Starfield represents a significant shift in the world of video games. It is a vast, exploration-focused RPG created by Bethesda, following the successful patterns of games like Skyrim and Fallout. However, it seems that there is no new territory left to explore within this type of video game.
Starfield is a sprawling Bethesda RPG that emphasizes choice and customization, continuing the legacy of The Elder Scrolls, Fallout, and Skyrim. It promises players unparalleled freedom, allowing them to go anywhere, do anything, and be anyone within a meticulously crafted universe that accommodates various preferences and decisions. But there is a broader perspective to consider when it comes to Starfield.
Its core proposition, which allows players to shape their experiences as they see fit (within certain boundaries), highlights a concerning trend in mainstream video games over the past 15 years. These games have become increasingly predictable, lacking depth and a clear artistic vision. With Starfield, it seems that mainstream video games have reached a critical turning point. The traditional triple-A game model must adapt or risk artistic irrelevance.
Games like Grand Theft Auto, Morrowind, World of Warcraft, and even Dungeons and Dragons laid the groundwork, but it was Assassin’s Creed 2 in 2009 that set the standard. Particularly in the realm of triple-A single-player RPGs, Assassin’s Creed 2 established a formula that subsequent games would follow and build upon for the next decade and a half.
This formula introduced concepts like collectibles, side quests, customization, choice, personal in-game housing, a variety of gear, vehicles, and abilities, as well as a sense of freedom and quantity. While these design elements existed before Assassin’s Creed 2, Ubisoft blended them to create a new genre—the modern, Ubisoft-style open-world game.
Around the same time, Bethesda was perfecting its own formula with games like Oblivion and Fallout 3, later followed by New Vegas and Skyrim. While there were subtle distinctions between these titles, both Ubisoft and Bethesda were solidifying a particular type of game that would dominate the gaming landscape for the next decade.
Now, we have Starfield, the culmination of this game design philosophy—a title that shares the same traits as Assassin’s Creed 2, Oblivion, Fallout, and many others. Its primary objective is to grant players the freedom to do as they please, fostering feelings of liberation and boundless exploration.
On the surface, this approach seems promising, suggesting that allowing players complete freedom will lead to more creative and innovative games. As long as players have the freedom to choose their path, games can explore limitless possibilities. However, at the core of this philosophy, which has become prevalent in triple-A game development, lies a troubling contradiction: in worlds designed for player agency, players tend to engage in the same activities over and over, resulting in a repetitive and unchanging gaming experience.
While the settings and scales may differ, the underlying psychology of these games remains constant. They all revolve around what players want to do, and as a result, over the years, we’ve lost the potential for other types of games. The appetite and ability to envision a triple-A game that diverges from the principle of player agency have diminished. It now seems absurd to suggest that a triple-A game could be centered around anything other than player agency. Yet, paradoxically, both critics and players are growing bored.
In a game like Starfield, where players can do whatever they want, there is little motivation beyond exploring for exploration’s sake and marveling at the sheer scale of the game. Whether you take action or refrain from it, the game adapts to your choices, leaving little room for dramatic motivation, emotional engagement, or narrative impact.
For instance, imagine walking into Galbank in New Atlantis, where you’re tasked with collecting a debt. The game allows you to handle the situation in various ways, accommodating your choices. While this adaptability is commendable from a game design perspective, it can be less appealing than a game with a strong narrative conviction, a distinct voice, and a defined moral framework. It’s as if player agency has become the sole focus of game development, overshadowing other meaningful aspects.
In first-person shooter games, mute protagonists are often used to allow players to project themselves onto the character, but this approach frequently results in uncanny and disconnected experiences. Starfield takes this concept even further, essentially creating a mute video game where the world constantly shifts and lacks substance, making the player’s actions feel inconsequential.
This trend creates a void in both game development and player experience. Game developers feel limited because ideas contradicting the dominance of player agency are often rejected, as they go against market expectations. Players, on the other hand, find themselves in a vacuum where everything is permissible, and therefore, nothing carries real meaning.
It’s akin to having an infinite money cheat in a game—the value of your in-game actions diminishes when there are no challenges. When a game invites you to do anything and assures you that there won’t be substantial moral, emotional, or mechanical consequences, there’s little incentive to engage.
Ultimately, players long for restraint, the presence of an author, and games that strive to convey something, no matter how simple, rather than meticulously crafted experiences that ultimately say nothing. Starfield, with its neutrality and lack of a distinct perspective, may not have been what players expected, but it could still mark a significant turning point in the evolution of video game art.
If you’re interested in a more in-depth analysis of Starfield, you can check out our Starfield review for additional insights. Additionally, for comprehensive information on the game, you can explore our Starfield Database, which offers daily news, searchable databanks, and interactive tools.