When I look back on my 90 hours with, I think of constellations rearing gossamer heads over the hills near Whiterun. I think of sunken cities grown copper-green with age, of flipping through books for mention of long-extinct civilisations, and snow licking the path to the summit of the Throat of the World. OK, so I also think of dragons that fly backwards and that time I had to Fus Roh Dah a bug-stricken Lydia across a mountain range, but these are stray notes, hiccups in an otherwise blissful aria. When I look back on my 20-odd hours with, meanwhile, I think of crowds. Crowds of potato-faced adventurers clad in scraps of gaudy felt and tinfoil, loitering at stalls and forges, lost in menu screens.
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Crowds of ostensible Chosen Ones gamely waiting their turn to lay the smackdown on an area boss. These aren't altogether unpleasant memories - say what you like about ESO's world and quest design, but it offers customisation layers aplenty, atypically ferocious real-time combat, and in the shape of poor, embattled Cyrodiil, a distinctive take on the concept of PvP. But where the thought of Skyrim still fills me with yearning, the thought of ZeniMax Online's Tamriel leaves me scratching my head. ESO has, in fairness, come an awful long way. What was once a late-to-the-party World of Warcraft knock-off is now a reasonably slick one-time-payment offering, buttressed by optional monthly subscriptions for premium content, lashings of new areas and a challenge scaling system introduced last year, which ensures that adventurers of all levels can quest together. These changes have apparently had a significant effect - according to game director Matt Firor, one and a half million additional people have played ESO since E3 2016, though he avoids the subject of how many are still active (at the time of writing the Tamriel Unlimited edition has 9,368 players on Steam, as against 19,848 for the vanilla edition of Skyrim). But for all the improvements, and for all the husky reminiscing over - which revisits or rather, previsits the setting of The Elder Scrolls 3 - ESO still feels like it's struggling for air.
Digital Foundry's top picks for the best wired & wireless mice. That's the impression I take, anyway, from the Morrowind reveal presentation: an hour-long blowout that includes a well-rehearsed 20 minute development recap (I know it's well-rehearsed because there are articles from last October that reprise bits of it word for word), followed by a carefully stage-managed Q&A. In particular, the developer's paranoia about what exactly ESO is or isn't speaks volumes about its awareness of entrenched negative perception.
Firor dislikes the term 'MMO', for example, because that implies endless grinding, whereas what we have here is a 'modern console game', built for dabblers and diehards alike. He's not keen on 'expansion', either, because that suggests you need to be a level-50 Dragonknight before you dare set foot on Vvardenfell, whereas this is an additional 'chapter' that doubles as a 30-hour intro to the existing game. You get the sense that ZeniMax Online Studios would prefer not to label this 'The Elder Scrolls Online' at all, really.
Why not just call it 'Morrowind', as the expanded edition's boxart ever-so-subtly invites you to? That way, it almost sounds like a brand new release, the official Elder Scrolls 3 remake that fans of the series have been clamouring for. I begin my interview by asking how, exactly, one transforms a landscape originally sculpted for a lone hero into a playground for groups. Transferring the old Morrowind height map into ESO and plotting out key locations was, Firor says, 'the easy part'. 'The hard part was then finding a storyline or some content that could either lead you there, or a game system that would get you there, or is it something that you just find?
Some things like Dwemer ruins were even older than our game's [setting], so if it was a Dwemer ruin in Elder Scrolls 3 it's going to be a ruin in our game too. The Dwemer ruins are generally exactly the same. 'The Daedric ruins - some are a little newer, with maybe people still living in them, and some are destroyed. And then the towns and villages, sometimes there's a guy there who's talking about founding a village, and there's nothing there, and sometimes it's a whole city under construction. We kind of did what we could to make sure that the spirit of the original thing was there, but it's ours.' So where did ZeniMax Online Studios have the most creative license?