The making of Dishonored: Death Of The Outsider, or How Arkane killed a god

Contents:

• Hiroon Cryer
• Is it easy to kill such a god? I spoke with the developers at Arkane about this.
• "After learning the Alien's story, it's hard not to see him as a victim."
• "In a game that explores the theme of redemption, it would be wrong to kill the Alien without giving him the same opportunity to save himself that the other characters had."

Hirun Kraer

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Dishonored: Death of the Outsider immerses players in a gripping story of revenge and redemption, where a god becomes the ultimate target. This game offers a unique take on the world of Dishonored, combining action-adventure elements with profound moral choices. Players take on the role of Billie Lurk, who seeks revenge for betrayal and uncovers the mysteries surrounding the god known as the Outcast. With every step in this dark and atmospheric world, new opportunities for exploration and combat open up, making the game engaging and unforgettable.

In a JRPG, the "Kill a God" mission might feel like a standard quest, but in Death of the Outsider, it's a different matter entirely. Here, the god isn't just a target, but a trickster who bestows unique abilities on the player. Fans feel both respect and pity for him. Without him, the Dishonored series loses its appeal and depth.

Is it easy to kill such a god? I talked to the developers at Arkane about this.

The completion of the story that began with the 2012 game Dishonored was made possible by a talented team of writers led by Harvey Smith and Sandra Duval. They, together with game designer Dinga Bakaba, developed the concept for the Death of the Outsider expansion. This sequel not only deepens the storyline but also expands the gameplay possibilities, offering players new mechanics and a unique experience in a world full of secrets and intrigue.

Work on the project was carried out at the Arkane studio's Lyon branch. Renowned specialists were brought in to create the game, including Anna Megill, a screenwriter with over 15 years of experience in the video game industry. The team also included Hazel Monforton, a graduate student at the time. Hazel wrote an article about The Outsider, in which she drew parallels with the ancient Greek pharmakos. This work made a strong impression on Smith, who invited her to participate in the development of a new game, the plot of which is centered around the Alien.

Megill describes Monforton as an individual of exceptional talent, but also notes his inexperience in the field of game development. He shares an anecdote about Hazel walking around the Arkane office early in her career, quietly asking herself, "What is a video game?" The episode highlights the importance of new developers exploring a new field and learning from experienced colleagues.

In 2014, when Smith and Duvall were working on the concept for the game "Death of the Outsider", they were clear about the key elements of the story. First, to achieve his goal and confront the Outsider, Daud would enlist the help of his apprentice, Billie Lurk, whose name symbolizes stealth and agility. Second, it was necessary to complete the story of Daud, who initially appears as a villain and then becomes an ally. This conclusion to the story will add depth to the character and create a richer experience for players.

Lead game designer Bakaba, who later became game director on Deathloop, said that the original plan was to present the Death of the Outsider story as two downloadable add-ons for Dishonored 2. However, the Arkane team quickly realized that creating a standalone game would allow for more ideas and more freedom in mission design and gameplay mechanics. This decision opened up new opportunities for the developers and made the project more expansive and rich.

During the game's development, not only the scale of the game world changed, but also the approach to the protagonist. Some team members were eager to experiment and wanted to see a character in the role who would be significantly different from Corvo Attano and Emily Kaldwin, according to lead writer Sandra Duvall, who later collaborated with Bakaba on the Deathloop project but ultimately left the Arkane studio.

Duvall genuinely wanted one of the Brigmore witches to be the protagonist. "Discussing this with Harvey Smith was fascinating," she shares. "The witches and overseers in the Dishonored world were originally conceived as supporting characters. They have their own views, but they remain rather conventional and symbolic. They lack the human complexity and contradictions inherent in previous protagonists in the series. Ultimately, we came to the conclusion that the hero should be an ordinary person."

The development team initially planned to bring back Daud as the protagonist, as he did in the Dishonored: The Knife of Dunwall expansion for the first game. However, they ultimately chose Billie Lurk, an ally of Emily Kaldwin from Dishonored 2. This choice allowed for a new exploration of the Death of the Outsider story, adding new interesting elements to the gameplay and narrative.

