Fallout: New Vegas and DLC Post-mortem Interview, Part One
-
Category: InterviewsHits: 51659
Article Index
Page 2 of 2
Crafting self-contained stories within the scope of four downloadable add-ons to an already massive game was quite ambitious, but it also must have presented you with certain limitations. Dead Money, in particular, was based around a myth that "everyone's heard about", yet it had never before been mentioned in a Fallout game. Is integrating a self-contained storyline into the larger Fallout lore a challenge for you, and is it a conscious decision to bring in new ideas rather than working within the world that's already been established? It's a combination of both. With the narrative structure of the DLCs, we made an effort not only to introduce new gameplay spaces, but also links to the Mojave and the larger world as well. For example, regarding the narrative hooks in New Vegas, some overt, some subtle:
- We seeded the world with Sierra Madre posters and graffiti.
- Nash mentions the Courier who didn't take the job, establishing the mystery there.
- I worked with Eric Fenstermaker (who wrote Veronica) to make sure Elijah's history was fleshed out and explained, as well as integrating the defeat at Helios One into the Brotherhood of Steel backstories.
- Eric also set up the bomb collar hints in the Mojave that suggested Elijah's path.
- The Burned Man is mentioned extensively throughout New Vegas (even in loading screen text), all the way until the final confrontation with Lanius. Knowing the Burned Man's history is a weapon you can use to cause the Legate to turn back (as long as you don't use the word "retreat").
- Cass off-handedly mentions the Divide during her speech.
Some of these narrative hooks we did in reverse, and I feel they worked well, here's two:
- We decided that the ghoul singer in Dead Money would be great if he was actually Dean Domino from the Vegas show posters (idea courtesy of Travis Stout).
- The Cazador connection and Nightstalker connection - where the hell are these things coming from? How did they come to be? Who would mess with tarantula hawk wasp DNA and blend coyotes and rattlesnakes? Can we explain it?
- Where did all the plants in the Mojave come from?
A lot of the DLCs also refer back to events in the Mojave (Vault 22 refugees in Honest Hearts, resulting in Spore Carriers), Cazador and Nightstalker research labs in Old World Blues, etc.
We didn't just limit it to Vegas, however, we went back pretty far for some of our reference hooks: When doing God/Dog in Dead Money, I wanted to reach as far back as Fallout 1 with more explicit references to the Master, and show how that history is causing repercussions in the player's present.
In conclusion, we made sure that every DLC at least had narrative hooks that players who had played/were playing New Vegas would pause and remember the connection. Then we took care to make sure there were narrative connections across all the DLCs as well to reinforce the "things that came before" and how all these signature characters' paths changed the Mojave and the DLC space.
Each of the DLCs has brought its fair share of gameplay elements to New Vegas, but Dead Money stands out among them as being particularly unique. Was the survival horror scenario of Dead Money something you'd wanted to include in a previous Fallout game, and did it have any other inspirations? Do you have any interest in exploring those horror themes in another setting or in a future Fallout story?
I never wanted to do survival horror for Fallout before Dead Money, although when I played the Dunwich Building in F3, I thought that location was scary as shit. Plus, there are parts of Fallout that should be scary, untamed, and isolated... you're in a wasteland, and sometimes the monsters come for you, other times, they're lurking in toxic-cloud-laced-towns-filled-with-survivors-trapped-in-hazard-suits. After doing Dead Money, I'm not particularly driven to do another horror adventure similar to it in the future, I just wanted to experiment with the idea.
I do want to touch on the survival bit, though, since that was important to me. Fallout's gotten pretty civilized as the years have gone on, and what would once be a magical find (Stimpak) is something that's somehow become commonplace. When doing Dead Money, I wanted to restore value to the Pre-War items that players seemed to take for granted... if you find a Stimpak in Dead Money, I wanted the players to be thrilled to find it, not add it to the hundred you currently have in your inventory. Buffouts, Super Stims, and Repair Kits I wanted to be precious and feel precious - and also make crafting and scavenging more important as well.
