Digital Initiative

I love watching trends in video games. Genres form and evolve, and it’s really interesting to watch how the threads move about and take shape. As you might’ve heard on the podcast, I’ve played a bunch of the Final Fantasy XV demo. To me, it’s the culmination of a decade of Final Fantasy games trying to push the genre forward.

I’ve made no secret of my feeling that JRPGs as a genre have gotten stale. The days of standing in a line selecting commands from a menu as the primary form of gameplay and watching canned animations play out is well behind the times. The formula is so well defined that you can boot up RPG Maker and whip up a functional JRPG over a weekend. Seeing “classic” JRPGs released in the states at all is fairly rare, now, doubly so on major modern consoles.

From the above, you’d think I hated JRPGs, and for a while in there I would’ve agreed with you. I think the technology has reached the point where interesting choices aren’t just doable in games, but important and expected, and the necessity of a turn-based combat system isn’t a technological limitation but a design choice. A great many JRPGs have unbending linear plots where the only choice you have is which NPCs to listen to in what order, and have a static turn-based combat system simply because that’s what the genre does. Having worked in MMOs, I’m strongly convinced that following genre conventions simply because they’re genre conventions is a fast way to a dead genre.

In the meantime, though, I’ve played the (truly excellent) Persona 3 and 4. These games are fascinating, because the core gameplay loop is not what you’d expect. Instead of wandering through areas with random encounters (ugh) or random wandering enemies that spawn a combat vignette (better), comprising the majority of your game time, Persona 3 and 4 are about time management. There are a vast number of things to do and a limited amount of time to do them in, and sometimes the things are of limited availability. The games are more about the stories of the characters against the backdrop of some calamity that you’re also dealing with than the forward press of Saving The World. You might save the world, but it almost feels incidental to the more important relationships you’re building. Both games also let you make some interesting choices– relatively shallow in scope, usually “who do I date” and “do I encourage or rebuff this person”, but the ramifications of those choices feel significant because they’re tied to a limited resource: time.

Persona games have taken the trope of JRPGs and combined them with a time management and dating sim. When you get into combat, it’s less about chipping away at an enemy’s health and more about exploiting their weaknesses– combat encounters are like a high-stakes puzzle game. The rest of the game focuses deeply on a single slice of life, where you get to know the people and the places in great detail.

At the other end of the spectrum, you’ve got Final Fantasy, games about world-spanning adventure and various travels with a party who, ideally, become your friends. It’s almost like… wait for it… a road trip, really fitting for the newest upcoming installment of the series. The focus is on getting to see the sights and sounds of a great big world, and seeing a lot of variety in the process. I’ve commented before that I think that the MMORPG is the natural evolution of the JRPG– it’s a great big world that you adventure in alongside friends, and you level up and get better gear to fight bigger and badder monsters to see more of the world. The other evolution of the JRPG, the one that’s taken longer to form, are games like Mass Effect, taking the same basic construct and upping the fidelity of the story and the choices you can make in it, as well as a more modern, fast-paced combat system.

Final Fantasy has been pushing the boundaries of the genre almost since its inception. Every game is a different twist on character progression, combat mechanics, and so on. Action Combat has been something they’ve clearly wanted for a very long time– even before the prototypical spinoffs like Dirge of Cerberus, the fast-paced semi-turn-based combat of FFX-2 and Crisis Core, and the MMOs (XI and XIV) and MMO-alikes like FFXII, they’ve been incorporating the ATB (Active Time Battle) system, a way of timing your turns. They’ve previously acquiesced and allowed you to turn ATB off, and more recently have (I think) realized that that was holding back their attempts at advancing the genre.

Now we have FFXV, a game I’m surprisingly excited about. It’s Final Fantasy tone and style in a game I actually want to play, that feels like an evolution of the series (the culmination of 15-20 years of experimenting) and not a retread of existing ground. I’ve also got FFXIV’s expansion, the continuation of a slightly different evolutionary path and one that’s kept me hooked for far longer than I expected.

I’ve also got the upcoming Persona 5, which I’m unreasonably excited about for the music alone.

All of this is coming at a point in my life where I’m doing a lot of rebooting and starting over, which is itself reminiscent of things I did 10-15 years ago. It’s fitting, somehow, that I’d return to school and return to Final Fantasy in the same year.

Source: Digital Initiative
JRPGs and What They’ve Become

Something interesting I noticed about myself, and I’m curious if anyone else shares this experience.

