Deconstructing Fallout 3: Tenpenny Tower

2014-03-fallout-games-wallpaper

When I first played Fallout 3 on my Xbox 360 way back in 2008, I found myself drawn to the hubs and the quests. Exploring the wasteland was fun, but ultimately I was looking for structure and a story. I’ve recently booted up Fallout 3 again, but this time on the PC. With extreme (but lore friendly) modding, I’ve found the exploration aspect far more enjoyable and the quests frankly lackluster. I want to deconstruct the quests in Fallout 3 to think about how they work in relation to an open world map and the player character’s development choices.

Let’s start with the basics. Not counting the three childhood quests, Fallout 3 has a total of 66 quests in the base game: 10 story quests, 18 side quests, 22 unmarked side quests, and 16 repeatable fetch quests. Again, I want to briefly break down each of these to see how they’ve made use of the new environment and the RPG elements.


TP Tower

You know what? “Tenpenny Tower” is a good quest. It’s well structured, it’s got some great roleplaying options to expand your character, and it has three major endings, each of which has a noticeable impact on a prominent trading hub. Unfortunately, the entire quest falls apart after it has been completed.

 

Gameplay:

Whether you like it or not, the Fallout franchise is now deeply entrenched in combat mechanics. Every story mission requires either combat skills or no skills at all. “Tenpenny Tower” finds a comfortable position between the new gun-based gameplay of Fallout 3 and the old character-based gameplay of Fallout 2.

The quest has a nice start. You meet ghoul leader Roy Phillips at Tenpenny Tower’s gate, but surprisingly he’s not the quest giver. Instead, the quest begins by asking you to exterminate the ghouls. If you’re playing an evil character and are nuking Megaton, this is likely your second ghoul encounter. Taking Gustavo’s quest to kill the ghouls, regardless of who they are, probably fits into your character. Good bit of synchronized story telling there.

Warrington_Revolution

After exploring the metro tunnels and killing a few dozen feral ghouls you can either kill all the sane ghouls or convince Roy Phillips you can get him into Tenpenny Tower peacefully. This is where the quest gets interesting as Tenpenny himself will allow the ghouls in so long as a handful of VIPs agree. Already this feels like a Fallout 2 quest.

You can convince the VIPs in a number of ways. You need to convince an ex-slaver, a rich couple, and both shopkeepers to allow the ghouls entry. You could just kill these anti-ghoul protestors, but because Tenpenny Tower is entirely indoors and swarming with guards, you’d need to be stealthy or use Mister Sandman.

Aside from speech options, the shopkeepers are unique in that they have a stealth based trigger. If you steal from their stores, they will leave Tenpenny Tower citing a lack of safety. Although it’s a nice variety of gameplay, the narrative doesn’t make any goddamn sense. Two wealthy business owners were willing to drop everything, exile themselves to the wasteland (where the ghouls are) and hike all the way to Megaton (without any weapons) because someone stole their stuff?
Do you, the player, really believe that?

Boutique_Le_Chic

The Wellington couple also has an interesting option. Ex-slaver Susan Lancaster sleeps with every man in Tenpenny Tower (and the gameplay reflects this. She actually sleeps in a different man’s bed every night). Mrs. Wellington is worried Susan is sleeping with her husband as well. If you engage in a little stealthy investigation, you’ll find Mr. Wellington wrote Susan a love letter. Like stealing from the shopkeepers, this breaks away from the standard “combat skills, lockpick, hack, speech.” It’s refreshing to see so much player choice and character building in the quest. If the entire game had been like this, Fallout 3 would have been right up there with Fallout 2.

In a nice bit of world building, Susan Lancaster is wanted for the “Strictly Business” quest, allowing the player to knock out two birds with one stone. Lancaster could have been a generic Tenpenny Tower NPC, but someone had the great foresight to include her in both quests. Additionally, Susan Lancaster will move to Mr. Burke’s apartment if the ghouls are allowed in. Not that it matters since she and the rest of Tenpenny Tower’s original tenants will inevitably be murdered.

 

KarmaF3Moral Choice:

Let’s make one thing clear:
The ghoul bigotry was justified.
Wait. That’s not strong enough.
The ghoul bigotry was completely justified.
Hold on. I think this point needs a little more emphasis.
The ghoul bigotry was completely 100% justified.

Fallout 3 tries to shoehorn themes of ghoul racism into several quests, but it never quite works. It never works because on the whole Fallout 3 treats mutants as enemies instead of characters. The problem is twofold:

First, every Fallout 3 ghoul who uses the word “bigot” is universally violent and dangerous. Roy Phillips and Mister Crowley both claim they just want to stick it to some “bigots”, but they really just want an excuse to kill smoothskins. Roy Phillips (who has good karma) takes it about 100 steps further. He has no issue with nuking Megaton so long as the blast kills a lot of smoothskins.
Second, the issue of integrating ghouls doesn’t work as racial commentary in a world where feral ghouls are more prevalent than civilized ghouls and humans combined. Fallout 1 had crazed ghouls, but they were non-aggressive and under control of Set, the leader of Necropolis. In Fallout 3, almost every dungeon has feral ghouls. There are hundreds of ghouls. The entire Capital Wasteland is saturated with them. Tenpenny residents fearful of ghouls turning feral were absolutely justified. There’s no indication as to when or how a ghoul turns feral.

