Starfield Pre-Release Thread [GAME RELEASED, GO TO NEW THREAD]

[Forest Dweller]

Wonder who Chris is.

 

[Orud]

In my experience, Oblivion probably had the best quality of mods.

I think Skyrim's the best and broadest. It's just that Skyrim has a metric more ton of porn mods to sift through.

 

[Moink]

I'm personally a fan of Fallout NV modding, it has a fair few standalone "module" style mods of varying quality like New California or the not-yet-released Nuevo Mexico on top of the regular new guns/immersion stuff.

Did Fallout 4 have the same level of mod support as Skyrim? There is so much variety in the Skyrim modding scene it's almost more difficult to try to find a concept for a mod someone hasn't tried to execute. I didn't think Fallout 4 had the same level of devotion dedicated to it. It's kind of odd, because Skyrim as an RPG wasn't really anything exceptional but the amount of modding it got was unlike anything in a Bethesda game before and I'd wager, we won't see anything on the same scale again unless Bethesda can harvest a whole new bunch of autists.

There's a lot of complex mods for 4 but all the choices really boil down to "do you turn the game into STALKER or do you turn the game into STALKER but with barbie dolls".

​

 

[M. AQVILA]

I hate LBD. Due to the nature of it you always end up with specialized characters and hybrids are nearly always penalized. Want to use a bit of magic with your melee build? Well, hope you're happy being able to light candles while slaying gods with your melee weapon.

Why do you say that? That's not my experience at all, quite the opposite. In the TES games, the most effective builds are all hybrids. The only con is that you'll get penalized for not focusing on very few skills, mostly at low levels. But you could very well focus on a combat skill and a magic skill and be strong.

 

[Infinitron]

https://www.gq-magazine.co.uk/article/starfield-todd-howard-interview

“I thought we would find the answers faster,” Howard admits, explaining that Starfield only “clicked” into feeling fun to play as late as last year. One public delay (and several private ones) prolonged things further. “It's the game flow,” he says. “We whittle away on these lumps of clay, and make them better. But there’s a magic to that.”

Oh dear.

lmao:

Todd Howard is to games what Tom Cruise is to cinema. He cackles when I suggest this theory to him. Slight, boyishly handsome, sharp-jawed and tousle-haired, he has the look of classical antiquity. As the studio’s leading man since the early noughties, he has become a semi-mythical figure to gamers, who hang off his every word. Now 52 years old, the only real sign of him being flesh and bone are some faint bags under his sea-blue eyes. He is reserved but not at all shy, talkative but never all that forthcoming – especially about his life outside of games. And, like Cruise, he is innately, intensely curious about the creative process. In a 2005 behind-the-scenes documentary on The Elder Scrolls 4: Oblivion, he’s seen continually questioning designers and artists to satisfy his own wonderings.

Inside Starfield: how Bethesda's “NASA punk” epic became the biggest Xbox game in a decade​

After buying publisher Bethesda Softworks for nearly $7.5 billion, Microsoft secured Starfield as an Xbox exclusive. But the team behind it didn’t just build a world, they built a galaxy – one that could turn the tide for a console generation.

One blink could break the galaxy. It is a midsummer’s evening in suburban Rockville, Maryland, at the end of a 10-year journey. One of 2023’s biggest games, the space-hopping hype-beast Starfield, is just over a month away. But its legendary director, Todd Howard, the man responsible for creating several of the most successful RPGs in video game history, has realised that the protagonist’s eyes aren’t working properly. He is demonstrating this to me over dinner – tacos al pastor and sickeningly sweet passionfruit margaritas. He blinks quickly three times. Once slowly. Then, he closes his eyes.

He sits for a bit, unnervingly still. The waitress definitely just clocked him. He opens them again.


“See?”
Game development is unpredictable. The more ambitious you go, the more unpredictable it gets. With a galaxy the size of Starfield’s – some 100 stars and 1,000 planets – even seemingly minuscule changes to the game’s code can have vast consequences. This close to launch, the team treats every small bug (even ones you’d only notice when the game’s director acts them out for you in the middle of a packed restaurant) with the utmost caution.
Bethesda Game Studios has few comparisons. In a single nine-year period it released 2006’s The Elder Scrolls IV: Oblivion, which redefined open-world role-playing games; 2008’s Fallout 3, a post-apocalyptic romp so good that Westworld’s creators are adapting it for TV; 2011’s The Elder Scrolls V: Skyrim, the seventh best-selling video game of all time; and 2015’s Fallout 4, which made $750 million on launch day. Greta Gerwig’s Barbie needed two weeks to surpass that figure. All four games have won countless awards. A two-storey cabinet in the studio is overflowing with them.

But in 2018, the streak ended. The studio’s multiplayer experiment, Fallout 76, had a disastrous launch. Released in a notoriously bad technical state (hence the entire year of polish that’s been committed to Starfield), the game was fundamentally broken and widely panned. “It's very difficult when your intentions don't necessarily match with reality,” says studio director Angela Browder of the reaction to the game, “but what I focus on is that we can be really proud of how we responded. That's how you show what kind of studio you are.”

