T w e n t y S i d e d

Last week I made the argument that Fallout 3 could have had much more interesting and effective writing while still appealing to its desired audience. One criticism I received was that New Vegas received a lukewarm reception from some of the most ardent F3 fans—and what was New Vegas, if not Fallout 3 written more interestingly and effectively?

Well, quite a lot. Let me be as explicit as possible: in this exercise, I am not trying to write New Vegas. That was a game that didn’t appeal to F3‘s broader audience simply because it had no interest in pursuing Bethesda’s design sensibilities. Obsidian wanted a morally-ambiguous political meditation explored through a basically linear zigzag through its curated gameworld. Bethesda wanted a tightly-linear main storyline with a baroque good-versus-evil narrative that serves as a tour guide to an otherwise totally open gameworld full of little disconnected vignettes to explore. There was no reason either game had to be written well or poorly based solely on development goals. You can argue that Obsidian’s priorities attract a better class of writer, or that Bethesda settled on the approach it did for want of strong narrative designers, but I’d argue success or failure in either case is hardly baked in at the conceptual stage.

If we’re taking one Obsidian-y action item on board, it’s the idea that a story’s conflicts should all reflect its theme. Last week we settled on a major theme to explore: it is good for the powerful to give strength to the weak. This week we’re going to mix in a theme to accompany, complicate, and inform this idea: there’s no free lunch. Whenever we feel tempted to boil a conflict down to “Should you give bread to the hungry because you want to be a good guy or just jack up the prices for evil karma points,” we can complicate the choice to a greater or lesser extent by asking something like: “If you give that bread away, how will you get everyone more bread?” In an Obsidian kind of game, we’d be asking that question constantly; the intense dilemmas would be half the point. In this Bethesda-style game there’s no reason to put that much pressure on the player, who’d probably rather make a straightforward choice and get on with the story and exploration, but being able to at least point to that tension and acknowledge the existence of scarcity will go a long way towards making characters and factions more interesting.

Speaking of “making characters more interesting,” I think it’s time we had a serious talk about the main character of Fallout 3. That would be James, aka Liam Neeson.

Continue reading ⟩⟩ “Overhaulout Part Two: Wasted”

Rutskarn is a writer, author, wordsmith, text producer, article deviser, prose architect, and accredited language-talker. If you enjoy his contributions to this site you could always back his Patreon.