Roy_Philips

Racial commentary doesn’t work in this instance because in Fallout 3, ghouls are dangerous. Sure, there’s a handful of sane pre-war ghouls, but the vast vast majority of ghouls in Fallout 3 are feral. Remember Travis the chimpanzee? He was an animal actor who mysteriously snapped and lacerated a woman’s face. Those are the stakes of the “Tenpenny Tower” quest. The gameplay (dungeons full of feral ghouls) doesn’t match the narrative (ghouls are just people with a skin condition).

Broken_Hills_mine

The moral issue of mutant racism worked in Fallout 2’s Broken Hills because super mutants are just big green (usually dumb) humans. Other than lingering racial tensions from the Master’s war, there’s no imminent danger of living next to a super mutant. New Vegas revisited this idea as well. The writers of Fallout 3 completely misunderstood the point.

Tenpenny Tower residents were terrified of being murdered by ghouls. Those fears were completely justified since all three methods of ghoul integration end in the massacre of every single human resident of Tenpenny Tower, even those who were pro-ghoul from the start. Turns out Roy Phillips, the violent psychopath who advocated violence throughout the entire quest, was…surprise a violent psychopath. Too bad there’s no option to kill Roy Phillips but still allow ghouls or otherwise reveal his plan to kill the smoothskins.
If you (justifiably) murder Roy Phillips and his ghouls, you get bad karma and Three Dog vilifies you on the radio. It’s as if the quest writer and the Tenpenny Tower hub designer never spoke to each other.

Feral_ghoul_attacking

Questions:

At the end of the day, there are three unanswered questions behind this quest:

Why did the ghouls want to live in Tenpenny Tower? Why would you force yourself into an exclusive club that doesn’t want you and is actively afraid of you? Just to prove a point? Proving a point or setting a precedent only works in a world upheld by law and government. It doesn’t work so well in a violent world populated by isolated tribes.

Where did all these rich ghouls come from? Tenpenny Tower is supposed to be for rich wastelanders. Herbert “Daring” Dashwood made his fortune from years of exploring. Susan Lancaster made her career in the slave trade. Where did an entire hotel of ghouls get their fortune? Where did they come from? We don’t find out, most of them are generic NPCs. Roy Phillips says he has the caps to get into Tenpenny Tower, but that’s either a lie or a developer oversight.

Why didn’t the ghouls just refurbish Warrington Station? Roy Phillips uses Warrington Station as a base, but the place is a dump. Why not turn Warrington Station into a haven for wasteland ghouls and have ferals as guards? In this manner, Gustavo and Tenpenny would hire the Lone Wanderer for fear the ghouls were building an army, rather than because the ghouls were annoying. Instead of trying to integrate, the quest could have been solved by establishing a trade agreement. This would also explain where all the ghouls were coming from.
Side note: To put into persepctive how much Gustavo wanted the ghouls dead, he was willing to pay 500 caps, the same as Mr. Burke’s compensation for detonating Megaton. In Tenpenny Tower, killing three ghouls has the same value as procuring a one-of-a-kind fusion pulse charge and blowing up an entire town.

 

TenpennyCorpses.jpg

“If you bigots don’t let us in, we’ll kill you all! We’ll also kill you all if you do let us in! You PRIVILEGED SMOOTHSKIN BIGOTS!”

Like so many other quests in Fallout 3, “Tenpenny Tower” is a story of missed potential and unanswered questions. It’s not a bad quest by any means. The gameplay offers a lot of non-combat options and even breaks the mold of “combat, lockpick, hack, speech” that defines the main questline. Unfortunately, the moral choice was poorly conceived and the ending ruins the entire quest. You either kill the ghouls and are labeled a racist or you let the ghouls slaughter every human in Tenpenny Tower, even those who were pro-ghoul from the beginning.

Such is life in the wasteland.

Desert Law: School Bus Mounted Howitzer

desert-law_w1010.pngMy Steam library is filled with post-apocalyptic games. Generally, I’ll pick up (or at least wishlist) any apocalyptic game I come across. Desert Law has been in my library for about two years. I picked it up on sale, played it for 10 minutes, and then uninstalled it. However, enough time has passed that I thought the game deserved another chance. Unfortunately, the game aged about as well as a bloated corpse in the wasteland sun.

Desert Law’s narrative makes Wasteland Angel look complex by comparison. After the apocalypse, tribes of road warriors kill each other over booze and car parts. What kind of apocalypse is this? We don’t really know. The entire world is a desert and some places are populated by angry sentient zombies napping beneath the sand.
Here’s the story: Generic wastelander Brad wants to woo a girl for mating season, but rival tribes of gangsters and pre-apocalypse military keep mucking up his plans. Brad convinces his tribe to kill everyone in their way until Jane (the love interest) notices him.

20170413174402_1

The Postal Dude shoots Gengis Khan

The story is told in comic-book format. Make of the art style what you will. Speech bubbles appear and pages turn automatically. I personally found the speed of these sections to be a little too fast. I wasn’t able to read all the text before the page change. However, considering the prevalence of misused and misspelled words, it’s clear the game doesn’t care about the story and the player shouldn’t either.

