{"id":40507,"date":"2023-12-13T17:00:00","date_gmt":"2023-12-13T17:00:00","guid":{"rendered":"https:\/\/www.xtremeservers.com\/blog\/starfield-clutter-and-the-story-behind-bethesdas-love-of-junk\/"},"modified":"2023-12-13T17:00:00","modified_gmt":"2023-12-13T17:00:00","slug":"starfield-clutter-and-the-story-behind-bethesdas-love-of-junk","status":"publish","type":"post","link":"https:\/\/www.xtremeservers.com\/blog\/starfield-clutter-and-the-story-behind-bethesdas-love-of-junk\/","title":{"rendered":"Starfield, Clutter, and the Story Behind Bethesda\u2019s Love of Junk"},"content":{"rendered":"
\n

This story contains minor spoilers for Starfield.<\/em><\/p>\n

About ten hours into my Starfield <\/strong><\/em>playthrough, I started collecting \u2018Earth books\u2019 for fun. I thought it would be a fun personality quirk; my celestial cowboy scuttling across systems looking for long-lost literary links to the past. Forget precious ores and mysterious celestial relics, I wanted art, and Starfield\u2019s cluttered landscapes allowed me to cram my cargo hold full of whatever junk I desired.<\/p>\n

For as long as I can remember, I (and many others) have been sprinting around in Bethesda\u2019s vast, open worlds, hoovering up every form of trinket and treasure we can find. Often it\u2019s something useful, like a rare or valuable resource. For the most part, it\u2019s just junk \u2013 it\u2019s worthless, you can\u2019t consume it or craft with it, whether it\u2019s books, weird ornaments or far more potatoes than you could ever need.<\/a><\/p>\n

Why is it all there? How is it made? And perhaps most importantly \u2013 why has Bethesda stuck to its guns on filling its RPGs with endless items, and why are we so compelled to collect them?<\/p>\n

To answer these burning queries, I sought out the best possible representatives for Bethesda\u2019s art of clutter. John Valenti, Lead Set Dressing Artist and Robert Wisnewski, Lead Props Artist, have worked together to create thousands of assets for Bethesda\u2019s roster of mammoth titles, from The Elder Scrolls IV: Oblivion<\/em> right up to Starfield<\/em>. If anyone can explain how this stuff works, it\u2019s them.<\/p>\n

<\/figure>\n

So, where do they start? Wisnewski laughs and says while this question might sound simple, it really isn\u2019t. The short answer is, Bethesda began with a huge list of items that Starfield <\/em>absolutely needed, but by the end of development, that list was about 20 times bigger than their original estimate. One of the main things that guides this ever-growing list of objects is lore created by the wider team.<\/p>\n

\u201cWe try and learn about the people that inhabit these cities, settlements, and outposts, including factions,\u201d Valenti explains. \u201cWhat are they like? How do people live and what items would they need to survive? What types of jobs would people have out in the settled systems? What items would they need to use to complete their tasks?\u201d<\/p>\n

The research gets even more granular; the team starts to consider the personalities of the individual NPCs that inhabit a particular space, be it a politician, an outlaw, or a miner. What objects would a worker have on their desk? What tools would a medical professional have? What personal items would they keep? All of these small questions contribute to the larger picture of these environments, that are all deeply personal to the characters that live within them.<\/p>\n

With thousands of different little items to contend with, a management system is needed. This is where \u2018clutter sets\u2019 come in \u2013 groups of objects that are organised in some way, be it individual assets that can be used to form other objects \u2013 kind of like game dev Lego \u2013 or, for smaller items, bits that are pooled together by a theme. Wisnewski tells us that it\u2019s not viable to make unique clutter for every single space in a game as expansive as Starfield<\/em>, so objects are created with multiple uses in mind.<\/p>\n

\"\"<\/figure>\n

<\/a>Setting The Scene<\/h3>\n

All of Starfield\u2019s environments are populated by hand. There\u2019s a system that can randomly generate important gameplay loot, such as ammo, healing items, and thematic objects for quest rewards, but anything considered \u2018non-essential\u2019 \u2013 every mug, every coffee stain, every scuff mark on the floor \u2013 is placed with intent, and with a personal touch.<\/p>\n

\u201cSet dressing is best when artists are doing the work and making the decisions about what should go where,\u201d Wisnewski says. \u201cWe generally feel better when things are done that way. I feel there\u2019s no better source material than what you see in the real world. I look at ceilings and lights. Some of the pipework and cables in the Zenimax building were inspiration for ceilings in Starfield. Stains on buildings. Construction sites.\u00a0 Airports. Recycling centers and landfills are a goldmine for ideas to me.\u201d<\/p>\n

Wisnewski adds that he often envisions himself in game locations before populating them, and the pair have even added easter eggs from their real lives to Starfield<\/em>\u2018s environments. One example is a set of plushies arranged like the cover of The Ten Apples Up on Top by Dr Seuss, which Wisnewksi highlights as a nod to his children. This arrangement of objects appears randomly inside Starfield\u2019s abandoned research towers.<\/p>\n

\u201cWe could probably write a book about all of the little easter eggs that appear in our games,\u201d he says.<\/p>\n

