What made
the map feel alive, though, was that in getting to these missions you were often attacked by bandits and wild animals, leaving you with the decision of whether to run or fight.
Birds, leaves and terrified civilians fill the streets making
the map feel alive.
Not exact matches
Tonya doesn't die — in real life, she's very much still
alive — and yet the arc
mapped out by screenwriter Steven Rogers and director Craig Gillespie
feels tragic from the outset, or at the very least unfair.
It leans into everything that Battlefield 1 has sold itself on since its release back in 2016: big
maps, interesting historical and pseudo-historical weapons, and the general
feeling that you will not make it out of this place
alive.
With smarter, more naturalistic algorithms, the world could have
felt alive while simultaneously keeping the
mapping system relevant.
Used strategically, these elements make the battles
feel very fluid, and as monsters try to run away, or eat smaller creatures to gain back health, you truly get a sense for how open and
alive the
map is.
With everyone playing on one huge
map, that should mean that streets and roads will always
feel alive and vibrant.
But that's not all, the
maps also
feel very
alive.