BF3 notice

You must be logged-in to Origin to download the patch.

Skyrim has one big problem...

...but no one cares, really.  There's more than enough to love, that the tiresome bits may be tolerated.

Tom Bissell, a man whose writing was unknown to me before today, wrote a series of interesting words on Grantland, a site I have never heard of before. His subject is Skyrim's narrative exposition, and why it sucks, needlessly. Read the whole thing, of course, (and fear no spoilers) but this will whet your appetite:

I suppose that can't really be held against the Elder Scrolls games any more than the addictiveness of crystal meth can be held against crystal meth dealers. The real problem with the Elder Scrolls games — the real artistic problem, I mean — is that when you're not out there chopping and shopping, or dropping a Helmet of Alteration to make room for an Axe of Freezing, you're stuck in some town, being buttonholed by a loquacious elf inexplicably determined to tell you all about a magic tree. The series' designers have always mercifully allowed the player the option of spamming through the tedious pre-quest dialogue at the speed of thumb, but the problem with the Elder Scrolls games has now grown more significant than its narrative content's optionality. The problem, it now seems clear, is that the way in which the Elder Scrolls games present their narrative content — the way, in other words, they try to communicate "drama" — has never worked and will never work. 

The dialogue in The Elder Scrolls V: Skyrim is without question the best written and most capably performed of any Elder Scrolls game. Another way of saying this: It remains terrible. Please know that, two hours into Skyrim, my astoundometer remained soaringly high. Whether you're watching some lonely club-carrying giants herd woolly mammoths across the steppe or journeying up a snowy mountain to a hidden monastery or hiding in a watchtower from a poison-breathing dragon or doing something as desultory as catching butterflies, for god's sake, the game is as visually compelling as it is experientially gratifying. Every time one of Skyrim's characters opened his or her mouth, however, I felt my irritation begin to nibble away at Skyrim's edges. Irritation in response to a game's dialogue is especially problematical when said game contains hours upon hours of dialogue. How can it be that the part of the game that exerts so much effort to accomplish something succeeds in accomplishing nothing?