Concept art for Akila City: the home of the Freestar Rangers, and Starfield's take on the space Western.
WATCH


BGS has fixed Fallout 76 over the last five years, but Starfield can’t afford to make the same mistakes. It’s the team’s first original universe in more than a quarter of a century (Browder calls it a “once-in-a-lifetime thing” to make a new IP at this scale), so BGS has never had such anticipation and scepticism focused on one game. In many ways, the reputation of the studio is at stake. And to heighten the tension, no one has played it. Until two months ago, the public had barely seen the game in action at all, besides short trailers.
The pressure of that unknown is further compounded by Microsoft’s $7.5-billion purchase of the studio and its parent publisher in 2021 – close to the $8 billion Disney spent to acquire both Marvel and Star Wars. That unprecedented spending spree was meant to give Xbox’s exclusives the legs to stand against Sony, whose own PlayStation Studios have dominated gaming over the last decade. The last time Xbox had a game capable of shifting the cultural needle in the same way as The Last of Us Part II or God of War Ragnarök was 2007’s Halo 3. That lull has turned Starfield from a major title – one that has topped the Steam wishlist charts for months – into the most important game for Xbox in 16 years.
As a result, the nerves are palpable. Production director Andrew Scharf uses his preschool kid’s portmanteau “scare-cited” to describe his mix of emotions. But there is pride more so. Eight hours playing Starfield shows why – the game is the team’s most polished, ambitious in scope and original in tone in recent memory. Lead animator Rick Vicens tells me that he’s ready to go.
Would you release it today?
“Fuck yeah.”

---

Todd Howard is to games what Tom Cruise is to cinema. He cackles when I suggest this theory to him. Slight, boyishly handsome, sharp-jawed and tousle-haired, he has the look of classical antiquity. As the studio’s leading man since the early noughties, he has become a semi-mythical figure to gamers, who hang off his every word. Now 52 years old, the only real sign of him being flesh and bone are some faint bags under his sea-blue eyes. He is reserved but not at all shy, talkative but never all that forthcoming – especially about his life outside of games. And, like Cruise, he is innately, intensely curious about the creative process. In a 2005 behind-the-scenes documentary on The Elder Scrolls 4: Oblivion, he’s seen continually questioning designers and artists to satisfy his own wonderings.
That curiosity pushed him to take art classes alongside his business degree at the College of William & Mary in Williamsburg, Virginia. Despite the business major, he had always wanted to make games (he remembers giving an impassioned speech to his parents about how CD-ROM was going to “change the way people view electronic entertainment”) so he learned to program and understand code. He even did the sound for 1996’s The Elder Scrolls 2: Daggerfall. “I understand just enough of every part,” he says of game development. “Everybody else is better at it, but I can at least ask the right questions.” It has made him a supremely successful director. His 2017 induction into the Academy of Interactive Arts & Sciences Hall of Fame put him in the pantheon alongside the likes of Super Mario creator Shigeru Miyamoto and Metal Gear Solid auteur Hideo Kojima. “Todd’s clarity about mining universal fantasy in the most ambitious yet accessible way possible is a gift,” Harvey Smith, creator of the critically acclaimed Dishonored games, tells me.

Todd Howard on stage at Bethesda's E3 2019 keynote.
Howard has been looking up at the stars since he was a kid. His older brother was born on 20 July 1969 – the day Apollo 11 landed on the Moon – and his grandfather lived close to Cape Canaveral when he was growing up. “It was always kind of unbelievable to me that mankind had done this,” he says of space exploration. “The idea that we’re still searching, still finding.” Next, he’s bouncing onto the formation of the universe, whether or not we’re alone (“implausible”), how he hopes we discover alien life before he dies, and if the world is a computer simulation.

Its biggest design flaw? “Death.”
Nowadays, he wears an Omega Speedmaster – colloquially known as the Moonwatch after Neil Armstrong took “one giant leap” while wearing one. It was a gift from Howard’s wife and “high-school sweetheart”, Kim, after he made the Hall of Fame. She knew he’d never buy it for himself. His love of a watch that’s tied intrinsically to space even inspired Starfield’s Constellation watch – the timepiece you receive upon joining the game’s central group of explorers.
As for actually going to space himself? “I’ve been offered in the past,” he reveals, semi-casually. "I think it would be amazing, but… maybe when I’m older.”
Angela Browder can’t contemplate any of it. “Oh, I'm scared shitless of space,” she says. “I. Don't. Understand. Why-people-want-to-go-to-space!”

---

Codenamed Genesis – jointly inspired by the Bible and Star Trek II: The Wrath of Khan – Starfield formally came to life a decade ago. Howard loved the name so much that he trademarked it before anyone else could. It was 2013, two years before finishing development on Fallout 4, and he had to answer “the big question mark” of what the studio would commit centuries of manpower to make next. “We realised if we didn’t make Starfield the next thing,” he says, “we’d probably never do it.”

