At night, Dishonored's sprawling city of Dunwall looks particularly magnificent. Lit windows dot a canopy of angular roofs and spires, and stacks continuously belch out whale-oil smoke—a signature of the city's bustling industry. It's easy to forget about Corvo Attano's errand of revenge and simply drink in Dunwall's details, but Arkane's journey building Dunwall was a far more elaborate process. At a GDC talk (via Polygon), Art Director Sebastien Mitton describes how experiencing "the life of a city" visited by the team eventually shaped Dunwall's culture and identity.
Arkane trekked to well-known cities such as London and Edinburgh because of their mixture of preserved historical buildings and new construction. Instead of confining themselves to tourist routes, the team set a destination point and bee-lined for it using backstreets and alleyways. Mitton says such a method was instrumental in picking up on the essence of a city over simply gathering volumes of reference photographs.
"Making trips is not just going into a location and taking photographs of textures and more textures and more textures," he explains. "It's to feel the city, feel the life of the city. To be on location, to talk to people."
Mitton goes on to say Dishonored's artists were careful to pick up on subtle nuances during visits such as street light behavior to help furnish Dunwall with small touches of personality. Capturing a city's "mysticism" was the ultimate goal, Mitton states.
A more striking change for Dunwall's design was a shift from its original setting in feudal Japan. Arkane ultimately felt that its unfamiliarity with Japanese culture wouldn't align well with its intentions, so it settled on a "gap" between a 17th century appearance and a 20th century technology level. Mitton also brings up period artists such as Jean-Eugène Buland and John Atkinson Grimshaw as important sources of material.
We'll soon blink about its rooftops in the Knife of Dunwall DLC, but I hope for more subsequent adventures in the city and beyond—there's a whole Empire of Isles to explore.

Beyond Dunwall's detailed architecture and snippets of lore spread through its cobbled streets, Dishonored racked up acclaim for its steep non-linearity and free-form areas for players to fashion their own means of completing objectives using as much subtlety as desired. During a panel at GDC yesterday (via Polygon), Arkane co-Creative Directors Raphael Colantonio and Harvey Smith embraced this concept of player agency in games, saying, "It's all about guiding and attracting, as opposed to dictating the player's path."

"If you're making games that involve just doing the one thing that is the only thing that you can do to move forward, and then doing the next thing that is the only thing you can do to move forward, it really doesn't feel as creative or as rich or as interesting to us," Smith said. "So, giving the player the ability to look around and make choices in many different ways on many different axes at any given time is a big deal."

Dishonored's various components such as traps and enemies "listened" to the player's interactions with the world and reacted accordingly. Snatches of overheard conversation or tattered journal pages make up part of a "pull-based" narrative system to keep the player exploring and encountering new discoveries by themselves.

One example Arkane used was Corvo's ability to summon a swarm of rats—instead of popping a bunch of rodents out of thin air, the ability hinged on the existing presence of rats during a mission. The amount of rats plaguing the city, in turn, is determined by how many corpses Corvo leaves in his wake on a lethal playthrough.

"The benefit of this is that this is not the designer saying, 'Hey, turn the page and read my little story and follow my path. This is us abdicating that and giving it to the player, saying, 'Player, you tell us where you went, you tell your own version of the experience.'"

Though I loved Dishonored's limited approach to player direction, I think it's important to keep in mind that, as linearity generally continues to be a bad word, a full-on open-world design doesn't suit every game. Arkane's own efforts struck a balance between a hands-off style and dropping direct reminders of the multiple choices available to you, and that's probably the best compromise for ensuring players will find their own experiences in their in-game journeys.

This year's GDC has been the source of many interesting industry tidbits. But forget them for now, because it also hosted two award shows last night. Shiny, slightly crass and easily digestible in a handy list format - we've got all the winners from the Independent Games Festival Awards and Game Developers Choice Awards right here. Did Hotline Miami's masked protagonist beat the living snot out of the FTL crew for the Seumas McNally Grand Prize? Did Incredipede's creepy-crawly monstrosities scare away the other Visual Art nominees? Did any game not called Journey win a GDC Award? Read on to find out.

We'll start with the IGF Awards, primarily because its the one that wasn't dominated by a PS3-exclusive game about plodding through a desert.

Independent Games Festival Awards

Seumas McNally Grand Prize

Hotline Miami (Dennaton Games)
FTL: Faster Than Light (Subset Games)
Cart Life (Richard Hofmeier)
Little Inferno (Tomorrow Corporation)
Kentucky Route Zero (Cardboard Computer)


Excellence in Visual Art

Incredipede (Northway Games and Thomas Shahan)
Kentucky Route Zero (Cardboard Computer)
Guacalamelee! (Drinkbox Studios)
Loves in a Dangerous Spacetime (Asteroid Base)
Year Walk (Simogo)


Excellence in Narrative

Thirty Flights of Loving (Blendo Games)
Cart Life (Richard Hofmeier)
Kentucky Route Zero (Cardboard Computer)
Dys4ia (Auntie Pixelante)
Gone Home (The Fullbright Company)


Technical Excellence

StarForge (CodeHatch)
Perspective (DigiPen Widdershins)
Little Inferno (Tomorrow Corporation)
Intrusion 2 (Aleksey Abramenko)
LiquidSketch (Tobias Neukom)


Excellence In Design

Samurai Gunn (Beau Blyth)
FTL: Faster Than Light (Subset Games)
Starseed Pilgrim (Droqen & Ryan Roth)
Super Hexagon (Terry Cavanagh)
Super Space (David Scamehorn and Alexander Baard/DigiPen)


