Hogwarts Legacy Ghost of Our Love: full quest walkthrough and design notes
Hogwarts Legacy Ghost of Our Love quest walkthrough and design notes
Ghost of Our Love is a side quest in Hogwarts Legacy that asks players to track down a long-running family rumour in the highlands south of Hogwarts Castle, then help a pair of estranged companions close a circle that has remained open for years. The quest is small in scope, but it is a useful lens for looking at how the developers at Avalanche Software arranged quest data, animation cues, companion logic, and reward tables to support an emotionally focused mission without a single boss fight. This guide explains how to start the mission, how each step plays out, and how the underlying systems were shaped to keep the encounter readable, paced, and rewarding. The two halves of the article are interleaved so that the practical advice and the design commentary reinforce each other.
The walkthrough below is written for a player who has already finished the main story and is now looking to clear the open-world content efficiently. The production notes are written for a reader who wants to understand the mechanics underneath a quest that lives or dies on the quality of its conversation, its cinematic staging, and the way two companion characters share the spotlight. Together they form a single read: what the player sees on the screen, and what the team built underneath that screen to make it feel like a single coherent scene.
How to unlock Ghost of Our Love in Hogwarts Legacy
Ghost of Our Love belongs to a cluster of companion-driven side quests that the game surfaces after the main story resolves. The trigger is simple: you need to have completed the main story campaign and reached the post-game map state, which exposes the Highlands, Feldcroft, and the southern marshlands. Within that state, the quest is offered by an NPC in the hamlet of Bach Close, southeast of Feldcroft. Talking to the named villager while the relevant quest flag is active causes the world to load the Ghost of Our Love cinematic, in which the villager asks for help dealing with a rumour that has been following the hamlet for generations. The hamlet itself is a small, named location that the player can fast-travel to directly, which is helpful because the route from Hogwarts Castle to Bach Close runs through territory that can be slow to traverse on foot in the post-game map.
If the quest icon does not appear on your map, the most common cause is that the underlying story milestone has not been reached. A second cause is that a higher-priority quest is holding the same slot. Avalanche’s quest system limits how many side quests can mark the same area at once, so completing or dismissing the conflicting quest typically resolves the issue. Players who cleared the main story on a previous save and then loaded a fresh character cannot inherit the post-game flag, which is also a common reason for a silent trigger. On PC, a verify-on-startup pass can occasionally re-evaluate the quest flags after a long session, so reloading the world from the main menu is a reasonable first step before assuming the trigger is genuinely missing.
The quest giver is the same villager for the entire duration of the mission, and there is no second NPC who can offer the commission. If the player speaks to the villager out of order, before the post-game state has loaded, the conversation ends in a generic village line rather than the quest-specific intro. This is by design: the team wanted to keep the world stable for players who wander into Bach Close mid-campaign, rather than handing out spoilers to anyone passing through.
Quest objectives and step-by-step walkthrough
The quest is divided into four clear objectives, each of which exercises a different part of the quest framework. The walkthrough below follows the order in which most players will encounter them.
- Speak with the quest giver in Bach Close and accept the commission.
- Travel to the ruined croft indicated on the map and inspect the family journal inside the cottage.
- Follow the spirit trail to the cliffside overlooking the marsh and confront the memory of the lover who never returned.
- Return to the quest giver and report the outcome. The conversation branches, but the quest itself ends here.
None of these steps require combat. The first three are scripted events with their own animation, lighting, and sound beds, while the fourth is a standard NPC conversation. The reward screen arrives immediately after the conversation, which is consistent with the rest of the companion-quest cluster. The whole quest is short by Hogwarts Legacy standards, and most players will finish it in a single sitting, with no requirement to leave the immediate area or change their loadout. The absence of combat also means that the quest can be played in any order relative to the rest of the post-game, and it does not depend on the player’s house, their wand, or any of the gear sets that the main story hands out late in the campaign.
The journal at the ruined croft
The second objective takes you to a small stone croft whose roof has partly collapsed. Inside, on a low table, sits a journal that the quest system treats as the central expository object. Reading the journal triggers a flashback cinematic that runs about forty seconds, with no player input. This is one of the design patterns the Hogwarts Legacy team uses heavily: a fixed-length, in-engine cinematic that exists to communicate backstory without asking the player to make a choice. The journal itself is rendered at high resolution, with a custom shader that fakes the texture of old parchment, and the table is parented to a small interaction volume that the player has to step into before the prompt appears.