I grew up playing a *lot* of Zelda, JRPGs and point-and-click adventure games, particularly the Sierra style with the interaction icons. Many (most?) of these have silent protagonists, and in some recent discussions with friends, I’ve come to realize that this may have been a notable formative experience that’s flown under the radar for quite some time.

In a lot of these games, you play a character who “talks” to a lot of other characters. Really, what happens is that the other characters are prompted by you to monologue at length, and the things they say can become useful things for you to do later. When you have a (rare) choice to select some kind of response option, it’s generally abstract and it falls into one of two categories: the more common “which information do I tell you next” monologue branch or the less common “choose the right answer to proceed” selection.

I’d like to contrast this with certain other major types of RPGs, specifically the ones like Black Isle’s CRPGs (Baldur’s Gate, etc), Arcanum, nearly every Bioware game, etc. In a lot of these, even when NPCs are the only characters with speaking voices, you’re making conversational choices that define your character (and, while they may get you in trouble, rarely cause a point of no return where you need to come back and choose the “right” answer from the same dialogue). I’ve played a number of these, and while they are in many ways spiritual successors to the previous, “classic” type, there’s a really subtle difference that leaks in: how you feel (and what choice those feelings drive you to make) is relevant. Not just from a “the game progresses when you choose the right answer” perspective, but from the perspective that your experience is different based on how you express yourself.

Here’s where it gets interesting for me. The classic silent protagonist goes out and does a lot of things for a lot of people without expressing his or her opinion on any of the things being done. People ask you to do things, and you do or don’t, but you don’t weigh in on them, except privately. For me, this is the sort of interaction that defined my game-playing childhood, and it happens a LOT.

While it’s not a connection I made for a long time, it’s a pretty easy hop to get from that to a developed personality that very rarely divulges what it thinks about things even when talking to people. I’ve been called a good listener because I’ll pay attention to what people tell me without judging, because I’m used to prompting (virtual) people to tell me things and acting (or not) on the information received, but not expressing any opinion on the matter.

I find that, in a lot of cases, I don’t even *develop* opinions on things. I’m generally guided by very broad tenets, rather than specific opinions– as an example, I’m in favor of easy access to birth control not because I have a particular opinion on the politics or medicine involved, but because my general tenet of “live and let live” means that I’m in favor of people having choices about how they live their lives, particularly when it doesn’t directly affect me in any meaningful way. I strictly follow a number of rules that I apply to myself but don’t hold other people to, for similar reasons. There a link there, I think, to the nonjudgmental silent protagonist whose opinions on a given subject are inscrutable at best, absent most of the time, but who behave through broad tenets that are universally applied throughout the game– help people in need, don’t harm the innocent, etc.

It’s kind of problematic as well. Slipping into the “silent protagonist” mindset is easy, and tends to cause me to just listen to people and not offer feedback unless directly asked. I also have in the past had a very bad habit of filing people I talk to in terms of how relevant they are– are they a random person on the street or are they a close trusted friend and party member? Someone being “upgraded” is generally accompanied by a bit of mental fanfare and occasionally comes as a surprise to me, where I realize that a given person isn’t in the file I thought they were. This manifests frequently in the form of people I don’t think I know very well saying things to me like “I really appreciate your advice, it was extremely helpful” which is followed in my head with “oh shit oh shit oh shit what did I say to this person I hope it wasn’t anything really stupid” because, like the random beachgoer in Costa Del Sol, I said some things to someone, they seemed pleased with the result, and I put it out of my mind.

Even typing that sounds callous to me, like I don’t care about people, and perhaps it is– while I do care very deeply about people and want to help out where I can, I tend to have conversations, offer advice when asked, and not really think about it more– again like that silent protagonist interaction with an NPC– the protagonist’s input is silent and essentially null, but is effective nevertheless, as is my own. What matters is that the person I’m interacting with gets the help/listener/actions they need, and whatever opinion I (don’t) have on the matter doesn’t really enter into it.

I remember the advent of RPGs with a distinct player voice, where my character actually had spoken lines. I saw it in the King’s Quest series first, and was heavily detached from the characters in that series because they spoke, said things I didn’t think I would say, and expressed opinions, and rather than being the self-insert that the silent protagonists were, they were more like friends who I was helping out and guiding along. In retrospect, I can’t help but wonder if the prior years of silent protagonists made me treat games like King’s Quest differently, where I silently watched and helped a character through a story but kept my opinions and thoughts to myself unless they were directly helping out.

