I pick on games like Skyrim and The Witcher III a lot, but I like them just fine - I bought the DLC for both. I pick on them, not because I hate them, but because I do like them and I want them to get better (or for their sequels to get better). Rather, my objective here is to find ways for these games to make better use of the large, open spaces that they provide the player, so that exploring the map feels more mechanically relevant, more interesting, or more rewarding; and to feel less like a time-sink.

Games like Skyrim and The Witcher III have massive worlds, but do a poor job of utilizing the space.

Bethesda's Skyrim and Fallout titles, as well as CD Projeckt Red's Witcher III and Rockstar's Grand Theft Auto V, already have open worlds that transcend being simple, convoluted mission-select screens like games like Assassin's Creed and Metal Gear Solid V. They populate their worlds with little narrative world-building details that make their worlds feel alive and lived-in (even though they may feel stagnant). So what could a game like Skyrim or The Witcher III have done to improve its open world?

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Last time, I discussed what I perceive as a problem in the way that most open world games (specifically, sandbox games) design their maps and use the space that the maps offer - or fail to use that space, to be more specific. So many open world maps end up feeling less like actually playing the game, and more like a convoluted mission-select and collectible checklist screens. This problem is especially bad in the Ubisoft model of design, and is also a problem (to a lesser extent) in Bethesda's open worlds. Due to the popularity of these developers' franchises, many other developers have been cloning these styles of games to one extent or the other, to the point at which Ubisoft's open world model seems to be the go-to template for any developer trying to make an open world game. These games aren't necessarily bad. They just aren't very good at making the space of their maps feel meaningful in its own right.

Assassin's Creed: Syndicate - zipline
Many open world games have large, expansive maps that mostly feel empty and pointless,
as the player rushes through them simply to get to the next map marker or checklist item.

But now that I've established what I see as a problem, I want to focus on positive feedback. In this discussion, I'm going to look at a handful of games that should serve as inspirations for would-be open world developers. Ironically, some of these games aren't even open world games, but they still pose valuable lessons for how games that are open world could better use their game spaces. That isn't to say that the games discussed here are perfect. In fact, many of them have their own major flaws. But each of them has some element of design that utilizes the actual game map as a component of active play, rather than just a space in which game sequences exist. First, let's take a look at a game that was re-made recently, and use it as a "before and after" case study of map design...

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I wrote a lengthy blog late last year about the stagnant, "limbo"-like feel of most open world games' narratives. I had written that blog mostly before I played Metal Gear Solid V, and so I wasn't able to incorporate my thoughts regarding that game into the blog. But I did come to a new realization about open world gaming while I was playing MGSV. In my review of that game, I noted that:

"Even the open world itself feels constrained, as sheer cliffs prevent you from travelling too far off of the roads and serve to functionally railroad the player towards the small set-piece outposts and villages."
    - from my Metal Gear Solid V: the Phantom Pain review

I realized while playing MGSV that the game had built this large, open world (well, two large, open worlds really, but I hadn't gotten that far yet), but it didn't really care to let the player actually traverse that space or use it in any meaningful way other than scavenger hunting for collectibles. At least those collectibles felt relevant to gameplay though! Roughly half the map is dead space that the player can't even access. There was also this strange focus on using the helicopter to drop in and drop out of missions, rather than actually living in the game world, as the character had to do in Snake Eater. The map started to feel less and less like a place, and more like a convoluted mission-select screen. At first, this seemed like a strange, isolated example of an open world game that really doesn't want the player actually exploring its world. But as I thought about it, I realized that this isn't really a new phenomenon; it's actually just a very extreme example of what has become a sort of defacto state in most open world games.

Metal Gear Solid V: the Phantom Pain - restricted world map
The Afghanistan map of Metal Gear Solid V feels heavily constrained by sheer cliffs.