20170413214130_1

Gameplay revolves around commanding a handful of buggies and armored hotrods with swivel turrets. In an interesting twist, drivers can exit vehicles and continue on foot. Hero units drive standard cars, but grant slight bonuses to different vehicles. Like Starcraft, there are a few infiltrator style missions where you abandon your convoy and explore ruined settlements on foot.

Unfortunately, Desert Law is difficult for all the wrong reasons. A great source of difficulty comes from bugged pathfinding. Without micro-management, units will drive directly into scenery. Exciting chases are impossible because cars regularly bump into each other. Destroyed units act as physical barriers. Although the monster-truck unit can smash through concrete walls and small buildings, it cannot drive over destroyed cars. This makes defense missions incredibly difficult as your army is quickly boxed in.

20170414133418_1

See the one car facing the opposite direction? The pathfinding made it crash into friendly units.

Units disobey orders and tend to chase enemies, making command options (stand ground, ambush, etc) completely useless. There’s no UI feedback to indicate you’ve given a unit orders. On multiple occasions, I’ve set up a defense line around a stationary turret. Despite being set to “stand ground” my weakest unit rushed into the fray before enemies entered the turret’s range. Even worse, this was a hero unit.

The game enters a fail state whenever a hero is killed. This wouldn’t be a problem in most RTS games, but in Desert Law hero units make up the majority of your army. Take, for example, the first real mission of the game. You start the quest with five units, three of them are heroes. As you progress through the quest, you’ll pick up another three heroes. You have a total army size of eight, but only two of your units are permitted to die during the quest. In most RTS games, hero units are exceptionally powerful, giving them enhanced survivability. In Desert Law heroes grant slight bonuses to standard vehicles. All these problems are only exacerbated by generally squishy units.

Enemies are comparable to player units, but are far more numerous. Units can be repaired by the mechanic hero, but there’s a catch. First, the mechanic doesn’t appear in every mission. Second, reflecting the post-apocalyptic setting, every unit has a set amount of ammo per level. The mechanic has no guns, but uses ammo by repairing vehicles.

20170414134611_1

See the tiny health bar under the monster truck? That’s a foot soldier.

Just to recap, Desert Law is a strategy game where you instantly fail if any hero unit dies. The majority of your army is comprised of heroes who are only slightly better than standard units. You’re outnumbered 5:1 by enemies who are just as powerful as you. You can repair your vehicles, but can only make 3-4 repairs per mission. The game has no base building, but reinforcements occasionally appear after completing objectives.

There’s not a lot to say about Desert Law. It’s a single player blitzkrieg-style strategy game with an irrelevant story, no voice acting, and poor optimization.  Fortunately, the game is only $2.99, frequently goes on sale, and includes 29 missions. If you’re looking for a cheap distraction or compulsively buy post-apocalyptic games, give it a look.

If you’re interested in Desert Law, you can get it here

356280_screenshots_20160905200814_1

Tales from the Whatpad: Fallout Survivor

Wasteland legend tells of a tumbling pad of pallid paper filled with horrors beyond comprehension and meaning. Those who stumble across this legendary “Whatpad” rarely live to tell the tale…

“Tales from the Whatpad” is an dramatic reading of terrible post-apocalyptic fan fiction.

Fallout Survivor: www.fanfiction.net/s/12353653/1/Fallout-Survivor
Music by: www.bensound.com/

Smegma Crazies, Gayboys, and The Golden Youth

Wez_Scream

On the surface, The Road Warrior is a fine action movie that defined the post-apocalyptic genre and put everyone involved on the map. If we put aside the action and go a little deeper, we start to see some interesting clues about the Humungus tribe. As we already saw with Lord Humungus and especially Fury Road, George Miller loves adding cryptic details into his films. Perhaps the most discussed and yet mysterious of these details revolves around the Humungus tribe’s not-so-subtle homoeroticism.

At the beginning of the film, we see Wez, his companion, and a few mooks engaged in a fast-paced pursuit. When the scene slows down to give Wez his fist close up, the audience immediately notices Wez’s companion, a young man credited as The Golden Youth, wears a black leather bondage harness. What I’ve always found more interesting is the chain and padlock dangling from his neck.

Zoom

While Wez is removing the crossbow bolt from his arm, the camera is positioned such that both The Golden Youth and Wez share the frame. In fact, The Golden Youth remains shares the frame throughout the shot, even as the camera pans up to focus on Wez’s twisted expression. George Miller could have done a simple close up of Vernon Wells followed by a reverse reaction shot of Max, but it seems he wanted the viewer to take notice of The Golden Youth, especially since this is the opening scene and the audience’s first encounter with the Humungus tribe.

Early drafts of The Road Warrior suggest The Golden Boy was originally meant to be female, but the writers (Miller, Hayes, and Hannat) wanted to demonstrate that gender roles were meaningless in the post-societal world. This motif comes through with another character who is practically The Golden Youth’s opposite and was originally supposed to be male. The Warrior Woman has agency and character, while The Golden Youth remains silent and submissive until his sudden death.

bat

Would Wez arm a slave?

