Presper was born and raised in the area formally known as Shady Sands, now known as NCR, where he spent many of his years as a scientific adviser to President Tandi before his disillusionment settled in – a disillusionment fueled by the Caravan houses that ate away at NCR. He and the others effectively grew frustrated with Tandi, the BoS, the caravans, and everyone else. They just wanted to start over by wiping the slate clean. When his breaking point finally came, Presper became determined to find a way to rid the world of chaos and human impurities, and discovered his savior in the Limit 115 virus. Through extensive research, Presper discovered the history of Limit 115 and its genocidal potency, and also discovered a viable means to cleanse the world. Using ULYSSES, the Tibbets quarantine prison, and a ballistic satellite known as B.O.M.B.-001, the way to human planetary domination and order became clear.
The game would have taken place in the year 2253 in the American Southwest. The Prisoner, the player character, awakens in a prison cell. Suddenly the floor rocks violently from an explosion and the player is knocked unconscious. When they awaken, they find their cell door open and a hole in the wall leading outside. Leaving the prison, the character is under attack by some unknown assailant. Deciding that discretion is the better part of valor, the player flees into the night to explore this new world.
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As many of you probably know, the original Meantime was a time travel cRPG by Interplay using the same engine as the original Wasteland and some of the same development team, which was canceled in the early 1990s. And Van Buren was the codename of the canceled version of Fallout 3, which was developed by Black Isle Studios in the early 2000s.
Does it mean that these ill-fated games will eventually see the light of day, even if in the form of spiritual sequels, like Wasteland 2 and Torment: Tides of Numenera? We'll let you know as soon as we know more!
RPGamer's Johnathan Stringer interviews Chris Avellone about his career and what games he would love to make. Naturally, a large part of the interview on Fallout series: Van Buren (and the respective PnP game), Fallout 3, and Fallout: New Vegas.
JS: Changing gears to the Fallout series, you were working on Van Buren which was to become Fallout 3.
CA: Ah yes, good ol' Van Buren!
JS: Yes, there is not really a lot known about this game, how far along were you in development?
CA: Well, I should start off by saying Van Buren went through two stages. One was a very long pre-production period where I was basically the only one working on it for about three to three and a half years. Then Baldur's Gate III was cancelled at Interplay, and the entire Baldur's Gate III team moved on to Van Buren. A few months later, I left Interplay, and Josh Sawyer took over the second iteration of Van Buren. So, for the first part of Van Buren, I was doing area design, pen & paper testing, and checking out mechanics like trying to figure out how ghouls would work as a player character race and super mutants and such. So yeah, there were a lot of mechanics development, a lot of storyline development, and area development. But in terms of actual gameplay aspect, I believe that the vertical slice/demo done proving out some of the basic navigation mechanics were as far as it went, and there were a lot of area design documents. But Van Buren hadn't gone much beyond that and would probably be more of a question for Josh.
JS: Van Buren looked to have an isometric view and gameplay style as was in the first two Fallouts, were you bitter at all about how that plan was cancelled and eventually turned into a 1st or 3rd person shooter RPG? And, though it was well received, do you think the series should have stayed in that same isometric view style?
CA: I am not bitter at all. Actually, Fallout 3 wasn't ever the reason Van Buren was cancelled. Van Buren was cancelled because management didn't feel it was a viable title compared to console titles, and Van Buren was going along the lines of just being a PC only title. Which, you know, had been the case for quite some time before they decided to cancel it. So, I am a little upset they reached that decision somewhat late, but my disappointment is geared towards Interplay's decision and not anything related to future Fallout installments.
I do think Bethesda had a huge challenge with Fallout 3 because they had to remind people what Fallout was, and they had to reintroduce people to the world, which I thought they did a really great job with it. I think, for example, you growing up as a vault dweller, and how they handled that, was a good introduction to the world. I liked their open world mechanics as I think exploration is a big part of the Fallout universe and Fallout 3 did a really great job of doing that. So yeah, I played Fallout 3 and really enjoyed it a lot, and I played the DLCs and enjoyed those, and am really happy to see where they take Fallout in the future.