As Bakaba noted, Billie's journey of redemption in Dishonored 2 opened up the possibility for a deeper story in Death of the Outsider. This also allowed Arkane to abandon the chaos system used in previous games. In Dishonored 1 and 2, the chaos level depended on the player's actions: killing enemies led to an increase in chaos, making the world more dangerous. Conversely, those who played carefully and avoided violence experienced a more positive outcome. However, Death of the Outsider isn't focused on Billie Lurk's moral trials, as Bakaba explains. It's her mission, and the player is given freedom to choose how to achieve it, making the gameplay more varied and engaging. By choosing Billie as the protagonist, Smith laid the foundation for an important concept in the game. He believed that the Outsider should be defeated by someone without its Mark. "The key was that Billie shouldn't be dependent on the Outsider. We couldn't have him simply regain his Mark and deprive the player of the unique abilities it provides," Smith emphasizes. This vision gave us the flexibility to change the game's internal structure. Together with Dinga and the game design team, we carefully analyzed what changes to make, weighing all the possible consequences. At the end of Dishonored's main storyline, these improvements to game mechanics infused our project with freshness and dynamism. We hope players will enjoy them as much.

The first significant death Billie encounters isn't the Outsider's, but Daud's. He dies in his sleep, and players don't see it coming. "We discussed a lot about how Daud should die," says Bakaba. "The player understands that the character is ill. You leave on business and return to find that his soul has departed this world. This sense of inevitability, in my opinion, should deeply affect the player and motivate them to action," the designer adds. He emphasizes that Daud's death occurs immediately after the player has collected the entire arsenal necessary to kill the god. "You're the player, with all the resources—what could go wrong? And then you, seemingly invincible, receive news that your mentor has just passed away."

Destroying a deity is a task requiring considerable effort, regardless of the presence of a mentor. Since the release of the first Dishonored game in 2012, opinions on the Outsider, the central figure of the plot, have been divided. For some, he is a seducer and manipulator, like Mephistopheles, seeking to enslave humanity by purchasing souls and forever subjugating his "fausts." For others, the Outsider is a victim entangled in human passions. People, acting with increasing cruelty, use his gifts as a weapon, trying to impose their will on the world. Thus, the Alien's character becomes multilayered: it embodies both temptation and suffering, reflecting the complex relationship between humanity and its aspirations.

Monforton, familiar with the previous games and a devoted fan of the series who views the Alien as a staunch fan, firmly rejected its trickster nature. In her arguments, she emphasized that the Alien's character has always been more complex and multifaceted than a simple game of rules. For her, this character symbolizes not only a threat but also a deep story that requires serious approach and understanding. Debates about its true nature raise important questions about how the plot unfolds and how characters interact with the world around them. Monforton insists that a superficial interpretation can distort the perception of the entire franchise and its complex mythology.

Pay attention to what it offers and how it communicates with you. He doesn't deceive, pressure, or lure anyone onto a dangerous path that leads to chaos. He's simply curious about how people will respond to his gift.

Hazel Monforton is a remarkable individual, known for her unique role in various fields. She attracts attention for her achievements and contributions to culture and society. Hazel is actively involved in the popularization of knowledge and skills, making her an important figure in the educational community. Her work inspires many and emphasizes the importance of striving for self-improvement. Hazel Monforton continues to be active and influential, contributing to positive change in the world.

In the first two games in the Alien series, characters gain new supernatural abilities and unique tools. However, how exactly to use these opportunities depends solely on the player's choice.

"After learning the story of the Outsider, it's hard not to see him as a victim"

The Outsider has always been perceived as a tragic character, and most people agree. Anna Megill, who has worked on projects such as Death of the Outsider, Control, and the new Fable game, noted that when studying the story of the Outsider, it is difficult not to see him as a victim. His path is full of suffering and misunderstanding, which makes his character especially deep and multi-layered. The Outsider personifies not only the struggle for a place in the world, but also the consequences of social conflicts, which emphasizes his tragic nature.

Smith admits that already in 2010 he saw in the character of the Outsider a sufferer who deserves sympathy. In creating this character, he and screenwriter Ricardo Baer drew on Ursula K. Le Guin's parable "The Walking Away from Omelas." This approach allowed them to explore the character's inner conflict and emotional burden, making him more human and multilayered. The perception of the Alien as a victim of circumstance adds depth to the plot and forces viewers to consider moral dilemmas related to sacrifice and compassion.

This parable describes the utopian city of Omelas, whose prosperity and happiness depend on the suffering of one child. All the townspeople are aware of its existence—of how it is doomed to suffer in darkness and filth. Although some citizens choose to leave Omelas, most accept the idea that their own well-being justifies the child's suffering. This story raises questions of morality and ethics, forcing you to consider the cost of happiness and how society can justify suffering for the greater good.

