Fallout: New Vegas

           It is sometimes not easy to gauge the legacy of a video game series by how its instalments tap into its emerging and often revised canon. Some of the settings materialize in a seminal event where the original and fresh ideas are employed skilfully laying the foundations of consistent and interesting stories, and in the case of Fallout, we have its first game. Then there is a slight more controlled mainstream derivation decked with pop culture references that nonetheless expands on the breadth of content and refines the formula, and we have Fallout 2. Then there is what could only be regarded as a red haired stepchild that eschewed a large portion of the existing mechanics and pilfered its license but ushered the franchise from developer limbo (Interplay) into the modern age, Fallout 3. Then, in a surprising turn of events, Bethesda decided to pull a Rockstar and branch its Fallout setting without committing so much as affixing another number, that honour being reserved for its license holder, and realized in a far flung region of post-apocalyptic Mohave Wasteland. Moreover, the mantle of such a task would be placed on Obsidian, a purveyor of cRPGs composed of original Fallout developers, in what appeared to be the most logical choice that Bethesda had ever made regarding its license. Or it could have been some ironic overture to the whinging fanboys of the original series to now bemoan their erstwhile heroes struggle to work within the perverted confines of a besmirched canon. Will humiliation and insults ever cease for them?

         So did Obsidian manage to carry the torch and bring the prodigal son, all grown up but a bastard, and make lemons out of the too sugary lemonade? For the most part, yes. It shares most of the outward mechanics and interface with Fallout 3, and at a glance, the game could be mistaken for an extensive mod. The entire landmass in play appears smaller, but is actually host to more landmarks, not all of which are notable or practical, just as they should be. Graphics, particularly its design, are mostly intact, aside from a few animation tweaks here and new model types there. The PipBoy interface glows orange instead of green (still configurable in options). The environment in general has a dust-swept orange tint, instead of the Capital Wasteland sickly green. You can notice, however, where and how Obsidian strained to give its own original spin to the proceedings. For one, they brought back choice selections of the atmospheric soundtrack from Fallout 1 (e.g. Shady Sands), some of which are instantly recognizable and hearken to the origins of the series. Perks, which grant the player a particular trait that helps to specialize, return, but are not given at every level. Obsidian even put some of the unrealized ideas from their own Fallout 3 (Van Buren) project that was cancelled. The 'Factions' system along with Caesar's Legion were such ideas.

        However, Fallout New Vegas is still by and large a Bethesda game, with their engine and games systems to be preserved, so as to not alienate the millions of newcomers who adopted Fallout 3 and enjoyed them. So Obsidian must have researched and managed to incorporates some of the ideas that evolved since the release of its predecessor, most of which in a myriad of user mods that enhanced every part of its experience. One conspicuous such change is in the iron sights of rifles, where one can now forego the VATS system as matter of proxy zoom and can slip into sniping mode for a more dynamic combat experience. Speaking of VATS, its effectiveness has been reduced somewhat, and was expanded to include more melee strike options. Another change is the crafting system, in which ammunition can be pressed and converted for other similar items, foodstuffs cooked, medicines concocted, and weapons upgraded. Lastly, your followers are more robust out in terms of characterizations, which are revealed through their personal side quests, and a revamped control scheme streamlines your interaction with them. Overall, the improvements are not drastic but add up to make the trekking across the sprawling Mohave more enlivening and interesting a proposition than it initially lets on, giving claim to a relatively obscure Post-Apocalyptic Western genre.