JS: Well you must have liked Fallout 3 as you worked on the follow up Fallout: New Vegas. Were there some elements of Van Buren that found their way into New Vegas?
CA: Yes! There were so many that crept in. And oddly enough, a lot of it came out of the pen & paper sessions that we were running at Interplay. A lot of the personal conflicts the player characters were having in those sessions that I was game mastering actually ended up as plot lines in New Vegas. Like, the whole idea of the Stealth Boy technology can drive super-mutants and nightkin insane was something we had running in the pen & paper campaign. The Big Empty that we had for Oldworld Blues, that was also a part of Van Buren, although it was more like a military bootcamp in that version. We had the Hoover Dam, and it was set up like this whole floating city that had been built around the dam on one side, and that was moved into New Vegas, although it evolved into a different fashion. We just had a whole bunch of stuff from Van Buren that we brought over into New Vegas, though it just ended up changing design-wise over time, and evolving into cooler and better things.”
Aggrogamer: After Interplay was acquired by Titus, Fargo leaving and Black Isle was shuttered due to financial troubles, what inspired you and your team to start a new studio rather than joining an existing already successful studio like BioWare? Also how did your team respond to this, did it take some convincing? Did any disagree and go to competitors?
Chris Avellone: "Independence" is the best answer. We were still local, we knew the kinds of games we wanted to do, and we wanted a chance to prove it. I doubt we all could have gotten jobs at BioWare (if any of us could've), and we'd always imagined Black Isle as a separate entity in any event — Feargus worked very hard to shield us from all the troubles taking place there in the last few years with Titus, although he was powerless to prevent what happened with Baldur's Gate 3 and he departed several months before Van Buren (Fallout 3) got canceled as well.
We didn't ask anyone to join us, they simply volunteered — and a lot of them volunteered. Speaking for myself, the moment Feargus walked into my office and said he had resigned, my response was "when do I quit?" That was true for a lot of people — Feargus, much like Fargo, had earned a lot of respect over the years, and the current company climate wasn't such that people were willing to remain without being able to work for those same bosses.
I loved working at Black Isle, I loved the Infinity Engine games (even with the increasing pressure to do them faster and faster), and I had put a lot of years into crafting an experience for Fallout 3. Still, after what happened with Baldur's Gate 3, it no longer seemed reasonable to expect that that project would be allowed to be carried to completion, and sure enough, it wasn't.
AG: As far as Fallout 3 (Van Buren) goes is there any chance the files will ever see the light of day like KOTOR2 or HL2 on Dreamcast; or even a legit release from Bethesda down the line someday?
CA: I don't believe those files will ever see the light of day, but I don't know. And it's not up to me anyway. Fallout belongs to Bethesda, I doubt they'd dig through those archives or if they even have all the files in order to share them with the public, and I doubt they'd even want to (I don't see what benefit it would be for them). I do know that a lot of Van Buren docs have ended up on the internet and from what I've seen; they're accurate from what I remember.
I do not believe that we'd ever see the Van Buren game made, which is fine. After all, a lot of the Van Buren stuff ended up mutating and finding a home in New Vegas in any event, so it did gain new life, even if it wasn't exactly the same as it was portrayed in Van Buren (things that showed up include: Hoover Dam, the brain-damaged Nightkin, which originated in one of our pen and paper campaigns at Interplay, Caesar's Legion, the Big Empty in Old World Blues). Also, there's nothing to say that some of the concepts (rival party, Prisoner's Dilemma) couldn't end up in some other game down the line. KOTOR 2 was different because the legacy info was still in the actual game and could be unearthed (we didn't strip those out, and while it wasn't the feeling of everyone at the studio, I'm glad we didn't strip them out).
AG: You and your team got to revisit Fallout again with New Vegas and it's add-ons, was this a something you and your team had to think about or was it just an instant yes?
Would you guys do another Fallout and do you think BethSoft would ever do an alternating dev cycle a-la Activision with Treyarch and IW doing CoD?
CA: Aside from getting the contract squared away, I believe everyone on at the studio was a "yes" on this. Fallout's one of the best RPG franchises to work on, and it was one we didn't think we'd get a chance to return to, and then… New Vegas came along.
