Early in Fallout 1’s development, the game’s
story centered around time travel, monkey murder, aliens, and electricity-conducting
underpants. Fallout 1 underwent a few changes from that
initial idea and ended up becoming one of the most highly regarded RPGs ever made. It’s still fondly talked about twenty years
after its initial release and for good reason. Not only is it a good game in and of itself,
it kickstarted a franchise that sold tens of millions of copies. The series has gone from turn-based isometric
RPGs to first person shooters to virtual reality. We’ve come a long way since Fallout 1 was
first released, but we nearly didn’t get the game at all. Fallout 1 was nearly cancelled twice, it underwent
a dramatic late overhaul to its entire combat system, and required a hell of a lot of bribery
in the form of free pizza to even get it off the ground. This video is the first in what I hope will
be a massive series of videos on the history of isometric CRPGs from 1997 to the present
day. There’s a separate video on my channel that
explains what I hope to cover with this series and there should be a link to it on the screen
now. I recommend you watch that video first as
it might put this into context a bit more. Before someone points this out in the comments,
Fallout isn’t technically an isometric CRPG. Isometric would be at 45 degrees whereas Fallout
is 60/30 and based on a hexagonal grid. It’s close enough for me. In short, this video covers the development
of Fallout 1, a bit of history of the Fallout universe, and then my experience playing the
game in 2017. That last part is sort of like a review, but
I won’t be attempting to assign a score to the game because that would be silly. I’m also not going to try and judge the
game as if this were 1997. I’ve never understood the logic behind that. If something bugs me in 2017, I’ll mention
it. This video contains full spoilers but they
don’t start until the story section. The section on the development history and
the overview of the Fallout universe are spoiler free. The story is then split into two parts so
if you like what you’ve heard from part one then perhaps stop watching the video and
go play Fallout 1. Development History While much of game development is shrouded
in mystery, Tim Cain and Feargus Urquhart in particular have been fairly open in discussing
the making of Fallout 1. In addition to written interviews, lead programmer
Tim Cain gave an extensive presentation at the 2012 Game Developers Conference on Fallout
1’s development and Chris Bratt of Eurogamer recently interviewed Tim Cain, Feargus Urquhart
and Leonard Boyarsky. I’ll be covering some of the highlights
of those videos here, however if you want the full story behind the creation of Fallout
1, then I highly recommend watching those two videos. The Eurogamer interview in particular is brilliant. I’ve linked to them in the description. In 1994, Cain worked for Interplay Productions
and wasn’t assigned to any of the big projects currently in production. He used this freedom to develop a new RPG. While he didn’t know exactly what he wanted
it to be, he knew he didn’t want it to be a fantasy game. There were enough of them already. The initial story he drafted is unrecognizable
from what would eventually become Fallout 1. Buckle up, because even the summary of the
story is going to take you on a wild ride. The game would have started with your girlfriend
being kidnapped. You find the house belonging to the kidnappers
and make your way to the basement where you find a statue. You’re taking a closer look at it when the
kidnappers capture you. Something weird happens and you’re transported
back in time where you find a spaceship guarded by a monkey. The monkey has the key to the spaceship but
he won’t give it to you. You’re desperate so you kill the monkey
and fly off in the spaceship. You end up on another world which is under
the control of the game’s big bad. The bad guy can shoot lightning bolts, but
you’re immune to them as you have a pair of lightning conducting underpants that you
found on the spaceship. You save the day, travel forward in time and
end up back on Earth in the year you left. Except everything’s different. It turns out, the monkey you killed was one
in the chain that evolved into humans. Without the monkey, humans never came into
existence which somehow led to dinosaurs becoming technologically advanced and ruling the world. You’re captured by the dinosaurs and treated
like an animal in a zoo. Eventually, a dinosaur sympathetic to your
plight breaks you out and believes your story. It gives you a time machine to go back and
stop yourself killing the monkey. It also gives you a device that puts you into
stasis. So you go back, save the monkey and freeze
yourself. You wake up in the modern day and it turns
out that you were the statue in the basement. You rescue your girlfriend and defeat the
kidnappers. So yeah… that’s a story. Obviously, it isn’t a Fallout game, but
