The announcement trailer for Sid Meier's Civilization VI made me very excited. Not just because there was a new iteration of my favorite PC game franchise, but also because the message of the trailer made me excited for the possibility that Civilization VI would take a much more humanist and globalist approach to its gameplay and victory conditions.

The Civilization games have always had a very optimistic tone, treating human development as being constantly progressing forward. Growing your civilization and building more things is almost always better. For the most part, Civilization treats human history as a constant forward march towards a better, more prosperous tomorrow.

This is despite the games including mechanics for "Dark Ages", climate change, nuclear fallout, occasionally pandemics and plagues, and so forth. Regardless of these mechanics, the civilizations of the game never regress, unless it's by the sword or gun of a conquering civilization, in which case, that other civilization is glorified. Climate change or nuclear winter can run rampant and render the surface of the Earth borderline uninhabitable for modern human life, but a civilization can still accumulate enough science or tourism or faith or diplomatic votes to win one of the various victories, or they can be the sole surviving civilization, presiding over a barren wasteland. But it's still a win.

Civilization is a game about cutthroat nationalism.

Despite vague gestures towards diplomatic cooperation and solving global crises, Civilization is, at its core, a game of competitive, cutthroat, zero-sum nationalism. This design ethos is probably the result of Civilization's inspirations coming from competitive board games like Avalon Hill's Civilization and Risk. "Our country is better than your country," and the whole game is an exercise in proving that. Further, one civilization's success must come at the expense of every other civilization's failure, even if those civilizations are friends or allies. One civ wins; all others lose. Every decision made is done to move your civilization closer towards one of those victory conditions, and every diplomatic agreement, trade deal, or alliance that you strike is only a temporary means to that end.

So what did Civ VI's trailer do to change my expectations for that game?

The trailer

Well, first, it's important to know how previous trailers and intro cinematics for Civilization games had introduced their respective games. Usually, they emphasized a single nation or leader doing great things. Winning wars, building wonders, developing advanced technologies, and so forth. And they usually ask the viewer: "How will you run your civilization?" and "Will your civilization stand the test of time?"

The trailer for Civilization VI takes a different approach. Let's take a look:

"We are the explorers, the inventors, the architects of change, the builders of a better tomorrow.
We strive, we dream, we inspire, always towards something greater.
All the odds we defy, the risks we take, the challenges we endure, only make us stronger.
There's no end to our imagination, and no limit to civilization."
   - Sean Bean narrating Civilization VI announcement trailer

Notice the language that is used. The Civ VI trailer uses plural language such as "we", "us", and "out". "We are the builders of a better tomorrow.". "the challenges we endure, only make us stronger." "There is no end to out imagination, and no limit to civilization.". And so forth. The trailer for Civilization VI isn't a celebration of one civilization or leader rising above all others and being crowned the "greates" civilization; it's about the collective achievement of all of humanity -- not a civilization, but all human civilization!

It's a beautifully humanistic expression that emphasizes plurality and doesn't elevate any one culture or race or nation above any other. It celebrates the collective technological advancements, engineering, art, and struggles of all of humanity, without implying that any one nation or group has the best stuff. It emphasizes that we can overcome challenges by working together, and come out the other side stronger for it. It implies that when we cooperate to build something or solve a problem, the result will be better than what any individual entity can accomplish.

Firaxis has given me a belated birthday gift by releasing Civilization VI. They've also ensured that I don't get very much productive done during the months of October and November this year, since I've been sinking a whole lot of time into "one more turn"-ing myself late into the night. I've barely scratched the surface of the newly-released Dark Souls III DLC, my Madden franchise has fallen behind, and I haven't even bothered buying recently-released games like the new Master of Orion. My board game collection has been collecting dust, and my Dungeons & Dragons campaigns have been on hiatus. I'll get back to all those things after one more turn.

Oozing with production quality

The first thing that stood out to me upon entering my first game was the artwork. It's a pretty stark contrast from Civilization V's visuals. Civ V favored a semi-photo realistic quality. Many screenshots of the game's map look like satellite photos, and units (though exceedingly large) looked and animated realistically. This created a lot of pretty screenshots (still images), but the game looked kind of static, washed-out, and dull in motion. VI, on the other hand, goes for an exaggerated, vibrant, and more cartoonish look that reminds me a lot more of Civ IV and Civ Revolution.

The graphics are vibrant and highly informative. Everything that you see on screen genuinely means something.

What I really like is how utilitarian the visuals are. Almost everything on the game map is communicating part of the state of the game to the player. You can see every piece of infrastructure in and around a city, as well as exactly which tiles are being worked, all without having to open a separate screen and without having to clutter the screen with extra UI icons. There's even different graphics to represent the different phases of a building or wonder's construction that tells you exactly what that city is currently constructing, and how close it might be to finishing that wonder. It's attractive, but it's also clean and informative.

The fog of war is also wonderfully functional and neat to look at. This game renders the fog of war with the style of a hand-drawn map on canvas (similar to Total War: Shogun 2, which I loved). Heck, there's even an animated day/night cycle that was seemingly added because ... why not?