Excellence In Audio

Kentucky Route Zero (Cardboard Computer)
Bad Hotel (Lucky Frame)
140 (Jeppe Carlsen)
Hotline Miami (Dennaton Games)
Pixeljunk 4AM (Q-Games)


Best Student Game

ATUM (NHTV IGAD)
Back to Bed (Danish Academy of Digital Interactive Entertainment)
Blackwell's Asylum (Danish Academy of Digital Interactive Entertainment)
Farsh (NHTV IGAD)
Knights of Pen & Paper (IESB - Instituto de Ensino Superior de Brasilia & UnB - Universidade de Brasilia)
the mindfulxp volume (Carnegie Mellon University Entertainment Technology Center)
Pulse (Vancouver Film School)
Zineth (Rensselaer Polytechnic Institute)


Nuovo Award

Cart Life (Richard Hofmeier)
Spaceteam (Henry Smith)
Dys4ia (Auntie Pixelante)
Bientot l'ete (Tale of Tales)
7 Grand Steps (Mousechief)
MirrorMoon (SantaRagione + BloodyMonkey)
VESPER.5 (Michael Brough)
Little Inferno (Tomorrow Corporation)


Audience Award
FTL: Faster Than Light (Subset Games)

Thoughts? Firstly, congratulations to Zineth, deserved winner of Best Student Game. It's great, and you should play it. More obviously, well done to Richard Hofmeier for the runaway success of Cart Life. I'm sure many will be surprised by just how well it's done, especially among such a strong list of contenders for the Seumas McNally Grand Prize. If you're currently thinking "Cart What now?" let Christopher Livingston's Sim-plicity column on the game fill you in.

Elsewhere in the list, I'm surprised to see Little Inferno getting a Technical Excellence award (it had nice fire, I guess), unsurprised to see FTL nab the Audience Award, and marginally disappointed to see Hotline Miami go back to its DeLorean with nothing. Although, hey, it's still got a chance at a Games Developer Choice Award! Haha, no, just kidding. Journey won everything.

Game Developers Choice Awards

Game of the Year

Dishonored (Arkane Studios/Bethesda Softworks)
The Walking Dead (Telltale Games)
Mass Effect 3 (BioWare/Electronic Arts)
XCOM: Enemy Unknown (Firaxis Games/2K Games)
Journey (Thatgamecompany/Sony Computer Entertainment)


Innovation Award

Mark of the Ninja (Klei Entertainment/Microsoft Studios)
Journey (Thatgamecompany/Sony Computer Entertainment)
FTL: Faster Than Light (Subset Games)
The Unfinished Swan (Giant Sparrow/Sony Computer Entertainment)
ZombiU (Ubisoft Montpellier/Ubisoft)


Best Audio

Journey (Thatgamecompany/Sony Computer Entertainment)
Hotline Miami (Dennaton Games/Devolver Digital)
Sound Shapes (Queasy Games/Sony Computer Entertainment)
Assassin's Creed III (Ubisoft Montreal/Ubisoft)
Halo 4 (343 Industries/Microsoft Studios)


Best Debut

Humble Hearts (Dust: An Elysian Tail)
Polytron Corporation (Fez)
Giant Sparrow (The Unfinished Swan)
Subset Games (FTL: Faster Than Light)
Fireproof Games (The Room )


Best Downloadable Game

The Walking Dead (Telltale Games)
Spelunky (Derek Yu/Andy Hull)
Trials: Evolution (RedLynx/Microsoft Studios)
Mark Of The Ninja (Klei Entertainment/Microsoft Studios)
Journey (Thatgamecompany/Sony Computer Entertainment)


Best Game Design

Dishonored (Arkane Studios/Bethesda Softworks)
Mark Of The Ninja (Klei Entertainment/Microsoft Studios)
Spelunky (Derek Yu/Andy Hull)
Journey (Thatgamecompany/Sony Computer Entertainment)
XCOM: Enemy Unknown (Firaxis Games/2K Games)


Best Handheld/Mobile Game

Gravity Rush (SCE Japan Studio/Sony Computer Entertainment)
Hero Academy (Robot Entertainment)
Sound Shapes (Queasy Games/Sony Computer Entertainment)
The Room (Fireproof Games)
Kid Icarus: Uprising (Sora/Nintendo)


Best Narrative

Spec Ops: The Line (Yager Entertainment/2K Games)
Mass Effect 3 (BioWare/Electronic Arts)
Dishonored (Arkane Studios/Bethesda Softworks)
The Walking Dead (Telltale Games)
Virtue's Last Reward (Chunsoft/Aksys Games)


Best Technology

Far Cry 3 (Ubisoft Montreal/Ubisoft)
PlanetSide 2 (Sony Online Entertainment)
Halo 4 (343 Industries/Microsoft Studios)
Call of Duty: Black Ops II (Treyarch/Activision)
Assassin's Creed III (Ubisoft Montreal/Ubisoft)


Best Visual Arts

Borderlands 2 (Gearbox Software/2K Games)
Journey (Thatgamecompany/Sony Computer Entertainment)
Far Cry 3 (Ubisoft Montreal/Ubisoft)
Dishonored (Arkane Studios/Bethesda Softworks)
Halo 4 (343 Industries/Microsoft Studios)


Ambassador Award
Chris Melissinos, curator of The Smithsonian's The Art of Video Games exhibit

Pioneer Award
Spacewar creator Steve Russell

Audience Award
Dishonored

Lifetime Achievement Award
BioWare founders Ray Muzyka and Greg Zeschuk

Conclusion: award show judges really love Journey.