I also remember getting into the more modern, “Bioware-style” RPG, with Mass Effect, the first one I played with a fully-voiced protagonist that I nevertheless dictated the personality of. These fit a weird sort of semi-self-insert, where I made the choices I would make, but they were spoken and done by a different person. I can’t help but wonder if these games coincided with me taking a more active role in my interactions with people– the timing is right but my memory for specifics is murky.

It’s interesting playing more explicitly silent-protagonist games now. The Persona series comes to mind, where the mostly/fully silent protagonist seems like a familiar shell to slip into, but doesn’t *quite* fit; I find myself mentally inserting my opinions and trying to express them (something the game seems to recognize and gives you the ambiguity to do, which is a big reason I like the games so much).

This blog is actually an intensely difficult venture for me, because it requires that I push back against years of childhood conditioning to listen and react to people but keep my opinions to myself unless asked, because they (in the game and in my head) aren’t relevant. Expressing an unasked-for opinion is a struggle unless I’m talking to my very closest friends (and sometimes even then).

Source: Digital Initiative
The Silent Protagonist and its Effect on the Psyche

I really, really like minis games. I’ve talked about them a bit elsewhere, but I want to talk a little bit about why I like them so much.

There is, effectively, no other type of game that’s like a minis game. It combines math, tactical analysis, creative expression, collection, storytelling, and both theoretical and applied strategy in a single package. It’s tactile in a way that you don’t get in other games, every piece has a personality and I’m not bound by the designer’s visual choices or even the physical construction of a given model.

I get to find a sculpt that I really love and tweak it, turning it into a sculpt I love even more, then paint it in a way that works for me. I’ve commissioned quite a few minis from artist friends, and I get a handful of little works of art that I can then play a game with.

In a lot of ways, minis games are about interactive art. The minis themselves, the board you play on, the sculpts and background all work together with the game rules themselves to create situations from which stories emerge. The best minis games are ones that generate dramatic moments and nailbiting conclusions, stunning upsets and decisive victories. I choose my team of minis based on some combination of the theme and story I find appealing and the game mechanics and tactics that spark my interest. It’s rare that I get to blend both storytelling and mechanics in play– the closest I get are playing characters in tabletop RPGs, which I also love.

Unlike tabletop RPGs, though, I can change up my story every time I play, and it can be a fully-realized snapshot. I’m not playing a character that’s aspiring to a particular cool tactic and may take weeks or months of the same experience to reach it, with little change– I’m generating a force with a theme and a strategy that’s wholly realized before I sit down to play, and I can change it up next time I’m at a table, with a completely different set of minis if I so desire.

In a lot of ways, I get the same enjoyment out of DMing tabletop games; I can generate interesting characters repeatedly and pit them with or against my players, but there’s always a line. If I optimize a character too well and s/he overshadows or outright defeats the party, that’s not fun; I have to build in weaknesses to exploit and restrain my love for optimization. With a minis game, I can indulge, optimizing a list and refining it, and genuinely testing my strategic and tactical skills.

My favorite game right now is Infinity, which I got into because all of its rules were available for free online and the minis were gorgeous. I love the neo-anime style that a lot of southwestern Europe has been exploring in the last several years, and playing a minis game where all the sculpts have that theme is exciting. It’s also a sci-fi world that isn’t USA-centric, and in fact has a really fascinating history-of-the-future that I find both reasonably plausible and compelling.

The game is also one of the most tactically deep games I’ve ever played. Unlike games where you determine your strategy before you put minis on the table, then execute your plan and try to ensure your opponent doesn’t get in your way, Infinity requires that you look at the board state at every part of every turn to decide what to do next, and sometimes you just have to make a choice and commit to it, hoping the dice go your way.

I’ve also got minis that remind me of friends that I don’t get to see that often anymore, who have put their own artistic twists on my forces. It’s great, because I have the minis I’ve painted myself and am proud of, and I’ve got minis that make me think of a good friend when I put them on the table.

There is also nothing like seeing a set of painted minis on a table of actual, physical terrain, knowing that all of it was assembled and painted by hand. Kodra loves his board games, but for me I’ll never find little cardboard or wooden shapes to be as visually or tangibly satisfying as a painted mini that might have years of stories, victories, and defeats.