The game has taken eight years. Very few studios other than Rockstar, whose Red Dead Redemption II was in development for an identical period, get so much time to figure things out. “I thought we would find the answers faster,” Howard admits, explaining that Starfield only “clicked” into feeling fun to play as late as last year. One public delay (and several private ones) prolonged things further. “It's the game flow,” he says. “We whittle away on these lumps of clay, and make them better. But there’s a magic to that.”
Design director Emil Pagliarulo likens pre-production to “the land of milk and honey” compared to the harsh reality of making a game where entire new technologies had to be coded and designed from nothing. The team used real positional data from the Milky Way to structure the game’s Settled Systems – one day, Howard found a designer hanging balls from the ceiling of his office like a model galaxy. The massive world you explore has more dialogue than Skyrim and Fallout 4 combined, and its complex interlocking web of art and new tech (a major challenge for the team was how to generate an entire explorable planet) meant it was years before the game took any tangible shape. “When you’re making a lot of content, and you can't see the work on the screen, it’s really hard,” Howard says. He summarises imagining a universe from nothing, down to the mundane. “We had to concept art the trash cans.”

Bethesda created some 100 stars and 1,000 planets to explore in Starfield, each with independent orbits, weather, creatures and discoveries.
Starfield is science fiction at its most romantic – the warmth of golden-age 1960s space aspirations in its heart, and the familiar feel of a BGS game in its veins. Art director Istvan Pely coined the term “NASA Punk” for its visual language – all clunk and clutter. “There aren’t holograms everywhere. It's got buttons. They're tactile. You want to press ’em,” he says, squishing the air with his thumb. “Don’t think of it as futuristic. Think of it as a period piece. These are things that happened.” Despite setting the game 300 years in the future, he didn’t want it to feel like humanity had changed its nature: “People are still people. They’re still messy.”




The game’s physical form is contrasted by its existential spirit. Pagliarulo, who’s responsible for overseeing all the writing and quest design, is a raised-Catholic Southie from Boston. “I swear to God, I’ve never reflected so much while making a game,” he says. He’s not been practising religiously for the longest time, but Starfield still push-pulled him from atheist to agnostic and back again throughout the development process. “Is there anything out there but blackness? We're tackling some pretty big themes that your average shooter probably doesn't get into,” he says. “It’s really affected me personally.”

---

Your quest begins, like in every BGS game, with a choice: who are you? An explorer charting distant worlds, maybe? Perhaps a space scoundrel greying the line between right and wrong?

From how you look to the skill traits and backstory perks you choose (like having parents on a distant world, or a parasocial superfan following you around), Starfield delivers BGS’ most immersive role-playing since 2006’s Oblivion. It gives you the flexibility and options to carve out a unique identity, and even adds a unique and exciting twist on New Game+ to incentivise continued and repeat play. The team did, initially, record player character dialogue, like in Fallout 4, but eventually stripped it out – having a preset voice and intonation took too much from role-playing whoever you want to be. Pagliarulo puts my imagination to shame by describing the last three distinctly different characters he rolled – each with their own self-imagined backstories and compelling headcanon to inform his play style. The latest he named The Red Baroness.
I confess I named my character Sam.
After an atmospheric introductory mission, which sets off the game’s main quest to investigate mysterious artefacts across the galaxy, you get your first spaceship – the Frontier – and meet your first companion – the robot Vasco who calls me “Captain Sam”. I could go anywhere, but I head for the sprawling city of New Atlantis, on the planet of Jemison, in the Alpha Centauri system. As the Frontier blasts off into orbit for the first time, its afterburners pop like an intergalactic Jaguar. Audio director Mark Lampert steered well clear of the “glowing purple sparkles” of cleaner sci-fi to give the game’s sound the same physical heft as its sights. Take, for example, a laser weapon. “What does it really do?” he asks. “It produces a white-hot beam that's going to superheat the air. It's going to be a clap of thunder that hits you in the chest.” The trick, he says, is to make that feel good. “Then you can sprinkle some sci-fi on top.”
Looking around inside the ship, Howard gets me to go into photo mode. “Zoom in on that a second,” he asks, pointing at one of the panels on the walls, “because this is where Istvan is a fucking genius.” Every knob, button and screen has minuscule hand-crafted icons and scripture. Howard is standing up now, arms outstretched in front of me. “That is mental!”

Concept art for Starfield's main quest, which sends you to investigate gravitational anomalies across the galaxy.
I see that same intricacy everywhere. New Atlantis is the densest city the studio has ever created. With bustling streets, shiny skyscrapers and distinct areas both above and below ground, I see barely any of it. “A real city isn't just designed and built, it evolves over time,” Pely says. “It's not just a singular designer's vision, because then it's not going to feel real. It's going to feel like a theme park.”
It’s in the upper district of the city that you meet Constellation, the game’s Victorian-esque space explorer organisation and the main propellers of the central story. Outside their base, The Lodge – essentially an early-1920s-era Soho House, all chintz and log fires – there’s a whole raft of opportunities. I get distracted by a museum, where I catch up on three centuries of human history: a devastating Colony War, the fate of Earth, and the mystery of the Terrormorphs, the game’s main alien threat. Within 45 minutes I have 12 new quests leading me off-world. One has me smuggling contraband from the mining colony of Cydonia, on Mars, to gain the trust of the deadly Crimson Fleet. Smuggling is an entire subsection of the game, and Howard and Pagliarulo are particularly excited about the “Donnie Brasco vibe” of that questline. Another sends me to hunt space pirates in low gravity on the frozen plateaus of Europa. As I boost to huge heights using my rocket backpack, the combat has the responsive freneticism of something like Destiny rather than Fallout.
All the locations and cultures – from the military order of New Atlantis all the way to the cyberpunk underworld of the city of Neon – offer the broadest palette that BGS has ever painted. It took a long time to nail the variety of distinct flavours and storylines, inspired by all corners of the sci-fi genre, from Battlestar Galactica to Star Wars and even to Deadwood in space, but also keep it cohesive. “We have this ability to affect a player on both an emotional and intellectual level, and you're constantly deciding which one to do,” Pagliarulo says. “Go too far down the emotional path and it can get cringy. Go too far into the intellectual and it becomes too pointy-headed.”