Some have suggested The Golden Youth was a sex slave, but I think there’s more to it than that, especially since he can be seen wielding a baseball bat. The Golden Youth’s death adds another layer to Wez’s character, who would otherwise be a mass murderer without motivation. Alarmed at his partner’s death, Wez erupts into a violent rage. The focus of the scene switches from Humungus’ speech to Wez’s outburst. Humungus knows something about the relationship between Wez and The Golden Youth as the bandit king calls Wez’ name while he kneels next the corpse.

The_Golden_Youth

When Wez screams for the murder of Papagallo’s entire tribe, Humungus tries to sooth him, saying “We all lost someone we love.” I believe Lord Humungus’ immediate concern for Wez combined with that additional line provides a little extra insight into the relationship between these characters, particularly since The Golden Youth’s death serves as the motivation for Wez’s unrestrained (and later physically restrained) hatred of Papagallo’s tribe.

The Golden Youth isn’t the only homoerotic aspect of Humungus’ tribe, but it is the most obvious. While Max is eating dog food and watching the warring tribes from the ridge, Humungus can be heard commanding “Smegma Crazies to the left. The gate! Gayboy Berserkers to the gate.”

Gayboys

Gayboy Berserker

These two lines, barely audible in the movie, provide a little extra context when set against costume design. The Road Warrior’s costume department divided Smegma Crazies and Gayboy Berserkers into two distinct styles. Smegma Crazies wear tan jumpsuits, hides, and masks. Gayboy Berserkers wear police outfits, like Max’s uniform. Other members of the Humungus tribe wear black leather bondage gear.  Additionally, while the main Humungus force drives muscle cars, Smegma Crazies drive carts and Gayboy Berserkers drive looted police cars.

Smegma_CraziesSmegma

What does this little detail add to the story? That depends on how you look at it. Some have theorized Smegma Crazies and Gayboy Berserkers are two separate tribes dominated by Lord Humungus. Others say they’re just ranks within the tribe. George Miller is a stickler for little details. The script could have had these characters listed as anything (Wallabeaters, Madboys, etc), but ultimately, we got Gayboys and Smegma Crazies. This tiny detail, combined with Wez’s relationship to The Golden Youth, raises the question as to whether the entire Humungus tribe is homosexual.

I tend to think that, following the post-societal deterioration of gender roles, the Humungus tribe will probably act on any sexual gratification they can get. For example, when Papagallo sends scouts into the wasteland, the couple are immediately captured and raped by the marauders. Similarly, although it may seem that Humungus’ tribe is made entirely of men there’s a handful of female marauders in the background of Humungus’ introduction.

Tent_Scene

If there was any doubt, there’s also the infamous “tent scene” where the presence of women in the Humungus Tribe is undeniable. These details might lend some credibility to the theory claiming Gayboys and Smegma Crazies were added to Humungus’ fold after the initial founding. Since gender roles only fell apart after the fall of society and since Gayboys and Smegma Crazies are based on military and police, it stands to reason those tribes would be exclusively male and (as their name implies) homosexual.

Humungus_Gang

Standard Humungus Marauders

So what about the bondage gear? While it might serve to subtly separate Humungus’ main force from the sub-tribes, it seems to be a product of the costume designer, rather than the writers. As the story goes, costume designer Norma Moriceau got her inspiration for the Humungus Tribe’s costumes by living next to an S&M shop. Because of that anecdote, whether these outfits say anything about the tribe or if they’re just an odd piece of inspiration seems a little ambiguous, especially since Papagallo’s mechanic also wears studded leather. However, because The Road Warrior defined a genre, it led to the rise of fetish clothing and homosexual marauders in the post-apocalyptic setting.

0000217517

As I’ve often said, The Road Warrior spawned a slew of b-movies trying a cash in on its success. We recently looked at Warriors of the Wasteland, where the antagonists were an explicitly homosexual tribe of nihilist men bent on ending all human life. This twist on Humungus’ tribe adds an abstract element of decay to idea of post-apocalyptic raiders.

By their nature, raiders only destroy. They are vultures, feeding off the old world without putting anything into it. Once the last can of dog food is gone, once the last settlers are tortured and killed, once the last can of guzzolene used up, they will have nothing left. This specific type of raider, first popularized by The Road Warrior, actively seeks to eliminate any chance of human reconstruction. If, as in the case of Warriors of the Wasteland, these raiders are also incapable of reproduction, they become symbolic of horsemen (or motorcyclists) of the apocalypse, looting and murdering until the entire planet is dead.

Do the Smegma Crazies and Gayboy Berserkers matter? Why include such a small detail? Tell us in the comments!

Deconstructing Fallout 3: Andale

2014-03-fallout-games-wallpaper

When I first played Fallout 3 on my Xbox 360 way back in 2008, I found myself drawn to the hubs and the quests. Exploring the wasteland was fun, but ultimately I was looking for structure and a story. I’ve recently booted up Fallout 3 again, but this time on the PC. With extreme (but lore friendly) modding, I’ve found the exploration aspect far more enjoyable and the quests frankly lackluster. I want to deconstruct the quests in Fallout 3 to think about how they work in relation to an open world map and the player character’s development choices.