        Being ever the eager and proficient storytellers that they are, Obsidian manages to wrap all these changes in an equally sweeping storyline full of political intrigue and conflict. It turns out, nothing really did change in terms of human capacity for greed and violence over 200 years after the Great War. Out of California comes the newly recruited troops of NCR, ready to expand to the East yet finding itself being extended with morals broken under the intense sun. You have the slaver clan Caesar's Legion, who rising out of the East is enslaving and pillaging everything in their path. Lastly, you have the mysterious Mr. House, whose intentions belie the bright and glittering lights of his domain of the New Vegas Strip. You play the role as a courier, tasked with delivering a special item to someone very important, but is stopped dead in his or her tracks with the item stolen, and left for dead, only to be suffering from amnesia after miraculous recovery. Sounds like a standard set up, even clichéd, for every RPG in existence. But as you start to track down your adversary and recover the stolen item that seems to be the only link to resolve the mystery of your origins, you become quickly embroiled in a struggle among the prominent players in the region that seems too big for a meagre courier to be involved. Yet you are at the centre of its every significant development, ready and able to tip the scales to one side or another. Yes, this is, in the end, a roleplaying game.

        The quality of writing and the depth of choices cannot be overstated to make this roleplaying experience at least consistently believable, let alone enjoyable, and Obsidian delivers on it with aplomb. The dialogue flows more naturally, and although the breadth of choices here are limited due to voice recording, the delivery is helped in no small part by a cast of impressive actors, including Kris Kristofferson, Matthew Perry, and of course the unforgettable Dave Foley. The karma system is now bolstered by the faction ratings, and it is possible to render both good and bad deeds and have the factions, and to a lesser extent the world, react to your actions accordingly, because they do not exist on one exclusive scale. Therefore, it is possible to aim for the status of a conflicted hero and still be accepted, albeit grudgingly, by a faction.  The script shines even more in certain isolated and unmarked quests where the disastrous consequences and ugliness of human nature are laid bare.

        All these elements allow user interaction with many delightful details that constitute an open world, while the main plotline gives a general direction to an inevitable conclusion. No one aspect of the plot asserts itself to violate that feeling of freedom until the endgame sequence where the game warns you with a clear indication of where you stand. The impression of a breathing and immersive world where one can hopelessly find himself or herself wandering in the wasteland demonstrates the hallmark of the Bethesda RPGs. The desolate atmosphere could even be heightened, to a small degree, if one opts for the 'hardcore' mode that necessitates periodic sustenance in food and shelter.

        Are there areas where Fallout New Vegas could have improved? Yes, the foremost of which is the stability issue. The Gamebryo engine, notorious for its glitches, and Obsidian could mean a veritable match made in hell in terms stability and bugs, and they invariably plagued my experience to a degree, in about 10 times over a 80 hour playing time. One cannot expect to ALT+TAB out of the game. The incessant phrases ("patrolling the Mohave almost makes you wish for a nuclear winter...") are repeated ad nauseam by the NPCs. The 'Caravan' card game that Obsidian programmed into the game could have been explained better, and apparently New Vegas denizens have been exposed to radiation for too long to forget about poker.  A certain attempt to balance the skill system left somewhat wanting the possibility with lockpicking, wherein I wish I could use an explosive (e.g. dynamite) to attempt to unlock at the penalty of damaging the loot if unsuccessful. There are some attempts to partition some of the content for upcoming DLCs, including which that deals with the origins of the courier. A lot of other gameplay tweaks can be made via mods available on Fallout Nexus sites, however, which is one of the greatest strengths of the jury-rigged rickety engine that already supports a lot of Fallout 3 mods barring a simple conversion. Mods enhance the experience, without a question, whether you are into some questionable NSFW kind of fetishes, your own post-apocalyptic car, or simply want darker nights.

       In the end, New Vegas has successfully carved a niche that amasses another legion of lore and history in the Fallout canon, resurrecting some old fond ideas and giving tribute to its trademarks while introducing new ideas that have gained foothold and acceptance. It attenuates the classical Fallout atmosphere of the Black Isle games and the terror of the third. It bridges the old audience and new, and gives both something to enjoy and partake in, that tried and true radioactive air of adventure. Where will the road take the Fallout stalwarts, I dare not say, but the only thing sure is, under Obsidian's care and Bethesda's resources (pending the outcome of its lawsuit with Interplay), we will all be there in unison, 5 million strong, with shared expectations and understanding of the series. Which is really more than I could ask for. Good job Obsidian.