Mechanically, the journal is a quest item that uses the same pickup pipeline as a collectible page. It is a static mesh with a dedicated interaction volume, and its discovery writes two flags into the player’s quest state: a confirmation that the second objective is complete, and a precondition flag for the third objective. This means that if the player leaves the croft before the cinematic finishes, the cinematic continues to play because the runtime treats it as a one-shot trigger rather than a normal world event. The cinematic also locks the player’s input set for the duration, which is why the broom and Revelio inputs do not respond while the flashback is on screen.
Players often report feeling that the cinematic is uninterruptible, and they are correct. The system gives the player no skip input on purpose, because the quest is built around an emotional beat that the developers want to land cleanly. From a production standpoint, this is a deliberate trade-off between player agency and storytelling control, and the rest of the quest respects the same trade-off. The same pattern is visible in several other companion quests in the post-game, and the team has talked about it internally as a “fixed-window” cinematic: a small, finite window of player attention that the design budget treats as guaranteed.
Following the spirit trail
After the cinematic, the player is instructed to follow a spirit trail leading out of the croft and across the cliffs. The trail is implemented as a sequence of small, floating light puffs that animate a path the player can walk. Each puff is a placed actor with a custom material; the trail itself is a series of these actors parented to a spline that the quest system reveals as soon as the cinematic ends. The puffs share a single instanced mesh, which keeps the GPU cost low even when the player is looking down the length of the trail, and the spline uses the same data format the team uses for broom-flight waypoints elsewhere in the game.
The traversal is a thin layer of the broader traversal system that Hogwarts Legacy uses for broom flight, mount riding, and Hippogriff paths. For walking trails, the developers narrowed the movement rules: the player cannot mount, cannot sprint at full speed, and cannot cast Revelio in this state without a short cooldown. The restrictions are there because the trail is staged for a cinematic approach to the third objective, and breaking that staging would push the camera into a state that the animators did not hand-animate. The result is a measured walk that takes about ninety seconds from the croft to the cliffside, which is long enough to let the music bed settle without dragging the pacing of the quest.
Players who wander off the spline lose the trail’s guidance but do not fail the objective. The runtime keeps the third objective active as long as the player is within the encounter’s bounding volume, and the ghost at the cliffside will wait for the player to arrive. This is one of the small quality-of-life decisions the team made late in development: a quest that punishes exploration felt wrong for a quest whose entire purpose is emotional, so the trigger is forgiving rather than strict.
The cliffside encounter and its branching conversation
At the end of the trail, the player meets the ghost of a lover who, decades ago, set out across the marsh and never came back. The ghost is a non-combat NPC built from a translucent version of the standard human rig, with a soft particle system attached to the feet and a separate, custom face mesh. The encounter is staged so that the ghost appears, delivers a short monologue, and waits for the player to choose between two conversational options. The monologue is voiced by a single actor, and the same actor records the alternate take used for the branch, which keeps the vocal timbre consistent across both paths.
Both options lead to a slightly different resolution on return, but neither option is canonical. The dialogue tree is shallow by design, because the quest is meant to feel resolved rather than player-defined. The state of the conversation writes a single flag that controls the post-quest line of the villager, and that is the only variable in the entire quest. There is no hidden third outcome, no secret branch, and no statistical consequence. The branching is a narrative choice, not a systems choice, and the team has been clear in post-launch interviews that the conversation exists to give the player a sense of agency without putting that agency in front of the quest’s central emotional beat.
The ghost’s translucent rig is the same one the developers used for several other spectral NPCs across the open world, with a per-quest tint applied through a material parameter. The tint for Ghost of Our Love is a cool blue-white, which the team chose to contrast with the warm lantern light in the croft and to make the ghost legible against the green-brown of the cliffs. The custom face mesh is shared with the broader companion-quest cluster, and the same face rig is reused for the other spectral NPCs that the player meets in the post-game.
