Sid Meier's Civilization

Civilization VI's first expansion, Rise and Fall just launched this past weekend. The expansion does make some welcome enhancements to alliances that makes peaceful relations with other civs much more appealing. However, these enhancements do not address two of my most fundamental complaints with Civilization's diplomacy system in general: that it does not allow for truly cooperative victories, and that it does not really provide the player with any way to influence an A.I. civ's behavior. I've already written about ideas for cooperative victories for both Beyond Earth and for the core Civilization games, so I won't go into that again here. Instead, today's blog will focus on the second of my major hang-ups with diplomacy: that you simply cannot provide A.I. civs with any indication of what you consider friendly or hostile behavior.

Diplomacy has always been one of the major stumbling blocks of the Civilization games. Each game has certain mechanics or features that are good ideas on paper, but none of the games have ever really had a diplomacy system that really seems to work the way that it is intended, and which provides consistent behavior from the A.I.s. A.I.s are often erratic in their behavior -- both between games, and within a single game.

Civilization VI - Cleopatra agenda
A single unit can be the difference between Cleopatra's abject disgust and her goo-goo-eyed adoration.

Civ VI introduces the agendas, which sound like a good idea on paper. It gives each leader an element of personality. They have things that they like, and things that they don't like. The problem is that these agendas lead to wild swings in an A.I.'s attitude, often based on rather trivial (and sometimes counter-intuitive) actions from the player. Often times the thresholds for activating these agendas are not entirely clear. Cleopatra tells me that my army is too weak and pathetic, and so she has a heavy negative modifier with me. Then I build a single Swordsman a couple turns later, and now suddenly my army is powerful enough to warrant her admiration, and she's looking me up and down with those goo goo eyes.

There's other legacy issues with diplomacy. The biggest one is the inability to ever warn another civ that their actions might lead to war. The denouncement mechanic of Civ V was a decent start, but since you could never provide a specific reason for your denouncements, they never seemed to have much weight in changing another civ's behavior. In a multiplayer game, you could always use the chat to inform other players' of your diplomatic desires, but there has never been any method for accomplishing this with A.I. civs in single-player.

Since the A.I. has no real clue why it is being denounced, there's no way for it to change its behavior. There's also no way for other A.I.s to understand if your denouncement or declaration of war is actually justified or not.

Civilization V - denouncement
You can denounce a civ, but the A.I. won't really have any clue why they're being denounced.

Civilization VI tried to rectify this with the Casus Belli system, but that system also stumbles...


Sid Meier's Civilization

In my last post, I ranted a little bit about some of the major frustrations that I have with the way that Civilization games have historically dealt with difficulty levels. In summary, I identified three problems that I feel make it less enjoyable to play the game on higher difficulties, even if the lower difficulties still feel too easy. The three problems are:

In this post, I'd like to provide some more constructive criticism by discussing some of the thoughts and ideas that I've had for possibly resolving these three problems. These ideas include providing a wider range of options for customizing the difficulty level and game experience to suit the individual player's tastes and style, and to provide a wider (and more open-ended) set of game-long challenges.

Alternative solutions to game difficulty

So what could the developers do about these problems?

Well, the problem of game pacing could possibly be solved by inverting the handicap such that instead of speeding up the A.I.s' progress through the game, the player is slowed down. This could be accomplished by slowing down the human player's tech and civic progress, and by negatively handicapping some of the human player's yields. This would allow the A.I.s to progress at a more historically-appropriate rate, and overall game length would remain similar across all difficulties.

Civilization VI - Ship Building to Cartography
Padding out sparse areas of the tech and civics trees could mitigate the ability to beeline to later eras.

Rapid era progression could also be somewhat mitigated by padding out the tech and civics trees a little bit more. Beelining to the Renaissance via the "Cartography" technology is common for civs like England and Norway. There's a few ways to limit this. One simple way would be to simply make "Cartography" require either "Education" or "Military Tactics". Another way would be to have a technology between "Ship Building" and "Cartography" -- such as an "Optics" technology that unlocks an upgrade to the Scout, or a "Lateen Sail" technology that unlocks a medieval naval unit like the Cog, Hulk, Junk, or Galleass (or move the Caravel up to "Lateen Sails" but don't give it ocean-crossing abilities until "Cartography").

Customization, options, and difficulty settings

As for resolving the other issues presented by high difficulty levels, my preference would be for the developers to add more customization and tuning options for players so that we can tailor the gameplay experience and challenges more to our liking.

Civilization VI - advanced settings
Civ VI has limited customization options.

Having independent sliders or settings for things like Player Handicaps, A.I. Handicaps, AI Temperament, Barbarian Spawn Rate, Barbarian Aggressiveness, Barbarian Tech Level, City State Aggressiveness, and so on would all go a long way towards allowing the player to customize the game's challenge according to their own strengths and weaknesses. Handicap settings for players and A.I. can even be further divided into different sub-categories along the lines of: Tech Handicap, Culture Handicap, Production Handicap, Gold Handicap, Growth Handicap, Happiness / Amenity Handicap, etc.. So if you find that you are consistently out-teching your A.I. opponents, but you feel you have parity with the A.I. in other areas of the game, then you could specifically buff the A.I.'s tech handicap, weaken yours, or both.

This would certainly make some of the game's code more complicated, but I don't think that it would be prohibitively difficult. The difficulty settings already make adjustments to these very same parameters, and I believe the game's own .ini files allow modders to customize many (if not all) of these attributes. I don't see any reason why such settings can't just be in the game's settings menu, and the difficulty settings (deity, emperor, king, settler, etc.) could just use some pre-configured arrangements of those values.

Other genres use similar paradigms for their difficulty settings. Sports games are a prime example...


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?


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...


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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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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