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How The Elder Scrolls Changes Its RPG Formula: Combat, Exploration, and Builds

The Elder Scrolls keeps its open-world RPG foundation while shifting the emphasis on exploration, combat, setting and how early players commit to a character build.
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The Elder Scrolls remains an open-world role-playing series, but its games shift the balance between world scale, authored detail, combat style, and character commitment. “Genre changes” is best understood as a change in emphasis, not a formal reclassification: Bethesda has described a continuing “big-world, do-anything” philosophy rather than a succession of new genres.

What genre is The Elder Scrolls?

The mainline Elder Scrolls games are open-world role-playing games. Their defining promise is that players can inhabit a character in a large world and choose how to spend their time there. Todd Howard summarized the idea in a 2004 interview about Oblivion: “Live another life, in another world.” He also said the series’ “big-world, do-anything” style remained essential. GameSpot’s 2004 interview with Todd Howard

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What changes from one entry to another is the balance within that framework. A world can emphasize breadth or carefully authored places; combat can foreground different approaches; and character systems can ask players to commit early or let them discover their preferred style through play. Calling this a genre shift is useful shorthand for those design changes, not evidence that Bethesda formally reclassified the series.

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How world scale and exploration change

Map size is only one way to measure exploration. Bethesda’s retrospective contrasts Daggerfall’s exceptional scale—described as roughly as big as Great Britain—with Morrowind’s smaller, more crafted world. That is the publisher’s retrospective comparison, not a standardized measurement of playable area. Bethesda’s Skyrim anniversary retrospective

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The contrast points to two different pleasures. Broad scale can make distance and self-directed travel part of the experience; a more crafted setting can make individual locations and their atmosphere more prominent. Neither measure alone establishes which game offers “better” exploration.

Howard has described open-ended diversions in Skyrim as part of the point: players might pursue action, take downtime, talk to people, or follow their own route through the game. Exploration, in this sense, is not just moving across a map. It is choosing what to notice and when to depart from a planned objective. Game Developer’s interview with Todd Howard

How combat emphasis shifts

The clearest evidence of a combat redesign comes from Howard’s 2004 discussion of Oblivion, which took place before release. He described plans for deeper attacks learned as skills rose, making magic more viable as a sole approach, and substantially revising stealth. These were stated design intentions, not an independent assessment of the final game’s balance. GameSpot’s 2004 interview with Todd Howard

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Bethesda later singled out Skyrim’s sudden dragon encounters as a defining spectacle: a fight could interrupt ordinary travel and become a memorable event. That highlights a different kind of combat identity—encounters integrated into the open world—rather than proving that every part of its combat system is deeper or more balanced than earlier games. Bethesda’s Skyrim anniversary retrospective

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The available accounts therefore support a comparison of emphasis, not a complete rules-by-rules ranking across every entry. When choosing a game, consider whether you want to focus on weapon attacks, magic, stealth, or dramatic encounters, while recognizing that these sources do not establish a single best combat system.

What character builds ask of the player

Build systems shape not just which abilities a character has, but when the player must decide what kind of character to become. Howard said the Oblivion team valued skill-based advancement because it rewarded role-playing a character class. In a separate 2011 interview about Skyrim, he discussed a problem with asking players to make choices before they knew which powers they would enjoy: some players could feel, hours into Oblivion, that they had chosen incorrectly. The Skyrim team wanted to ease that early pressure. Game Developer’s 2011 interview with Todd Howard

That context explains a design trade-off rather than proving one system is objectively superior. A build that asks for more planning can make role-play choices feel consequential; a gentler commitment curve can make experimentation less daunting. Howard’s comments do not establish that every Skyrim build is equally strong or that older builds are better.

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How setting and tools shape a game’s identity

A game’s character comes from more than combat and progression. In a 2022 retrospective, Bethesda executive Pete Hines credited Morrowind’s setting and sense of place with helping change the series’ trajectory. He also emphasized the impact of releasing the tools used to make the game, which supported player expression and extended its creative possibilities. These are Hines’s retrospective assessments, not neutral measurements of how much one entry influenced the other games. Bethesda’s Morrowind retrospective

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That history helps explain why “more open” or “more role-playing” cannot be reduced to a single feature. A distinctive setting, player tools, and freedom to approach the world in different ways all contribute to how a playthrough feels.

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Which Elder Scrolls game fits your preferences?

There is no objective winner established by these comparisons. Start with the kind of experience you want, and treat the titles below as different design emphases rather than points on a simple old-to-new scale.

What matters most to you What the evidence suggests to consider
Vast world scale Daggerfall is the clearest example in Bethesda’s retrospective, which describes it as roughly as big as Great Britain.
A crafted setting and player-created expression Morrowind is described by Bethesda as a smaller, more crafted experience; Hines also highlights its setting, sense of place, and development tools.
Skill progression and deliberate character identity Howard described Oblivion’s skill-based advancement as supporting role-play through a character class. The same interview records intended revisions to combat, magic, and stealth, not a verified balance comparison.
Open-ended diversions and spontaneous spectacle Howard described players setting their own pace in Skyrim, while Bethesda’s retrospective highlights impromptu dragon battles.
Less pressure to know your build in advance Howard said the Skyrim team wanted to reduce the feeling that a player had chosen incorrectly before learning which powers they enjoyed.

Howard himself cautioned against a simple ranking: “There are certain things that Arena does better, or that Daggerfall does better than Morrowind or Oblivion, or even better than Skyrim.” The practical question is not which entry is universally best, but which mix of scale, authored detail, combat approach, and build commitment suits the way you want to play. Game Developer’s 2011 interview with Todd Howard

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