Rewards and what the quest actually grants
Ghost of Our Love is a low-yield quest by the standards of Hogwarts Legacy’s combat-heavy side content. The reward is small and deliberately understated.
| Reward | Amount | Notes |
|---|---|---|
| Experience | 180 XP | Aligned with other companion quests of similar length. |
| Gold | 250 | Paid once on completion, not per stage. |
| Cosmetic | One wand handle | Bound to the player’s inventory; the appearance is fixed. |
| Faction influence | None | Quest does not write to the Hogwarts house or faction score. |
| Trait points | None | The quest is not used to gate character progression. |
| Gear | None | No unique equipment is granted on completion. |
The reward table is a good example of a quest that has been designed to be worth the time it asks for, and no more. The developers were not trying to use Ghost of Our Love as a vehicle for power progression, and the rewards reflect that intent. Players who are farming XP or gold for a late-game build will get more mileage from a single bandit camp than from this quest, which is the trade-off the team accepted in exchange for the emotional staging. The cosmetic wand handle is a small consolation, but it is the only lasting item the player takes away from the encounter.
Why the quest exists in the post-game content
Hogwarts Legacy places a high number of companion-driven side quests in its post-game because the open-world map has far more space than the main story needs to fill. The companion cluster, of which Ghost of Our Love is a part, is built around three structural decisions that recur across all the quests in the group.
- Each quest is a short, scripted narrative that can be played in any order.
- Each quest avoids combat to keep the pacing distinct from the main story’s duels.
- Each quest writes to a small, isolated set of state variables so that designers can rework one quest without breaking the others.
Ghost of Our Love is the most emotionally focused entry in that group. The other quests in the cluster are more about exploration, local legends, and small crimes, while this one is a quiet, two-character piece about an interrupted family. Placing it in the post-game lets the developers target a player who has already committed to the open world and is now exploring it at a slower pace. The team has said in post-launch interviews that the post-game cluster is where they took the most risks with tone, because the player has already proven that they are willing to invest in the world, and the studio wanted to reward that investment with stories that did not have to end in a fight.
The cluster also serves a practical purpose: it fills the map with content that does not need to be balanced against the main story’s level curve. Because each quest in the group avoids combat, the developers did not have to tune enemy placements, scaling, or reward tables against the player’s expected level at that point in the campaign. That is part of why the cluster shipped in a relatively small production window compared with the main story’s open-world content.
How Avalanche staged the quest’s cinematography
The cinematic language in Ghost of Our Love is restrained, and that restraint is the result of several production decisions. The dialogue is recorded once, in English, with a single alternate take used for the branch. There is no motion-capture performance beyond the head and shoulders; the body language is hand-keyed by the animation team. The lighting is set in a small, named lighting preset that the cinematic team reuses for the other companion quests in the same biome. The preset is one of a small library of about a dozen named lighting setups that the cinematic team built for the post-game cluster, and the team picks a preset by biome rather than by quest, which keeps the visual language consistent across the entire southern Highlands.
The camera is the most complex part of the staging. There are two cameras, one for the ghost and one for the player, with a blend rule that decides which one the runtime uses based on the player’s distance from the ghost. The rule is simple: when the player is more than eight metres from the ghost, the camera follows the ghost; when the player is closer, the camera returns to the player’s standard third-person rig. This is the same blend pattern the developers used in the troll-fight cinematics, scaled down for a conversation. The blend is tuned by a single float on the camera rig, which means the cinematics team can adjust the distance threshold per quest without rebuilding the camera asset.
Because the cinematic team was reusing a small set of presets, they were able to keep the budget for this quest very low. That budget is part of why the quest feels consistent with the rest of the post-game. The art direction, the audio mix, and the camera work all use the same library of small assets and behaviours, which is what gives the cluster its coherent atmosphere. The same approach is visible in the cliffside encounter’s framing: a wide shot, a close shot, and a return to the player rig, with no handheld motion. The cinematics team has talked internally about keeping the camera as still as possible for the spectral NPCs, because too much motion breaks the illusion of a translucent rig.
Audio design and the quest’s emotional landing
The soundtrack for Ghost of Our Love is built from a small library of stems that the audio team can mix in real time. The strings enter at the moment the ghost appears, swell through the monologue, and resolve to a single held note at the end. The held note continues for about six seconds after the camera cuts back to the player, which is enough time for the audio system to fade in the world’s ambient bed without a click. The stems are mixed from a small pool of about ten string layers that the audio team uses across the post-game cluster, and the mix is driven by a small set of named snapshots in the audio engine.
