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Tags: Bethesda Softworks; Elder Scrolls IV: Oblivion
After finishing his critically acclaimed review of Morrowind, Deuce Traveler wasted no time before plunging into the depths of its 2006 sequel, The Elder Scrolls IV: Oblivion. Back in 2006, Oblivion was the searing edge of next-gen dumbed down consolization. The rage that it provoked played a huge role in the formation of RPG Codex culture as we know it. But how does look it now, a decade later? Well, for the most part, not so different:
After finishing his critically acclaimed review of Morrowind, Deuce Traveler wasted no time before plunging into the depths of its 2006 sequel, The Elder Scrolls IV: Oblivion. Back in 2006, Oblivion was the searing edge of next-gen dumbed down consolization. The rage that it provoked played a huge role in the formation of RPG Codex culture as we know it. But how does look it now, a decade later? Well, for the most part, not so different:
You see, in Morrowind even fast leveling with minimal attribute gain was still a positive thing due to the maximum hit point and mana increases. However, once you introduce level scaling you now have an incentive not to level. Yes, Oblivion is a bizarro world RPG where you want to avoid leveling up. It may be the only RPG that has ever caused min-maxers to play with the intent of dragging out level ups. It works like this. You can choose seven skills as your major class skills. I typically lean upon Blade, Marksman, Security, Heavy Armor, and Stealth skills, with various magic skills for backup. I hardly ever use Mercantile, Hand-to-Hand, Armorer, Alchemy, Blunt, Destruction and Speechcraft. So of course I choose the latter as my major skills, and take the hit of poor starting scores for the skills I will actually depend upon in practice. Now I can almost completely control when I level up, and will likely be able to increase my desired attributes by five points each time I do. Enemies remain relatively weak while my character grows more powerful than the game anticipated. Thus a min-maxer can still game the system despite all the effort made by the developers to maintain difficulty throughout. Way to go!
[...] Honestly, I can't really get too upset with all of this streamlining, even if it dumbed down the game (100% casting success rates), took away roleplaying options (quest-related chests can't be opened by lockpicking), and broke any semblance of the world being governed by reality (omniscient guards). Oblivion isn't really much of a game anyway - I see it as more of an adventure construction toolset with nice presentation than as an actual roleplaying experience. The game world itself is so dull compared to what we saw in previous games. In Daggerfall, the various regions of the map were distinct from one another in architecture, terrain and mode of dress. In Morrowind even more so. Oblivion's version of Tamriel, in comparison, is incredibly bland. Except for a few Norse villages, the majority of the cities and towns look as if the art team took photos of Disney castles and stills from the movie Gladiator and used them as a template to build a squeaky clean civilization of white marble and bloom effects that don't make any sense in a world that still depends on burning wood and coal for heat. The actual daedric realm of Oblivion is even more disappointing, after the first ten minutes of initial terror. In Battlespire, Oblivion is described as an odd realm that is a sort of hell which the daedra fall into when 'killed'. It is a chaotic place that even they fear. This description is completely retconned in the game Oblivion - the realm is now highly organized and populated with enemy forces prepared to invade Tamriel. You gradually realize that it looks the same no matter where you decide to explore, with no surprises to be found after your first visit. There is only so much dark crimson and orange a player can take before it loses its charm. Which leads us to the topic of the game's main quest and the reason for entering the Oblivion gates in the first place.
[...] Oblivion starts off with your character in prison, a common theme in the Elder Scrolls series, before once again becoming entangled in a secret mission assigned to you by the Emperor. However, this is the last time he's going to get you involved in one of his schemes, as he is assassinated by daedra worshippers in front of your eyes. These cultists murder the Emperor because of his never-before-seen daedra-stopping magical powers, and now there's an invasion that only the last surviving descendant of the Emperor can stop with his magical bloodline powers. Note: You are not the Emperor's last surviving descendant, but rather his chosen fetch quest participant. While the last descendant is hanging out and training (which should totally have been shown as an 80s-style training montage), your character has to ensure that all of the actual work gets done for his final confrontation with the daedra leader. It's a generic, lazy, and forgettable plot, with only a few bright spots that stand out like jewels in dust.
What bright spots, you ask? Read the full article to find out: RPG Codex Retrospective Review: The Elder Scrolls IV: Oblivion (2006)[...] Honestly, I can't really get too upset with all of this streamlining, even if it dumbed down the game (100% casting success rates), took away roleplaying options (quest-related chests can't be opened by lockpicking), and broke any semblance of the world being governed by reality (omniscient guards). Oblivion isn't really much of a game anyway - I see it as more of an adventure construction toolset with nice presentation than as an actual roleplaying experience. The game world itself is so dull compared to what we saw in previous games. In Daggerfall, the various regions of the map were distinct from one another in architecture, terrain and mode of dress. In Morrowind even more so. Oblivion's version of Tamriel, in comparison, is incredibly bland. Except for a few Norse villages, the majority of the cities and towns look as if the art team took photos of Disney castles and stills from the movie Gladiator and used them as a template to build a squeaky clean civilization of white marble and bloom effects that don't make any sense in a world that still depends on burning wood and coal for heat. The actual daedric realm of Oblivion is even more disappointing, after the first ten minutes of initial terror. In Battlespire, Oblivion is described as an odd realm that is a sort of hell which the daedra fall into when 'killed'. It is a chaotic place that even they fear. This description is completely retconned in the game Oblivion - the realm is now highly organized and populated with enemy forces prepared to invade Tamriel. You gradually realize that it looks the same no matter where you decide to explore, with no surprises to be found after your first visit. There is only so much dark crimson and orange a player can take before it loses its charm. Which leads us to the topic of the game's main quest and the reason for entering the Oblivion gates in the first place.
[...] Oblivion starts off with your character in prison, a common theme in the Elder Scrolls series, before once again becoming entangled in a secret mission assigned to you by the Emperor. However, this is the last time he's going to get you involved in one of his schemes, as he is assassinated by daedra worshippers in front of your eyes. These cultists murder the Emperor because of his never-before-seen daedra-stopping magical powers, and now there's an invasion that only the last surviving descendant of the Emperor can stop with his magical bloodline powers. Note: You are not the Emperor's last surviving descendant, but rather his chosen fetch quest participant. While the last descendant is hanging out and training (which should totally have been shown as an 80s-style training montage), your character has to ensure that all of the actual work gets done for his final confrontation with the daedra leader. It's a generic, lazy, and forgettable plot, with only a few bright spots that stand out like jewels in dust.
Pete & Todd (Podd? Tete?) won in the end...
