Review: The Elder Scrolls IV: Oblivion (page 3 of 6)
Two key moments in the game perfectly illustrate Oblivion's creative genius and broad range of gameplay styles. The first is a side quest where you are dispatched to find an artist who has somehow magically trapped himself inside one of his paintings. You teleport yourself into this painting, upon which you discover that this alternate reality is rendered like an abstract painting. Everything--including the menacing trolls--is rendered in a splotchy, abstract impressionistic manner.
The second moment occurs towards the end of Oblivion's central series of quests. After determining the location of humanity's final stand against the demonic intruders, you and an army of defenders march through town to face these enemies. A crowd assembles to see you off; they wish you well as you move towards the city gates. Once outside the city walls, the king's son gives the assembled army a rousing call to arms, one that is as inspiring as any prior game, movie, or book. And then all hell breaks loose.
I could go on and on about the game, but really, the only way to truly experience the magic of Oblivion is to, well, experience it. PlayStation 3 owners who are skeptical that their six hundred hard-earned dollars were spent in vain or who have already burned through the first wave of primarily action-driven games now have a deep, rich, and meaningful experience to play into. You'd be a fool to miss out on this one.
Pros: Stunning graphics and wide-open gameplay. Fast load times on the PS3. Constant clever gameplay twists.
Cons: Game story is fairly archetypal, even if the execution is anything but. Lacks the appropriate sense of urgency given the stakes.
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