The day after the launch of Bioshock Infinite, it doesn't seem too controversial to suggest single-player games are alive and well. But - as the free-to-play funding model grows in popularity - there are numerous examples of developers doubling down on some form of online multiplayer content. Speaking to Game Industry, Dishonored co-director Harvey Smith says that he thinks that the overall audience for games is growing, leaving plenty of room for both types of experience.

"What people say each cycle is, 'Fill-in-the-blank is the new thing.' And if you're old enough, you remember when it was live-action video games," Smith said. "At another point it was MMOs. At another it was social games. At another it was multiplayer shooters.

"None of those things are bad; they're all great. But what the reality seems to be is we keep adding types of games and finding new player groups for those. The market seems to be expanding."

Smith points out that while the industry tends to focus on a specific area - right now the thriving free-to-play MOBA market - that doesn't stop players from appreciating more traditional genres too. "It seems like our attention focuses on the new thing, but in reality, there are still plenty of people that like a particular kind of game. Every time someone announces the death of the single-player game, something like The Sims or BioShock Infinite comes along and does different things well.

"So far we haven't capped out. It's not like DOTA fans are buying DOTA and not playing Skyrim, or buying Dishonored and therefore not buying Madden. I think there's a bunch of different audience types and we haven't even hit the limit yet."

The trick, Smith argues, is for developers - and publishers - to become comfortable focusing on the type of game they want to achieve, rather than needlessly bulking up a feature list. "I hope people are specializing and going deeper on given mechanics. And I actually hope it gets to the point where there are so many people competing - indie developers or commercial developers - and they're so good at this one thing they do that in order to win. You have to differentiate.

"You have to do something well that the other guy's not doing. That'd be nice, right? Instead of a handful of games that all try to do the same thing, I hope there's some specialization happening and people are going to have to do one thing well or three things well instead of trying to do the same 12 things everyone else is doing."

That's not to say Smith didn't receive messages from fans requesting multiplayer for Dishonored, but says people more frequently thanked him for keeping it a solo experience.

Podcasting thrusters to max this week, as we discuss leadership changes at EA, BarCrafts, Lord British, Elder Scrolls Online, and the horror of extraterrestrial arachnids. They exist! For real!

Witness the beginning of the downfall of vertebrate life on PC Gamer Podcast 349 - Spiders in Space

Have a question, comment, complaint, or observation? Send an MP3 to pcgamerpodcast@gmail.com or call us toll-free at 877-404-1337 x724.

Subscribe to the podcast RSS feed.

Follow us on Twitter:
@logandecker (Logan Decker)
@tyler_wilde (Tyler Wilde)
@AsaTJ (T.J. Hafer)
@omripettite (Omri Petitte)
@belsaas (Erik Belsaas, podcast producer)

Dishonored's Knife of Dunwall DLC lets you play as the Empress' assassin, Daud, in a new story that runs parallel to Corvo's campaign. I've played an hour of the first of the DLC's three missions, set in a whale oil factory in Dunwall's docklands. It's a large, fleshed out infiltration mission featuring the traits you'd expect from a proper Dishonored level - complex environments with lots of vertical exploration, secret areas, hidden bone charms, audio diaries and notes full of extra lore.

In terms of moment to moment movement, stealth and murder, Daud feels identical to Corvo, but his powers and gadgets present new opportunities for improvisation. Some changes are purely cosmetic (he fires bolts from a wrist mounted launcher rather than a mini-crossbow), but others feel fresh and instantly entertaining. As the leader of a team of assassins, Daud can summon help whenever he needs a distant target killed, ordering assassins to de-cloak and silently slay guards with a quick point.

"Daud can summon help whenever he needs a distant target killed"

The DLC opens with the Empress' death. Daud co-ordinates the attack and does the deed first-hand in the opening cutscene. It's a tough moment to witness when you've experienced the fallout of the murder from Corvo's perspective, and it sends Daud into a spiral of doubt. He's used to killing members of Dunwall's corrupt and sordid elite, not kind-hearted royals. In the midst of his guilt trip he's visited by Dunwall's resident mystical entity and leather jacket owner, The Outsider, who mutters something vague about redemption and "Delilah" and then leaves Daud swinging in the wind.



Fortunately, Daud's assassins double as intelligence agents when the plot demands. His sources point him to a local whaling ship called the Delilah. Daud perches on a gantry overlooking the harbour, and there I take control.

I blink from walkway to walkway, vault a tesla coil in the alleyway below and blink up to a gap above the wall of light. I find myself on some rickety rooftops overlooking the dock. Distant boats are silhouetted against a brilliant orange sunset. I move towards the cliff and peer over the edge and see a huge dead whale bobbing in the water.

"He’s surprisingly calm for a man who just saw an assassin drop twenty feet onto a floating whale corpse"

In Corvo's quest, found notes and overheard conversations built up an aura of mystery around the strange creatures that produce Dunwall's whale oil. Even if you don't care much for Daud's dilemma, this DLC offers a chance to see aspects of Dishonored's world that have been teased, but never shown.

The level layout feels a little narrower than most of Dishonored's main missions, but the environment is as enticing as ever. Within seconds I've blinked down a series of outcrops and jumped onto the dead whale, landing right in front of a worker relaxing in a row boat. He's surprisingly calm for a man who just saw an assassin drop twenty feet onto a floating whale corpse. I blink into his vessel, knife at the ready, but stop myself from killing him when he starts to speak. He's fearful of Daud's reputation and offers up some advice on how to enter the factory.



I won't spoil how I got in. Suffice to say there are several ways, and you have even more options if you buy "favours." These mission- bonus objectives can be unlocked with in-game cash at the start of each mission. Daud's version of Corvo's "Dark Vision" can't penetrate walls, but it will highlight these extra objectives and bone charm locations. It offers more precise direction than Corvo's creepy bionic heart thing.