I have a mini, my favorite version of my favorite character in the Warmachine line, that a friend painted for me in 2008, back during the Mk1 rules. She could only be played in really large games, and my group never played games that large, so as much as I liked her, she never saw the table. She was a display piece for four or five years, looking pretty and collecting dust on the shelf while I didn’t play the game for a while and the rules changed to Mk2. A couple years ago I decided I would go to a friendly tournament, using a new model I’d just picked up that needed a controller. I wanted to bring a fully painted force, so out came my long-painted display mini, ready to see the table and some dice for the second time ever, and the first time in years. She had a brand new, shiny, powerful friend to command and I put her at the head of my force– a group of minis that had either been collecting dust for years or were brand new. She led my troops to a solid 3-0-1 victory in the tournament, and a second place finish overall. Now she stands tall on display, next to her big companion who helped her come off the shelf and get some table time.

You can’t get that with a bit of cardboard or wood that looks like 30 others in the box. She’s more than a glorified counter, she’s got a story all her own.

Now I’ve got to go paint a mini that I used in a recent game. He got swapped in at the last moment from the shelf, an awkward bare-metal addition to an otherwise fully-painted force, and defied probability to become my most valuable piece for the entire set of games I played. That deserves a bit of honor, and he’s earned a paintjob to fit in with his fellows.

Source: Digital Initiative
Miniatures: Games Without Analogues

Okay, so, I ranted a bit. It’s not all bad news. How do we revitalize the flagging persistent world MMO?

I want to approach it like it’s a design problem, because it kind of is. We need to know what we’re working towards. So, what makes an MMO? It’s a lot of things:

–Big, persistent world, capable of comfortably supporting 1000+ players at once.

–Character progression (levels, equipment, new abilities)

–Interesting group dynamics (often dungeons and raids)

–Customizability (in gear, appearance, progression choices, etc)

–Enjoyably repeatable content

–Setting and story that gives context to the big, persistent world

–Various forms of content, from combat to crafting to exploration to PvP

–(optional) Player interactivity in the world, the ability to leave a mark on the gameworld of some kind

 

Each of these have their own subcategories, things like “interesting enemies to fight” and “varied art assets” and “ways to express player fantasy”, but the above are the big ones. Without these, we don’t have a game that’s going to feel like an MMO. Design problem continues: for each one, how do we make something that feels new and appealing? Is it necessary for each one?

Big, Persistent Worlds And The Stories That Go With Them

I talked about this yesterday, and some games are skipping this entirely, but it’s key to our concept here. We want our neo-MMO to feel like, well, a world, not a game.

I want to do this by adding inconvenience. Sometimes the industry refers to this as “friction”. It’s the little things that you grumble at having to do but that, in aggregate, make things feel more real. A prime example is travel time. If you have to run for three hours to get from Qeynos to Freeport and can’t find a teleport, that is a massive inconvenience and a giant pain. It is also an adventure. It’s an adventure you skip entirely if you open up your map in Guild Wars 2 and jump from Lion’s Arch to The Grove. Convenient, yes, but doesn’t feel like a world.

Running on foot is boring, though. Hit autorun, wait. Maybe align yourself just right and go make dinner while you run. It’s boring because the stuff that’s actually worthwhile for you to do is at the other end, not in between. You probably outlevel all of the stuff in between, or you’re so far below the appropriate level that you can’t reasonably gain anything other than death. Hmm. This makes me think about player progression.

Another form of friction is decay. You see this in gear that needs repairing. Some (older) games have experience loss on death, now anathema to MMOs. Some games have skill decay– go without using a skill long enough and you get worse at it. We come back to player progression again.

A third type of friction is maintenance. If you’re hungry, you need to eat. If you’re tired, you need to rest. Resting too long is boring, though, because you’re just sitting there.

The last, most common form of friction is an economy. Things don’t always cost the same amount all the time, and you have to adapt to what objects are hotly desired or uninteresting right now. The more granular the economy, the more fragmented it is, and the more friction there is. A single, global economy for a game (or a single game server) will find an equilibrium more quickly than a different economy for every city, but traveling to different cities is a pain (friction!).

