Open-world games made some of game design’s most significant leaps forward last generation. We saw established open-world franchises take their biggest, boldest steps, and saw genres we thought of as set in stone (read: a bit boring), like driving games, try their hand at the formula. There’s something about setting off to journey through an open landscape, constrained only by a developer’s imagination, that instantly captures ours - not to mention quells any of those pesky urges to leave the house, learn to cook or create beautiful music. Ugh.

Which is why it’s all the more surprising to see some of the new generation’s biggest games abandoning the formula. Dragon Age, Metal Gear Solid, No Man’s Sky and more are all becoming more compartmentalised hub games, chopping out the cross-country travel to leave behind smaller, fully-explorable areas connected only by loading screens. But why? It’s enough to have you wishing for an eight-slide gallery feature that explores that very phenomenon. Oh look, here’s one now!

Remember that tropical beach in Skyrim? And what about the fully explorable English countryside village in GTA V, complete with a quaint, family-run post office to burgle? You haven’t had a catastrophic brain event, I made them up. Joke’s on you, it was all a ruse. But, like all the best ruses, it contains a lesson in game design at the end. While a traditional open world offers a huge swath of land to look around, it’s more or less hamstrung by having to, like, make sense. Hub worlds can ignore this sticky geographical issue.

Dragon Age: Inquisition pulls this off to magnificent effect. Drawing on what Bioware learned from Dragon Age 2’s Kirkwall – ie. that playing out an epochal storyline inside gaming’s equivalent of Birmingham or Cleveland is a tad dull - the sequel’s Inquisitor travels the length and breadth of beleaguered fantasy-continent, Thedas. From a breathtaking desert oasis, through under-construction castles, to long-lost, overgrown temples, arriving in a new area is as much about the rush of tourist-y excitement as it is the opportunity to nobble some new demon variants.

Some games simply don’t allow for an open world in the way we’ve come to expect it. The recent return of the space sim has led to several games that use the hub format out of necessity rather than any kind of overt design philosophy, built to offer millions of locations to look around, fight in and be damaged by on an existential and spiritual level.

Elite: Dangerous could technically let you point yourself at an unexplored solar system and trundle towards it at a mere 300 kilometres per hour, but it would take multiple lifetimes worth of gameplay to get even halfway there, and I’ve got better things to be doing - like Hearthstone or something - so its hyperdrive-aided hub system cuts out the wait (and your mid-flight death). Hub design is as much used to make open-galaxy games as it is open worlds at this point, facilitating game spaces that make the likes of Red Dead Redemption’s wide-open frontier look like a particularly violent atom.

The likes of Elite also raise another particularly modern issue for non-linear exploration. As we crave more and more from our game worlds, developers can’t physically keep up. Unless we want a group of haggard, sleep-deprived nerds who’ve worked their fingers down to bloodied nubs through sheer force of keyboard presses, they need a way to make big content without spending their entire lives on it.

Enter procedural generation, in which a few pieces of design can be re-used to make practically endless variations. No Man’s Sky will be creating its neon-pastel landscapes, frilly dinosaurs, and flimsy, destructible asteroid fields on the fly, and it can’t very well do it if you’re watching intently the whole time. Think of it as the game’s take on urinal stage fright - your jumps between the game’s many, many, many systems are the equivalent of you turning around to use the sink, allowing the game to freely excrete a whole new set of worlds, before, ruining this metaphor, you turn around to use the game-toilet once more. All of this is basically science, so you’re not even allowed to be disgusted.

“Why can’t I go into this laundromat?” you scream. “I mean, it has a door, I can see it there. Yes, it has a less detailed texture than doors I’ve been allowed to use previously, but it is certainly a door. I recognise all the door-like features, barring one. The only thing missing is my ability to go in and snoop around people’s baskets of soiled clothes.” I’ve been there, friend. I too have wanted to see every mundane detail of a city’s thousands of buildings but, again, it can prove too much work for designers otherwise trying to accurately simulate a dangerous crime spree.

Dead Island 2’s multiple locations help alleviate that issue. Paring the world down to interesting, constituent parts means that developers can lavish more attention on their smaller details. Couple that with some small procedural generation of building layout, and you have yourself the perfect opportunity to look around fake people’s bathrooms for the rest of your horrible life.

