Firewatch - title

I made it through the big winter game releases, my play-time with Civilization VI's first expansion has slowed down, and the lackluster Green Cities expansion means that I'm not sinking tons of time into Cities: Skylines anymore. This has left me free to finally dive into my Steam back-log once again and try to finally cross off some of the games that have been sitting there for a year or longer. Oh, sure, I have some big games that I'm still playing off and on, like Monster Hunter: World and the 2.0 update of Stellaris, and those reviews will come in time.

Firewatch was released in February 2016, and has been sitting in my Steam library since the summer sale of that same year. I was actually surprised that it had only been two years. I was half afraid that I'd find the game had been sitting around since like 2012 or something like that. Two years isn't that bad, right? I'm not too late to this party, am I?

Firewatch is a summer job to just ... get away from it all.

The life you left behind

Basically, the game is about a middle-aged man dealing with a mid-life crisis. Except that it isn't the stereotypical "mid-life crisis" in which a 40-year-old man goes out and buys a sports car to feel young and "cool" again. In this case, Henry takes a job as a fire look-out at a national park in order to escape the very real life crisis of dealing with his wife suffering from early-onset Alzheimers. He's trying to escape from the very real trauma of losing his wife, Julia. Julia is actually still alive, but the illness means that she isn't the same person, and Henry is struggling with whether he can even stand to visit her anymore.

Not only is he losing his wife, but he's also dealing with the guilt and grief of not ever having really given her the life that she wanted. His own selfish desires and apathy meant that they kept putting off having kids, Julia never got to live where she wanted to live and have the job that she wanted to have, and so forth. And now Henry and Julia are suddenly out of time. Not only can he not have the life with Julia that they both want, but he's not young enough to really start over either. He's stuck with the life choices that he's made, and he doesn't want to have to face that.

There won't always be a "later"...

I'm in my early 30's (a good decade younger than Henry), but I'm starting to get to the age when this sort of thing really hits me hard as well. I'm not 20 years old anymore. I'm becoming very much aware of the ticking clock as well. The pressure to have children soon or accept that we never will weighs on my girlfriend an I. Fortunately, she has a child from a previous relationship, so we did both have the opportunity to raise at least one child together.

My 7-year-old proxy daughter, by the way, asked me who my character in the game is and what he looks like. I told her that he's a "kind of pudgy, balding, middle-aged man named Henry." To which she responded, "like you?". Sigh. Yes, sweetie, just like me...

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Civilization VI - title

I really like Civilization VI! Of course, it has its share of nagging problems (some of which have been resolved already) - any game of this size and scope is likely to have issues at release. I've already been thinking of some ideas for how the game could be improved in expansions and DLC, and I'd like to spend a few posts to share some of those ideas with you now.

In my review of the game, I mentioned that oceans feel like they've regressed a bit since Beyond Earth: Rising Tide, in that they've returned to feeling like lifeless dead space on the map. Even though they're more important for Holy Sites and Campuses, mountains are also still mostly dead space on the map. They act as obstacles, and that's basically it. In expansions and DLC, I would like to see some of this space become more alive and useful. I'd like to spend this first suggestion post going over some ideas that I have for expanding the ocean mechanics, and for taking advantage of more of the map's dead space.

I have posted a link to this blog on Civfanatics at:
https://forums.civfanatics.com/threads/using-more-of-the-dead-space-in-the-map.610171/.
Feel free to discuss through the comments on this post, or via the linked forum topic!

Improve coastal cities

I'm very underwhelmed with coastal cities right now. Water tiles have very little utility. They provide small yield, can't have districts (other than a single harbor per city), and generally lack production. Coastal cities with lots of water are, thus, very unproductive and not really worth building. I think there's a couple ways to resolve this.

Harbors could provide a small amount of production. Or perhaps Harbors could act similarly to lighthouses from Civ V and provide production on sea resources. Or they could provide production on all adjacent sea tiles (so that placement is still important, and more of those empty sea tiles become useful and worth working, and you actually have to work them in order to get the benefit (as opposed to the Harbor just having an adjacency bonus). If we want to only use adjacency bonuses, then another alternative might be for Harbors to provide +1 production per adjacent coastal resource and +0.5 gold per adjacent water tile. That way, even cities that don't have clustered water resources can still have valuable locations for harbors.

Civilization VI - island city
Coastal and island cities lack production and have limited space to build districts.

Another way to improve coastal cities would be to have some more early policies that benefit coastal cities. Perhaps the Maritime Industries policy could be changed to "+1 production in coastal cities, and +1 production from Harbors". Alternatively, Maritime Industries could be similar to the Veterancy policy, and it could provide "+33% production towards Harbor districts and buildings for that district". Or we could have policies that do both! A new policy could be added that provides the bonus production for early naval units. Maybe there can even be a whole extra early-game civic (maybe called "Seafaring" or "Way-finding") that has some policies and buffs towards coastal and island civilizations.

The lack of production for coastal cities could also be offset by giving them more gold and/or food for growth (in order to support a specialist economy)...

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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 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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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.

Follow me on Twitter at: twitter.com/MegaBearsFan

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