I’d quite like to play it. It reminds me more of point and click adventure
games than open world RPGs and the whimsical nature would be quite fitting alongside classics
such as Sam N Max Hit the Road and Day of the Tentacle. Anyway, the story then morphed into one about
aliens taking over the entire world except your city and eventually became a post-apocalyptic
story due in part to Leonard Boyarsky’s desire to make a Mad Max style game. They considered using the Wasteland license
because Interplay had developed that game for EA back in the 80s. Unfortunately, EA didn’t want another Wasteland
game. It had already tried to develop a sequel although
strangely it didn’t market the game as Wasteland 2, instead calling it Fountain of Dreams. EA did eventually sell the IP to inXile Entertainment
which has now published Wasteland 2 and is working on Wasteland 3. Neither Cain nor Boyarsky wanted to make a
fantasy RPG. To escape the common fantasy tropes, they
shunned the Advanced Dungeon and Dragons ruleset that would later be adopted by games like
Baldur’s Gate, and settled on a system created by Steve Jackson called GURPS, Generic Universal
RolePlaying System. The GURPS system was such a significant part
of the project that early game name ideas included GURPS: Wasteland and Vault 13: A
GURPS Nuclear Adventure. Another name under consideration was Apocalypse,
however Interplay had another game under development with that name although it never ended up
getting released. Cain didn’t get much help on Fallout 1 early
on. He couldn’t ask other employees to help
as they were busy working on other projects. Instead, he simply booked out a conference
room, bought loads of pizza, and let people come and hang out. If they wanted to offer feedback on the game
while they were there, then he wouldn’t stop them. The development cycle for Fallout 1 was about
three years from beginning to end. I couldn’t find any official numbers on
the cost of development, but Cain estimated it to be around $3 million. For Interplay, it was a small project which
didn’t receive a tonne of attention. Early on, this lack of oversight might have
been an advantage, however it also meant Cain had to regularly sell the game to marketing
and finance who seemed doubtful of its potential. Fallout had a number of close calls that,
had they gone differently, would have led to either a completely different game or outright
cancellation. The initial threat of cancellation came when
Interplay acquired the rights to Forgotten Realms and Planescape. Interplay wanted all its people working on
games for these huge intellectual properties which it saw as closer to a guaranteed success. Cain ended up, in his words, begging on his
hands and knees to be allowed to continue with Fallout 1. Another threat came from a new IP called Diablo. Diablo came out in 1996 and was a huge hit. It had real time combat and online multiplayer. As you know, publishers like to chase trends
so Interplay pressured Cain to put online into Fallout and to make the combat work in
real time. From the way Cain described it, I don’t
think this was ever likely to happen, but the team had to spend a lot of time putting
together feasibility studies before management agreed to drop the request. The closest Fallout 1 came to cancellation
related to its use of the GURPS license. Late in development, Cain showed Steve Jackson,
the creator of GURPS, some footage of Fallout. Jackson hated it. Specifically, he hated the violence, such
as the early scene showing someone being executed in the streets. He also disliked Vault Boy and all the iconography
around that. The entire point of GURPS was that it allowed
creators freedom to create the world they wanted, but apparently there were limits to
those freedoms. The team removed the GURPS system and implemented
the SPECIAL system, which was created in just two weeks. In case you don’t already know, SPECIAL
represents the different attributes you pick for your character. Strength, Perception, Endurance, Charisma,
Intelligence, Agility, and Luck. I have to admit, I always thought the titles
of these attributes was fiddled with a bit to create a convenient acronym, but apparently
not. They were developed independently and Cain
initially called it the ACE-LIPS system until someone pointed out that SPECIAL might make
a better acronym. Even when Fallout was finished, there was
one more hurdle to overcome. Certification. Microsoft’s requirements were that the game
should work on Windows 95 and fail gracefully on Windows 3.1, the older version. Fallout actually ran perfectly well on both
95 and 3.1 which you’d think would be a good thing, but I guess Microsoft didn’t
want software working on the older version because it might stop people upgrading. The programmers only made one change and that
was to have the program fail if it detected Windows 3.1. There are a few more interesting notes from