Just as building multiple areas lets developers focus on the detail of each, it also lets them focus on the design of it, too. Game design as opposed to art design, that is. I wasn’t suggesting Just Cause 2 takes place in a featureless world of undulating white topology.

As far as I can tell, some people are still angry that Destiny isn’t a truly open world space shooter thing. Let me just stick my head out of the window and check. Yes, I can still hear bleating. What this ignores is that each of its hub environments is built to offer the experiences you need, both in and out of missions. Enemy levelling, choke points, even the placement of seemingly non-linear Patrol mission pick-ups have been placed to funnel you through the world in the most entertaining possible fashion, while keeping the challenge consistent. Try this in a truly open-world and you’ll either have impassable mountain ranges stuck in the middle of your map (hello, Far Cry 4) or a studio of people driven mad by fractal geometry, drawing mazes on the walls in their own or others’ blood.

This one’s less about design, and more about how you, the player, are a fickle, spoilt, toddler. Don’t worry, I am too. We expect the world on a plate or, at the very least, an easily accessible inventory map. The problem with a traditional open world is that it’s unwieldy - a single, gigantic bit of architecture we’re expected to look around ourselves. Which is why fast travel was invented. But then we also complain that it becomes too easy to get around without seeing what the game actually offers between its major landmarks. So a game like the oft-overlooked Dragon’s Dogma comes along, makes fast travel a tough and arbitrary experience, and we all get up in arms about it.

The solution, basically, is to give us no choice. Assassin’s Creed Rogue, for instance, splits its world into three distinct hub areas, forcing you to fast travel between them. With nothing to see between the New York coastline and the North Atlantic, there’s also nothing to miss. Problem solved. It’s a crude solution, but looking after a toddler’s tough, you know?

Of course, behind all of this pontificating, there’s a fairly major point I haven’t addressed yet - making a decent open world is really hard. Los Santos is an incredible place, but it also took five years, hundreds of people and millions upon millions of dollars to create.Throw in the fact that a new console generation means almost every third-party developer will be spending the next year or so performing the programming equivalent of trying to make a sculpture out of thick yoghurt in the dark, and there’s a reason relatively simplistic hub design is so popular right now, in the early days of the new consoles’ collective regime.

Put it this way - as fantastic as Metal Gear Solid V: The Phantom Pain looks, and as squeal-inducingly fun as attaching a balloon to a ram and flying it, fatally, into a helicopter - so that the vehicle crashes into the side of a verdant cliffside - sounds, you can bet Hideo Kojima wishes he could do more. He wishes you could then drive your Jeep to the beach, catch some rays, meet a buff volleyball player who’d make a good recruit ,and abduct him before grabbing a catamaran and sailing home to Mother Base. As it is, we’ll be *yawn* taking an evac helicopter that can play custom tunes between areas. You do what you can with what you’ve got.

But perhaps that practicality is a necessary stop-gap and nothing more - a way of capitalising on our machines’ newfound power while everyone relearns how to make huge, complex games. We’re fairly certain Just Cause 3 will return to the single open-world format (which works, primarily, because getting across the map using a grappling hook and parachute is about as much fun as anything else in the series), and who knows what else is on its way?

The Witcher 3 is going big, and Michel Ancel’s Wild is said to take place across a map the size of Europe, and there are any number of developers quietly getting on with projects that could potentially come to redefine what we know as the traditional open-world game. Hub design is proving to be a useful, and often hugely exciting, form for new-gen games to take. It could be that its self-contained freedom has provided a ‘safe’ environment in which to teach potential open-world devs a few lessons about where to go next.

The recent, perhaps necessary, boom in hub-based games raises the question of whether anyone’s really perfected the open-world yet. There’s more to come, and when it arrives, I’m willing to bet you’ll have seen its early form in the hub games I’ve mentioned. Any further thoughts? Liking the way open-world games are going, or do you crave a traditional Grand Theft Auto 6, stat? Let me know in the comments.