The biggest mutation in the studio’s DNA is a new way of exploring. Because of the nature of spreading a universe across dozens of planets, exploration is both broader and more transient than the open-worlds of previous BGS games. Howard admits he’s not sure whether everyone will like the change in rhythm. “It’s not the same as dropping you in a world like Skyrim,” he says. “You wander totally differently.” But it’s in those moments of wandering where the game can be the most empty, and the most beautiful. All of the tech and art comes to fruition when I land on a distant world and step out of my ship. “I think that moment works almost every time,” Howard says, as a distant gas giant rises above the horizon. Every planet and moon in the game has its own time, orbiting their stars independently. “When you’re looking over the landscape and the star is setting. That’s all somewhat simulated. In this game it just happens.”

---

As you walk into Todd Howard’s pristine triangular office, styled like a utopian vessel – all white walls and oak floors – there’s a metre-high model of a Space-X prototype signed by Elon Musk. Downstairs, there’s a floor-to-ceiling stone mural from Skyrim and a towering suit of power armour from Fallout. Howard has been at BGS almost three decades now – it’s the only place he’s ever worked. The studio is somewhat unusual in the world of video games. People just… don’t leave. The combined tenure of the seven people I speak to is well over a century. Browder, who has been here 18 years herself, recognises the cliché but compares it to family. This team has grown up together – kids’ parties and weddings.

“It’s weird for me,” Howard says, when I ask how he feels when he contemplates retiring, “but that’s a long, long way off.” He will likely be 60 years old by the time The Elder Scrolls VI comes out. Succession planning is kind of a constant thing. “I want to do it forever,” he continues. “I think the way I work will probably evolve, but… look at Miyamoto.” The Nintendo icon turned 71 this year. “He’s still doing it.”

Players traverse the galaxy in Starfield by grav jumping between constellations in their spaceship, the Frontier.


Howard is showing no sign of slowing down. As well as executive producing the Fallout show, he’s midway through executive producing an Indiana Jones game – a “bucket-list thing” for a man whose favourite movie is 1981’s Raiders of the Lost Ark. It’s developed by MachineGames, the team behind Wolfenstein. “They’ve got the whole Nazi killing thing down,” he says, “and they’re doing a really great job.”
And then there’s The Elder Scrolls VI – perhaps the only game to rival Grand Theft Auto VI for sheer anticipation. Once again, he’ll direct. It will mark his fourth time at the helm of the series; it’s one he has overseen since 2002’s The Elder Scrolls III: Morrowind. The team announced the game five years ago, on the same night as Starfield. It was a decision spurred on by the then-trend of Marvel movies being announced in slates, years ahead of even materialising. By the time the game is finally finished – probably 2028, but it’s anyone’s guess – it’ll be closing in on two decades since the release of Skyrim.
Do you regret announcing that when you did?
“I have asked myself that a lot,” he says, slowly. “I don’t know. I probably would’ve announced it more casually.”
Does it have a codename?
“It does.”
Do you like saying it out loud?

He laughs. “I do.”
But you won’t say it to me?
“I won’t.”
Is there anything you can tell me about what you want to achieve with it?
“It’s like… I don’t want to answer, but I want to be polite. I will say that we want it to fill that role of the ultimate fantasy-world simulator.” He pauses for a moment. “And there are different ways to accomplish that given the time that has passed.”

Following Starfield's release, Howard will move on to executive producing an Indiana Jones game and directing The Elder Scroll VI.


For now, the team is still “checking under every rock” to get Starfield prepped for launch – fixing blinks. He has a mantra: great games are played, not made. So, they play it. Day in, day out. This year alone, Baldur’s Gate 3 and The Legend of Zelda: Tears of the Kingdom have offered wildly acclaimed and contrasting takes on the role-playing genre. Can Starfield push it forward in the same way? “I don't think about it in those terms," he says. “I think about it in our terms. How does it push our games forward? This takes it all to a level that we weren't sure even that we could do. This type of game is still unique. When it clicked, and we could play it, we realised we had missed it. No one still does this.”
I think it might be an age thing, but Howard is starting to see “this” differently. Essentially, he’s learning to love the making. “We don’t get many of these in our careers – we don’t get many shots,” he says. He used to work to get a game done – seeing it complete. That can be unhealthy. “How people are going to feel about the game can kinda tie you up. But then you realise how much we love it. We’ve got to find a way to enjoy and embrace it, so that we can look back and think, ‘That was good for us.’”
Toward the end of our time together, he tells me this process – of sitting down to talk about the game, how it’s affected his life, and the “can Starfield really deliver?” of it all – has forced him to be unusually reflective. But, in a comforting sort of way, it’s the same as it ever was. He casts back to 2008, when the team were in the midst of finishing Fallout 3. His family – Kim and his two young sons – were going on holiday without him. “My wife was saying goodbye to me,” he says. “It still sticks with me.”

