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How technology and communities can change the future of open world games

Historians of the future may look questioningly at the phenomena in the open world that engulfed video games in the first decades of the 2000s.

In a time of environmental precarity and extreme inequality, a handful of the world’s largest entertainment and technology companies have sunk billions of dollars into virtual worlds of increasing expanse and detail, arguably better than the ancient Colosseum of Rome in spectacle, if not real blood pressure (despite the digital body) are much higher). At the turn of the millennium, early 3D efforts such as Shenmue and Grand Theft Auto III set the blueprint of expansive spaces and non-linear play, and by the mid-2010, the games had evolved into almost photo-realistic colossus created by manpower across many continents. In 2018 Red Dead Redemption 2 – perhaps the largest, most convincing and successful recent open-world title – has made balloon flight to a logical extreme.

The years 2010 were far from simple for the design approach. Ubisoft, the French publisher with a global network of studios, began applying its open-world formula to flagship franchises, including Assassin’s Creed, Far Cry, Ghost Recon, and Watchdogs. This resulted in beautiful, but increasingly similar titles. As the worlds grew and graphic reliability increased, production costs followed while stories about the exploitation of employees – the kind reported occurred during Anthem development – spread (although it was less a feature of the open-world format than modern games in a broader sense), raising concerns about the actual sustainability of such efforts.

So where can we expect open worlds to go in the coming decade? What stories will they tell and how can they respond to an increasingly tumultuous world?

Cyberpunk 2077.

On the horizon, the neon pink techno thrillers Watch Dogs Legion and Cyberpunk 2077 seem to mark a continuation of appearance and feeling, although speculated about futures that seemingly have already arrived. Ubisoft’s latest imagines a dystopian London, besieged by intrusive surveillance (a constant reality), while the role play of CD Projekt Red represents an equally gloomy city where companies rule the lives of citizens (resonating with those of the game studio intensive labor practices).

The upcoming indie game is brighter, slimmer and perhaps less pessimistic saber, that links Moebius-inspired graphics to a chill Breath of the Wildopen world. Placing players in the shoes of his titular character, a teenage girl going on a pilgrimage, plays the game in a desert populated by remote structures and people. Greg Kythreotis, chief designer and artist of the game, describes it as a “heads-up” experience because there is no mini-card. He wants players to concentrate on the world and suck up the details while their eyes and ears steer the direction of travel. Inspired by nomadic groups such as the Berbers, Bedouins and native Australians, the game could represent what it means to live more intimately in an environment (especially when compared to those of us who lead a resource-efficient life).

Perhaps as a result of such inspirations, saber will be less full of raw stuff to consume than its blockbuster open-world counterparts. Despite the harshness of its desert-like environment, Kythreotis explains that survival will never be at the forefront of the game. “Our world is not realistic that way. It is a stylized landscape,” he says. “The story is about exploration, not just a literal, physical exploration, but the character’s self-exploration.” On the contrary, the designer refers to the game’s desert as a sea, and missions or activities such as content islands. The intervening movements – ‘lonely, thoughtful spaces’ – are designed to promote calm contemplation. It is no different than in 2002 The Legend of Zelda: The Wind Waker’s swirling ocean that felt as if it reflected Link’s emotions. What saber perhaps signal is a subtle but important shift, as open-world games become more than sites to extract resources, equipment and collectibles, but environments to reflect personal travels.

In the past, mainstream titles certainly transcended their messy environments (take a look at Grand Theft Auto IVs dismal migrant story is set in Liberty City) but often not. Sometimes these games – made possible by our rapidly growing technological capacity to transfer information at lightning speed – feel like they are like the ‘endless scroll’ of social media. Business models have apparently become just as Franconian as the games themselves, with micro-transactions and online components to keep players addicted. Just like Facebook and Twitter, these games are fine tuned attract our attention.

saber is not the first game to abandon virtual waste for a leaner and more lonely adventure. of 2013 Proteus and 2014s Eidolone – two genuinely romantic pastoral games – used their lo-fi, albeit expressive, environments to promote domestic musings, far removed from the explosive popcorn-like entertainment of regular titles. saber shares DNA with such games, but it is also an explicit postBreath of the Wild title. “[Thelast[Thelatetest[Delaatste[ThelatestZelda game]felt like a validation of our ideas, “says Kythreotis, who threw saber to publishers in 2016, prior to the release of the Nintendo open-world effort. “I think we’re going to do more research into that kind of looseness.”


saberThe low-stakes, coming of age journey may be what Kim Belair, former Ubisoft screenwriter and co-founder of narrative development company Sweet Baby, has in mind when she sketches her hope for a future that is “lighter on a huge story and more about the personal journey of a character. ”In one piece for 2017 Gamesindustry.biz, Pleaded Belair for a de-escalation of open-world stories that rely on the endless stories that are common in games such as Assassin’s Creed and Horizon Zero Dawn (let alone almost every modern superhero movie). It goes without saying that when everything yields a lot of money, there is of course nothing. Not only do we become insensitive to the massacre, but such stories, Belair claims, are often antithetic to the open-world format itself.