But before you head off into the yonder, to explore wherever you will explore, equip yourself with some of our other wide-ranging, boundary-free content. Our list of .

It's a classic trope in the entertainment industry. Take your hero and his or her obvious love interest, add in some long, meaningful stares and a few moments when they almost kiss, and then tease, tease, tease. It's all-too-obvious to their friends, enemies, and everyone else in the surrounding solar system that these two are meant to be together - but for whatever reason they just won't seal the deal (with a kiss, I mean).

Video games have their fair share of long-standing relationships, ever teetering on the edge of romance. Granted, these couples have a lot on their minds and not a lot of time for love, what with having to save the world and all that. With any luck some of the entrants on this list will stop opening chests long enough to open up about how they feel - after they've defeated the last boss, of course.

Fair warning, we're going to get into spoiler territory with all games mentioned.

There have been many women in Link's many lives, but none have featured as prominently as Princess Zelda. Throughout the ages, these two have been brought together time and again, as if the fates themselves were conspiring on their behalf. Even so, their relationship has never evolved beyond a kiss on the cheek or a brush of the hands. Despite the fact that they've saved each other's skin over and over - and clearly care for one another - neither has been willing to string those three little words together.

Remember Spirit Tracks? Remember all the long, meaningful glances, blushing, and hand holding going on in that game? Or what about Skyward Sword, where it's implied that Link and Zelda end up together after Zelda decides to remain on the surface, but who's to say for sure? There are some exceptions, of course, such as in Twilight Princess where childhood friend Ilia is Link's main squeeze. But these are the exceptions. Maybe one day Zelda will

Poor Sora just can't spit it out, can he? Since the beginning of the franchise, Kingdom Hearts has been playing up Sora's feelings for Kairi. But there's always another quest - or another kidnapping - that keeps the two apart. In Kingdom Hearts 2, Saix even tells Kairi she is "the fire that feeds Sora's anger," which sounds like a really weird thing to write on a Valentine's Day card.

The ways and means in which the Kingdom Hearts games telegraph Sora's feelings for Kairi (and vice versa) are so frequent and numerous that I can't squeeze them all into this paragraph - let alone this feature. Needless to say, these young lovers have been pining for each other for well over a decade now, and apparently we've had to wait for the power of next-gen consoles to finally bring them together.

Ah, now here's a fun couple. Despite the fact that they're always pointing loaded firearms at each other, openly attacking each other, and periodically double-crossing each other, Ada Wong and Leon Kennedy have been doing the Resident Evil-equivalent of flirting for the past 17 years. One of them had better make a move before they finally kill each other for good.

In all seriousness, Ada does seem to harbor some genuine affection for the often bewildered Leon. One of the most prominent examples , where an injured Ada confesses "I don't want to lose you." More recent examples can be found in Resident Evil 4 and 6, where Ada seems to jump between toying with Leon and expressing genuine empathy. Of course, since Ada can only express herself in cliched, action movie dialog at that point, getting her true feelings across is a challenge.

Love conquers all, right? Right? Perhaps, but Kerrigan - better known by her punk rock moniker The Queen of Blades - is betting it'll take more than some mushy feelings to bring down an ancient evil threatening the galaxy. And she reached that conclusion just moments after finishing her first date with on-again, off-again squeeze Jim Raynor. Granted, this "date" involved teaming up to murder an old man in his office, but let's not get into semantics.

Kerrigan and Jim are destined to fail, and that's exactly why you want to root for them. Their jobs come first for the time being, what with that ancient galactic evil and all, but when Jim finally puts down the bottle and Kerrigan hangs up those blades, wouldn't it be nice to see the two of them ride off into the galactic sunset together? Maybe I'm just a romantic...

Healthy relationships are not without conflict and turmoil. It's overcoming these rough patches, and moving forward, that makes a relationship strong. Elika and the Prince have certainly experienced their fair share of turmoil. After going on an adventure together filled with teamwork and flirtatious remarks, the stage seemed set for a classic "happily ever after" ending. Instead, it went sour, in a big way.

