When it comes to visually stunning video games, there's a certain allure to the titles that emerged during the early 2010s. Games like Metal Gear Solid 5, The Witcher 3, and Batman: Arkham Knight set a new bar for graphical excellence, and their impact still resonates today. Among these, one game that truly stands out is Ryse: Son of Rome. Developed by Crytek, this Xbox One launch title offered a unique blend of cinematic grandeur and historical fantasy.
Playing as a Roman centurion on a quest for vengeance, Ryse presented a visually stunning world that rivaled many Hollywood productions. However, its brilliance was somewhat overshadowed by its brevity, with players completing the game in a mere 6 hours. This brevity was a result of the intense crunch period the developers endured, cutting a significant portion of planned content to meet the Xbox One launch deadline.
Despite this, the team behind Ryse had grand ambitions. They envisioned the game as the foundation for an entire franchise, one that would explore various historical settings and themes. The concept art, historical research, and leadership team of Ryse came together to discuss potential directions for the franchise, with a focus on expanding beyond Rome.
One of the key figures in this discussion was Patrick Hanenberger, a production designer who had previously worked at DreamWorks. Hanenberger was brought on board to help make Ryse feel like a "playable movie," and he later became the franchise's art director. Joining him was Todd Papy, a director from Sony's Santa Monica Studio, who brought his experience with ancient Greek-themed games to the table.
The team debated whether to stay within the Roman setting or venture into other empires. Some felt that the Roman theme was a key selling point, while others argued for exploring other historical periods, such as the Vikings or feudal Japan. The idea of a Viking game, for instance, offered endless possibilities, from raids along European coasts to serving as bodyguards to Byzantine emperors in Constantinople.
Hanenberger proposed a thematic approach, exploring the rise and fall of empires and the reasons behind their fates. He also suggested a narrative connection between games, with each installment building upon the events and characters of the previous one. This would create a sense of historical progression and continuity within the franchise.
Had these sequels come to fruition, they would have featured a more open-ended design, moving away from the linear corridors of the original Ryse. The team aimed to introduce new game mechanics, such as vehicle navigation and PVP multiplayer modes, to enhance the gameplay experience.
When Hanenberger and his team pitched their franchise plan to Microsoft, the response was overwhelmingly positive. Microsoft praised the pitch as "the most cohesive and well-thought IP" they had ever seen. However, despite this initial enthusiasm, the Ryse franchise never truly took off.
The reason for this lies in the complex dynamics between Crytek and Microsoft. Crytek, a privately owned company, refused to sell the IP to Microsoft, who, in turn, was unwilling to finance the franchise without owning the rights. This impasse led to a parting of ways, and Crytek shifted its focus to other projects.
While the developers' feelings towards Ryse are mixed, with a sense of disappointment over the game's underperformance, there's also a sense of pride in the lessons learned and the dedicated cult following the game has garnered over time.
In my opinion, Ryse: Son of Rome represents a missed opportunity in the gaming industry. It showcases the potential for visually stunning, historically inspired games to capture the imagination of players and critics alike. The game's legacy serves as a reminder that sometimes, despite the best-laid plans, circumstances can conspire to prevent a truly brilliant idea from reaching its full potential.