\n

We give our artists the creative freedom to make believable and lived spaces, and I believe that this is what makes our games so special, and it is why I love working on them.<\/p>\n

John Valenti<\/cite><\/p><\/blockquote>\n

Valenti adds that it\u2019s his goal to use miscellaneous objects to create a scene that has meaning, but is also open-ended enough for the player to come up with their own conclusion based on their own unique perspective. This is where that earlier research of environments and who occupies them comes in.<\/p>\n

\u201cI work with the designer to figure out who is inhabiting the location, run through the quest and get an idea of who they are, and [then] set dress and design that location based off their preferences and personalities,\u201d Valenti explains. \u201cIf the location is unoccupied, I create my own characters \u2013 who occupies this location? \u2013 and flesh out their personality with things like what hobbies they have or what types of food they prefer. My approach to an occupied office or home will differ from an unoccupied one. People separate work from personal life, living differently from office to home. The office may be more minimalist, organized, and clean, while a home may be a bit more dishevelled, densely cluttered and have knickknacks scattered around on display.\u201d<\/p>\n

\u201cWe give our artists the creative freedom to determine what goes where and let them have fun with it to make believable and lived spaces, and I believe that this is what makes our games so special, and it is why I love working on them.\u201c<\/a><\/p>\n

\"\"<\/figure>\n

<\/a>Life Off Earth<\/h3>\n

One particularly prevalent theme in Starfield <\/em>is the fate of Earth, and the story of its demise is represented in the artifacts that made their way from the now-abandoned planet into the Settled Systems. There are a number of different museums scattered across the galaxy that make a point of archiving a number of \u2018key\u2019 Earth objects, in the same way any real-world museum would, from everyday household items to historical milestones.<\/p>\n

\u201cThe first location that pops into my mind regarding old Earth clutter is the NASA Museum,\u201d Valenti tells me. \u201cIt was important for us to preserve and pay homage to early space flight in this museum, so we kept many of the museum model displays intact, so that they were not only recognizable to the player but also helped tell the main quest\u2019s story.\u201d<\/p>\n

This location also gave players a chance to pick up interesting, thematic rewards that feed into the story about Earth. Valenti adds: \u201cI felt like these items may not have been important enough for humans to take during the time of evacuation, but are important and interesting enough for the player to see as a collectable and worth taking home, whether that be their ship or outpost, for decoration.\u201d<\/p>\n

\"\"<\/figure>\n

A second example stems from a Starfield <\/em>sidequest, which follows the story of a colony ship that has been floating around in space for 200 years. The fate of the ECS Constant and its crew is up to the player, but the clutter found aboard the ship deftly weaves a tapestry of a small group of people suspended in time, and quite literally, space.<\/p>\n

\u201cWe wanted to have some historic pieces on the ship, objects that we still use and hold dearly to this day \u2013 things like baseball trophies and basketballs \u2013 as well as some Earth produce that would be used throughout the Settled Systems,\u201d Valenti explains. \u201cIt made sense to have some Earth-related clutter on the ship passed down [within families], and it made everything feel a bit more personal. These items are relatable and normal to us, and to the Constant members, but for other characters that live throughout the Settled Systems, these objects may have been ancient artifacts, or even \u2018alien\u2019. I find that to be a very interesting spin.\u201d<\/p>\n

Both the NASA Museum and the ECS Constant feel like very different locations, telling very different stories \u2013 and so much of that feeling comes from the clutter spread around within them. You might not notice it in the moment, but it\u2019s clear that Bethesda Game Studios puts a huge premium on creating a vibe through junk alone.<\/p>\n

\"\"<\/figure>\n

<\/a>Architectural Ingress<\/h3>\n

Starfield<\/em>\u2018s environments, both interior and exterior, begin as empty architectural shells, to which level designers and artists add a wide variety of medium and large objects to. This includes everything from machinery, electronics, light fixtures, containers, displays, shelving, rugs, furniture, signs \u2013 allobjects that a player can\u2019t directly interact with.<\/p>\n

Once those elements are in place, the smaller set dressing objects are used to further define and personalize the locations. This is the \u2018clutter\u2019 that the player can interact with; food, medical items, tabletop decorations, tools, sculptures, games and toys, minerals and inorganic objects, ammo boxes, switches \u2013 thousands upon thousands\u00a0of different assets in total according to the pair.<\/p>\n

Deciding which items should be immovable and which can be picked up is described by Valenti as a \u201cchallenging and interactive process\u201d throughout the course of development. This is down to the sheer number of objects, how they interact with one another, and what feels right as a player. An item\u2019s scale, value and functionality helps the team decide which category it should slot into.<\/p>\n

\u201cThere is a visual component to these decisions as well.,\u201d Valenti adds. \u201cFor example, if a storage box or a barrel is closed with a lid, it can be assumed that it is filled with something<\/em> and that it is too heavy to move, so we make it a static object. Collectable objects are typically eye-catching items that are small enough to grab and go. If I want to place it in my outpost, I want to be able to loot it!\u201d<\/p>\n