development that I’ll drop into discussion as we go. I’ll end this section by briefly mentioning
one small detail that had a huge impact on me as a teenager when I first played this
game in the late nineties. I’d love to pretend that I remember why
I bought Fallout in the first place, but I don’t. What I do remember is opening up the box--which
looked a bit like a lunchbox--and reading the instruction manual on the bus ride home. The instruction manual was created as a survival
guide like the ones that would have issued to residents of Vault 13. It included everything from technical specifications
of the vault and how much it cost to the effects of nuclear blasts and exposure to radiation. Of course, it also included more typical stuff
like how to play the game and a guide to character creation, but the presentation was so appealing
that I lapped up every detail. It put you in the mindset of a vault dweller
with enough background information to spark the imagination, but not too much as to limit
the possibilities. The house was mercifully empty when I got
home so I installed the game and played for hours. Cain mentions that they went to a lot of effort
to create a Fallout experience with little touches like this and for me, it was completely
worth it. I enjoyed Fallout 1 so much that I bought
Fallout 2 near release even though I was almost exclusively spending my time on PS One at
that point. In other words, I do have nostalgia for this
game. Bear that in mind as you watch the rest of
this video. Before talking about the experience of playing
the game, it’s worth spending a few minutes recapping the history of the Fallout universe. In other words, I’m going to talk about…
the lore. Backstory This is going to be a really high level overview
of what happened in the Fallout universe before 2161 when Fallout 1 begins. I mainly focus on events that are relevant
to Fallout 1. Most of this information comes from the Fallout
Bible put together by Chris Avellone and updated on a relatively regular basis in the early
2000s. The world of Fallout was almost identical
to our own up until around the 1950s when there was a divergence. I’ve seen this divergence credited to the
late development of the transistor, which in the Fallout world didn’t happen until
much later. I haven’t seen anything that confirms this
is the reason for the differences between the two worlds, but it seems like a good fit. Going further back in time, we know that aliens
were abducting people in the Fallout universe in 1603, however the impact this had on the
world seems to be minimal on non-existent. Without transistors, electronics did not become
substantially smaller and more efficient. Instead, the world of Fallout is built on
harnessing the power of the atom. There are plenty of nuclear power plants,
although fossil fuels are still important. In many ways, the US became trapped in the
1950s, with a continued reliance on ready meals, the prevalence of radio over television,
and massive computers. There are still some impressive technical
achievements such as the Mr. Handy robots that act as personal butlers. In the late 1960s, the 50 states that made
up the US, merged into 13 commonwealths with an enhanced level of sovereignty. Oil was a crucial resource and global pressure
built as each country started worrying about its oil supply. In 2051, US forces entered Mexico to protect
its oil and business interests. A year later, Europe went to war with the
Middle East, also over oil. The worldwide chaos was enough to scare the
US government to such an extent that they authorized the development of a series of
vaults in case the worst happened; nuclear war. Eventually, Alaska was the only major source
of oil left in the world. The US went all out to defend it, including
beginning the production of battle armor for its troops. China entered trade talks with the US but
the US refused to sell China any of its oil. In 2066, China invaded Alaska and the US annexed
Canada under the pretense of needing it to defend Alaska. At this point, the US was testing something
called the Forced Evolutionary Virus, or FEV for short. The US hoped it could create a race of super
soldiers. Early experiments in mice found evidence of
increased strength and intelligence, but also drastically increased aggression. The US equipped its troops with new power
armor and used it to easily defeat the Chinese army. The victory was so comprehensive that the
US invaded China before it could create power armor of its own. The creation of T-51b power armor helped the
US annihilate the Chinese army. The victory wouldn’t last long. In 2077, the US detected a Chinese sub off
the coast of mainland America. Nuclear retaliation was quickly authorized
and the bombs started flying. It’s still not known who fired first. The alarms rang out and those selected for
a place in the vault made a run for it. America was destroyed. In broad strokes, that’s the build up to
Fallout 1. I’ll add a few smaller details later as