Let’s start with the basics. Not counting the three childhood quests, Fallout 3 has a total of 66 quests in the base game: 10 story quests, 18 side quests, 22 unmarked side quests, and 16 repeatable fetch quests. Again, I want to briefly break down each of these to see how they’ve made use of the new environment and the RPG elements.


latest

Andale is a microcosm of lazy game design. The settlement’s associated quest, Our Little Secret, feels like a scene from a hat. It’s a neat idea, but it’s not developed enough to become anything interesting.

The quest begins when you walk a short ways south from Fort Independence. You’ll find three houses and a child playing outdoors. The child tells you he never has a chance to talk to new people because his dad always takes care of them. You’ll then meet an old man who claims the town’s other residents are crazy. If you talk to those other residents, you’ll find out they’re all related and believe they still live in Virginia.

Andale doesn’t exactly make sense in this context. The lore goes that four families (now a single family divided into two houses) have been living on this bombed street for 200 years. This is another microcosm of bad writing and bad game design.
Bethesda doesn’t seem to understand how long 200 years is. Essentially its 20 generations of children. The families of Andale have been inbreeding for 200 years (imagine a single family inbreeding from 1776-1976) and have suffered no obvious abnormalities. Even if Andale’s adults were not a product of incest, their children explicitly are, yet Junior Smith and Jenny Wilson are no different than anyone else.

latest

Malformed jaws and smooshed heads. This is what Andale should have looked like.

Why does this point matter? Because the Point Lookout DLC got it right. 200 years of inbreeding families (more than one) and radiation creates Swampfolk. In the base game, nothing happens. This is why Andale feels like playing scenes from a hat. Someone had an idea for an incestuous group of cannibals and then stopped.

Demonstrating the inbreeding wouldn’t even require new character models. Making the children albino, giving characters the Hapsburg chin, or even giving Andale’s residents low intelligence would have connected the scenery to the lore. Instead, nothing happens. Someone thought inbreeding was a cool idea and that was it.

Inbreds.jpg

Which would you say is a product of sibling incest? (ANSWER)

The lore isn’t the only place where the writing just stopped. The very concept of the quest falls into underdevelopment as well. Junior Smith says he never has a chance to talk to newcomers before his dad steps in, but we never see that. There are no visitors in Andale.

Old Man Harris claims everyone knows to stay away from Andale, but no other character in the game mentions the town. The player can spend as much time as they want in Andale without any risk of being cannibalized or attacked. The town whose premise is that they eat any wastelander who visits them will never ever attack the player unprovoked. Andale isn’t a living place, it’s a set-piece populated by cardboard cutouts.

Further, Old Man Harris (who is apparently trying to help) only provides the player with vague explanations. Harris can talk about cannibalism after the incident, but leading up to it he simply says his family is “Crazy! Crazy I tell you!” and “people who wander into Andale don’t wander back out.” If Old Man Harris is trying to help the player, why couldn’t he just say they’re cannibals? Instead, Old Man Harris tells you to look inside either the shed or the basement.

Our_Little_Secret

Here we come to a big difference between Fallout 2 and Fallout 3 as a whole. In the base game,there are three options to uncover the secret of this quest.

  1. Unlock butchery doors. (Requires 100 Lockpick)
  2. Steal key from men of either house. (Random stealth check)
  3. Steal key from bedside table in either house.

Those are the only three ways to complete this quest. You literally cannot progress without taking on some bad karma, either through stealing or breaking and entering. There was an opportunity to use your perception to smell rotting meat or peep through a hole in the shed, similar to using perception to identify the sharpened spear or Brahmin brands in Fallout 2 or even using your medicine skill during the Blood Ties quest. A more interesting route would be if the families invited you to dinner and put sleeping pills in your food. Instead, nothing happens.

Perhaps the most offensively bad part of this quest is the ending. You have two choices: Either kill the cannibals…or don’t. The only difference in gameplay between these choices is if you negotiate with the cannibals, you can get a meat pie once a day. Everything else falls by the wayside, completely forgotten by the writers.

Compare.png

Both old men. Same clothes. Same hair. Same moustache. Which is the result of 200 years of inbreeding? (ANSWER)

For example:

  • Old Man Harris locks his doors for the attack. If you let the cannibals live, he will keep his doors locked forever. If you go inside his house, he’ll flee and shout “Get out while you still can!” There’s no option to tell Harris you’re also a cannibal, despite that if you fight the family, Harris says he was watching through the windows.
  • There’s no option to relocate the kids. Most of the time you come across a stray child in Fallout 3, you have several choices in how you deal with them. In this case, the kids never speak to you again. If you kill the parents, they both enter the care of their grandfather, living next door to the house where their parents were massacred and butchered other wastelanders.
    How do the kids feel about losing their parents and learning  they’ve been eating human flesh? We never find out because the kids have no additional dialogue.
  • What about Old Man Harris? What will he eat? Jack Smith says “he barely eats enough to stay alive.” The Lone Wanderer just destroyed Andale’s only food source. What will he and the children eat? Harris himself established that caravans know to stay away from Andale.
  • The quest even lacks internal consistency. After learning the secret, if you use the cannibal perk to eat a dead body in front of Andale’s cannibals, they’ll turn hostile.
  • Hilariously, if you investigate the Wilson’s basement, the cannibals will still line up outside the shed, waiting for you on the other side of the street. Only Jack Smith can initiate the confrontation.
  • Though a small oversight, if you make peace with the cannibals and then tell Jack Smith that Old Man Harris is spreading rumors, Jack will act as though you don’t know his secret. Again, the only change after completing this quest is that you can get a single meat pie everyday. It’s a small touch, but it’s another illustration of how Andale is woefully underdeveloped.