You see, at the end of the game the Prince is faced with a sadistic choice: either let the woman he's fallen for remain dead, or let an ancient evil rise again (thereby undoing everything accomplished in the game) to bring her back to life. He chooses the latter, and she resents him for it. Sadly, with no sequel plans on the horizon, it is unlikely these two will ever get to work out their whole resurrection disagreement and make amends, in spite of the chemistry they share.

This is an odd one, seeing as how Gordon's perpetual silence makes their relationship a little one-sided. Or maybe you're one of those people who thinks Gordon is talking and we, the players, just can't hear him. At any rate, the games have heavily implied Gordon and Alyx are destined to be together, with the bubbly Alyx taking a liking to the stoic doctor from the moment they first meet.

After that fateful encounter, the pair save each other's skin a few times, with the most memorable - and relationship-affirming - instance occurring in Half-Life 2: Episode 2. Here, Alyx is mortally wounded, and through an ancient, alien ritual she is healed with the aid of the Vortigaunts who "weave the Freeman's life with her's." Alyx seems cool with all this, and even gets a little flustered when her father mentions the possibility of grandchildren. All that's left is an affirmation of love fans have been waiting eight years (and counting) to hear.

Monkey and Trip go through a real relationship arc throughout the events of Enslaved. They start out as, essentially, adversaries, with Monkey acting as Trip's unwilling slave and guide through the robot-infested wasteland. Gradually, their budding relationship grows into a sort of begrudging acceptance, then friendship, and then something more than friendship.

This all culminates in Trip offering to release Monkey from his servitude, and Monkey choosing to remain by her side. At this point it's clear just from the looks they give each other that these two are in love, but that all sort of gets swept under the rug once the ending starts. Somewhere between all the giant robots and the memory pyramid Monkey and Trip's relationship falls by the wayside, presumably to be picked up in a sequel we'll likely never see.

Life is too short for missed opportunities. Better to have loved and lost, as they say, than to have never loved at all. And when you have an attraction as strong as the entrants on this list, the whole 'love' part should come pretty naturally. Rejection sucks, sure, but you can't let it slow you down when the love of your life could be on the line.

And for more lovey-dovey fun on GR+ be sure to check out .

It's a classic trope in the entertainment industry. Take your hero and his or her obvious love interest, add in some long, meaningful stares and a few moments when they almost kiss, and then tease, tease, tease. It's all-too-obvious to their friends, enemies, and everyone else in the surrounding solar system that these two are meant to be together - but for whatever reason they just won't seal the deal (with a kiss, I mean).

Video games have their fair share of long-standing relationships, ever teetering on the edge of romance. Granted, these couples have a lot on their minds and not a lot of time for love, what with having to save the world and all that. With any luck some of the entrants on this list will stop opening chests long enough to open up about how they feel - after they've defeated the last boss, of course.

Fair warning, we're going to get into spoiler territory with all games mentioned.

There have been many women in Link's many lives, but none have featured as prominently as Princess Zelda. Throughout the ages, these two have been brought together time and again, as if the fates themselves were conspiring on their behalf. Even so, their relationship has never evolved beyond a kiss on the cheek or a brush of the hands. Despite the fact that they've saved each other's skin over and over - and clearly care for one another - neither has been willing to string those three little words together. Though to be fair, the fact almost every game is a mini-reboot, seemingly casting them both back into the reincarnation pool at its end, hardly helps.

Remember Spirit Tracks? Remember all the long, meaningful glances, blushing, and hand holding going on in that game? Or what about Skyward Sword, where it's implied that Link and Zelda end up together after Zelda decides to remain on the surface, but who's to say for sure? There are some exceptions, of course, such as in Twilight Princess where childhood friend Ilia is Link's main squeeze. But these are the exceptions. Maybe one day Zelda will

Poor Sora just can't spit it out, can he? Since the beginning of the franchise, Kingdom Hearts has been playing up Sora's feelings for Kairi. But there's always another quest - or another kidnapping - that keeps the two apart. In Kingdom Hearts 2, Saix even tells Kairi she is "the fire that feeds Sora's anger," which sounds like a really weird thing to write on a Valentine's Day card.