"Wide atria house the remains of half-processed whale carcasses"

I make my way into the factory and start the search for the foreman. As in Dishonored, targets can be killed or disposed of in more creative ways non-lethally. A rusty interrogation chair early in the level offers a hint as to how that could be achieved here.

The factory is full of dead whale. A warren of grim, red corridors feed wide atria that house the remains of half-processed carcasses. It's a slaughterhouse. Strongmen shave chunks off captured whales with saw blades powered by whale oil back packs - an obvious weak point, or so I assume. I shoot the first one I meet right in one of the two conjoined mini-tanks. It pops spectacularly, but the spare canister has enough juice to power his weapon. Annoyed, the whaler turns and saws me to death.

I elect to keep my distance from the next whaler I run into. I drop an Arc mine into his path and blink behind a pipe. These proximity bombs zap nearby enemies into ash as they pass - a spectacular variant on Corvo's spring razor mine.



I press on in search of the foreman. A trio of pipes offers an elevated walkway that's perfect for drop-assassinating whalers. I hop up to a high gantry and close in on an office. There are voices beyond the door. I peer in through the keyhole and see a butcher and a chainsaw-wielding whaler chatting next to a long, low table. I open the door and hold down the blink button. If he aims while standing still, Daud's blink freezes time. That gives me lots of time to plan my attack. I teleport beyond the table, crawl underneath and equip my wrist bolt, expecting a cry of surprise that never comes. The guards chat away, unaware that there's an assassin closing in on their knees.

"My assassin flicks his blade to his chest in silent salute and vanishes into thin air."

I enjoy a brief moment of indecision. I could slow time and slap a couple of sleeping darts into their thighs. I could fly out of my cubbyhole, chopping at every ankle I can find with my knife. What would Daud do?

I roll an incapacitating choke dust bomb between them. As it explodes I summon an assassin right behind the chainsaw whaler. Then I move to blink behind his friend. Time pauses as I pick my destination and I briefly see the shadow of my summoned assassin lunging toward his target. Suddenly, I'm behind mine slipping a blade into his throat.

My victim crumples silently as the smoke clears. The chainsaw whaler is already dead. My assassin flicks his blade up to his chest in silent salute, and vanishes into thin air.



I move on. The whaling factory is a greasy, rust-coloured warren of passages. Looking down through floor vents, I see gutters strewn with whale viscera. I'm glad I can't smell it. I find a hatch into the bloody sewer and discover a bone charm in a pile of unidentifiable organs. I use it to upgrade my agility, and try not to think about the logistics of improving my jump height with a blood-soaked ornament.

"I discover a bone charm in a pile of unidentifiable organs"

It's a gory place, but an enjoyable one to poke around. I busy myself taking out as many whalers as I can find, spurred on by the gruesome sight of huge whales hanging from meat hooks.

I miss some of Corvo's powers. Daud can't possess enemies or summon rat swarms, but his new abilities can be upgraded. If you pump bone charms into assassin summoning, your minions gain extra powers. I start to wonder if it's possible to do an entire playthrough of the DLC using summoned assassins to do the dirty work, reducing Daud's role to "man who hides in corners pointing occasionally."

Time runs out before I can put my new plan into action. I estimate that I made it about two thirds of the way through mission one in an hour and there's plenty of scope for a replay. The abstract skill tests of Dunwall City Trials delivered disposable fun, but The Knife of Dunwall offers more rich, thoughtfully constructed locations to explore, which is exactly what I want from Dishonored DLC. I'll definitely be pouring hours into this when it's released next month.

The Knife of Dunwall is out on April 16. It'll cost $9.99 / £7.99. Only Xbox code was available for the preview, awkward stick-aiming and all, but the levels/skills etc are the same across both versions.

Like a thieving Khajit with a Sneak skill of 100, Bethesda have surreptitiously uploaded Skyrim's Legendary patch onto Steam. As revealed earlier this month, Legendary - or to give it its proper name, Skyrim v1.9 - not only adds a harder difficulty level to the game, it allows skills to be made 'Legendary', resetting them to 15 so they can be levelled up all over again. Why on Tamriel would you want to do this? Well, to increase your character level beyond Skyrim's 'soft' level cap of around 81. More details below.

As announced on Bethesda's blog, and elaborated over on Reddit, to reset a skill you first have to raise it to 100, at which point you can use the Book of Waking Dreams item to revert it to a puny 15. This adds a little dragon symbol under the skill name, but doesn't appear to grant any benefits to your character - other than "effectively the overall level cap", of course. You can reset the same skill over and over again, if you desire. (Thanks, Eurogamer.)

That's in addition to the new Legendary difficulty level, and quite a few bug fixes - my favourites being "companions will equip better weapons and armor if given to them", and "fixed rare instance of couriers who would appear only dressed in a hat". Here's the full, massive list:

General memory and stability improvements
Fixed issue with quest scripts that were not shutting down properly
Companions will equip better weapons and armor if given to them
Fixed rare issue where player is unable to learn the Clear Skies shout during "The Throat of the World"
Fixed rare instance where Alduin would become invincible during "Alduin's Bane"
Fixed a rare issue where player could become stuck in Night Mother's coffin during "Death Incarnate"
Fixed rare issue where protected companions could be killed from poison damage
Fixed rare issue with certain ash piles left from resurrected NPCs not clearing properly
Fixed rare issue with NPCs and creatures respawning improperly after player fast travels
Fixed rare crash when entering Dark Brotherhood Sanctuary
Fixed rare crash when entering a player owned home
Random dragon attacks will no longer occur during "Battle for Whiterun"
Fixed a rare crash when attempting to save your game during "Waking Nightmare"
Fixed issue where "Glory of the Undead" would not start properly if player is in combat with Eorlund Gray-Mane
The white phial is no longer consumed if given to a follower
If player marries Aela, the "Totem of Hircine" quest will be available
Unused briar hearts can be dropped after finishing "The White Phial"
Fixed issue with paying off a crime against the Companions that prevented player from getting Companions quests properly
Thieves Guild caches are now properly enabled in the appropriate cities
The Dragon Infusion perk now works properly when taking Esbern's Potion
Cragslane Cave properly resets if player receives a radiant quest to clear it out
Fixed rare issue with bounty quest objectives not properly clearing after completion
Gallus' Encoded Journal is no longer a quest item after completing the Thieves Guild
In "No Stone Unturned" Vex will now accept Unusual Gems if you've collected them all before starting the quest
Vekel the Man now gives rewards for completing "Toying with The Dead"
Fixed rare issue with being unable to turn in stolen items in "The Litany of Larceny"
Fixed issue with followers becoming over-encumbered after being repeatedly rehired
Fixed rare issue with visiting Kynesgrove on horseback not progressing "A Blade in the Dark" properly
Fixed issue with receiving a duplicate radiant quest from a Jarl
Fixed conflict with clearing Driftshade Sanctuary before starting "Trouble in Skyrim"
Fixed issue with using shouts while in jail and having guards unlock the jail cell
Fixed rare issue with quest NPCs not properly moving to quest locations
Fixed issue with NPCs not selling master level spells
Fixed rare issue where player gets control locked outside the Thalmor Embassy at the start of "Diplomatic Immunity"
Fixed rare issue with disappearing containers after upgrades in player owned house
Fixed issue with being erroneously attacked while as a werewolf during "Ill Met By Moonlight"
The Ebony Blade is now only improved by two handed perks
Locked door to Proudspire Manor can now be unlocked by proper key
Fixed issue with merchants not receiving the proper additional gold with the Investor perk
Fixed a rare issue where the player would be unable to learn a word after leaving for several days during "The Way of The Voice"
The Nord Hero Bow can now be improved
The Purity perk no longer requires the Experimenter perk
Fixed rare instance where Lovers Comfort would not be applied properly
If you approach Frostmere Crypt from the north, "The Pale Lady" will start properly
Fixed rare issue where player could be prevented from speaking with Atub to start "The Cursed Tribe"
Fixed rare issue where a dragon could appear in the Mind of a Madman realm and kill the player
Fixed instance where player could get stuck in Japhet's Folly
Fixed rare instances where Arngeir would not teach Worldwind Sprint
Fixed issue with "Ill Met By Moonlight" if Sinding dies before the quest starts
Gharol can now properly train up to level 75
Fixed conflict with visiting The Karthspire before starting "Alduin's Wall"
Reduced the instance of random dragon attacks after fast traveling post main quest
Recruited Blades now have appropriate dialogue while at Sky Haven Temple
Fixed rare issue where an incorrect dungeon could appear as a location during "Totems of Hircine"
Fixed rare instance in "Fetch me that Book" where books found before getting the quest would not be properly recognized
Fixed rare issue with traveling to Thalmor Embassy with companions during "Diplomatic Immunity"
Fixed issues with Matching Set perk not working properly with certain pieces of armor
Fixed issues with Custom Fit perk not working properly with certain pieces of armor
Fixed issue with NPC dying in a bear trap blocking progress in "Time of My Need"
Fixed rare issue with swinging door becoming stuck and blocking an entrance in Volunruud
Imperial Light Armor can now be crafted
Fixed issue with "Vald's Debt" where Vald was not leveled properly
Fixed issue with Vilkas not giving proper greeting after completing "Battle for Whiterun"
Fixed issue with respawning actors that were raised by using the Ritual Stone power
Fixed issue with the Ancient Knowledge perk not calculating properly
The Palace of Kings now has patrolling guards on upper floors
Reduce percentage chance of getting a werewolf loading screen while player is a werewolf
Pantea's flute is no longer a quest item after completing "Pantea's Flute"
Placing an unread Oghma Infinium on a bookshelf in the player's house no longer allows the book to be reused again
Adjusted dialogue priority to improve chances of hearing more combat dialogue from certain NPC enemies
Fixed issue with falling damage on high difficulty levels
Fixed bad collision on certain clutter objects
Fixed rare instance of couriers who would appear only dressed in a hat

If I had to pick a handful of gaming moments that will stay with me forever, three of them would be stepping into Morrowind, Oblivion, and Skyrim for the first time. Another would be my first few days in World of Warcraft. At face value, combining Elder Scrolls with an MMO should lead to instant RPG nirvana. But the reality of the situation is much different.

Elder Scrolls Online is being created in an era of acute MMO fatigue. An era in which gamers who put off term papers to work the slot machine of mostly-samey content direction look to any new entry in the genre with the suspicion and cynicism of a too-many-times-spurned romantic. (Not that I would know anything about that.)

It was with this in mind that I went hands-on with ZeniMax Online's new contender to ask the question: Is this just another MMO with an Elder Scrolls veneer? Or has the dream of a living, multiplayer Elder Scrolls world been realized?

If you're looking for a comprehensive rundown of the game's headline features, meanwhile, Chris has discussed them all in some detail in his Elder Scrolls Online hands-on preview - including the newly announced first-person mode, stealth, skills and more. You should also check out our video interview with game director Matt Firor and lead gameplay designer Nick Konkle about their experiences crafting the game.