What did she say?
“This game better be really good.”

 

[None]

Fix your quote Infinitron, unless you intended to post the same 3 picture-article-links 6 separate times.

 

[Orud]

Why do you say that? That's not my experience at all, quite the opposite. In the TES games, the most effective builds are all hybrids. The only con is that you'll get penalized for not focusing on very few skills, mostly at low levels. But you could very well focus on a combat skill and a magic skill and be strong.

The only TES game where that is true is Skyrim.

• Oblivion's leveling is fucked in such a way that if you don't specialize the enemy scaling will tear you a new asshole.
• Morrowind comes close, I guess, since the strength of magical items and alchemy means you can make any build work. Leveling is fucked unless specializing, however.
• Daggerfall requires specialization, else you won't be able to level. This is because your level is determined by highest 3primary/2major/1minor. If you don't pick what you're going to 'play' as your top skills, you're not going to level unless you just go to trainers.

 

[soutaiseiriron]

Todd Howard is to games what Tom Cruise is to cinema. He cackles when I suggest this theory to him. Slight, boyishly handsome, sharp-jawed and tousle-haired, he has the look of classical antiquity. As the studio’s leading man since the early noughties, he has become a semi-mythical figure to gamers, who hang off his every word. Now 52 years old, the only real sign of him being flesh and bone are some faint bags under his sea-blue eyes. He is reserved but not at all shy, talkative but never all that forthcoming – especially about his life outside of games. And, like Cruise, he is innately, intensely curious about the creative process. In a 2005 behind-the-scenes documentary on The Elder Scrolls 4: Oblivion, he’s seen continually questioning designers and artists to satisfy
his own wonderings.

i came

 

[Grauken]

Todd Howard is to games what Tom Cruise is to cinema.

If that means Todd's latest game will be as successful as Tom Cruise's latest movie, I have some bad news

 

[deuxhero]

He's as short as Cruise.

 

[Butter]

He's as short as Cruise.

IDK. It's hard to judge somebody's height on the TV, but I'm pretty sure Tom Cruise isn't 6'3".

 

[Crispy]

Mission Impossible IX

See that plane? You can jump from it.

 

[Alienman]

Stream yourself playing with one of your stolen products.

< Sneak reduced to 1 >

 

[M. AQVILA]

The only TES game where that is true is Skyrim.

• Oblivion's leveling is fucked in such a way that if you don't specialize the enemy scaling will tear you a new asshole.
• Morrowind comes close, I guess, since the strength of magical items and alchemy means you can make any build work. Leveling is fucked unless specializing, however.
• Daggerfall requires specialization, else you won't be able to level. This is because your level is determined by highest 3primary/2major/1minor. If you don't pick what you're going to 'play' as your top skills, you're not going to level unless you just go to trainers.

Skyrim is the best representation of the LBD progression. You can increase any skill you want as you play, with the higher the level of the skill you increase, the faster your character levels up. The only downside is that you can't set a background like in Daggerfall, with race being the only thing that changes your starting skills. Even in Morrowind and Oblivion, the major and minor skills system serves as somewhat of a background. I never really liked those two games' leveling system though, but I consider the streamlining of Oblivion's leveling system to be an improvement.

Also what do you mean exactly by "specialization"?

The most OP class that I know in Daggerfall is the spell absorption battlemage. In other words, a combat and magic hybrid build. Likewise in Morrowind the most OP build is the Breton atronach battlemage, magic and combat.

In Oblivion and Skyrim it's the stealth archer (archery+sneak), a combat and stealth hybrid build in Skyrim (but not Oblivion). But the thing is, the skills that pair well with that build are illusion and conjuration; which are magic skills.

Maybe I'm misunderstanding you or missing something, but I don't see how those games require specialization.

 

[soutaiseiriron]

Morrowind comes close, I guess, since the strength of magical items and alchemy means you can make any build work. Leveling is fucked unless specializing, however.

Levelling is fucked if you specialise *too much* in MW. One hit is one point toward levelling a weapon skill, so each level up will end up with 8/10 ticks being your fucking long blade and nothing else, meaning your level up attributes will have nothing but 4x or 5x strength and maybe a pittance of int from alchemy or occasional alteration casts or some shit. This entirely forces you into throwing billions into trainers for your untagged skills in a desired attrib two dozen times each level so you get any semblance of attribute points in other shit, even if you don't want to use those untagged skills you're training at all. A knight might not need any light armour or sneak at all, but where the fuck else is he going to get his 5x agi tag each level up so his hitrate isn't 5% by the time levelled lists are throwing daedra at him?

 

[deuxhero]

The only TES game where that is true is Skyrim.