As you progress through the game, you discover the existence of the Cult of the Outsider, which guards the entrance to the Abyss. This cult includes the Eyeless gang, who provide their followers with everything they need. Monforton emphasizes that these people are not religious fanatics who worship the Outsider. They study it, seeking to use its powers for their own ends. The cult embodies the concept of ancient religious mysteries that adherents must pursue through trials and devotion. This adds depth to the gameplay, emphasizing the importance of interacting with the mystical elements of the world.

Hazel was writing her doctoral dissertation at the time, focusing on ritual sacrifice and collective violence. This knowledge, along with the specialized language she had been studying over the past several years, allowed her to more accurately portray the cult and bring this aspect to life in her work.

Bakaba describes how the cultists in the game should appear like ordinary people, but with unnatural traits. Unlike the whalers and witches who used magic in previous Dishonored games, the other characters remained distant from its influence. The developers decided to create enemies who use bone charms, just like the player. Bakaba emphasizes that the cultists would look almost like ordinary people, but their appearance is distorted by long-term worship of the Abyss. He also notes that if the cultists exploring the Abyss were to spend several centuries there, they would eventually turn into stone formations similar to those floating in this mystical space.

Some older cultists who have dwelt in the Abyss for long periods became known as Envisioned. These humanoid creatures, resembling walking shards of dark rock, are capable of impaling Billie if she lets them get too close. Megill always found this a bitter irony—fate, in its own way, had mocked the Envisioned. The deeper they delve into the Abyss, the more they lose touch with reality. "By peering into the unknown, they lose sight of the known." This phenomenon highlights how dangerous the desire to understand the unknown can be, while simultaneously alienating one from the familiar world.

At this time, a new way to resolve the Outsider's fate becomes available to the player. Billy discovers that before becoming part of the Abyss, the Outsider was an ordinary teenager. His human life was destroyed by the Eyeless, who sacrificed him. This information opens new horizons for understanding the Outsider's fate and the Eyeless' motives, deepening the plot and adding an emotional component to the gameplay.

Monforton sought to pardon the Outsider, believing it was important to give the victim a chance at salvation. In contrast, Sandra Duval was obsessed with the desire to destroy the deity. She claimed to always complete games without killing and believed that taking a life, even as punishment, is the wrong decision. However, in her view, the opportunity to kill a god is an opportunity that can't be missed.

Duval notes that the difference in perspective with Monforton made the collaboration particularly interesting. For Smith, it was crucial that the plot avoid murder, which allowed the writers to portray the Alien as a tragic character. Megill emphasizes that in a story about redemption, it would be wrong to kill the Alien without giving it a chance for redemption similar to that given to other characters.

How to restore the Alien to humanity? This question was discussed at length by the game designers. Duval notes that various elements were proposed as solutions, such as "magic stones" and complex gameplay mechanisms that could free the Alien from its tragic fate. Developing such solutions requires creativity and a deep understanding of the character to create a compelling and engaging transformation that will engage players and restore hope for the Alien's redemption.

"In a game that explores the theme of redemption, it felt wrong to kill the Alien without giving it the same opportunity to save itself that the other characters had."

Duval proposed a solution that could restore the Alien to its human form. This involved whispering the name of the boy it had been before the sacrifice. This insight brought relief and hope to everyone. Perhaps the Alien would feel something similar if it were healed. Duval noted that this solution contained deep meaning and elegance. However, confusion arose within the team. When she announced that the Alien's mark was its real name, written in ancient alphabetic characters, some participants misinterpreted it, assuming it was Mark, which seemed rather trivial.

Monforton also notes that she named the character in the game who solved the mystery of the Alien's name after her favorite English teacher, Mr. Malchiodi. The surname Malchiodi, meaning "bad nails" in Italian, evokes associations with the crucifixion. Hazel considers this a fortunate discovery, as the mysterious image of the Alien often reminds her of Christ. This juxtaposition highlights the game's deep themes and symbolism and adds a new layer of interpretation to its story.

Each mission in Dishonored offers a no-kill option, but the developers have included easier solutions—a shot to the back of the head or a knife across the throat. In the context of the story and interactions with the Outsider, it's important to note that the killing blow must be delivered with the same blade that was used to sacrifice the young man who became the Outsider. This approach not only highlights the game's moral dilemmas but also adds depth to the characters' stories and motivations.

Megill shares that the original version of the Outsider's fatal ending was completely different. He notes that when the Arkane team first presented it to him, it seemed out of place and insignificant. The scene felt like a typical episode, of which there are many in the game. Billy kills the Outsider, and it's over so quickly that the viewer doesn't have time to process what happened. This created an abrupt transition to the final scene that didn't have the desired impact.