What I loved 

Elder Scrolls-style combat. ESO has been designed around a lot of the same basic ideas we're familiar with from Skyrim and Oblivion. Left mouse to attack, right mouse to block. Holding block and attacking executes a bash that can interrupt spellcasting. Arrows and spells have to be aimed with your reticle. You do have a hotbar, but it's pared down to about Guild Wars 2-size, and the devs have clearly stated that they don't want you worrying about it too much in combat. You also won't be forced into Tank/Healer/DPS roles. Adhering to said roles will help players manage the game's hardest enemies, according to the devs. However, they're looking to maximize the variety of builds that are viable against such challenges.

This isn't to say that it feels exactly like Skyrim or Oblivion... but we'll get into that on the next page.
 

 
You can build your character however you want, and skills level up as you use them. You do get a token choice of "classes" (which are kind of boring and unnecessary, and will be discussed on the next page), but it's a choice that can be completely ignored if you choose. Your class determines three of the Skill Lines you have access to, while the others, universal across all characters, are based on weapon types, fighting styles, armor classes, and magic schools.

You have to have a certain overall character level to unlock new skills (think perks from Skyrim, or talents from other MMOs), but once unlocked, they will progress in power through repeated usage. It's not precisely the same as the way it works in Skyrim, but if you, say, hit level 5 and unlock a two-handed cleave, that cleave skill on your hotbar will get stronger the more you use it.
 
The music and art style feel like Elder Scrolls. Some of the early previews we saw seemed to feature slightly goofy, overly-cartoony character models. That was not the case in the build I played (though it could be an issue of starter armor looking more Spartan and realistic). The models seemed proportioned correctly, and the textures, characters, and architecture struck just the right balance between fantasy and gritty realism we've seen in the series' history.

The environments still suffer from "MMO gigantism," which I'm told has something to do with camera distances, though I've never really bought its necessity. Luckily, from what I saw, it's not as horrendously distracting as it was in The Old Republic.
 
Full voice acting, and quest choices that matter. Every quest in the game will feature voice acting, and from what was shown, it mostly rates somewhere between okay and good. You'll also get to make choices in quests that affect more than an alignment meter, with recurring characters sometimes living or dying based on what you do. And unlike TOR, some of them will actually show up again if you spared their lives. We didn't get to play enough to see how far this extends, but it already seems to be more impactful than the "Take your Light/Dark Side points and never speak of this again" model that TOR used.
 

 
A promising crafting system. I could count the MMOs that have done this well on one hand, following an unfortunate table saw accident. ESO's crafting is actually one of the more potentially fun systems I've had a look at in a while. In addition to base ingredients, you'll be able to introduce additives to your creations, each of which have four random properties (like Skyrim's alchemy ingredients). It encourages experimentation in a way I found entertaining.

Oh, and every armor piece and weapon that was shown in the demo can be made in one of nine racial styles, tied to the playable races of Tamriel. All crafters start off able to craft their own racial style, but can learn others.
 
Enemies that work together intelligently.  The most unexpected thing that impressed me about ESO was the design of the enemy AI. As they move about in combat, enemies will adjust their tactics based on how many allies they have nearby, the position of those allies, and what their allies are capable of. Humanoids will call to each other, allowing you to react to their intentions. Synergies are created when rogue-types douse the ground in oil, so their mage friend can light it aflame under your feet. In a particularly extreme example, a group of necromancers sacrificed one of their own in a ritual to summon a powerful, undead bruiser.

They can't pull off the kinds of complex maneuvers a player party might, but compared to common world enemies in other MMOs, they're a few tactical steps ahead.

On the next page: What I didn't love.



Everything on the previous page has me pretty excited for Elder Scrolls Online, especially considering my level of indifference about it going in. But like a good skooma trip, the time always rolls around when you have to come down and face reality. ESO probably isn't going to be the mythical "WoW killer," nor the multiplayer game every Elder Scrolls fan has been asking for.
What I didn't like

The combat isn't quite there yet. Yes, I both loved and didn't love ESO's combat; it's one of the most important things for the game to get right. ESO has all the trappings of Skyrim's combat, but it lacks its immediacy and kinetic physicality. You feel more like you're swinging at or through opponents than actually connecting. Blocking and bashing, as well, are based on visual prompts, turning combat into more of a "hit the right buttons at the right time" exercise than Skyrim or Oblivion's gritty "keep your guard up and look for an opening."

I am willing to wait and see on this. There's still time for improvements before launch that wouldn't require a gutting of the entire system. And it's not terrible as it is: It feels about the same as Guild Wars 2, falling a bit short of Tera—the latter being the gold standard for MMO action combat, in my opinion.
 
Classes seem like an afterthought, and don't cover enough niches. ESO has classes. But it doesn't need them, and I don't really understand why they're there. Only four will launch with the game: Dragonknight, Sorcerer, Templar, and Nightblade. Those basically boil down to samurai, mage, paladin, and rogue. The thing is, you can already build more or less any of those character types using the universal skill lines that are independent of your class. Variety is nice, but I would have preferred the addition of more universal skill lines than these four, tacked-on, oddly-specific archetypes.

A lot of concepts are left out in the cold, since you can't just choose not to take a class. If I want want my build to be something like a Nord berserker, I can forge something along those lines with non-class skill lines. But I have to pick a class that doesn't fit my concept on top of that, leaving me with skill trees that will just sit, forever ignored, on my character sheet. I expect we'll see more classes added over time, but right now, they seem too narrow and almost vestigial.
 