• Oblivion's leveling is fucked in such a way that if you don't specialize the enemy scaling will tear you a new asshole.
• Morrowind comes close, I guess, since the strength of magical items and alchemy means you can make any build work. Leveling is fucked unless specializing, however.
• Daggerfall requires specialization, else you won't be able to level. This is because your level is determined by highest 3primary/2major/1minor. If you don't pick what you're going to 'play' as your top skills, you're not going to level unless you just go to trainers.

Skyrim is the best representation of the LBD progression. You can increase any skill you want as you play, with the higher the level of the skill you increase, the faster your character levels up. The only downside is that you can't set a background like in Daggerfall, with race being the only thing that changes your starting skills. Even in Morrowind and Oblivion, the major and minor skills system serves as somewhat of a background. I never really liked those two games' leveling system though, but I consider the streamlining of Oblivion's leveling system to be an improvement.

Also what do you mean exactly by "specialization"?

The most OP class that I know in Daggerfall is the spell absorption battlemage. In other words, a combat and magic hybrid build. Likewise in Morrowind the most OP build is the Breton atronach battlemage, magic and combat.

In Oblivion and Skyrim it's the stealth archer (archery+sneak), a combat and stealth hybrid build in Skyrim (but not Oblivion). But the thing is, the skills that pair well with that build are illusion and conjuration; which are magic skills.

Maybe I'm misunderstanding you or missing something, but I don't see how those games require specialization.

In Arena the best class is Mage because of how stupidly easy it is to make magic absurd (temp HP that last literally forever if not destroyed, easy to obtain 100% absorb, can literally just delete sections of dungeon, free unlock spell renders lockpicking ability pointless etc.) and infinite, cheap, weightless, instant full mana potions. Hybrid mage is clear second place though. Game is extremely difficult to play without a magic using class since Light, Levitate, resist fire (for lava), and a few other utility spells are critical if not literally essential at points (you could theoretically get a magic item, but it would be very expensive and tedious for something you flat out need so much)

Morrowind comes close, I guess, since the strength of magical items and alchemy means you can make any build work. Leveling is fucked unless specializing, however.

Levelling is fucked if you specialise *too much* in MW. One hit is one point toward levelling a weapon skill, so each level up will end up with 8/10 ticks being your fucking long blade and nothing else, meaning your level up attributes will have nothing but 4x or 5x strength and maybe a pittance of int from alchemy or occasional alteration casts or some shit. This entirely forces you into throwing billions into trainers for your untagged skills in a desired attrib two dozen times each level so you get any semblance of attribute points in other shit, even if you don't want to use those untagged skills you're training at all. A knight might not need any light armour or sneak at all, but where the fuck else is he going to get his 5x agi tag each level up so his hitrate isn't 5% by the time levelled lists are throwing daedra at him?

Morrowind's need for training seems to be by design. It's repeatedly and explicitly referenced in dialog that money should be used for training, with very little mention made for gear in comparative.

 

[Hace El Oso]

Levelling is fucked if you specialise *too much* in MW. One hit is one point toward levelling a weapon skill, so each level up will end up with 8/10 ticks being your fucking long blade and nothing else, meaning your level up attributes will have nothing but 4x or 5x strength and maybe a pittance of int from alchemy or occasional alteration casts or some shit. This entirely forces you into throwing billions into trainers for your untagged skills in a desired attrib two dozen times each level so you get any semblance of attribute points in other shit, even if you don't want to use those untagged skills you're training at all. A knight might not need any light armour or sneak at all, but where the fuck else is he going to get his 5x agi tag each level up so his hitrate isn't 5% by the time levelled lists are throwing daedra at him?

I have to say, I actually liked that leveling in Morrowind was so particular that you would end up going on a pilgrimage, chasing down rumours of a Grand Master of Cutlery in some tomb or seedy backwater tavern at the end of the world.

 

[soutaiseiriron]

It's repeatedly and explicitly referenced in dialog that money should be used for training

Silly me, I really am a dumb cocksucker. I should have just known to train how to pickpocket better so my sword doesn't hit the air 80% of the time.

with very little mention made for gear in comparative.

Because they couldn't figure out a decent economy and levelled trader lists were too much work at the time, I guess. Your only real source for gear upgrades is whatever the levelled enemy lists and RNGesus throws at you, and that's just garbage.

 

[Late Bloomer]

 

[Zombra]

Some blanks filled in by a leak, complete list of all Traits and Backgrounds with descriptions and associated Skills. source

Spoiler

Complete Trait and Background list based on new leak

Traits
Alien DNA
You volunteered for a controversial experiment that combines alien and human DNA. As a result, you start with increased health and oxygen, but healing and food items aren't as effective.

Dream Home
You own a luxurious, customizable house on a peaceful planet! Unfortunately it comes with a 125,000 credit mortgage with GalBank that has to be paid weekly.

Empath
You are deeply connected to the feelings of others. Performing actions your companion likes will result in a temporary increase in combat effectiveness. But, performing actions they don't like will have the precise opposite effect.

