Review: The Elder Scrolls IV: Oblivion (360)

How do you attempt to review The Elder Scrolls: Oblivion? This is something Gamestyle has contemplated since its release - perhaps a more appropriate question should be how do you experience Oblivion? It is a huge, monstrous, overwhelming release: arguably the largest single player game to date. Players can rigorously pursue the main quest with little thought to other aspects, or live the life with little attention to the vacant throne.

The whole adventure begins in a dark, cold prison cell. You are very much in the wrong place at the wrong time. The Emperor makes a dash for freedom through a secret passageway that is conveniently located in your cell. To make matters worse, his premonitions have put you at the centre of stopping the impending assault from hell. At least you have a way out to start your experience.

Bethesda has thrown open the doors and allowed the player to experience a level of freedom rarely seen before. Releases such as KOTOR may have hinted at the possibilities offered by choosing between a good/evil path, but even then the confines and rules are all apparent. In Oblivion even more channels are available, and the freedom to express yourself or find redemption is open to all. From the initial character creation screen, you realise that you are on the threshold of an experience with considerable depth and detail. Once you emerge from the city sewers, that is the end of the linear route - where you go, and what you do, is your decision.

There is much to behold in Oblivion. Yes, it has the emphasis on role playing, building up strengths, exploring dungeons and defeating nasty monsters; but there's more to it than just an RPG. There is a real sense of adventure in wanting to know what lies over that hill and beyond, because in this game you can do just that. You can develop your character in ways that you see fit, with a multitude of races and options at your disposal. This does not have the same effect on game play as the sublime Deus Ex, but gives you some degree of control outside of purely superficial features.

Past releases in the Elder Scrolls series have been created with the PC market firmly in mind. Oblivion is slightly tailored more towards the Xbox 360 platform, and Bethesda has admitted to play testing this release more than any other to create a more balanced and playable experience. Such improvements (no doubt helped by the delayed release) are evident, as Oblivion is far more accessible and feels suited to the controller. Even the menus - which contain a wealth of information - are neatly presented and filed away, lacking the clunky and unfriendly characteristics of previous attempts. The combat system, however, still requires refinement, as it is difficult to attack precisely without swiping a nearby colleague or missing altogether. Even utilising the third person viewpoint highlights the need for a lock-on or aiming feature during swordplay.

Given the existing problems with some Xbox 360 releases, Gamestyle expected more technical issues than we actually encountered. Only on a couple of occasions did Oblivion crash, which is forgivable given the sheer size of the project. Other matters such as floating rocks or characters are disappointing, but never ruin the experience to the extent that fierce critics on the official site imply. Oblivion was never intended to be a fully functional, living, breathing world (there are no schools, children or toilets for starters) but the illusion is very persuasive.

Two evident trade-offs for the console version are the variable frame rate and the environmental magi-growth. The latter is evident outdoors when detail such as plants, grasses and other scenery will become clearer as you approach. Initially it is noticeable, but after a short spell it is relegated from consciousness, as it is constant. More obvious is the stuttering frame rate that can vary greatly, yet as no part of Oblivion relies on speed or handling, it's the correct trade-off to deliver the visual experience. A rock solid frame rate with a limited draw distance would not produce the same visual experience.

And what an experience that is. The scope of Oblivion has created a variety of cities contained within its world, and much more in-between. The level of detail is incredible, as cities are distinctly different, with each having its own renaissance style. Matters only improve when entering structures, with rooms becoming incredibly detailed and dynamically lighted. It is all too easy to apply the same fundamentals to games we have all experienced previously. Just by dashing into and out of a building you are missing an opportunity to explore and appreciate the level of craftsmanship involved in Oblivion. These are not just merely repetitive models used again and again (excluding the Oblivion gates and what lies beyond), that we have seen in other game worlds.

Some repetition does exist with the character models themselves and the voice acting, which is of a decent standard throughout the empire. The musical accompaniment as you’d expect is extremely lavish and orchestral, but never interferes with play. The sound effects increase the sense of immersion into the world of Oblivion.

Just what you gain and experience of this release is down to your preference. However when started, you’ll rarely look at another game for weeks if not months (thanks to the downloadable content) to come and beyond. Oblivion is without question a strong contender for the best game of 2006.

Rating: 9 / 10

Words by Jason Julier