 
The dungeon layouts draw from MMOs more than they do from Elder Scrolls games. The design of MMO dungeons—the ones scattered in the world, moreso than instanced content—is absolutely boring. I want to get lost in ESO's world, but in the game's cavernous, straightforward, open-layout dungeons, it would be hard for even a blind Moth Priest to get lost. Sure, the Dwemer ruins look nice. But they lack the sense of mystery, and the feeling of delving into the unknown, claustrophobic bowels of the earth that are such a hallmark of Elder Scrolls games. I want to pass through the threshold of a dungeon with the knowledge that I'll be plumbing its depths for hours, the sight of the sun becoming a fading dream as corridor after corridor of steam pipes and hostile constructs assault my hit points and my sanity.

If I had to pick one most obvious disconnect between the traditional Elder Scrolls games and Elder Scrolls Online, it's the dungeons. You can't make up for it with instanced group content, because it's impossible to have the same paranoia-filled, self-paced experiences in such areas. It's a key part of the Elder Scrolls experience, so this is a big problem.
 
It's zone-based. I don't think even the most optimistic people failed to see this coming, but it's still something that makes ESO feel more like an MMO than a genuine TES game. The world of Tamriel, expansive and open as it is, is divided up into level-based zones that make it difficult to explore as freely as you would in Oblivion or Skyrim. I didn't actually have the opportunity to go venturing off into the distance, as I had a limited amount of time in a build where portions of the world aren't even there yet. But there are separate zones designed for certain levels of characters.

The quest structure in the portions I played mostly led me by the hand from hub to hub, and I felt I was being whisked past experiences like getting lost and spontaneously adventuring into a cavern or a fort, as you do so frequently in other Elder Scrolls games. There is plenty to find off the beaten path, but the zone flow makes it feel like Zenimax doesn't care whether you find it or not. I also worry that partitions and loading screens will kill the sense of a seamless, immersive world, but I can't confirm how frequently these will appear.


All things considered, there are more reasons to be excited for Elder Scrolls Online than I expected to find, which was refreshing and encouraging. I could foresee it becoming a strong, second-tier contender in a league with Rift and EVE, based on the number of things it does right. Unfortunately, it seems to be cutting just enough key corners with the Daedric Knife of MMO Design Philosophy to fall short of the sublime, multiplayer Elder Scrolls experience we've all been dreaming of.

If you're anxious to see it for yourself, you can sign up for a chance at the closed beta on the ESO site. It'll also be playable at PAX East this weekend.

While I was in the USA to see The Elder Scrolls Online I chatted to game director Matt Firor and lead gameplay designer Nick Konkle about their experience making the game, the thinking behind the class and combat systems, and why they've kept first-person mode under wraps for so long.

You can also check out my hands-on from earlier today for a detailed breakdown of all the game's biggest features.

At a press event at Zenimax Online Studios last week, the Elder Scrolls Online developer waited until the end of a lengthy presentation to deliver arguably the most important piece of news about their upcoming MMO. In short: TESO will have a full first-person mode in the Elder Scrolls style. This is, I suspect, what the majority of fans have been waiting to hear. It should certainly delay the inevitable “meh” in the comments below, if such a thing is possible.

First person wasn’t available in the build I played - we were shown it in a video, but it looks great. The constraints of MMO development mean that The Elder Scrolls Online isn’t as technically impressive as Skyrim, but this was the moment when the penny dropped for me. Having powered through two and a bit zones’ worth of content - the first six levels of the game, playing as the Daggerfall Covenant faction - there’s much that makes TESO distinct and interesting as an MMO: but proper first person play is the thing.

T.J. will be writing about his experience of the game from the perspective of a longstanding Elder Scrolls fan later on today: in this article, I’m going to cover the new information that came to light in my three hours with the game. Up front, though, I will say this: I went in worried and came out pretty pleased. There are new ideas here. I don’t believe that there’s a single type of person defined by the phrase ‘Elder Scrolls fan’ and I can see it working for some but not others. If your time in Skyrim was exclusively spent tooling around with emergent systems, murdering townspeople in their beds and stacking cheese wheels, then you’ll feel the absence of those things from TESO. If you’re up for something a bit more structured, then keep it on your radar.



The UI is among the most minimalistic I’ve seen in an MMO. The only persistent on-screen items are a crosshair, a minimap, and a small quest tracker. Health, stamina and magicka bars along with the hotbar appear during combat or when you’re wounded, but otherwise the focus is on the world. There are no damage numbers or debuff indicators for enemies beyond what is visibly happening to them. At present, the game could do with better feedback - I can get behind the idea of toning down typical MMO on-hit fireworks, but they need to be replaced with something and at the moment it’s not quite there.

Dialogue takes place in a zoomed-in first person similar to Skyrim, with a slightly expanded dialogue menu that more closely resembles Morrowind. It’s all fully voiced, but facial animation is a bit rough at the moment.

The inventory and skill menus follow Skyrim’s trend toward representing as much in-world as possible. Bringing either of these up zooms the camera in on your character in the world, who then effectively acts as your paper doll for equipping items.

Combat, while not as impactful as Skyrim, is not based on MMO-style rotations. As in any of the post-Morrowind TES games, you swing your weapon (or fire your bow or staff) with the left mouse button and block with the right. Holding attack charges up a powerful strike, and attacking while blocking results in a spell-interrupting bash. If you manage to block an enemy’s telegraphed power attack you’ll stun them, and your subsequent blows do more damage.

The hotbar includes six slots for abilities plus an additional ultimate skill - I didn’t get to use these, but one example would be a Meteor spell - and a consumable. Its resemblance to a traditional MMO quickbar is deceptive, because skills in TESO are not cooldown based. Your ability to spam skills is entirely based on your available health, stamina or magicka, and as such combat is more about effective use of those resources than it is about settling into a set rhythm. Blocking, sprinting and dodging use stamina, for example, making them a trade-off with powerful melee skills like cleaves.

