Should Dishonored 3 have time travel as a core mechanic, just like Deathloop has time loop? As much as I love the old formula of D1 and D2, I think it will change a lot, evolve into something else in D3.
But why change at all?
Unfortunately the future of games like Dishonored, Deus Ex or Thief has been in trouble for a long time – they need to find a way to balance better the cost of development and lower sales. They are immersive sims - very expensive to make compared to linear games, as they need not only perfect combat, but also perfect stealth, interesting game systems to create emergent gameplay, great level design to make all these systems meaningful, highly interactive world to emphasize player choice and more. Even creating a simple narrative moment is a creative hell thanks to a huge amount of freedom given to players (like at least six ways to acquire the information from the archive in DOTO). In the same time, other aspects of immersive sims are expected to be on par with linear games: animations, graphics, gameplay’s lenght, plot.
All that costs are rarely compensated by good sale numbers. As „action games with brains”, immersive sims don’t appeal so much to general audience, despite being critically acclaimed games with a lot of rewards. Publishers know games like that are unlikely to turn out as breakout hits, so funding them is incredibly difficult. And Arkane Studio is probably the last bastion of the genre.
The amazing replayability of immersive sims is not easy for marketing (as a hook mostly for already hooked customers) and has become less valuable now in the still changing overcrowded game market - with a new game everyday, for sale, for free. A lot of people would play such games only once, judge it by a single experience, then move to another game and would never know how many things they have missed.
D2 is a game with the insane amount of work put into content, details, two characters with a different set of upgradable powers, gems like Clockwork Mansion and Crack in the Slab, but… with lower sale numbers than D1. I guess Arkane couldn’t just proceed with „we will do better with D3” – they needed to stop and rethink the formula for the franchise. If they couldn’t boost sales more, how can they lower the cost of development instead? Then Deathloop came out…
Deathloop as a bridge to Dishonored 3?
…and solved some of problems with clever creative decisions, for example: Players complete the game experiencing not even tenth of scenarios you created for them? Make playing levels more than once the intergral part of the game! Art assets are the most expensive part of AAA game development? Play with time and space, so less of them is needed! (D2 and Deathloop have similiar gameplay lenght – now compare for a moment how many assets both games have…) Cutscenes are super expensive? Avoid them with most of the plot told via radio communication. Modeling and animating faces take a lot of time? Everyone wear masks now!
Manpipulating time was a part of Dishonored universe since D1, slowly building a stage for how everything is going to change heavily when the Outsider is finally gone. A few years ago there was a leak/hoax called „Darkness of Tyvia” – a next Dishonored game set in Tyvia, with versus-multiplayer and „annihilate the Outsider” as a goal. This and a few other things made me think that Deathloop could have been prototyped initially as Dishonored 3, but then the creators decided to bid farewell to characters of „the Kaldwin era” faster, building DOTO on D2 assets and making Deathloop first - to learn more how to handle games about time, what works there and what doesn’t.
That decision could leave Deathloop with only vague connections to Dishonored lore (letting fans to decide whether they believe this is the same universe or not), but also with a lot of creative freedom for Arkane. After all Deathloop’s gameplay turned out to be innovative and fun, but too far away from values that Dishonored series stand for, so it deserved a different story.