I found Andale to be an important exercise in game development because it’s a good illustration of Fallout 3’s pitfalls. There’s an idea, a good idea, but its never developed past the initial “what if.” There was opportunity to utilize gameplay mechanics, present a nice story and interesting visuals, and ultimately reveal a horrific secret. Instead, nothing happens. The gameplay is limited, the story is weak, and the secret is obvious.

hqdefault

Cult Classics: Warriors of the Wasteland

Following the success of Mad Max 2 was a handful of post-apocalyptic B-movies. Among those was The New Barbarians (aka Warriors of the Wasteland), a dirt-cheap Italian knock off. Despite a slow start, this movie actually isn’t terrible, it just has low production values. However, I noticed a lot of similarities between this film and She Wolves of the Wasteland. Both have alternate titles. Both have promising, but underdeveloped plots and concepts. Both suffer from poor editing and a lack of closure. For that reason, let’s use a similar four points system as She Wolves, with one exception.

  1. The Plot
  2. Interesting concepts
  3. Editing
  4. Characters

The Plot: The year is 2019. It has been 9 years since the nuclear holocaust of 2010 (Thanks, Obama). The film begins by focusing on a small caravan who has just discovered “The Signal” a mythological radio frequency which supposedly leads to the last civilization on Earth. Unfortunately, before the tribe can decipher the coordinates, they’re attacked by a rival tribe of motorized marauders called “The Templars” whose only goal is to destroy all human life because reasons.

Carnage

The Templars crush their enemies with a mixture of explosives and laser guns. That night, timid humans wrapped up in white cloth (with a strong resemblance to Mad Max buzzards) loot the destroyed caravan. They run for cover when a muscle car (with a glowing green roof) appears form the darkness. Now we meet our hero, Scorpion.

Buzzards

After looting the scene and killing the buzzards, Scorpion meets with his friendly wasteland mechanic, a 10-year-old boy. With his car repaired, Scorpion drives off to save a van under attack by the Templars. The only survivor of the attack is a woman who Scorpion saves in the nick of time. Scorpion confronts Templar lieutenants, revealing he is an ex-Templar and wants to send a message to the Templar leader, One.

THE_BUBBLE_BOWL

Scorpion’s car has a neat chrome skull hood ornament, but that bubble dome is way too much.

Scorpion drives off with the woman, attempts to bandage her wound, and then immediately has sex with her. Meanwhile the Templar lieutenants plan to ambush Scorpion against One’s wishes. The ambush turns into a counter attack when Scorpion’s best frenemy Nadir fires on the Templars with exploding arrows.

End

 

Scorpion, the woman, and Nadir then travel to a caravan of peaceful religious people who have also found “The Signal.” The woman decides to stay with the caravan, while Scorpion drives off only to be immediately captured and anally raped by One. The Templars attack the caravan as well, killing the entire tribe almost immediately. Meanwhile, Nadir rescues Scorpion and trains him alongside the child mechanic. Finally, the three return to the religious caravan, rescue the survivors just before their executions, and defeat the Templars.

Interesting Concepts: Although Warriors of the Wasteland uses more sci-fi elements than Mad Max, there are only two truly interesting concepts in this film.

Radio

The Signal is a great idea. A legendary radio signal that will lead those who find it to the last civilization on Earth. To complete the motif, the leader of tribe looking for the promised land is named Moses. The true nature of The Signal is left ambiguous. Both tribes who discover The Signal are immediately attacked by the Templars. However, even the Templar lieutenants believe The Signal to be real.
Apparently, the source of The Signal is only 10 miles from Moses’ camp, but we never learn what happens to it. At the end of the movie, Moses’ tribe is wiped down to three people. The movie ends with the mechanic child grabbing Scorpion’s hand. The audience never learns if The Signal actually led to the promised land or if there is a last civilization at all.

Warriors of the Wasteland is clearly a Road Warrior knockoff, but it builds on car combat. Cars are armed with drills, flamethrowers, laser cannons, missiles, spinning blades to decapitate pedestrians, and laser cannons. Perhaps one of the best examples of car combat in this movie is when a Templar drills through an armored fan, then uses his flamethrower to burn the target from the inside out. Warrior’s car combat relies more on mechanical weapons while Mad Max (especially Fury Road) relies on projectile (thundersticks) and passive (kneecappers) weapons.

Low_Res

The fanblade of death!

Editing: Each action scene in Warriors was filmed at three different speeds. Whereas Mad Max has fast paced action scenes where you can feel the wind, the danger, and the tension, Warriors of the Wasteland suffers from slower action. Many of the action scenes are purposely slowed down which destroys any sense of tension. This is especially true in the first battle, just five minutes into the movie, where it feels like the Templars are driving at 15 MPH. Additionally, many of the battle scenes have choppy editing which breaks the narrative flow.