Unlike prior Elder Scrolls games, spells do not need to be equipped into a hand before being cast - they fire instantly. This speeds up combat and is the chief thing - besides the aforementioned feedback issues - that makes TESO feel different to previous games in the series. Expect to see more spells being cast, by more people. Nonetheless, the system is theoretically closer to the single player games than it is to most MMOs.



Stealth is available to everyone, but it isn’t as deep as Skyrim. Press control to crouch and you enter sneak mode, which allows you to bypass camps of enemies and complete quests without violence if you’re good at it. It’s based on line of sight rather than dynamic light levels, so sneaking about requires a bit of planning. Sneaking replaces your cursor with a Skyrim-style eye to let you know when you’re liable to be detected.

It’s also possible to loot disguises from select enemies or find them in camps. Wearing a disguise allows you to move around normally in hostile areas, but getting to close to an alert enemy can break your cover.

The skill system sits somewhere between Skyrim and Guild Wars 2, with select improvements over both. As in Skyrim, levelling up in TESO earns you a boost to either health, stamina or magicka and a skill point to spend. You start the game with a selection of skill lines based on your class, race, and equipment. Examples from the weapons group would be:


Two Handed
One Hand and Shield
Dual wield
Bow
Destruction Staff
Restoration Staff


Investing points in each skill line unlocks new passive and active skills. Active skills level up through use, and at rank five you can spend another skill point to ‘morph’ these spells and abilities into one of two variants. An example we were shown was a Daedric summoning skill that could be altered to conjure either an exploding scamp or a hulking clannfear.

Although there will be a finite amount of skill points available to a single character, more skill lines can be acquired over time. Members of the Fighters’ and Mages’ Guilds, for example, get access to new skills based on their rank in those factions. There are special abilities for PvP, and this is also how special player states like vampirism will be handled. The system is impressive precisely because it’s so expandable: its easy to see how new skill lines can add options to the game without imbalancing it in the way that an extended level cap or tacked-on alternate advancement system might.

The Fighters’ and Mages’ Guilds will be in at launch, with thieves and the Dark Brotherhood to be added later. Fighter’s Guild members will be tasked with hunting Daedra and banishing Molag Bal’s Dark Anchors from the surface of Tamriel. Mages are tasked with tracking down necromantic lore.



Towns are relatively static, but enemy combat AI has been reworked. NPCs in TESO live deterministic lives based on your actions: they do move about, but this is phased as part of your progress within the various questlines. In combat, however, things are more flexible. Enemies will interact with one another based on their type - for example, multiple humanoid foes will work together, calling for healing or special attacks as the situation demands. Then, enemies who all belong to the same faction will have access to additional powers. The example we were shown was a group of necromancers - a warrior and two mages of different schools - dynamically starting a sacrificial summoning ritual to hold off the player party.

Monsters also have special abilities. Spriggans will possess and enhance any woodland predators that stray nearby, and spiders will eat their slain allies to gain strength. Lovely.

Quests are very subtly instanced. Its surprising to be playing an MMO and find a quest giver jogging alongside you once you’ve picked up their quest - or to emerge from a dungeon only to have the person you’re helping run over to give you your reward straight away. This is thanks to a phasing implementation that is almost seamless. A major part of every personal story will be assembling a group of heroes, and these allies are not only consistent across zones but appear in the open world rather than in specific story instances. Other players’ companions are rendered as anonymous mercenaries, preserving your immersion in a way that evades TOR-style companion clone syndrome.



It looks like an Elder Scrolls game, but it has been designed as an MMO.

An evident effort has been made to match up TESO to the art style and geography established by the previous games, but interiors and doorways have been enlarged to accommodate more players. We were told that the height maps from Oblivion and Skyrim have informed the layout of the relevant zones. In a neat touch, the fortresses that you’ll fight over in PvP are based on the ruins from Oblivion, including their name and approximate locations.

You can play through every zone on a single character, regardless of faction. There’s a reason why few MMOs bother with three factions nowadays - it’s a vast amount of content to create, particularly when you’re only likely to see a third of it. TESO’s solution is clever. You’ll level from 1-50 and do your personal story with your chosen faction, then when you’re finished you can pick a second faction to play through in what amounts to a new game plus. Zones and encounters are buffed to 50 and loot updated accordingly. Then, when you finish that you’ll be able to play through the final faction in an even tougher mode. You’ll still only be able to group and socialise with members of your own faction, but it means you don’t have to pick what race you play based solely on what zones you want to adventure in. Your Breton will get to wander around Skyrim.

Crafting adopts a lot of what was good about Skyrim’s alchemy and applies it to the whole system. There are five professions: Armorsmith, Weaponsmith, Enchanter, Alchemist and Provisioner (cook). One player will be able to dabble in all five, but only one can be fully mastered. Items are made from a set of base ingredients and then a selection of bonus additives which all have hidden properties similar to alchemical ingredients in prior TES games. Reverse-engineering looted items will allow you to determine some of these properties, which can then be applied to your own items. In addition, you also pick a style for wearable items like weapons and armour: an iron axe could be orcish, Breton, aldmeri etc. We watched one of the game’s designers invest heavily in crafting a Fine Iron Battle Axe of Undead Bane of Lightning. I understand they’re working on the name.

The Elder Scrolls Online will be playable on the floor at PAX East this week and is in closed beta now. We’ll have a video interview with two of the game’s senior designers going up at 3pm GMT, with T.J.’s take to follow at 4pm.