![]() At the opposite end of the spectrum, Elden Ring knows the power of saying nothing, showing just a little, and trusting the player’s curiosity. Ubisoft games do it in the most gauche fashion, turning the map into a ball pit of markers. “See that mountain on the horizon?” Yes mate, let me guess: we can go there right from the start of the game?īut the truth is, there are degrees of subtlety to cresting a hill and seeing something that distracts you away from the critical path. That feels like a slightly obvious thing to say about an open world game now, and indeed it’s been the marketing spiel of many an E3 showfloor developer for years. Oblivion’s central genius is in its topography, and the very careful placement of sites of interest on the map. That’s a hell of a thing for a game that came out during the Blair administration to pull off in these modern times. ![]() Even though I knew every inch of the world map beyond, and all the quests – that one where you’re trapped in a painting, the cult who want to bring back the Deep Ones, all those pearls – I was still buoyed by possibility and wonder. It made me quite excited.Įven though I knew exactly what was about to happen. ![]() That bit where you emerge from the sewers and see the natural beauty of the world map for the first time – you know, the bit? I’ve written about that moment for so many magazines and websites that it should by rights subdue me into a stupor to actually play the thing. What I wasn’t expecting was for Oblivion to hold up on its own terms and enthrall me all over again. I was expecting a nostalgia hit and an afternoon’s fun. It almost feels like a new game, albeit one made from rather rudimentary parts. ![]() It’s so far in the past that the memories I have of it are one sugar-coated glossy haze now, more of a fuzzy feeling than a clear sequence of events. That’s the best explanation I have for why I installed Oblivion again recently. Watch on YouTube Can The Elder Scrolls 6 hold a candle to Oblivion? ![]()
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