I also wanted enemies that changed your combat tactics. While demo'ing FNV, the number of headshots people do can number in the hundreds, so the hope was by designing new brands of enemies we could make the players vary their tactics a bit (Ghost People and Holograms). In future DLCs, we simply provided them with weapons that had the potential to change tactics drastically and then let the players use them if they wanted (Flare Gun and Flash Bangs had specific effects, especially against Deathclaws and Tunnelers in Lonesome Road).
If you wanted to read the rest of the inspirations and Dead Money breakdowns, I did a more thorough breakdown of the Dead Money Survival/Horror design elements here: http://forums.obsidian.net/index.php?automodule=blog&blogid=1&showentry=144
Honest Hearts saw the long-awaited Burned Man, hinted both in Van Buren and New Vegas, come to fruition as a strong character. Do you feel it's difficult to live up to the expectations of fans when they've had so much time to build them?
Yep. When a named character is hinted at, players can fill in the blanks, and whatever they imagine will likely be better than anything we can come up with because it's personal to their experience and their specific playstyle. Regardless, you do want to have build-up to major characters, and you do want to get players excited about meeting them, and Joshua Graham succeeded. I like what Josh did with the take on the character - it would have been easy to make him a cliché, and he's far from it.
There are a lot of challenges to character building, from the character model itself to meeting the expectations of encountering a mythological character - and meeting a mythological character is likely to defy people's expectations by its nature, especially if the character has enough questions surrounding them that the player has filled in blanks that are more personal and relevant to them.
Again, anything players can imagine as cool is usually going to be better than what we try to guess would be cool for them. On the other hand, like was done with Graham, it's also a perfect opportunity to do a surprise twist on people's expectations.
Old World Blues reveled much more heavily in the retro-50s themes that have generally been in Fallout's background, not foreground. Were there any specific inspirations you looked to for this, or any homages?
I went back and dissected the Fallouts, the Fallout discard pile, old loading screen images (esp. Lobotomites that had been shown in old loading screens), homages to other games that Fallout ran with, and then poured it all into the Big Mountain crater.
I also watched a lot of 50s movies. A LOT. As part of the level scrums, we would also watch outtakes from popular 1950s sci-fi cinema to get the exaggerated (Science!) feel - and I watched a lot on my own as well. Part of theme was a world where a great many inventions were atomic and anything nuclear promised amazing things for the future. Usually with an exclamation mark.
As part of the research, pre-production, and production phases, we devoured a host of 50s science fiction films including Brain from the Planet Arous, Things to Come!, Forbidden Planet, When Worlds Collide, the Deadly Mantis, Tarantula, the Mole People (we ended putting the Mole People in Lonesome Road as Tunnelers), the Monolith Monsters, and more.
There's also a little Wizard of Oz thrown in for good measure, which is reinforced in the operations you get in Big MT and also in the conversations with some of the characters in the DLC.
While Old World Blues followed a serious theme, it offered a lot of light-hearted and over-the-top moments. How did you arrive at your decision to deliver it in a less serious manner? Do you feel that the humor counter-balances the darker narrative elements of the story?
If you watch enough 50s sci-fi movies and see scientific propaganda from that time, you have to laugh/cringe (Did people really believe hiding under desks would protect them from a nuclear blast? Did they believe that detonating warheads near inhabited islands wouldn't cause consequences?). Forbidden Planet made me laugh. The Deadly Mantis made me laugh. Tarantula made me laugh. So I figured playing up to that crazy ATOMIC sci-fi feel was appropriate, and the team had a lot of fun with it as well.
The humor does counter the more serious elements, but after Dead Money and Lonesome Road (which we knew was going to be dark), having a change in tone to go along with the change in terrain and "feel" of the DLC was important. Presenting darkness upon darkness upon darkness without any variation I don't feel makes for a convincing quadrology, and the same applies to level design - people get really excited when they see vegetation in a Fallout game, or something other than desert, and the same thing is true for narration. You need to mix the emotional experiences.
Also, if we had focused solely on the dark aspects of Old World Blues and the tragedy of all this amazing shit going to waste, I didn't feel like stomping all over the player's emotions like that. They're there to have fun, let them have fun, and there was a conscious effort to make sure the humor was delivered in the context of the Fallout universe and had an underlying logic.
Check back soon for the second half!