Characters: The characters here are totally hit or miss.  For every interesting person in this movie, there are three with no characterization.

Not-Mad-Max

Scorpion can best be described as Not-Mad-Max. He’s a scavenger who shows up to loot a burning caravan. Other than that, he really has no character, he’s just a nice guy who knows how to fight. The woman sleeps with him because he’s nice to her. The child mechanic helps him because he’s nice. Scorpion even refuses to attack Templars because his real qualm is with One. The result is a boring lead.

Woman

I honestly could not tell you the woman’s name in this movie. Scorpion saves her, sleeps with her, and for the next 45 minutes she patiently waits in his car (even during action scenes) until finally deciding she should follow Moses’ tribe so she can be captured for the finale. Where was she going before Scorpion saved her? Who was she traveling with before they were attacked by Templars? We never find out.

0000217517

One is a weird guy. He’s the leader of the Templars, but he only ever fights Scorpion. In the beginning of the movie he rips a bible in half and says “books started this whole apocalypse.”  Maybe Warriors is a sequel to the Fahrenheit 451 movie?
One is a standard bad guy. He kills his own men when they disobey and he whispers to himself before getting into a shouting fit. Whenever a Templar asks him a question, the answer is always some variation of “kill them.” However, there is just a glimmer of extra characterization. During the previously mentioned rape scene, it’s established that all Templars are sodomized by One as an initiation ritual.

Nadir

Nadir should have been the star of this movie. There’s two posters for this movie, one portraying Scorpion, Nadir, the child mechanic, and the woman and another portraying Nadir as white accompanied by the woman. Fred Williamson plays Nadir and uses his natural charisma to create a character who is funny, stern, and perfectly hammy. Williamson’s performance makes the character far more interesting than he actually is. Without the performance, Nadir’s character is a barebones warrior who always appears just in time to save Scorpion from certain doom, which causes Scorpion to resent him.

Although it suffers from slow pacing, Warriors of the Wasteland has some neat ideas. The film takes a few tentative steps toward expanding car combat and it features an interesting religious concept. Unfortunately, the film ends without any real resolution. Once the bad guys are dead, everyone gathers around Scorpion and the movie just ends.

Warriors of the WastelandBarbarians

Deconstructing Fallout 3: The Power of the Atom

When I first played Fallout 3 on my Xbox 360 way back in 2008, I found myself drawn to the hubs and the quests. Exploring the wasteland was fun, but ultimately I was looking for structure and a story. I’ve recently booted up Fallout 3 again, but this time on the PC. With extreme (but lore friendly) modding, I’ve found the exploration aspect far more enjoyable and the quests frankly lackluster. I want to deconstruct the quests in Fallout 3 to think about how they work in relation to an open world map and the player character’s development choices.

Let’s start with the basics. Not counting the three childhood quests, Fallout 3 has a total of 66 quests in the base game: 10 story quests, 18 side quests, 22 unmarked side quests, and 16 repeatable fetch quests. Again, I want to briefly break down each of these to see how they’ve made use of the new environment and the RPG elements. We’ll continue this series by slowing down and looking at one particular side quest.


latestThe Power of the Atomlatest

The Power of the Atom is the first side quest of Fallout 3 and easily the most famous. The player is tasked with either detonating or diffusing an atomic bomb at the center of the first wasteland settlement they visit.

I want to break this quest down into four sections.

  • Gameplay
  • Moral Choice
  • Burke
  • Improvement

latest

Gameplay

The gameplay of this quest has some strong points geared toward low level players. Destroying the town requires zero skills. You simply apply the pulse charge and run away.
Disabling the bomb only requires an explosives skill of 25, but the game knows players might not want to invest their precious points in an underutilized skill. For that reason, an unmarked side quest is expertly crafted into this scenario.

Someone in Megaton has a drug problem. By learning of their issue (through several different options), the player can help the settler solve their addiction. In exchange, the player gets access to a drug stash. The stash contains mentats, which raises perception, which raises the explosives skill. This is a fantastic (and rare) mix of marked and unmarked quests which also teaches the player about addiction as a gameplay mechanic.

Additionally, there’s one particular speech check in this quest worthy of mention. If you tell Mr. Burke you’re already working for Lucas Simms, the speech check demanding extra caps is more likely to succeed due to your leverage. In this one particular instance, the dialogue tree is more complex than it initially appears. Unfortunately, this never happens again.

index

The Moral Choice

What exactly has Megaton done to deserve being destroyed? Nothing. Absolutely nothing. They aren’t slavers, cannibals, or even anti-mutant. The worst they’ve done is refuse to give clean water to a beggar.

Depending on the scenario, the reasoning for Megaton’s destruction is either because Tenpenny doesn’t like looking at it (even though you can’t actually see Megaton from Tenpenny Tower) OR ghoul leader Roy Phillips wants to kill as many smoothskins as possible just for funsies. Roy Phillips has “good” karma by the way.

So, your choice is: Genocide an entire civilization for literally no reason…or don’t.

