Far Cry 6
- Open World Level Design
Open World Level Design is a broad term, it's hard to describe the exact work that it entails. What I’ve taken from my time as an Open World Level Designer on Far Cry 6 is that it requires the developer to understand how the world and it’s content will be experienced by the player. Making collaboration and communication with associated teams necessary to creating a world that welcomes the player, guides them properly, encourages exploration, adds excitement between locations and showcases the content and designs from other developers in the best light possible. It's a vague job title, but it’s worth it.
01
Triada Blessings
- Yaran Story Mission
• Planning, prototyping and developing the side mission within the existing world.
• Using visual scripting to develop and execute the flow of the mission.
• Taking into consideration existing technical structures and limitations.
• The mission makes use of tracking player progression, multiple mission start methods, multiple dialogue sequencing and combat with a unique AI type in close quarters.
• Balancing the idea of having the mission slightly hidden and a surprise for the player while still making it fairly easy for them to stumble upon so it didn't go unnoticed, through mission discovery methods, the location discovery methods and the narrative context.
For this mission to be developed smoothly it required communication and collaboration with the other OW Level Designers who designed the Treasure Hunts, the SHA team who developed the unique animal AI, the Level Art/vfx/lighting team who helped strengthen the vision of the cave, the game design team who created all the associated loot/gear items given to the player as they progressed as well as the narrative and visualisation team to ensure that the lore of the Yaran Triada religion was showcased properly to the player.
02
Mythical Animal Dens
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Prototyped and developed ¾ of the mythical animal dens. Working with the unique behaviors of the animal and building from the existing land formations to create intriguing locations that supported the combat but also told a story.
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Working with the animal design team in SHA to understand how the animal behaviors worked and our intentions on the experiences we were creating in the design.
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Mamutito (Hog)
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When designing this location I focused on the player’s line of sights and visibility. Mamutitos height is the same level as the tall grass, so creating patches of tall grass keeps the player alert. One advantage the player has is the ledge climb ability, with this in mind added ledges on the sides of the tunnel to give the player a quick way to get up and down while Mamutito has to take the long run around. The tunnel also provides Mamutito protection from long range attacks and supremo missiles, encouraging the player to engage in combat within the den.
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Venodiente (Crocodile)
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The design of the location where Venodiente is found focuses on the balance between water and rocks, with large looping paths and ledged corners for quick escapes. As a crocodile Venodiente has the advantage over the player when traversing in water, however while on land Venodiente leaves behind a trail of poison gas. This game space gives the player options on how they want to handle combat with this poisonous animal as well as providing extra opportunities to play with this poison by having many of the dumped poison barrels around the den.
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Black & White Demoniaco (Wolves)
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The valley where the Demoniaco wolves are found favours a direct combat approach, but provides wide pathing to give the player some breathing space. This den features both the Black and White Demoniaco wolves, giving the player an extra threat. The player can easily run down the middle of the valley and use the rock bridge to their advantage. Alternatively the hills of both sides provide the player vantages to get the high ground, even incorporating a zipline at one upper dead end that can be used to quickly jump to the other side.
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03
Gran Primo Race
- Walking on Water Wipeout
Walking on Water Wipeout is the Gran Primo race in the Balaceras Province of Valle de Oro. This race features the use of the Hovercraft vehicle providing lots of drifting opportunity.
A large portion of this province is mangrove swamp but the more populated area is higher ground. From the beginning designs I had the idea of starting the race off with an epic drop from the top of a waterfall. From there the player navigates around the Villa Judia Hotel bridges, avoiding floating mines and then ending it with some natural ramp action through the rocky caves on the southern shore.
The toughest part of these races is balancing the timing and sightlines of the player between checkpoints. Creating a challenge that will raise adrenaline as the player anticipates what is around the next corner while still making the path clear enough to understand at high speeds.
04
Supply Drops
Supply drops are open world timed races without a predetermined path.
This required levels of iteration through in game testing and experimenting. Ensuring the event started with the player having the supply drop smoke visible and from there sprinkling elements to guide or assist them in the journey. Although the player may use any means necessary smoothing out possible path options and ensuring vehicles were easily accessible. It came down to balancing travel time with end destination combat to create the proper sense of pressure and excitement without being frustrating or making the player feel helpless.
Go With the Flow
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Starting the player inside an abandoned train car the player sees the drop land in the distance. The direct obstacle in their path is the Ancha Lake. Players can take the long way around via roadway bridge or take the direct route over the water with a boat or jetski. From there the player may continue the long route on main roads or they can continue off road through an off road dirt park. With quads nearby the player has the chance to hit some jumps and get some sweet air on their way to the small farm where the supply drop has landed.