Extrovert
You're a people person. Exerting yourself uses less oxygen when adventuring with human companions, but more when adventuring alone. (Incompatible with Introvert)

Freestar Collective Settler
You gain access to special Freestar Collective dialogue options, and better rewards from some missions given by the faction. But, crime bounty towards other factions is greatly increased. (Incompatible with Neon Street Rat, United Colonies Native)

Hero Worshipped
You've earned the attention of an annoying "Adoring Fan" who will show up randomly and jabber at you incessantly. On the plus side, he'll join your ship's crew and give you gifts...

Introvert
You really need your alone time. Exerting yourself uses less oxygen when adventuring alone, but more when adventuring with other human companions. (Incompatible with Extrovert)

Kid Stuff
Your parents are alive and well, and you can visit them at their home. But you will automatically send 2% of your credits home to them every week.

Neon Street Rat
You grew up on the mean streets of Neon. You gain access to special dialogue options, and better rewards from some missions on Neon. Crime bounty by other factions is greatly increased. (Incompatible with Freestar Collective Settler and United COlonies Native)

Raised Enlightened
You grew up as a member of the Enlightened. You gain access to a special chest full of items in the House of the Enlightened in New Atlantis, but lose access to the Sanctum Universum chest. (Incompatible with Raised Universal and Serpent's Embrace)

Raised Universal
You grew up as a member of the Sanctum Universum. You gain access to a special chest full of items in the Sanctum Universum in New Atlantis, but lose access to the House of the Enlightened chest. (Incompatible with Raised Enlightened and Serpent's Embrace)

Serpent's Embrace
You grew up worshiping the Great Serpent. Grav jumping provides a temporary boost to health and oxygen, but health and oxygen are lowered if you don't continue jumping regularly - like an addiction. (Incompatible with Raised Enlightened and Raised Universal)

Spaced
Your body has become acclimated to space. Health and oxygen are increased when in space, but decreased when on the surface. (Incompatible with Terra Firma)

Taskmaster
Occasionally, if you have crew trained in a certain ship system, that system will automatically repair itself to full health whenever it is damaged below 50%. However, all crew cost twice as much to hire.

Terra Firma
You've never acclimated to space. Health and oxygen are increased when on the surface, but decreased when you're in space. (Incompatible with Spaced)

United Colonies Native
You gain access to special United Colonies dialogue options, and better rewards from some missions given by the faction. However, crime bounty by other factions is greatly increased. (Incompatible with Freestar Collective Settler and Neon Street Rat)

Wanted
Someone put a price on your head, and word has spread. Occasionally, armed mercenaries will show up and try to kill you, but being cornered gives you an edge - when your health is low, you do extra damage.

Backgrounds
Beast Hunter
From the Ashta of Akila to the Terrormorphs that plague the whole of the Settled Systems, hostile alien life abounds. You've learned the skills to track them, find them, and take them down. Skills: Fitness, Ballistics, Gastronomy

Bouncer
You've worked the line at the toughest clubs in the Settled Systems. Back then, you learned that most non-lethal confrontations can be solved one of two ways: a strong right hook, or a more strongly secured door. Skills: Boxing, Security, Fitness

Bounty Hunter
Wherever there are wanted individuals, there are those who profit from their capture. And your quarry knows that in the vastness of space, they can run... but they can't hide. Skills: Piloting, Targeting Control Systems, Boost Pack Training

Chef
While the unrefined masses scarfed down Chunks by the shipload, you catered to those with a more... discerning palate. In your kitchen, countless alien species became true culinary masterpieces. Skills: Gastronomy, Dueling, Scavenging

Combat Medic
Leave it to human beings to fight over something as infinite as outer space. That's where you come in. You've never been afraid to take on the enemy... but you'd much rather take care of your friends. Skills: Pistol Certification, Medicine, Wellness

Cyber Runner
From Neon to New Atlantis, the megacorps stand as monuments to power, prestige and profit. You've worked both for and against them, on the inside and out, often sacrificing conscience for credits. Skills: Stealth, Security, Theft

Cyberneticist
Robots? Mere toys. Neuroamps? Good for parlor tricks. The Colony War may have made implants and upgrades available to veterans, but you once saw a greater future. Humans and machines, as one. Skills: Medicine, Security, Lasers

Diplomat
The wars are over. Peace now reigns in the Settled Systems. But only because there are those quietly fighting to keep it. Because of you, agreements were signed, words were heeded... lives were spared. Skills: Persuasion, Commerce, Wellness

Explorer
They said exploration is a lost art. You didn't listen. As the major factions argued over the space they desperately tried to control, you were busy uncovering the wonders of the Settled Systems. Skills: Lasers, Aerodynamics, Surveying

Gangster
You were always disgusted by suckers killing themselves to make an "honest wage." As soon as you were old enough to hold a weapon, you took what you wanted from anyone unlucky enough to have it. Skills: Shotgun Certification, Boxing, Theft

Homesteader
The discovery of the Settled System' many oxygen-rich planets and moons meant humans could live just about anywhere...if they had the know how. You did, and utilized it to great effect. Skills: Geology, Surveying, Weight Lifting

Industrialist
There was a time when all you wanted to be was a titan of industry, maybe a ship designer or megacorp exec. Thankfully, that skillset never goes out of style in the settled systems. Skills: Persuasion, Security, Research Methods

