Once players have ‘captured’ the tower, parts of the map are revealed for the players to see, including additional side quests and locations of interest. Their scale and presence as landmarks make them a high priority task for players to remember, creating a definitive goal for players to complete. They act like lighthouses to attract players towards them. In the game environment, towers are often large and highlighted so that players can see them from a distance. To focus the players’ attention, their map is covered in a fog and subdivided into regions. In order to give players something to aim for, the concept of towers was devised in the open world formula to incrementally give information to the players. When we are given too many options, we fall into choice paralysis and become hesitant to take action. However, giving players a complete map with everything marked out can be overwhelming. Since the genre demands a wide open space to explore, a large continuous map is required to fit the game world. The most common element of open world games is the map. While many players mock the Ubisoft formula, it was once regarded as the hallmark of open world design. A constant review of the formula could allow designers to rethink equations in order to create something more interesting and different. Thus, it is worth recognising the components of this formula and understanding why they matter. To many designers, following this recipe allows them to take minimal risks while vying for the same success pie. The tried and tested structure hits a sufficient amount of entertainment value and has guaranteed a return of investment. While there are players nowadays who lament that the Ubisoft formula has become stale, it is not without its merits. Many people link the open world formula to Ubisoft who initiated their open world design into their Assassin Creed games. These expectations can be consolidated and condensed into a template or formula for structured development and easy duplication. Players can approach objectives relatively freely by doing tasks in any order and manner within the game rules, hence directing the course of the game narrative at their own pace. The game world is typically loaded into player view in a dynamic and seamless manner to minimise loading screens and give the impression of continuity. Players in open world games are given ample space to explore in any direction without quickly encountering a boundary that prevents them from venturing beyond. The same can be said for open world games, which are characterised by their non-linear gameplay. When we play platformers, we expect timed jumps, collectables and hidden paths. When we play RPGs, we expect experience points, party customisation, and a variety of equipment. This completes this Unwritten Tale.We all have certain expectations for the games we play based on their genre categorisation. It says: 'If man is to heal, so must the land.' Jin's duty is fulfilled and he is able to move on. Go back to the house, and you'll notice Supplies and a Scroll left on a large tree stump. Initiate a stand-off and take them down: with fully upgraded Sakai Armor and the right Standoff Techniques, you can down five of them! Once complete, you will hear Kodama laugh and Jin asking if he has fulfilled his duty. Follow the drum beat to encounter a group of six Mongols.

Follower her and look for the purple-flowering Wisteria trees up the hill. She will ask you for help - and offer redemption. Your family has history here - your father burned this house down. Interact with it by pressing R2 and Kodama will speak to you.

As you approach, you will notice a flag outside the house. You'll find a burned house near a Fuji/Wisteria forest. It's also close to the Zasho River Archery Challenge. This Unwritten Tale is started at a house, North of Senjo Gorge and East of Lake Nagata.

Ghost of tsushima uncover map