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Arkane Studios is known as the developer of "immersive simulations" - worlds you sink into, wallow in, made up of intricately interlocking systems tied to exotic abilities, which can be manipulated to resolve a scenario any number of ways. But perhaps it would be more accurate to describe the Lyon and Austin-based company's creations as "emersive" sims, frameworks you struggle to break free of, using tools that aren't quite under the designer's control.
Just look at how they generally begin. Every Arkane title to date save for third-party licensed spin-off, Dark Messiah of Might and Magic, has opened with the player character in captivity - from the dingy jailhouse of the studio's 2002 debut Arx Fatalis to Emily's sealed bedchamber in Dishonored 2. It sets a certain tone, and while the Dishonored games ultimately cast you as a free-wheeling renegade, a rogue cell in the body politic, their stories and sandboxes are tainted by the knowledge that even the most open-ended piece of design is necessarily a form of entrapment, a set of cues and goads that insensibly guide or repel.
The streets of Dunwall and Karnaca may reward curiosity in ways a Call of Duty game never would, but they are still masses of baked-in vectors and scripted solutions, with lighted windows that tug at your attention, collectibles that lure you into the mouths of alleyways, villains whose various downfalls are woven into the terrain, waiting to be excavated. The real challenge of a game like Dishonored 2 - a challenge that informs every bit of developer discussion of its mechanics and variables - is accordingly to discover something, some tactic or access point, that Arkane hasn't anticipated. This is made explicit in the game's legendary Clockwork Mansion, a tacit interactive design essay in which your adversary is essentially a malevolent level designer, tracking your route through his collapsing, reassembling laboratory much as publishers amass telemetry on player behaviour, till you slip the clutches of the critical path and turn the stage machinery against him.
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