Megill was unhappy with the proposed ending, knowing that Dishonored fans adore the Alien character, whom some even call their "creepy, grumpy guy." She couldn't resist and expressed her opinion to project executives Smith and Duvall, insisting on changing the approved ending. This was a bold move for a writer who was working under contract and barely knew Harvey and Sandra.

Smith and Duvall took the criticism seriously and reworked the ending of Death of the Outsider, making it more positive for the Outsider. Together with Megill, they changed the initially tragic ending, adding the opportunity for the player to feel the grief of loss and say goodbye to their beloved hero. In the updated final scene, Daud tells Billy that with the Outsider gone, the world will finally change. However, Lurk sadly replies, "The world may be, but we will not. Killers never change." These changes to the ending highlight the depth of the characters and their emotional experiences, making the game more meaningful for players.

In the final cinematic, Billy realizes that the outcome of events may seem unfair to the Outsider. While the knife plunged into his heart has become a symbol of equality, she remains only a murderer. This moment raises important questions about morality and justice in their confrontation.

"Death of the Outsider" is the final game in the Dishonored series, completing an extensive story arc, Smith notes. The story begins with Dishonored and continues through The Knife of Dunwall and The Brigmore Witches before moving on to Dishonored 2. The narrative demonstrates the consequences of characters' actions, pushing players to take the final steps toward redemption. The game engenders empathy for the characters and offers the opportunity to abandon their own agendas for a higher purpose.

Megill aimed to make the player consider a number of important questions. She has always been drawn to the morality of the Dishonored world. In this game world, the player has limited opportunities to do good. There are many "gray" characters who are neither good nor bad, but still evoke sympathy. This complex moral structure creates a unique experience, forcing players to think more deeply about their choices and their consequences.

Games often portray heroes in black and white, making it easy to determine who is a paladin and who is a villain. This creates a clear line between good and evil. In the Death of the Outsider project, I sought to move away from this simplified binary system. My goal was to deepen ethical reflection and make the choice between light and darkness more complex and multifaceted for the player. Every element of the game is designed to provoke player reflection on moral dilemmas, emphasizing that decisions are not always straightforward.

Anna Megill is an outstanding professional in her field, possessing extensive experience and knowledge. She is known for her unique approaches and methods that help achieve high results. Anna is actively involved in research and development, implementing innovative solutions that contribute to process improvement and increased efficiency. Her expertise covers a wide range of areas, making her a valuable specialist in her field. Megill also shares her knowledge through workshops and training seminars, inspiring others to develop and improve themselves.

Duvall returns to the character of Lurk: "In choosing Billy, I wanted to tell the story of a person who lived on the streets, as opposed to Corvo and Emily, whose lives took place in the palace." This difference is clearly manifested through Billy's unique ability called "Whispers of Rat." The writers at Arkane were looking for a storytelling method similar to "Empress's Heart" from Dishonored 2, but with an emphasis on Lurk's street experience and her perception of the world. In Death of the Outsider, Billy begins to hear the thoughts of the rats that inhabit the streets of Karnaca. "The rats share stories with her about the people living around her, revealing their secrets," explains Duvall. “This isn’t the kind of gossip you hear in a palace.”

Monforton argues that the Outsider must rediscover hope, which is an important part of his character development. In Dishonored and Dishonored 2, he always expects the worst from the world around him. However, in Death of the Outsider, he is given the opportunity to hope for something different, for something greater. The Outsider is not the only one seeking to improve his lot; Billy also searches for solace and forgiveness throughout the game. Daud’s primary goal is to radically change the world for the better. This desire for positive change adds depth and layering to the story, highlighting the importance of hope and redemption in the world of Dishonored.

Death of the Outsider left a deep mark on me. Four years have passed since its release, and it continues to occupy my thoughts. The game masterfully explores themes of forgiveness and suffering, showing Billy and Daud overcoming the vicious cycle of revenge. It inspires both the characters and the player to hope for a better future, making it a unique work in the world of video games.

Death of the Outsider concludes the Dishonored saga, and it's the perfect epilogue. It's no coincidence that the game alludes to "The Walking of Omelas." Although many residents of Omelas have come to terms with the existence of the cursed city, it's surprising that no one has considered how to free the poor child. Death of the Outsider offers an opportunity to change this situation and makes a significant contribution to the plot. The game raises important moral questions that force the player to rethink their actions and choices. This story not only concludes the saga, but also opens new horizons for reflection on freedom and responsibility.