You're Playing Starfield Wrong, But It's Not Your Fault
On paper the storyline of is the most compelling of any Bethesda RPG to date, but the game’s evident fear of any linear elements hurts the presentation, limiting players’ emotional investment. With any form of fiction, there is a difference between story and storytelling. The plot of is an ambitious space opera, full of twists and turns and emotional moments. Those narrative beats fail to land as well as they should, since eschews cinematic presentation to maintain player freedom. It contains a good story that is told poorly, leaving with wasted potential, which could have been improved on if the game had been more linear.
From the game’s opening segment when a seemingly unremarkable miner discovers a mysterious artifact, there is a disconnect between and more narrative focused games. Giving players control of their character quickly is a good way to draw them into the game. Key events in games are typically highlighted with bespoke cutscenes, however, not simply using the standard game interface. Games like include ample opportunity for player driven gameplay, but they also know when to take a more cinematic approach, showcasing pivotal moments with the presentation of a Hollywood film. Limiting players’ options is fine, when the story calls for it, but rarely does.
Related: «An Instant Classic»: Starfield Review
For those who do follow the main quest line, they will encounter "," a mission where toys with player emotions by killing off the companion the player has developed the deepest bond with. This slain ally will later be revealed as the true identity of The Emissary, as an alternate universe version passed through The Unity and emerged as a Starborn. The emotional rollercoaster would hit harder if players did
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