Dan Houser Discusses Victorian Novels, Red Dead Redemption, and the Evolution of Open-World Gaming

I It’s challenging to find a more contemporary form of entertainment than open-world video games. Merging storytelling, social interaction, and the freedom to roam, these expansive technological projects offer a uniquely immersive experience with infinite possibilities. But do they truly embody novel concepts in storytelling?

This week, I had a conversation with Dan Hauser, co-founder of Rockstar and the lead writer for Grand Theft Auto and Red Dead Redemption. He was in London discussing his new venture, Absurd Ventures. He’s working on a range of exciting projects, including a novel and a podcast series titled better paradise (which delves into a vast online game that ends in tragedy), as well as a comedic quest set in an online universe known as absurd verse. He mentioned that he had an epiphany regarding the series 15 years ago while giving press interviews for the Grand Theft Auto IV expansion pack.

“I was conversing with a journalist from Paris Match, a very learned French individual, who stated, ‘The game Grand Theft Auto is akin to Dickens.’ I thought, bless you for saying that! However, in retrospect, they may not reach Dickensian heights, but they’re comparable in that they create worlds. When you examine Dickens, Zola, Tolstoy—any of those authors—you sense that the entire world they describe is magnificent. This is an open world. That’s the experience you seek from the game. It’s a bizarre prism through which to view a society that somehow becomes fascinating.”

I found it incredibly engaging to discuss this concept with Hauser, as I concur that there are notable parallels between Victorian literature and contemporary narrative-driven video games. The extensive descriptive passages in these works served as a form of virtual reality, evoking vivid imagery in readers’ minds well before the advent of cinema. It’s wholly immersive. When I first read Jane Eyre a decade ago, I was struck by the richness of the inner thoughts presented, inviting readers to explore the main character’s psyche.

Hauser also noted structural resemblances to Grand Theft Auto. “There’s a sense of an expanded storytelling akin to the remarkable 19th-century novels from Thackeray onward,” he explained. “These stories can be viewed as shaggy dog tales that culminate at a single moment. They are deeply realistic; they contain a grounded progression rather than jumping around in time. The games are similarly grounded in that sense.”

For Hauser, this synthesis of Victorian literature and game design came to fruition with the creation of Red Dead Redemption 2, Rockstar’s magnum opus and a poignant narrative of vengeance set in late 19th century America. “I consumed Victorian novels,” he shared. “I listened to the Middlemarch audiobook daily during my commute, and I loved every moment.” He faced challenges in striking the right tone for the dialogue, ultimately finding inspiration in blending Middlemarch, Sherlock Holmes, and Cowboy Pulp Fiction.

“From a writing perspective, I wanted it to feel more like a novel,” he remarked. “We believed this approach could yield something innovative story-wise. Given how visually stunning the game is and its strong art design, we aimed to anchor the narrative in a solid context. Our goal was to encapsulate the three-dimensionality of the characters’ lives while also portraying a sense of life and death in the 19th century, which is fundamentally different from our own experience.”

It’s fascinating to see how Victorian literature significantly influenced Rockstar’s acclaimed adventures. The gaming industry often feels inward-looking, with new titles being slightly modified iterations of successful older games, recycling the same fantasy and science fiction narratives. Drawing on Tolkien, Akira, or Blade Runner isn’t inherently problematic, but broadening one’s literary horizons is always beneficial. I eagerly anticipate how Hauser’s new endeavor will transform the notion of open-world gaming in the 21st century, yet part of me wishes he would fully embrace the adventure of a grand Victorian novel.

Forget Pride and Prejudice and Zombies; perhaps it’s time for Middlemarch and Machine Guns.

what to play

Eighteen years have elapsed since the last installment of “Metroid Prime.” In that time, people have been born, attended school, completed exams, and faced their first hangovers since I last explored a mysterious planet through Samus Aran’s visor. I’ve played quite a bit of Metroid Prime 4: Beyond for fans of Nintendo’s fierce (but often overlooked) heroes. I reviewed it this week and I’m pleased to report it wasn’t a disaster. While it’s somewhat uneven and carries an old-fashioned feel, it boasts a stunning atmosphere that is visually and audibly captivating and is genuinely fun. The gameplay resonates with me because it adheres to unconventional modern game design principles. keza mcdonald

Available: Nintendo Switch/Switch 2

Estimated play time: 15-20 hours

what to read

• Sega enthusiasts rejoice: Paramount Pictures has announced a Sonic the Hedgehog movie spin-off (or should it be a spin-off Dash?) As reported by Variety, this project, currently dubbed “Sonic Universe Event Film,” is set to release on December 22, 2028, shortly after Sonic the Hedgehog 4, slated for March 2027. Perhaps there will be a new journey for Sonic’s rival, Shadow the Hedgehog? I might be alone in this, but I’m excited about Big the Cat’s fishing adventure.

• The Information Commissioner’s Office, the UK’s independent data protection and information rights regulator, is currently investigating 10 Most Popular Mobile Games to focus on children’s privacy. According to the organization’s blog, “84% of parents are worried about their children being exposed to strangers and harmful content via mobile games.” This scrutiny follows recent controversies surrounding Roblox.

• As someone inundated with around 200 press releases weekly about this genre, I found this piece relatable. Rock, Paper, Shotgun elaborates on the seemingly unstoppable emergence of roguelike games. Edwin Evans-Thirlwell interviews developers to uncover the reasons behind the popularity of games featuring the three Ps: procedural generation, (character) progression, and permadeath.

What to click

question block

Keza answers this week’s reader inquiries from Tom:

“I was reflecting on a recent question block about non-violent games and thought, are there games that maintain violent elements but still provide alternative paths to completion? I adored Red Dead Redemption 2, yet was frustrated that firearms were often the only means to resolve conflicts. I’ve seen countless amusing videos of players attempting to finish inherently violent games without bloodshed, highlighting a desire for pacifism.”

I distinctly remember playing the original Splinter Cell on Xbox, where the protagonist opts for a non-lethal approach by incapacitating foes rather than killing them. While it took me a long time to navigate, it was indeed a viable path offered by the game. The steampunk classic Dishonored and its sequel are known for allowing players to wrap up their quests without resorting to lethal force, utilizing supernatural abilities to manipulate their surroundings. However, if memory serves, choosing the pacifist route does make the game considerably harder.

In fact, most stealth games permit a non-violent approach, though few specifically reward players for sparing lives. One notable exception is the beloved comic-inspired adventure Undertale, where players can ultimately engage monsters in dialogue instead of combat. I also believe it’s feasible to play through both original Fallout titles (possibly even Fallout: New Vegas) without killing anyone, should players possess enough charisma to navigate tough scenarios through dialogue.

We’re still accepting nominations for Game of the Year for our year-end special – let us know by. Email us at pushbuttons@theguardian.com.