This simplistic light side/dark side dynamic plagues Fallout 3 at every corner. There’s no nuance to morality choices. The majority of moral choice in this game can be boiled down to: “Do something monstrous for no reason…or don’t.”

burke

Mr. Burke

 Easily the worst antagonist in the entire Fallout franchise. The fact he is featured in the first hour of the game only adds insult to injury. Burke wants to destroy a 200 year old settlement simply because his boss complained about an eyesore on the horizon (in a world where 90% of buildings are crumbling or abandoned). In response to this off-hand statement, Burke procures a rare fusion pulse charge and attempts to nuke the entire town for no reason.

Somehow this isn’t even the worst part of this cardboard cutout of a character. Upon entering Moriarty’s Saloon for the first time, Burke immediately motions the player over to offer the task of blowing up the entire settlement. This doesn’t make any sense.
Mr. Burke had full trust and faith the first non-resident of Megaton who entered the saloon would not only be willing to blow up the entire city for a mere 500 caps (the value of a single Chinese assault rifle), but also that his selected person would not give the rare fusion-pulse charge to the town sheriff. Burke is a cardboard character simply so the quest has an evil option.

Additionally, because Burke is one of the few characters in Fallout 3 to have “very evil” karma, there is no penalty for killing him. You can walk into Moriarty’s saloon, throw a grenade at Mr. Burke, and suffer zero consequence. The same NPCs who will murder you for stealing a fork will then simultaneously say “Better him than me.”

Mr. Burke is a bad joke, a one-dimensional character with zero motivation.

confessor_cromwell

Improvement: There was so much missed opportunity in this quest. There could have been some fantastic storytelling and gameplay here. Instead, nothing happens.

I would fix this quest in three ways: Giving agency to the Children of Atom, adding RPG elements, and finally dealing with Mr. Burke.

As I understand it, the Children of Atom believe every split atom results in the creation of another universe. Therefore, the dormant bomb is an important part of their religion. Without the nuke, there will never be another “division.”
This leads to a handful of simple questions: How does the church feel about the bomb? Would they be upset if it was disabled? Would radical members of the church want to detonate the bomb?

I believe that last point highlights where this quest went wrong. Megaton portrays a bomb worshipping cult who believes atomic detonation will lead to salvation. This should give motivation to a radical member of the church who wants to speed up the division. Instead, nothing happens.
Despite having their own fleshed out dogma, journal entries, and their own HQ, the Megaton church has no quests associated with it. The most you get is a sub-cult outside of Megaton in the Broken Steel DLC.

By adding RPG elements, I primarily mean the sneak skill. Confessor Cromwell spends his days preaching in front of the bomb, calling for the division. When a complete stranger tampers with his holy relic (either disabling or rigging the bomb) the Confessor doesn’t bat an eye. Nobody questions the atomic bomb at the center of town making a high-pitched whine after being tampered with.

It would have been interesting if Confessor Cromwell or Lucas Simms question the player for tampering with the bomb. Instead, nothing happens. You can potentially walk into Megaton and immediately tamper with a nuclear bomb without saying a word to anyone.
Imagine if the player could only tamper with the bomb while sneaking or while Confessor Cromwell was sleeping. It would have been a great opportunity for characterization, world building, and roleplaying.

fallout-3-screen-shot-22715-12-09-am

Additionally, notice the flavor text for the bomb says it would require a “highly skilled explosives expert” to disable the nuke. The actual explosives skill required is 25, less than average. It would have been interesting if the skill required was maybe 75. Would that alienate low level players? I don’t think so.

Remember the nuclear plant in Fallout 2? Remember how you could convince one of the ghouls to do the repairs for you, but it required some clever speech options? Remember how you could reprogram a robot to do the repairs for you? Remember how you could solve a symbolic logic puzzle without using any skills?
Fallout 3 could have had that as well. Instead, nothing happens. The nuke is disabled off screen without any puzzling or thought. The two robots in Megaton have no purpose. The player could have been tasked with recruiting a real explosives expert, adding more speech elements to the quest. Instead, this quest is geared toward low level characters. The first side quest of the game sets the stakes at apocalyptic proportions. The result is ruined pacing.

Finally, how can we fix Mr. Burke, if we must have him? Simple. Add an item called “Mr. Burke’s employment contract” to either his or Tenpenny’s inventory. Perhaps add some fluff under “notes” to explain what it means to have a contract. In this manner, Charon and Burke would have the same backstory. Without any further exposition, it would explain why Mr. Burke was obsessed with destroying Megaton and why he felt the need to complete the task after Tenpenny’s demise. As it stands, Burke has no backstory and becomes an utterly dormant character upon completion of The Power of the Atom.

fallout3_nukingmegaton_1280w

Conclusion

The larger issue with this quest is that the option of destroying Megaton exists at all. Since the entire town can be destroyed within the first hour, it means the writers were forced to work around Megaton. Notice that after “Following in his Footsteps” the story line never returns to Megaton. The only other marked quest in the settlement is Wasteland Survival Guide, which is still accessible after destroying Megaton.

Perhaps the most disappointing part of the entire quest is if dad finds out you nuked Megaton. Informed his only child destroyed an entire civilization and killed dozens of innocent people, James calmly says “I can’t begin to tell you how disappointed I am. We’ll talk about this later.”  The writers of Fallout 3 saw Megaton as they saw the rest of their characters and locations: as little more than a disposable annoyance.