Seaside Supply Snatch
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At a lookout point just on edge of Noventarmas the player can see the drop land near the shoreline to the south. With a ramp that is just begging to be used the player can take to the sky and parachute or wingsuit towards the destination. The player can stick to the winding roads or take the journey off-road by sliding down the rest of the hillside and bashing through the tree lines. Once in the lower lands the player can see the abandoned seaside village where the drop has landed. Whether they choose to go in guns blazing or stealth to the supplies is there own choice.
05
World Navigation
A large yet subtle part of Open World design is player navigation.
Running the paths in-game to ensure that they are clear and feel good. Working with the Level Art team to clear proper viewpoints and vantages to help guide the player and create moments of awe.
Communicating with the Mission Designers to figure out best placement for Horse Garage spawners and Workbenches for optimal player use.
Working with not only the paths through the world between mission locations but also adding and maintaining the climbable ledges, ziplines and grapples. Ensuring traversal is fun for the player and kept to project metrics.
Guerrilla paths and the guerrilla sign language was a large part of the planning and subtly executed throughout the world. Marking these 'safe' paths that the player can use to keep out of the military's view between locations. Branching off to lead to useful locations, vantages, hunting spots, loot chests etc
06
Chests, Resources, Collectibles
Cryptogram Chests
- Scattered throughout Yara are Cryptogram chests that require you to find 2 nearby cryptogram charts to then open the chest. Using the blue markings the player is lead in the direction of these keys. For extra assistance there are also windchimes at each chest and chart
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This being the player's first introduction to the Crytogram Chests the intention was to keep it simple. Playing with the idea of guiding the player but still giving them the freedom to explore.
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Libertad Chests
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These chests are found in spots branching off of, or nearby the blue Guerrilla paths. Some of the chests are more obvious and easy for the player to find while others encourage player exploration and require a bit more of a challenge.
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Including some very minor steps the player would need to obtain these chests. Through navigation obstacles such as climbing, grappling and swimming, or by an action such as being hidden behind a breakable object or door.
Resolver Materials, Camp Resources and Collectibles
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The distribution of the different Resolver Materials and Camp Resources required communication and iteration directed by the Game Design team. Doing so ensured that not only were the numbers fair for game progression but also felt good to the player. Rewarding exploration in the Open World as well as at mission locations. trying to match the visual theme of the assets and the value of the assets with logical world placement.
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The collectibles such as USBs, Roosters and Oluwa Idols each have some visual and audio clues at the location that hint at the collectible being nearby. For the music USBs the location would have some computer equipment, or speakers nearby and rock posters plastered on the wall. If the player was running through the location and could hear the audio clue then a quick glance around and the visual clues would guide them further.
07
Animal Regions,
Hunting & Fishing Spots
Early on in development the regions were specific types of animals would appear were roughed out. Working with the Encounters Team we planned the distribution of animals on Isla Santuario as well as Balaceras. The Encounters Team created the individual spawners that were used but it was Openworld LD that set the high level distribution of what would appear both on land, in the air and at sea.
This also led to setting up the specific Hunting and Fishing spots in the provinces. Ensuring that a fair amount of the specific animal would be present, and minor set dressing for the locations. For Fishing Spots this included ensuring that AI would appear populating the location, a Fishing Tool box that would allow you to customize your rod, a few assets to tell a story or give the space personality and of course setting and adjusting the volumes that spawned the specified animal
08
Intel, Note placement
and more ...
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Collaborating with the Encounter Team we were able to scope out and plan locations for the Hostage and Military Bribe intel to appear. Knowing the paths the player would most likely travel to find them on we were able to make sure they fit the location themes.
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There was a high amount of communication between Openworld Design and the Narrative team. Finding proper spots for Intel and Lore notes throughout the world. Finding locations where the context of notes would make logical sense, contain relevant information for the area and also be easy for the player to find.
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Setting up and maintaining the world volumes at locations within specified provinces. Including Restricted Areas and Location discoveries. Ensuring they worked properly and could be read visually with ease by the player.
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Throughout development we strived to ensure that the world felt alive by adding small elements such as the Weapon Nests with mounted guns, the Anti-aircraft Cannon locations and the Ambush activities This was done by working with the rest of the Openworld team to make sure that these locations would be populated, provide some minor gameplay, have rewards and added quality to the