Think about it this way: in a linear game with rooms and corridors, every hallway and room should serve some purpose or function. In most games, this function will be some kind of skill or system mastery test. An action game like Devil May Cry will throw enemies at you to fight; a puzzle game like Portal will have a puzzle (or a piece of a puzzle) in the room to solve; a stealth game like Metal Gear Solid 3 will have a sneaking challenge or obstacle to pass; and so on. In the best games, each of these challenges will also provide a unique or novel test of skill or system mastery: unique combinations of enemies, unique puzzles, or novel arrangements of enemies and obstacles. Other games can use those rooms for thematic or narrative purposes. A survival horror game like Resident Evil or Silent Hill will usually put enemies, puzzle items, or supplies in a room, but some rooms might instead contain a scripted scare. In some cases, a room might even be left completely empty in order to build some kind of tension or anticipation, or to delay the release of already-built tension or anticipation.

So what is the gameplay purpose of an open world map? ...

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Playing games like Skyrim, Grand Theft Auto, Assassin's Creed: Black Flag, The Witcher 3, Mad Max, Metal Gear Solid V, and other open-world games has made me increasingly weary of open-world gaming. Narrative-based, open world games like these suffer from a problem that I have started calling "open world limbo" (or "open world purgatory"). This is a sort of paradoxical offshoot of the concept of ludonarrative dissonance. The game's open world "sandbox" design seems to directly conflict with the narrative that the game is trying to tell. It specifically refers to the conflict between the story and the game's open world, rather than a conflict between the game's story and any particular game system(s). Generally, this manifests as the game designers setting the stakes so high that the player should feel pressured to progress the narrative, but the game's open world design never follows through with any real consequences for not progressing.

Metal Gear Solid V - open desert
More and more big-budget games are going open world. is this a good thing?

This leads to problems in which the player can spend hours, weeks, or months doing tangential, or completely unrelated, tasks and pushing the game's story objectives down to the bottom of their priority list. For people who just like to play the game, this may not be much of a problem. They get a massive sandbox in which to do anything they want. That is actually one of the back-of-the-box selling point for most of these games.

But as one of those "games as art" kind of snobs, I also really like to have an engaging narrative that flows seamlessly with the gameplay. So if a game offers a narrative of any kind, you bet I'm going to judge the game based (at least in part) by how well that narrative works and how fully it is integrated into the core gameplay experience. And when a game tries to convince the player that they are destined to save the world from impending doom (as is often the case with big-budget, open world games), then I get really peeved when I find myself able to completely eschew that destiny in favor of picking flowers and peddling salvaged bandit armor for the next 100 hours.

A world in stasis

The source of most of the "limbo" comes down to the fact that these games' worlds (despite being big and detailed) often feel static and devoid of life. They don't change on their own. No one seems to have any sense of agency, and nothing ever happens unless the player is there to make it happen. Quest-givers sit around outside their house forever waiting for the player to come along and help them kill the wolves that are attacking their livestock, or find their missing heirloom, or deliver their special package to someone in the next town over, or whatever else they want done. The situation never resolves itself, the quest-giver never gets tired of waiting for you and hires another adventurer, those wolves never manage to eat all the remaining livestock, the heirloom never shows up in lost-and-found, and the statute of limitations on that package never expires. Emergencies can always wait [indefinitely] for the player to resolve them.

Witcher 3 - idle quest-giver
Quest-givers will wait forever for the player character to show up and solve their problems.

But worst of all is that the big, bad villain (if there is one) just doesn't feel very threatening or intimidating if he (or she, or it) isn't actually doing anything to actively antagonize the player or the world...

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Skyrim DLC

In my Skyrim review, I pretty much only considered the base game content. But the game does include three paid DLC packs that are fairly hit-or-miss. Instead of making my original review longer and more complicated (it's already long enough), I'll lump all the DLC reviews into this one post.

As a reminder, I am playing the PS3 version of the game, so my review applies specifically to the console version. Many (if not all) of my complaints can probably be relieved on the PC by mods. Sadly, I do not have access to mods...

Table of contents

  1. Hearthfire adds more meaningless time-sinks
  2. Stupid vampires create genuine motivation in Dawnguard
  3. Dragonborn hides worthwhile rewards behind an unmotivated adventure and horde of glitches
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A gamer's thoughts

Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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