Except of course in SR2 when you've wiped out the other gangs there's still interactive content in the open world, because there are still police to mess with. Hence it uses its open world far better than FC3 does.Vympel wrote: I disagree, and I indicated why I disagreed. What works for being a criminal in a metropolis doesn't work for a game like Just Cause 2. Sense of accomplishment matters, as does the feeling - however artificial - that you're actually effecting change in the open world - which depends on genre. In the same fashion I'd say that Saints Row 2's wars against the gangs, who are eventually all wiped out, makes sense. How else is the player to feel they've accomplished something in terms of building up their criminal empire? The gang bosses have got to die.
But to take an example that's closer to FC3, The Saboteur has a vast amount of non respawning shit for the player to blow up, giving you a sense that you are sweeping the map clean of white dots having an effect on the state of the gameworld, but even when you have blown all of them up the remaining number of nazis is non-zero, there are still patrols and checkpoints, you can still fuck with them and get in a tank and have a huge openworld fight, because the openworld interactivity hasn't gone away because you swept up all the white dots.
And there was completely no need for that to happen in FC3, there could be any amount of pirates spawning not at outposts, taking an outpost could give you a small safe zone in hostile territory, but there could still be something to do when you weren't in your small safe zone.
And you haven't addressed the fact that the progression structures and how they interact with the open world actually are the same. There are a very limited number of progression options presented to the player at any one time, no matter the scope of the world. That's what I mean about them being structurally the same. If you look at open world games you'll find that they basically all fit the two structures I outlined, no matter their setting and genre.