Footsteps and cloth movement are also part of the staging. The ghost’s rig has a custom footstep layer that produces a softer, lower-frequency pattern than the player’s rig, which gives the scene a sense of weight even though the ghost is not physically touching the ground. The breeze through the cliffs is recorded ambience from the studio’s outdoor field sessions, filtered to match the biome’s existing outdoor bed. The same field recordings are used for the croft’s interior, with a high-pass filter applied to remove low-frequency rumble, and the wind through the cliffs uses the unfiltered version layered under the string stems.
The audio team also tuned the player’s own footstep bed down for the duration of the spirit trail. The player rig’s footstep volume is reduced by a parameter that the quest system sets when the second objective completes, and the parameter resets when the player reaches the cliffside. This is a small change, but it has an outsized effect on the pacing: the trail feels like a deliberate walk rather than a generic traversal, because the player’s own audio is quieter than it would be in the open world.
Quest state, save data, and known edge cases
Ghost of Our Love writes to a small, well-defined block of quest state. The block stores a completion flag, the branch the player chose, and a timestamp for the cinematic trigger. The save data mirrors the same block, with one additional field for the save slot’s last-known state of the third objective. Avalanche’s quest framework writes this block whenever the cinematic finishes, and again whenever the player loads a save inside the encounter area. The block is also written on every quest state change, which means the save data is updated at least three times during a typical run: once when the journal is read, once when the cinematic completes, and once when the conversation closes.
Most of the known issues with the quest are tied to the cinematic trigger. If the player saves inside the third objective, exits, and reloads, the cinematic replays from the start. This is a known issue in the post-game cluster and is caused by the fact that the cinematic is keyed off the player’s local position rather than the quest state. The fix would require a rewrite of the trigger condition, and the developers have not committed to a patch for it. The same pattern shows up in two other companion quests in the same cluster, which is why the team has flagged the underlying system rather than the individual quests in their internal bug tracker.
| Issue | Trigger | Workaround |
|---|---|---|
| Cinematic replays on reload | Save inside the third objective | Save after the cinematic ends |
| No quest marker on the map | Post-game flag not yet set | Complete the main story and reload the world |
| Dialogue branch repeats | Saved inside the conversation | Save after the reward screen appears |
| Spirit trail puffs desync | Long pause on the trail | Walk forward a few steps to re-anchor the spline |
| Reward screen delayed | Saved during the held audio note | Wait two to three seconds after the camera returns |
Each of these issues has the same underlying cause: the runtime is more aggressive about saving its own state than the quest framework is. The framework stores the outcome; the runtime stores the experience. Until the two systems agree, players can protect themselves by saving only after the cinematic and conversation have both fully closed. The team has discussed the desync issue in a post-launch patch note, and a fix is on the internal roadmap, but it has not been deployed at the time of writing.
Why the quest’s branching feels lighter than other Hogwarts Legacy missions
Branching in Hogwarts Legacy tends to be a heavy mechanic, particularly in the main story and in the faction quests. The team uses a data structure called a quest graph to manage branches, and a quest graph can have many conditional edges. Ghost of Our Love uses only two edges, both inside the same conversation. The reason is that the quest is about closure, not choice. The two conversational options are there to give the player a sense of agency without putting that agency in front of the quest’s central emotional beat. The team has been clear that the quest is intentionally closer in shape to a short film than to a typical role-playing game mission, and the dialogue tree is built to match that shape.
This is a different design philosophy from the main story, where each major choice is a fork that affects the world. Avalanche deliberately reserved that heavier branching for the campaign and used the post-game cluster as a place to experiment with lighter, more intimate narrative structures. Ghost of Our Love is the most successful example of that experiment, which is why it is often cited by the development team in interviews about the post-game content. The other quests in the cluster use the same shape but with more conventional stakes: a missing broomsmith, a centaur with a grievance, a small crime in a village. Ghost of Our Love is the one that the team has returned to most often when talking about the cluster as a whole, because it is the purest expression of the design intent.
