Grant Theft Auto V did it by having three characters and three different narrative “tones” that a player could embody, and it worked to some limited degree. Open world games are attracting players based on those expectations, and you have to create a narrative framework that can support it all. ![]() Players want to do varied things: serious missions, strange sidequests, and pure mayhem. I increasingly believe that one of the core problems in open world games is tone. Let me be as clear as possible: Marcus Holloway is my favorite game protagonist in years, and it’s all because of Ruffin Prentiss’ voice acting. Armed with your smarts and skills, you can gear up for some hacking. San Francisco is one of them, and Watch Dogs 2 avoids potentially having to deal with the plot legacy of the first game by nimbly hopping across the country and into the character of the young DedSec hacker Marcus Holloway. Watch Dogs 2 opens with a gambit: people just sort of didn’t care about all of that “one person techno-terrorized a whole city like a Batman villain” stuff, and now there are lots of “smart” cities all across the United States. ![]() ![]() It was some real apocalyptic, dystopian stuff. If you’ve played the original Watch Dogs, you know that the big bad villain was able to leverage the city management software “ctOS” in order to take over every traffic light, emergency system, and screen across Chicago.
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