Long Hauler
Let those other hothead pilots obsess over laser weapons and maneuverability. You're a space trucker, pure and simple. Pack the cargo, get it there fast, get paid, repeat. Life is simple and good. Skills: Weight Lifting, Piloting, Ballistic Weapon Systems

Pilgrim
Wayfarer, wanderer, seeker...transient. You've been called many things during your travels, and learned something those others could never understand - the journey IS the destination. Skills: Scavenging, Surveying, Gastronomy

Professor
You've always enjoyed learning, but nothing could compare to the joy of teaching others. As humankind spread throughout the stars, there was never a lack of knowledge to obtain, and you gladly assisted. Skills: Aerodynamics, Geology, Research Methods

Ronin
Masterless and unbound, you wandered the Settled Systems as a blade for hire. To some, you were a simple mercenary. To others, a hero. And to a select few...a nightmare they could never wake from. Skills: Dueling, Stealth, Scavenging

Sculptor
With your knowledge of anatomy and skilled, steady hands, you could have become a surgeon. Instead, you followed your heart, and created works of art to amaze and inspire. Skills: Medicine, Geology, Persuasion

Soldier
The Settled Systems is no stranger to warfare, and if there's one thing armed conflict relies on it's trained warriors with guns and guts. You had both. Simple, bloody work...and you were great at it. Skills: Fitness, Ballistics, Boost Pack Training

Space Scoundrel
Good? Bad? Whose right is it to say? If there's anything you've learned traipsing through the galaxy, it's this: space may look black, but it's really one shade of grey. Skills: Pistol Certification, Piloting, Persuasion

Xenobiologist
The Settled Systems is home to untold alien species. And while none of them have yet proven sentient, that never deterred you. So you sought out and studied them for whatever gifts they offered. Skills: Lasers, Surveying, Fitness

[File Not Found]
Oddly, there's no information on file about your past life. Clerical oversight? Deletion by some powerful unknown faction? Or was there just nothing of note to mention? Whatever the reason, your past is known only to you. What's important is the here and now, and the path you're about to forge. Skills: Wellness, Ballistics, Piloting

 

[Grampy_Bone]

The enduring criticism of all Elder Scrolls has been that the leveling system allows you to be "good at everything," yet in my own playthroughs of each game I've never found that to be the case. Leveling a full Fighter/Archer/Mage, regardless of game, requires more time and grinding than I've ever cared to spend. It's like saying you can technically max out all skills to 300 in Fallout 2 but the time that would take is so prohibitive no one is going to bother.

Better criticism is to say Skyrim is so easy it doesn't matter what you're good at, the game can be beaten regardless of build.

 

[Gargaune]

Did Fallout 4 have the same level of mod support as Skyrim? There is so much variety in the Skyrim modding scene it's almost more difficult to try to find a concept for a mod someone hasn't tried to execute. I didn't think Fallout 4 had the same level of devotion dedicated to it.

It got the same support from Bethesda, but didn't attract the same following as Skyrim. The Fallout 4 mods selection is immense, probably one of the largest in gaming, but it distinctly lagged behind Skyrim's in scope and variety.

Some people blame Bethesda for withholding the tools for a couple of months post-launch, others the Fallout IP, and others still chalk it up to fantasy vs. science fiction in general, but I suspect there's another major factor at play - cannibalisation. Skyrim's modding scene reached critical mass in its time and simply kept going and going, so once Fallout 4 came out, some modders just stuck around in their already established ballpit and they're still there today.

Starfield runs similar risks and this is also one of the reasons I maintain swapping engines would be nuts - if you already lose modders along the way from one Creation Engine title to another, giving up on the CK altogether would yield a catastrophic dropoff. And mods are the lifeblood of Bethesda games' longevity because, as a wise man once said: See that thing we couldn't be arsed with? You can fix it!

 

[RegionalHobo]

it s funny when todd talks about a bazillion planets he actually kills my hype instead of building it.

gameplay wise i expect the usual bethesda thing, writting wise is where i m curious. will it be as bad as fallout 4? dare i dream that it s close to morrowind?

 

[Late Bloomer]

it s funny when todd talks about a bazillion planets he actually kills my hype instead of building it.

gameplay wise i expect the usual bethesda thing, writting wise is where i m curious. will it be as bad as fallout 4? dare i dream that it s close to morrowind?

You won't need to visit every planet. You will be able to play however thorough or however adhd you want, just like always. The writing will be more robust than Fallout 4 but of the same general quality. I enjoyed Fallout 4 from top to bottom and still play it to this day. If I was in your shoes, I would try to go in with as few preconceived biases as possible and see if you can enjoy the game for what it is. Just use Game Pass on PC (or xbox if you must) so you won't have to worry about being out as much money or having to stay within a 2 hour refund if that is a concern.

 

[Clockwork Knight]

From the way the exploration has been described, you'll be looking out for points of interest, so you'll want to quickly visit lots of planets for a higher chance of running into what you want (and maybe building a house if you like the look of the place, the "Dream Home" background just mentions that your house is "on a peaceful planet" so you get the house immediately but you can't pick the location). Kind of like Mass Effect. Sometimes you just found geth/pirate bases with some loot, sometimes you find an event.