Why is all of this friction good? Because it makes the things you do meaningful. What we want in an MMO is an engine that we participate in that generates stories. All kinds of stories, from tales of heroism to new fast friendships to tragic stories of woe. We need the things we do to have meaning, so that we can generate those stories. The more friction there is, the more meaningful the small things we do are, and the more likely we are to create memories from them. I have traveled from Lion’s Arch to the Grove a hundred times, and the most comment the experience ever elicited was “ugh, this loading screen”. I can tell you ten stories about one run from Qeynos to Freeport, something I did over ten years ago, and while it’s easy to say “ugh, the bad old days, that sounds miserable”, the reality is that reaching the safety of Freeport’s walls after the effort of running cross-country as a weakling level 5 character was nothing short of magical, and is the kind of accomplishment that people would brag about.

MMOs have been reducing friction for a decade now, trying to keep up with WoW, which peels away friction to drive players towards the content they consider relevant and focus their playerbase. It used to take six months to a year to reach max level, even in WoW, and now it takes hours. Other games have followed suit, lest they be called “grindy”. In so doing, we reduce the number and types of stories we tell from things borne from our unique experiences to the crafted, scripted experiences of the game’s writers and designers. While that’s not a bad thing per se, it means that when you run out of written+designed content in a game, you’re out of stories. Your time spent in game loses context, and you’re more likely to leave.

Having a good MMO story isn’t just about the text in the game, it’s about creating a setting where stories can write themselves.

Player Progression

So, we fill up a bar until a number next to our name goes up and we do that until the numbers stop going up. We have levelled up. Basic player progression trope. It’s also a quiet death for MMOs.

You see, MMOs are supposed to be about playing with your friends. Specifically, one of your friends says “hey, this game is really neat” and you say “cool, let me try it” and you log in and you’re level 1 and hopelessly behind. You play with your friends and you take a vacation and when you get back you have to “catch up”. You started this game to play with your friend and then you can’t.

Levels in an MMO are a distillation of your entire breadth of skills and stats boiled down into a single number, that is the determining value of your character until it doesn’t go any higher, at which point it instantly becomes meaningless compared to other progression paths. It creates the “endgame”, where in every MMO, the game suddenly stops being about doing things and becomes about doing the RIGHT things, because if you’re not doing the right things you’re wasting your time.

It also separates us from players we might interact with who aren’t our immediate friends. We see someone who isn’t our level, and we shut them out of our minds. Maybe they’re much higher level than us, in a zone full of things our level. Why are they there? Are they just going to steal everything? Competition.

Let’s abolish levels. Easier said than done. What do levels get us? A concrete sense of progression, of measuring accomplishment, a way of evaluating relative strength, a simple requirement check to access certain pieces of content.

We can progress in different ways. EvE is a great example of this; a huge variety of skills to improve that increases breadth rather than depth. We can work on improving stat points individually, can work on building up skills, can work on being faster, smarter, stronger. All of these are things to do, and all of these are like mini-levels. The granularity is really helpful, here. You might have just started playing, and you’ve got 10 points in Strength, Agility, Intelligence, and Charisma, and no points in any skills. Your friend might’ve been playing for six months, and have 15 points in Strength, 40 points in Agility, 25 points in Intelligence, and 30 points in Charisma, with skills in a bunch of magic and sneaky tricks. If you focus on your Strength, you can be just as good as your friend with only 5 points, and you can start to focus on Strength-based skills. Without each level being a huge jump in power, you can hang with your friend despite that friend’s six month lead in relatively short order.

Instead of levels gating content, we use a different method– reputation. People have to know and trust you to ask you to do things, so how well-known you are becomes another form of progression. We can make this granular like the economy, too. You might stick around a little in a given place because they know you and they offer you more lucrative work. It stops being about “what zone is good for level X” and more “who will give me the jobs I want, and do I want to work on being better-known somewhere new?”

When the places that are worthwhile for you to go aren’t tied to a number, the whole world suddenly feels more meaningful and more, well, like a world.

Customizability and Various Forms of Content

These go hand in hand for me, because they’re both essentially about the same thing: tailoring your MMO experience to your tastes. You want to do the things that are interesting to you in the way you want to do them, and you want to look and perform the way you’d like. Whether you want to roleplay a reknowned pastry chef who dons ninja gear and hunts villains by night or you just want to smash whatever enemies you can find with an axe that must be on fire, you want your experience to suit your tastes. If you can’t find the right beard, or an appropriate body type, or the right class, it’ll sour your experience.

The trick here is to remember that it’s about customizing the experience, NOT about trying to drive players to a given single experience. In a game, everyone works towards the same end goal. In a world, there are a lot of people having totally perpendicular experiences whose only real intersection point is that they happen to be playing the same game. Having people who are in the game you’re playing who are having a wholly different experience than you are makes your world feel bigger, and makes the choices you make as far as your experience feel more meaningful.