The ways and means in which the Kingdom Hearts games telegraph Sora's feelings for Kairi (and vice versa) are so frequent and numerous that I can't squeeze them all into this paragraph - let alone this feature. Needless to say, these young lovers have been pining for each other for well over a decade now, and apparently we've had to wait for the power of next-gen consoles to (presumably) finally bring them together.

Ah, now here's a fun couple. Despite the fact that they're always pointing loaded firearms at each other, openly attacking each other, and periodically double-crossing each other, Ada Wong and Leon Kennedy have been doing the Resident Evil-equivalent of flirting for the past 17 years. One of them had better make a move before they finally kill each other for good.

In all seriousness, Ada does seem to harbor some genuine affection for the often bewildered Leon. One of the most prominent examples , where an injured Ada confesses "I don't want to lose you." More recent examples can be found in Resident Evil 4 and 6, where Ada seems to jump between toying with Leon and expressing genuine empathy. Of course, since Ada can only express herself in cliched, action movie dialog at that point, getting her true feelings across is a challenge.

Love conquers all, right? Right? Perhaps, but Kerrigan - better known by her punk rock moniker The Queen of Blades - is betting it'll take more than some mushy feelings to bring down an ancient evil threatening the galaxy. And she reached that conclusion just moments after finishing her first date with on-again, off-again squeeze Jim Raynor. Granted, this "date" involved teaming up to murder an old man in his office, but let's not get into semantics.

Kerrigan and Jim are destined to fail, and that's exactly why you want to root for them. Their jobs come first for the time being, what with that ancient galactic evil and all, but when Jim finally puts down the bottle and Kerrigan hangs up those blades, wouldn't it be nice to see the two of them ride off into the galactic sunset together? Maybe I'm just a romantic...

Healthy relationships are not without conflict and turmoil. It's overcoming these rough patches, and moving forward, that makes a relationship strong. Elika and the Prince have certainly experienced their fair share of trouble. After going on an adventure together filled with teamwork and flirtatious remarks, the stage seemed set for a classic "happily ever after" ending. Instead, it went sour, in a big way.

You see, at the end of the game the Prince is faced with a sadistic choice: either let the woman he's fallen for remain dead, or let an ancient evil rise again (thereby undoing everything accomplished in the game) to bring her back to life. He chooses the latter, and she resents him for it. Sadly, with no sequel plans on the horizon, it is unlikely these two will ever get to work out their whole resurrection disagreement and make amends, in spite of the chemistry they share.

This is an odd one, seeing as how Gordon's perpetual silence makes their relationship a little one-sided. Or maybe you're one of those people who thinks Gordon is talking and we, the players, just can't hear him. At any rate, the games have heavily implied Gordon and Alyx are destined to be together, with the bubbly Alyx taking a liking to the stoic doctor from the moment they first meet.

After that fateful encounter, the pair save each other's skin a few times, with the most memorable - and relationship-affirming - instance occurring in Half-Life 2: Episode 2. Here, Alyx is mortally wounded, and through an ancient, alien ritual she is healed with the aid of the Vortigaunts who "weave the Freeman's life with her's." Alyx seems cool with all this, and even gets a little flustered when her father mentions the possibility of grandchildren. All that's left is an affirmation of love fans have been waiting eight years (and counting) to hear.

Monkey and Trip go through a real relationship arc throughout the events of Enslaved. They start out as, essentially, adversaries, with Monkey acting as Trip's unwilling slave and guide through the robot-infested wasteland. Gradually, their budding relationship grows into a sort of begrudging acceptance, then friendship, and then something more than friendship.

This all culminates in Trip offering to release Monkey from his servitude, and Monkey choosing to remain by her side. At this point it's clear just from the looks they give each other that these two are in love, but that all sort of gets swept under the rug once the ending starts. Somewhere between all the giant robots and the memory pyramid, Monkey and Trip's relationship falls by the wayside, presumably to be picked up in a sequel we'll likely never see.

Life is too short for missed opportunities. Better to have loved and lost, as they say, than to have never loved at all. And when you have an attraction as strong as the entrants on this list, the whole 'love' part should come pretty naturally. Rejection sucks, sure, but you can't let it slow you down when the love of your life could be on the line.

And for more lovey-dovey fun on GR+ be sure to check out .