We'd love to work on another Fallout, although that would depend on Bethesda. We certainly enjoyed working with them on New Vegas and we still have a lot of cool ideas and adventures we'd love to do for the Fallout universe.”
As part of an ongoing personal blog project of mine, Chris Avellone, still busy with Fallout: New Vegas DLC production, was kind enough to take some time out to discuss his role at Obsidian and in F:NV, his background, character design, as well as the work that goes into RPG creation.
Here's a snippet:
Still working hard here at Obsidian, wrapping up the last bits of Fallout New Vegas DLC, Lonesome Road. We had the last narrative tasks and voice-acting session last week (Note: end of May), it went well, and now it's a matter of doing more run-throughs of DLC4 to get a feel for the pacing and polish what we can. It's been a long road from New Vegas to the end of the DLCs, and now when I go home, I'm not sure what to do with myself - on NV and the DLCs, it was easy, I just didn't go home.
[His favourite writing or design achievements in his career]
I like the influence system (although not its first iteration in KOTOR II) as a way of making players pay more attention to a companion's philosophy and outlook rather than just Karma, although I prefer the individual NPC influence meters in Alpha Protocol as a more realistic and true-to-the-world feel for how others judge you based on your actions, not some internal player character moral barometer.
As for other experiments: The idea of disparate personalities being forced to cooperate under pressure when they normally would kill each other is something I've always liked. We used this in Fallout New Vegas, Dead Money, and it was an experiment I wanted to try ever since the Planescape days (although in Planescape, the idea would be that a group of hated enemies all had tattoos that prevented them from harming each other and straying too far from each other, and they had to cooperate to escape... sort of like the movie, Cube). Since Planescape wasn't an option, I switched it to a collar in Dead Money and went from there.
As far as characters, I've loved all the characters I've written for different reasons. I loved writing Rose of Sharon Cassidy (FNV, although Rachel Roswell voice-acted her and took her to a new level), Dean Domino and Christine from Dead Money (who shows up in more than one of the Fallout DLCs). For Christine, it was fun to figure out how to "write" a mute character, and the fact she switches voices over the DLCs is kind of interesting as well. I also have a lot of love for Ulysses in Fallout, only because I like the idea of someone hunting my player for reasons of his own, and then hearing the reasons why... and realizing how important even the smallest of my actions are for the people of the wasteland - living or dead.
[On the importance of fleshing out character creation via a pen & paper format]
It's extremely important because it gives you immediate feedback from your players as to how they perceive the character you've made - is the character valuable? A threat? A worthy adversary? And it's quick to judge why they're lacking based on player comments, expression, and grumbles/excitement.
On the reverse end, it also let me see what character builds from a gamemaster standpoint the game needs to account for. In the Fallout pen-and-paper games, we had to account for doctor/medical specialists, combat monsters, sharpshooters, scientists, Nightkin, ghoul mechanics, pacifistic thieves, and more... and all of them had to be covered in each adventure with a role to play and an important contribution to make in the scenario. It was a good test as a gamemaster to stay true to Fallout to make sure all the character builds were being covered and felt valuable in the gameplay context.
[On writing characters]
Sure ...Cassidy is a bigot... at first. When the Chosen One confront[s] him on it in his dialogue, he apologizes, backs off, and when you ask him about it again, he does a change now that he knows you and respects you, so you have to tip your hat to the man's willingness to change based on what life's shown him. And it's even better because you're the one who caused him to re-evaluate his perspective, so from a player standpoint, that's a double win.
I've never despised any character I've written - there's usually always something about them that I find respectable. The Legate's pragmatic in Fallout New Vegas and his violent appetites border on poetry which I like - even Leland from Alpha Protocol, there's pragmatic things I respect about his approach to the world climate and I call it out during the game's narrative - and he calls it out if Thorton (the player) shows the same attitudes in carrying out his missions.
[The Courier's clean slate design, and what will become of him/her...]I feel you should let the player write their own history. When we set up Lonesome Road, we only knew 3-4 things for certain about the player character, and in my opinion, that’s enough to build an epic adventure around. More on that to come...or it’ll come to the player, one way or the other.