„I don’t like watching you die. I like killing you. There’s a difference.” by Julianna summs up Deathloop pretty well – it’s „high chaos, no consequences” fantasy. Using game mechanics to the fullest, killing dozens in a variety of creative ways, but enjoying the lack of a grimer outcome, no matter how terrible slaughter we have just caused. Dishonored shows us how our actions affect others, how every NPC is a human being, a part of this world: with hopes, fears, secrets, families to feed; with shocked and fightened face when we hurt them; mutilated body left behind for rats and bugs. Even villains like Daud or Billie might deserve a second chance sometimes. Deathloop does the opposite: NPC look like „made in China” crash test dummies, disappear with a puff after death, sometimes even commit careless suicides. They are here for the endless party and all things they brought to the Blackreef are plastic, garish, feel out of place; a lot of trash. Well, they are trash – just trash mobs, you realize later - you can kill them again and again, and it doesn’t change anything. The only exceptions in Deathloop are Visionaries and they don’t even need a mark „I’m the Visionary!” above their heads – they look like humans and killing humans matters in Arkane’s games:
„If you slaughter everybody — you killed the maids, you killed the old people, you killed the beggars — you’re great, here’s a medal, you’re a hero. We decided that sounds psychotic. It doesn’t match our values, it doesn’t match the way the world works, it doesn’t match the way any other fiction — imagine a novel where a guy wakes up in the morning, kills everybody in the house, goes down the street, kills everybody on the way to work, kills everybody in the office, and then at the very end of the novel, there is a scene where he is given a medal and made some sort of hero and anointed in some way. It doesn’t make any sense. What we wanted was to let you express yourself in the game, but to have the world react to that, at least in some way. Samuel Beechworth, betraying you and firing off that flare, was something we had to fight for.“ – Harvey Smith
DEATHLOOP SPOILER!
What’s worth to mention, the „good” ending of Deathloop is the one where Colt decides to not break the loop. How could he just return to a society after killing so many people? Is „they will reset at midnight” an excuse good enough for that? There is nothing and no one waiting for Colt out there anyway – his only relative is here, wanting to live as an overachiver god in this infinite hunting playground where everything is allowed, forgotten the very next day. Where they both can go for a beer, then have fun throwing Alexis into a meat grinder again and again. Colt and Julianna have become too accustomed to living without consequences to go back to the normal world.
END OF SPOILER
So, the point is: whatever kind of time manipulation mechanic D3 will have, it should take into account at least some consequences of our actions. It doesn’t have to work like D1/D2 chaos system or be as much restrictive, but players shouldn’t be able to murder everyone, then just press a reset button/go back in time like absolutely nothing happened. It wouldn’t feel like Dishonored otherwise.
How could time travel work in D3?
Spoilers for D2, DOTO and The Veiled Terror book below!
Time works differently in the Void(„All of time is meaningless here. Neither seconds nor centuries.”) and in every places where the Void is leaking through (Stilton Manor, Void hollows). Some people with supernatural abilities can manipulate time a little bit (Bend Time, Foresight etc.), predict future (the Blind Sisters, Zhukov) or even travel in time (post-DOTO Billie Lurk).
Let’s play more with the old formula: So far dealing with main targets was simple: kill them or explore more to figure out a non-lethal option. Whatever we chose, it usually meant very little for the ending, determined mostly by the chaos system (with a few exceptions like Stilton, Duke or Paolo/Byrne in D2). What if our choices could have more meaning and we could learn about consequences of our actions sometime later, then have an opportunity to change them, now aware of how things will play out in the future? Go back in time, aimed with a knowledge about better solutions, alternative weapons, secret passages; reaching places unaccesible before (Void hollows create a lot of possibilities here), meeting people who wasn’t there. Saving people who will become our allies, neutralize people who will turn into tyrants. Figuring out the plan when we can’t be in all places at the same time, can’t make the world right – not at first try.
Nigthmares as a part of new chaos system? „The Void touches the minds of the dreaming and the dying alike.” After DOTO the whole Empire was plagued with nightmares for a few months, people screaming of fear and terror in the middle of the night. Some of them modified their own bodies (weird tattoos, bone charms pierced through their skin etc.) and became addicted to drugs, desperate to find a way to stop the dreams. It happened because someone was manipulating time. After altering the timeline in the Crack in the Slab mission, only the Outsider and Emily were fully aware of what has happened. He as a god of the Void, she as a time traveler. Billie didn’t remember anything, but later had constant nighmares about the moment when she was nearly killed by the Grand Guard, about terrible pain she experienced. She was slowly losing her mind, every morning taking awhile to know what’s real. My theory: in D3 every person that was killed or harmed, but saved later with time travel, will have nightmares. The more they suffered the worse their dreams could be. People will go through sleep deprivation or even become insane like weepers or nest keepers. Maybe in the very, very bad scenario we could cause another Great Burning - an epochal event hinted since D1, which caused cultural destruction with people going from city to city, destroying and burning everything. Or maybe we will try to stop it?