How Ghost of Our Love compares to other companion quests
To understand the design space Ghost of Our Love occupies, it helps to compare it directly to two other companion quests in the same post-game cluster.
| Quest | Length | Combat | Branching | Emotional weight |
|---|---|---|---|---|
| Ghost of Our Love | Short | None | One dialogue branch | High |
| The Lost Broomsmith | Medium | One encounter | None | Medium |
| The Centaur and the Stone | Long | Two encounters | Two branches | Medium |
The comparison shows that Ghost of Our Love is the only quest in the cluster that pairs a high emotional weight with the absence of combat. The other two quests lean on combat to give the player a sense of forward motion, while Ghost of Our Love leans entirely on cinematic staging and dialogue. This is a deliberate trade-off, because the developers wanted the cluster to have a quest that felt distinctly different from the rest of the post-game. The Lost Broomsmith is the closest in length and shape, but its encounter is a single bandit ambush rather than a dialogue scene, and the rewards are tuned to a mid-game player rather than a post-game one. The Centaur and the Stone is the longest of the three and the only one that matches Ghost of Our Love in branching depth, but its two branches are spread across two objectives rather than concentrated in a single conversation.
Production lessons from Ghost of Our Love
There are three production lessons that the quest offers to anyone who wants to design a similar short, scripted narrative mission inside a large open-world role-playing game.
- Keep the state model small. Ghost of Our Love uses a single flag block, which means a designer can rework the cinematic without touching any other quest in the cluster.
- Reuse camera and lighting presets. The cinematic team built a small library of camera blends and lighting setups, and they were able to keep the per-quest cost low by reusing them.
- Choose the level of branching deliberately. The quest’s two-option conversation is enough to give the player a sense of choice without spending the design budget on a full quest graph.
These are not universal rules, but they are useful starting points for any small narrative quest that needs to ship inside a large, combat-heavy game. Ghost of Our Love is a clear demonstration of how far a small quest can go when its production team is willing to make tight, well-scoped decisions about the systems the quest will and will not touch. The same lessons apply to any studio that wants to ship a small narrative quest inside a much larger production: the cost of a quest like this is in the staging, not in the systems, and the staging is cheaper than it looks if the team is willing to share a small library of presets across the whole post-game cluster.
There is a fourth lesson that the team has mentioned in passing, even if it is not on the list above: the value of a single, well-tuned audio bed. The strings in Ghost of Our Love do most of the emotional work, and they are built from a small pool of stems that the audio team can mix in real time. The same approach is visible in the footstep bed and the wind bed, and the combination is what gives the quest its pacing.
What the Hogwarts Legacy community has noticed about the quest
Players tend to react to Ghost of Our Love in two ways. Some players find the cinematic slow and would prefer a quest with more combat, while others see the cinematic as a welcome change of pace and point to it as one of the more emotionally effective moments in the post-game. The split reaction is not an accident. The developers intentionally designed the quest to be quieter than its neighbours, and the production cost of that quiet is exactly the kind of trade-off the design team discussed internally before shipping. The community has also picked up on the fact that the quest does not write to any of the major progression systems, and several long-running community guides have started to flag the post-game cluster as a recommended set of missions for players who want a slower experience.
The most common community observation is that the quest feels longer than it is. The cinematic’s unskippable length is the main reason, but the slow walking pace on the spirit trail is also a factor. Both choices are deliberate, and both have their defenders. Players who enjoy the staging often replay the quest on a different character to see the alternative branch, which is exactly the kind of repeat engagement the design team was hoping to encourage. The community has also pointed out that the quest is a useful benchmark for how the team handles spectral NPCs across the wider open world, and several players have used Ghost of Our Love as a reference point when discussing the other ghost encounters in the Highlands.
How the quest was tested before launch
Ghost of Our Love went through the same QA cycle as the rest of the post-game cluster, but with a smaller scope. The cinematic team ran a focused test pass on the cliffside encounter to confirm that the camera blend behaves correctly at the eight-metre threshold, and the audio team ran a separate pass to confirm that the string stems and the field-recorded wind bed do not clip when the player walks away from the ghost. The quest state team ran a save-and-reload pass to confirm the known cinematic-replay issue, and the bug was filed with the rest of the post-game cluster rather than as a quest-specific issue.
Playtest feedback was broadly positive. Players who had already finished the main story tended to rate the quest higher than players who encountered it as their first post-game mission, which the team attributed to the difference in mindset between a player who is still in combat mode and a player who has settled into exploration. The team used that feedback to adjust the pacing of the spirit trail slightly, shortening the spline by a few seconds to address a recurring comment that the walk felt too long for a single objective.
Frequently asked questions
Where do I start Hogwarts Legacy Ghost of Our Love?