Some larger items that don\u2019t quite fit into those categories are marked as movable statics \u2013 objects that will, for example, fly across the room if they\u2019re subject to an explosion. Wisnewski adds: \u201cWe make those items so environments seem more lively when gameplay physics occur: explosions, projectiles, powers, and NPCs\/players bumping into them.\u201d<\/p>\n

\"\"<\/figure>\n

Traditionally, Bethesda strives to give players the opportunity to loot as many things as possible from extremely interactive environments, and Wisnewski adds that the decision comes out of a very simple conclusion \u2013 players like to do it.<\/p>\n

\u201cMany people, myself included, love collecting objects in games, and lots of players love to use lootable items as decorations in their ships and outposts, or just for fun.\u201d Wisnewski says. \u201cFor me, I do everything possible to find ways to exploit our systems during our testing phases in order to keep obscene amounts of items. Allowing our players the freedom to do absurd things with [physics-enabled] objects to make themselves and others laugh is really important to us.\u201d<\/p>\n

\n

Allowing our players the freedom to do absurd things with [physics-enabled] objects to make themselves and others laugh is really important to us.<\/p>\n

Robert Wisnewski<\/cite><\/p><\/blockquote>\n

\u201cAnd oh boy, do our players really like pushing that limit! Our programmers work miracles in optimizing code so that players can largely do as they please. Jamie Mallory\u2019s sandwich collecting is a perfect example of this.\u201d<\/p>\n

<\/a>Perfectly Balanced<\/h3>\n

All of this work is a delicate balancing act in a number of ways. While Bethesda enjoys giving players freedom to collect practically any junk they want, there shouldn\u2019t be so many shiny trinkets on offer that players feel overwhelmed.<\/p>\n

\u201cToo many items can make inventory management difficult, and that\u2019s something we had to consider as well\u201d Wisnewski says. \u201cDensely cluttered environments vs \u2018too much stuff\u2019 to carry is a constant balancing act during development.\u201d<\/p>\n

<\/a>Clutter Consistency<\/h3>\n

It\u2019s rare for modern games to include such a gargantuan number of non-essential items, but for Bethesda, it\u2019s a core part of the flavor of RPG they are known and lauded for.<\/p>\n

\u201cHaving interesting settings where the player can find lots of items \u2013 and come up with stories as to why the objects are there and who lived in those spaces \u2013 is as important to us as having gameplay reasons for having those objects,\u201d Wisnewski says. \u201cGame mechanics aren\u2019t always the primary reason as to why we do things like this\u2026 sometimes it\u2019s just because it makes the game more fun.\u201d<\/p>\n

\"\"<\/figure>\n

Valenti says that Bethesda has stuck with this formula because it makes their worlds feel more believable, and adds: \u201cWe want to empower players to play however they want and make the game their own, and having interactive objects allows for some magical things to happen.\u201d<\/p>\n

That\u2019s a sentiment that many players share. In the rolling peaks of The Elder Scrolls, the quirky wastelands of Fallout, and now, the awe-inspiring retro-futurism of Starfield <\/em>\u2013 that intricately placed clutter is what makes the environments we spend hundreds of hours wandering through so special. Every hand-crafted bedroom, office, abandoned outpost, is a microcosm of Starfield<\/em>\u2018s incredible universe, full of characters, history and hope. It\u2019s also a symbol of player agency; the freedom to horde cheese wheels, or sandwiches, or in my case, 37 copies of War of the Worlds. It\u2019s your story.<\/p>\n

I couldn\u2019t leave the conversation without finding out what these two masters of clutter favored above all else. Valenti\u2019s answer is prompt and sweet: My Friend Wilby, a series of collectible crochet creatures. For Wisnewski, it\u2019s the paper airplane, which he describes as a \u201csmall easter egg\u201d relating to the Frontier. He adds: \u201cSomeone will eventually figure it out.\u201d<\/p>\n

The post Starfield, Clutter, and the Story Behind Bethesda\u2019s Love of Junk<\/a> appeared first on Xbox Wire<\/a>.<\/p>\n<\/div>\n

Go to Source (xbox.com)<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

This story contains minor spoilers for Starfield. About ten hours into my Starfield playthrough, I started collecting \u2018Earth books\u2019 for fun. I thought it would be a fun personality quirk; my celestial cowboy scuttling across systems looking for long-lost literary links to the past. Forget precious ores and mysterious celestial relics, I wanted art, and<\/p>\n","protected":false},"author":4,"featured_media":40508,"comment_status":"registered_only","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[613,1553,118,8111,724,789,2180,11817,1563,136,18],"class_list":["post-40507","post","type-post","status-publish","format-standard","has-post-thumbnail","category-xbox","tag-contains","tag-hours","tag-into","tag-minor","tag-playthrough","tag-spoilers","tag-starfield","tag-starfield-about","tag-started","tag-story","tag-xbox"],"yoast_head":"\nStarfield, Clutter, and the Story Behind Bethesda\u2019s Love of Junk | Xtreme Servers<\/title>\n<meta name=\"description\" content=\"View Starfield, Clutter, and the Story Behind Bethesda\u2019s Love of Junk for free, here on XtremeServers. Discover more great articles on our site. 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