The Void and its new deity: Whatever time shenanigans we will go through, this all could end with a new deity restored to the Void. That’s what the Abbey probably tried to do just after DOTO, recruting children through mysterious Trials of Aptitude for years, but they failed their mission and most of them went mad. When the Outsider was still bound to the Void, he perceived time in the physical world as reapating in the same unending patterns. He disturbed that pattern by giving his Mark to people who would play pivotal role in the days to. He let them decide, but whenever they fell into routine and were no longer making a big difference, he lost his interest in them. Finally, he was able to spawn a chain of events that led to his end. Without the Outsider the Void is destabilized, unmoored from the real world and Void rifts begin appearing across the empire, a chaotic bridge between the real and the unreal, fissures in the very fabric of reality. Manipulating time and space is now possible for individuals with a certain knowledge and abilities. Cultists in the mine called the Outsider “a static point” upon which they build the foundation of this world and it seems like it’s impossible to go in time before the moment the Outsider was created (like the gate to the Ritual Hold – it has been broken since the foundation, so it always has been broken). So whatever new world we will create during time travels, we could stabilize it with the new deity. Maybe there would be a different way to do that than murdering a kid in a bloody ritual?
Thr one, the absolute ONE thing I love about dishonored? Aside from the morality mechanics and the story and just everything….is that literally there are gay/bi/Ace characters and its just. A Thing.
It’s not turned into this big OMG or even ignored completely its just there. Its a part of the characters and if you paY attention its clearly THERE but its not treated as anything except this is how the character is.
And I love that.
Ohhh this! And Billie, my beloved! <3
As 35+ yo I could finally play the action game with the woman my age as a protagonist. The woman who wasn’t portrayed as another milf or a clone of Eva Green. The woman with high skill, independence, self-control and amazing focus on tasks, yet still able to care deeply for her companions or get through anger, sadness and hopelessness.
Even 50+ yo guys are still fine as a protagonist in action games, but women just disappear after hitting 35+ and get only supporting role.
While digging for informations about Tyvia I found some lore of the best wine in the Empire of the Isles, mostly known from the High Overseer Campbell mission („Will you have wine? It’s a Tyvian red”).
The Tyvian Red is a luxurious wine with mild, elegant sweetness, created from grapes that have been frozen while still on the vine. The process is similiar to ice wine (Eiswein), produced in Germany, Canada and even Siberia (Tyvia jest heavily based on Russia).
Tyvia is an island of snow and cold, with vineyards inhabiting the rare plots of fertile land to the southern coasts. Only very few vintners possess the knowledge how to keep the grapes alive against the harsh weather, and even after that the harvest can be easily ruined:
if a freeze does not come quickly enough, the grapes may rot or be be lost to wild animals and dropped fruit,
if the freeze is too severe, no juice can be extracted.
This makes the Tyvian Red a very expensive wine, mostly enjoyed by aristocrats and connoisseurs with enormous purses.
Thinking more about it, the production of this wine is also morally questionable and might be the source of conflict in a future. While Tyvians have to rely on imports of agricultural goods, the rare fertile soil is wasted on alcohol for riches. So far Morley was important food source for the rest of the Empire, but a prophecy of Blind Sisters in D2 and DOTO mentioned a famine caused by a blight, starting from the fields east of Potterstead in Gristol. With growing demand for imported food in the southern part of the Empire, prices in Tyvia might skyrocket.
“I have watched the world for four thousand years. Can you even imagine that length of time? If you could, it would drive you from your senses.” (The Return of Daud)