This is possibly a different bow from what Far Cry 2 and Watch Dogs Legion director Clint Hocking calls ludonarrative dissonance, a term he calls conceived in 2007 to describe the nagging connection between the light-hearted action story of the uncharted series and genocide-scale murder, the game asks the player to commit. In games with an open world, it is not necessarily murders that create dissonance, but the structure of playing everywhere and everywhere. “If you have a head quest driven by urgency, passion or death, she [the game designers] often let you do side missions to get enough points, experience and weapons to do that [complete the primary story], “Belair says. “For me, that’s not the most exciting way to produce a sense of urgency.”

That is partly a reflection, says Belair, of mammoth productions that often involve hundreds of people. Even against everyone’s best efforts, teams can be muted with visions that naturally drift apart. For the past six years, Belair has worked as a screenwriter and narrative designer, and the demands on stories have risen sharply as studios attempt to deepen their glittering worlds, which can still feel eerily superficial. “People realize that it is not enough to just say:” Okay, you have a pickup quest and we will send you here. ” Skyrim was 2011. At that time it was huge, but there is almost no branching in, “says Belair.” When you have a side mission, it’s just “take X chain from X cave.” “But now we are gone,” Okay, but what is the story of the cave? Who are the characters in the cave? It just got bigger and bigger. “

Open worlds will continue to grow in the near future, especially those of Todd Howard proclamation Which Elder Scrolls VI “designed for people to play ten years” proves to be true. Howard’s desire to see games become their biggest, liveliest and deepest self – replicated by an older generation of men and women who dominate higher positions at the largest game companies – is not shared by everyone.

You may not think about it Minecraft or roblox like open-world games, but they too emphasize the unstructured game in large environments of their more traditional counterparts, even when players get in and out of online servers and cards. Those games and even the social media platform TikTok populate his Gen-Zers who are satisfied with a completely different quality of experience, according to Robin Hunicke, co-founder of Funomena and professor of game design at the University of California at Santa Cruz. “roblox encourages people to explore many different worlds, “she says. “Only a few of those worlds are actually sticky and everything else is just interesting to comb through. To dream is another good example where you view the world not as a continuous space, but as a series of slices. ”

Manifold Garden.

With the release of Hytale with pencil for 2021, a game that started as one Minecraft multiplayer server in 2015 and then secured financial support League of Legends developer Riot Games, the style could reach an even larger audience. Such as his ancestor and the hugely popular roblox, the biggest selling point of the game are the tools for creating content that launch it. (Although Hytale features what its developer calls “handmade adventure scenarios.” While many game studios now outsource much of their production overseas in an effort to save costs, Minecraft, roblox, To dream, and the coming Hytale – as many platforms as games – rely on user-generated content. It is part of their appeal and lengthy pitch for both players and workers who populate their servers.

Hunicke also points to evolving AI-assisted tool sets that can improve the aesthetics we have become accustomed to using further down the line. Ganbreeder and Artbreeder are two apps that merge images based on a series of algorithms. “The work produced by the system is attractive, but you are not sure why,” she says, suggesting that the illustrations illustrate new entanglements between man and machine. “Worlds can begin to evolve where you do not necessarily understand the space you are in, or the implications of the visuals, but you are interested in exploring.” Hunicke cites experimental games such as glitchy first-person explorer Memory of a broken dimension and sandbox world builder Mu Cartographer as titles that explore similar terrain. (Dreamy geometric puzzle Manifold Garden demonstrably fits too.)

Whether open-world games of the scale normalized by gigantic studios and publishers such as Sony, Microsoft, EA and Ubisoft will remain sustainable over the next 10 years is certainly not certain. They are already delightfully expensive to make and it doesn’t get cheaper quickly. The format may still have become more popular due to video games that rely on user-generated content or even a new wave of experimentalism that crosses the boundaries of our relationship with technology. Certainly, new game development tools will make it easier for small teams to create large environments, such as the MapMagic World Generator tool saber used to generate its nature procedurally. Yet any number of disasters can make them irrelevant as imaginative things that no longer justify their gigantic resources. Indeed, because the real world is getting smaller because of tightening immigration laws, inhospitable country, or even just shrinking economies, these vast digital environments can simply get lost, like anachronistic males from a more open era.

We have already seen open-world games deal with such problems. 2019’s Death Stranding and Outer wilderness offered compelling meditations on environmental disasters during a year that ended with news about the catastrophic forest fires in Australia. When Breath of the Wild 2 finally manifests itself, perhaps the rolling hills and dizzying mountains are steeped in the same rarely felt magic as its predecessor, a prospect that feels intensely necessary right now. On the other side of the spectrum, Grand Theft Auto 6 is likely to arrive in the coming years and, it is expected, will deliver another large open world based on realism. The latest game from Rockstar may provide the kind of story that Belair thinks the format is the most suitable. “Because they are so wide, I would like to see open-world games addressing that time span and the way we survive in the world – the ways we continue to live,” she says. “If you give me the life of a character for three years, I want every thing in that world to contribute to that.”

Whatever form open worlds take and whatever topics they ultimately address, Hunicke believes these games should confront the real world. “If you look at what young people feel every day – the sense of loss of control, loss of predictability, increased fear of an uncertain future, the fragility of different systems in the light of climate change, and in particular economies – I think it’s important to being aware of the contemporary impact of those changes, “she says. “To appeal emotionally and to feel their time worthy, you must help them to process, process and tolerate those feelings.”