Enjoyably Repeatable Content and Player Interactivity in the World

Two things that I also think go together. Enjoyably repeatable content is stuff you don’t mind doing over and over again. Maybe it’s fighting, maybe it’s crafting, maybe it’s exploring the world. Maybe you just like the feel of movement so you run back and forth or in circles, just enjoying how the controls feel. Player Interactivity in the World is when you can make a change in the world that affects not just you, but players around you. If you build a house somewhere, and it stays there when you log out and other people wander by, that’s player interactivity. The two go together because they’re about what you’re doing, moment to moment.

Devs like to talk about moment-to-moment gameplay because it’s one of the smallest units of play. A common sentiment is “if it’s not fun for thirty seconds, it won’t be fun for thirty hours”, and oftentimes this is true. From my perspective, this comes down to verbs. MMOs have very few verbs. There’s Use the Interface, there’s Move, there’s Chat, there’s Interact, and there’s Fight. Using the interface is when you shop at stores, or go through your inventory, or check your character pane. You’re not playing the game at that point, your looking at the UI. Move is straightforward, it’s how you walk or jump or fly around the world. Chat is similar, it’s you communicating with other players or NPCs. Interact is when you walk up and click some object in the world, to collect it, or turn it on, or off, or change something about it (usually for a quest). Fight is the one you do the most.

A big problem with MMOs is that only one of these is developed enough to be fun: Fight. Certain games (City of Heroes) make Move fun as well, and WoW accomplished fun movement simply by being far more responsive than any of its predecessors. That still leaves several verbs that aren’t fun, and we can improve that.

We also want our verbs to reflect our progression. If your Strength and Agility determine both your combat stats and your movement stats, you can alter those values to make a slow but brawny character who fights like a mack truck, or a fast, speedy character who jumps around and dodges. These are different, and should both be fun. Consider a really simple example. A big, beefy tank moves and turns more slowly than a dodgy thief type. If the two fight, the tank might take out the thief in one blow, but the thief can keep moving and avoid attacks. By making movement variable and tying movement abilities with stats and character skills, you get an experience that’s more varied and more fun, and once again, feels more meaningful. Varied, interesting movement adds a dimension to play that goes beyond “don’t stand in the fire” and can make stories by itself.

This also applies to travel– we can have different forms of travel with different strengths and weaknesses that make our verbs more fun. Walking from city to city along safe roads might not be interesting, but driving a speeding stagecoach and trying not to drive off cliffs between the two cities is much more fun.

Making the individual moments interesting and varied gives you good reason to repeat them, either to improve your performance or to try a different method. In an MMO, where you might play for months or years, the power of variability and being able to try different things is huge.

Interesting Group Dynamics

A touchy subject for a bunch of people. The key to satisfying group content is putting a group of players in a situation where they have to rely on each other for specific, direct interactions. It’s why role systems are so effective and functional– a role provides a set of specific, direct interactions that you can provide to your party while your party provides what you lack to you.

It’s this byplay that divides weak and strong group content in MMOs. Some of the worst MMO group content I’ve played was a result of a lack of solid, functional group roles; the experience just became a senseless free-for-all or some extremely fiddly interactions with badly-messaged abilities that might or might not interact with one another.

Content that requires a group adds a sense of scale to the game, that there are things bigger than just one player that are worth pursuing and satisfying to overcome.

Putting It All Together

A revitalized persistent world MMO is going to need friction to make actions meaningful and to bring players together. It’s going to need a wide breadth of player progression with relatively shallow depth, to both lessen the gap between players and allow them to play with one another and provide a greater variance of experience, lending more replayability to the content. It needs player verbs, and each verb needs to be independently interesting. It will need well-defined and compelling group dynamics, to give the game a sense of scale in encounter to go with the scale of the world.

It’s going to draw a lot of the old-school concepts and pass them through the lessons learned over the last decade, without throwing the baby out with the bathwater.

I don’t know if we’ll ever see it, or if we did, if anyone would actually play it, but I think that’s where persistent world MMOs have to go if they’re going to play to their strengths and survive. They need to become highly customizable settings in which players have experiences that yield unique stories. That’s where we go from here. It’ll look weird, but hopefully good.

Source: Digital Initiative
MMO Futurism (Part 2)