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A good open-world game makes freedom meaningful: you can choose where to go and how to tackle problems, and the world rewards that choice with discoveries, new options, or memorable moments. A huge map or long activity list is not enough on its own. Look instead at how exploration, pacing, challenges, quests, and story work together—and whether they support the kind of experience the game is trying to deliver.
What should you look for in an open-world game?
Use these five questions to assess a game’s design. They are practical criteria, not a universal scoring system: an action-heavy adventure and a quiet narrative exploration game can both succeed in different ways.
| # | Preview | Product | Price | |
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Open World: Video Games and Contemporary Art | $60.25 | Buy on Amazon |
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Ghost of Tsushima - PlayStation 4 | $22.99 | Buy on Amazon |
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Mad Max - PlayStation Hits (PS4) | $19.45 | Buy on Amazon |
| 4 |
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Just Cause 4 - PlayStation 4 | $11.80 | Buy on Amazon |
| 5 |
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Elden Ring - PlayStation 4 | $33.83 | Buy on Amazon |
- Does the game offer meaningful choices? Can you take different routes, choose the order of challenges, or solve a problem in more than one way?
- Does exploration pay off? Do you find useful tools, new possibilities, unexpected encounters, or places worth remembering?
- Do the world’s activities and systems fit together? Travel, combat, progression, and quests should feel like parts of the same experience rather than unrelated items on a checklist.
- Does pacing work with player freedom? Roaming should not make progress feel aimless, and a difficult challenge should not make the rest of the world feel irrelevant.
- Do the story and quests suit the game? Their role may be to drive a dramatic adventure, support exploration, or give meaning to expressive choices. They do not all need the same formula.
What makes open-world exploration fun?
Discoveries should change what you can do
Exploration feels rewarding when it gives you more than scenery. A hidden upgrade, piece of equipment, route, or solution can expand your options or help you approach a difficult section differently. Bandai Namco’s account of Elden Ring describes exploration as one way to find tools elsewhere when a challenge proves difficult, while Nintendo’s development coverage of The Legend of Zelda: Breath of the Wild presents exploration as part of the game’s broader “open-air” concept.
Routes and challenges can reinforce each other
In Elden Ring, director Hidetaka Miyazaki describes balancing exploration, boss fights, progression order, map events, and player freedom as a design challenge. The publisher points to choices such as deciding which challenge to face first and finding alternative routes into legacy dungeons. This is one way to make a world feel open: a player can leave a difficult encounter, explore, and return with a different approach. It is an example, not a requirement that every open-world game use demanding combat.
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Miyazaki put the intended sense of agency this way: “We want players to enjoy the game in their own way and feel liberated in this new open world that they can explore at their own pace.” (PlayStation.Blog interview.)
Is a bigger open world better?
Not necessarily. Size only matters insofar as it gives the game room to deliver worthwhile choices and experiences. A large map can still feel empty or poorly paced if travel, progression, and challenges do not work together. Conversely, a more compact world can feel rich when its places and activities support the game’s central experience.
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When judging scale, ask what the added space does for you: does it create meaningful routes, discoveries, or changes in pace, or does it mainly add distance between objectives? Miyazaki has described progression tempo and the player’s pace across a large map as explicit design challenges. That makes pacing part of the value of an open world, not a separate detail.
Do good open-world games need combat?
No. Open exploration and player choice do not depend on fighting. The GDC session description for Firewatch characterizes it as a narrative-focused exploration game without combat or player death, while still identifying world structure, goals, gating, and encounters as relevant design concerns. Its example shows why “open world” is better judged by the choices and experiences a game supports than by whether it includes battles.
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- Be Mad Max - Become the iconic post-apocalyptic warrior, crafting and upgrading Max's equipment and weapons to survive by combining melee combat, gunplay and tactical techniques. Gamers must form alliances as they work towards the goal of building their "Magnum opus."