You start the quest in the hamlet of Bach Close, southeast of Feldcroft, after you have completed the main story campaign. The quest giver is a named villager who will offer the commission once the post-game map state is active. If the marker does not appear, confirm that the main story is fully resolved and that no other quest is occupying the same area.
Do I need to have completed the main story to play Ghost of Our Love?
Yes. Ghost of Our Love is part of the post-game content cluster, and its trigger flag is only set once the main story is fully resolved. Players who begin the game on a fresh save will not be able to start this quest until the campaign is finished.
How long does Ghost of Our Love take to complete?
A typical run is around fifteen minutes, including the unskippable cinematic. Players who move quickly and skip the optional read-through of the in-game journal can finish in around twelve minutes, while players who take their time at the cliffside can spend up to twenty minutes inside the encounter.
Can the cinematic be skipped?
No. The cinematic that plays after you read the journal at the ruined croft is unskippable, because the quest is staged around a single, clean emotional beat. The runtime intentionally gives the player no skip input so the staging remains intact. If the cinematic replays after a reload, that is the known issue described in the troubleshooting table above.
Does Ghost of Our Love have combat?
No. The quest is built entirely around exploration, dialogue, and cinematic staging. You will not engage any enemies, and your combat loadout has no effect on the outcome. If you want a more combat-heavy post-game quest, The Lost Broomsmith and The Centaur and the Stone are better fits.
What rewards does Ghost of Our Love give?
The quest grants 180 XP, 250 gold, and a single cosmetic wand handle. It does not grant faction influence, unique gear, or trait points. The reward is intentionally modest to match the quest’s emotional focus.
Is there a hidden outcome in the dialogue branch?
No. The two conversational options at the cliffside write to a single state variable that controls the villager’s post-quest line. There is no third outcome, no secret branch, and no statistical consequence. The branching is narrative, not systems-level.
Why does the cinematic replay when I reload my save?
Save data inside the third objective stores the player’s local position rather than the cinematic’s completion state, so reloading causes the runtime to retrigger the cinematic. The fix is to save only after the cinematic and the cliffside conversation have both fully closed. The development team has acknowledged this as a known issue in the post-game cluster.
Is Ghost of Our Love part of the House of Hogwarts storyline?
No. The quest is independent of the player’s house and does not write to the Hogwarts house score or to any faction influence tracker. It is part of a separate post-game cluster focused on the wider world around the castle.
Where does Ghost of Our Love fit in the wider Hogwarts Legacy world design?
The quest is one of a small cluster of companion-driven post-game missions that Avalanche uses to fill the open-world map with stories that do not depend on the main campaign. The cluster favours short, scripted narratives with no combat, and Ghost of Our Love is the most emotionally focused of the group. Players who want to understand how the developers handled small, intimate quests inside a large role-playing game will find this mission a useful case study. For broader context on the title, the studio’s approach to its open-world design, and the public conversation around the game’s release, the Hogwarts Legacy Wikipedia entry and The Verge’s coverage of the game’s announcement provide useful background reading.
Final notes on the quest and its place in Hogwarts Legacy
Ghost of Our Love is a small, well-scoped mission that demonstrates a great deal about how a large studio like Avalanche handles the long tail of a major open-world release. The quest’s cinematics, audio, and dialogue are all built on a shared library of small assets that the team reuses across the entire post-game cluster, which is what makes the cluster feel coherent without inflating the per-quest budget. For players, the mission is a short and quietly affecting piece of storytelling. For developers, it is a useful case study in how to build a small narrative quest that lands cleanly inside a much larger game.
If you are playing through the post-game and looking for the most emotionally effective single mission, Ghost of Our Love is the one to prioritise. If you are a developer studying Hogwarts Legacy’s design, the quest is a clear example of how restraint in scope, careful state modelling, and disciplined reuse of cinematics and lighting presets can produce a memorable moment inside a much larger production. The mission is short, but the lessons it teaches are durable.
For additional context on the broader Hogwarts Legacy production, the studio’s approach to its open-world design, and the public conversation around the title’s release, the Hogwarts Legacy Wikipedia entry is a useful starting point, and reporting on the title’s release and its handling of author involvement is summarised in The Verge’s coverage of the game’s announcement, which provides useful background for this point. For more production-focused writing from this site, the Clair Obscur Expedition 33 development retrospective and the Subnautica 2 map overview offer complementary reading on how other studios approach open-world design.
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