Improvements have different graphics for when they're un-worked [LEFT] versus worked [RIGHT].

The rest of the game shows similarly high production quality. There's actual cinematics for the win screens instead of dialogue boxes with a static image. Finishing a wonder results in an in-game cutscene of that wonder's construction. It isn't quite as pretty as Civ IV's pre-rendered wonder movies, but makes up for it by providing a sense of context that makes me feel like I'm seeing "my Oracle" instead of just the Oracle. There's more historic quotes, all of which are narrated wonderfully by Sean Bean. Firaxis even brought back composer Christopher Tin for some of the music. The new theme music, "Sogno Di Volare" ["The Dream of Flight"] isn't as immediately catchy as "Baba Yetu", but it's still an uplifting, memorable track that stands out more than the menu themes of Civ V. Put simply, this game just looks and sounds terrific...

On September 8, 1966, a cultural revolution started. The first episode of a new science fiction television series named Star Trek premiered on NBC. This series broke new ground in the genre of science fiction by being one of the first series ever to present high science fiction concepts to television audiences, while also using its space adventures as allegories for contemporary social and political issues. While it presented itself as mindless space adventure in the same vein as Buck Rogers and Flash Gordon, it took a serious approach to science fiction that (at the time) was limited to literature like the novels of H.G. Wells and the stories of Isaac Asimov.

Star Trek wasn't the first serious science fiction television series. Shows like The Twilight Zone and The Outer Limits had existed for a almost a decade. But Star Trek differed from these series in that it depicted a revolutionarily positive and uplifting version of the future of humanity during the height of the paranoia of the Cold War. Humanity, according to Star Trek would overcome the threat of mutual destruction that the Cold War between the United States and the Soviet Union posed, and we would come out the other side with a spirit of cooperation and a desire to peacefully and benevolently explore the stars, exploring strange new worlds and seeking out new life and new civilizations.

Television science fiction was dominated by childish adventures like Buck Rogers
and more cynical anthology series like The Twilight Zone that drew off of Cold War paranoia.

The show was created by Gene Roddenberry, a former United States army air force pilot and Los Angeles police officer who eventually found his calling as a television writer and producer. He wrote and produced some police dramas and westerns before pitching his defining project: Star Trek. The show was picked up by Desilu Productions, a company that was run by Lucille Ball (yes, the titular actress of I Love Lucy) and her husband. The production of Star Trek was tumultuous. The show was canceled by NBC after its second season, only to be revived due to an unprecedented, fervent letter-writing campaign staged by its fans. It did not survive its third season, however, as Desilu Productions was rapidly running out of money, was forced to cut budgets, and NBC moved the show to the dreaded Friday night "death" slot. In an age before DVRs, or even VCRs, if people were out on the town on a Friday night, and they missed an episode of a show, then that episode simply went unseen.

Gene Roddenberry's optimistic vision
of the future remains endearing.

The series eventually saw tremendous success after its cancellation due to its episodes being syndicated during the 1970's. It gained a cult following that grew and grew, setting up conventions that would come to draw thousands of attendees. Though not immediately apparent, Star Trek would grow to become one of (if not the) most successful science fiction properties in the world. The series is often cited by scientists, engineers, and astronauts as their inspirations for their careers, and the technology of the series has inspired many real-world technological innovations, such as wireless communication, mobile devices (in particularly mobile phones), speech-recognition software, and so on. Roddenberry became the first TV writer to receive a star on the Hollywood walk of fame, has been inducted into the Science Fiction Hall of Fame and the Academy of Television Arts & Sciences Hall of Fame, and was one of the first human beings ever to have his ashes carried into earth orbit...

Recently, I brainstormed the possibility of redesigning Beyond Earth's winstates in order to support cooperative victories. With Civilization VI having been announced last month, I want to take some time to look at some different ways to approach victories in the mainstream Civilization games. Since Civilization III, there have been five victory types that have appeared in every mainstream Civ game:

• the military victory = kill or conquer everyone else
• the science victory = build a space ship to Alpha Centauri
• the culture victory = accumulate the most culture yield (usually through wonders)
• the diplomatic victory = vote for yourself to be leader of the United Nations
• the score victory = if no other victories are met by a certain number of turns, the civ with the highest score wins.

Earlier games had fewer victories (only military and space race), but there have been other victory types as well. Civ III and IV had a victory that simply required the player to occupy a majority of the map's land area and population (which could be achieved via military conquest and/or relatively peaceful expansion). I liked this victory type because it facilitated role-play by allowing me to grow my empire organically without having to feel like I was constantly meta-gaming for one of the other victories - just keep growing by whatever means are necessary or convenient. Civ IV also had a religious victory that required you to convert other players to your religion and then get them to elect you to be Pope or whatever. Civ: Revolution and the board game even included an economic victory in which you must accumulate a certain amount of wealth tokens. This was different than the "economic victory" of Civ V, in which you save up enough money to buy out the alliance of every city state on the turn before a U.N. election.

Civilization IV included a religious victory [LEFT], and the board game includes an economic victory [RIGHT].

These victories are intended to provide a direct path to victory using each of the major fundamental gameplay styles. But are there other methods?...