- Immersive savage Wasteland - Explore the gritty, dynamic world while braving the treacherous landscapes, hostile weather patterns and deadly marauders.
- survive the open-world landscape - Staying alive isn't easy. Players clash with deadly factions and gangs through scores of dangerous side-missions and quests in the dynamic open-world full of exploration.
- intense vehicular combat - Engage in dynamic inter-vehicular combat, taking down enemy vehicles with a range of powerful weapons. Car combat is entirely physics-based, so no two battles are ever the Same.
- build the ultimate survival machine - Players design, customize and upgrade their ultimate vehicle-the Magnum Opus-choosing from different car chassis and a slew of upgrades including mounted weapons, armour and engines to survive another day
Games can also support different approaches within a more action-oriented format. Bandai Namco’s discussion of Elden Ring highlights builds, routes, and activities as ways players can shape their experience. Nintendo’s coverage of Breath of the Wild treats exploration, scale, combat, music, and story as parts of its overall concept. Neither approach is a checklist every game must follow.
How should quests and story fit the world?
Quests work best when they reinforce the game’s core experience rather than interrupt it with a disconnected checklist. For Horizon Zero Dawn, a GDC session description says Guerrilla Games established a quest-design team to support a vast world with narrative-driven quests and to balance systems-driven RPG content with action-focused level design. That balance matters: quests can give exploration purpose, but their structure should suit the way the game plays.
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Story can be central, lightly present, or expressed through what players discover and choose. The right amount depends on the game’s intent. A narrative exploration game may build around expressive choices without combat; an action adventure may use quests to connect story, progression, and encounters. Judge whether the story and quest work feel at home in the world, not whether they match another game’s format.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Examples of different open-world design approaches
| Game | What its design illustrates |
|---|---|
| The Legend of Zelda: Breath of the Wild | Nintendo’s development coverage frames it as an “open-air adventure” and discusses exploration, scale, combat, music, and story as elements reinforcing that concept. Nintendo stated it released on Switch and Wii U on 14 March 2017. |
| Elden Ring | Player freedom is balanced against pacing, challenge, progression order, and exploration. The publisher describes alternative routes, different builds, and finding tools to help with difficult encounters. |
| Horizon Zero Dawn | A GDC session description outlines quest design intended to balance narrative-driven content, RPG systems, and action-focused level design in a vast world. |
| Firewatch | A GDC session description presents exploration and narrative choice without combat or player death, illustrating a different route to player engagement. |
The GDC entries are session descriptions, not full transcripts; they support the design scope described above, not claims about details beyond those descriptions. Bandai Namco’s Elden Ring discussion is the publisher’s perspective rather than independent comparative research.
Quick Recap
Best Value
- ELDEN RING is a fantasy action-RPG adventure set within a world created by Hidetaka Miyazaki—creator of the influential DARK SOULS video game series; and George R.R. Martin—author of The New York Times best-selling fantasy series, A Song of Ice and Fire
- Danger and discovery lurk around every corner in FromSoftware’s largest game to-date
- HIDETAKA MIYAZAKI: President and Game Director of FromSoftware Inc. Known for directing critically-acclaimed games in beloved franchises including Armored Core and Dark Souls
- GEORGE R. R. MARTIN: the #1 The New York Times bestselling author of many novels, including the acclaimed series A Song of Ice and Fire—A Game of Thrones, A Clash of Kings, A Storm of Swords, A Feast For Crows, and A Dance with Dragons
A quick way to evaluate a game before you play
- Look for examples of choices the game actually gives you: alternate routes, challenge order, or different approaches to problems.
- Check whether exploration can yield useful discoveries or memorable experiences, rather than only more markers to clear.
- Consider whether travel and progression seem designed to work together at the pace you enjoy.
- Decide what experience you want. Combat is optional; a game can focus on narrative exploration, action, or a mix.
- Look at how quests and story connect to the game’s central activities instead of relying on map size or activity count as a proxy for quality.
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