they become relevant to the story. Nearly 100 years later, in 2161, we create
our character and take our place in Vault 13. Story: Part One You make many significant decisions in Fallout
1, but the biggest decision of all takes place before you even boot it up. You have to decide which version you’re
going to play. The standard version of Fallout 1 on Steam
contains plenty of updated graphics settings for widescreen monitors, however there’s
a better version available, Fallout Fixt. I decided to play the Steam version for my
main playthrough because while it’s not a full enhanced edition like Baldur’s Gate,
it looked good enough in widescreen that I didn’t care. Big mistake. Fallout Fixt is the far superior version because
it contains quality of life additions that will make your playthough a lot less frustrating. Even basic stuff like being able to scroll
through your inventory with a mouse wheel and seeing how much inventory space you have
left are enough to justify using Fallout Fixt. You can also press shift to highlight all
the items that you can interact with which saves a hell of a lot of pixel hunting. Don’t make the same mistake I did. Play Fallout Fixt. The second most important decision is how
you create your character. Much of your Fallout experience is going to
be dictated by the decisions you make in the character creation screen. Your decisions here have consequences far
beyond the odd damage buff or being able to carry more loot. There are a couple of pre-made characters,
but you should skip them. That’s boring. My main character, and the one you’ll see
most footage of in this video, is unoriginal and overpowered, but I’m fairly sure this
is what I did back in the day and I wanted an extra little bit of nostalgia. If you want to play Fallout to experience
the story, but don’t care too much about a challenge with combat, then this character
build should be a good fit. There are more interesting builds you can
use, but I don’t think they’re suitable for a first playthrough. If the only Fallout game you’ve played is
Fallout 4, you might be surprised to know that there are four distinct parts to creating
your character’s build. First, there’s the SPECIAL system that I
mentioned earlier. This is the core of your character. I wanted my character to be a sharpshooter
with a focus on small guns, so I went with perception and agility for an alert character
with maximum action points. Intelligence offers some extra speech options,
but the main benefit is that you level up quicker. Charisma is pretty much a dump stat in this
game, although it does become a touch more useful in the sequel. I believe charisma stops your characters running
away in the middle of battle, but it’s hard to pin down. Next up is the skill system. There are a lot of skills, but in all my time
with Fallout 1, I doubt I’ve levelled up half of them. You can tag three skills for an immediate
boost and can then increase whichever skill you like each time you level up. While the skills are expressed as a percentage,
you can actually go up to 200%. Small guns was an obvious skill choice for
this character, although later on l switch the focus to energy weapons. There are two health related skills, doctor
and first aid, although according to Tim Cain there were initially three. Stimpacks are plentiful during the game so
I typically ignore these. The rest are fairly self-explanatory. I’ve never seen much value in sneak, steal,
traps, or outdoorsman. Science is useful for hacking terminals, but
you’ll need to repair more often than you’ll need to hack so I’d focus on that one. The gambling can break the game’s economy,
but I’ll show you that later. Skills can also be boosted by purchasing books
from vendors, however the books are expensive and don’t add much to your skills, so think
carefully about where you dump your skill points. As far as I can tell, the lack of a particular
skill never breaks the game, but you can certainly make life harder for yourself. Then there’s the traits. These are optional, but recommended. In fact, I love the traits and they desperately
need to make a return in Fallout 5 or whatever comes next. Traits give you a special boost but at a cost. For my quick-firing character I went with
fast shot which reduces the action point cost of taking shots, therefore allowing you to
get off more shots per turn, but means you can’t aim for certain body parts. In other words, you can’t use VATS, although
it wasn’t called VATS at this point. I also took gifted, which adds one point to
all of your special attributes but reduces your skills by 10% and you get fewer new skill
points each time you level up. This is more than worth it in my opinion. SPECIAL attributes are far more important
to your character and much harder to improve during the game than skills. If you prefer to focus on skills, you can
select the skilled trait which gives you a 10% boost to skills, but you don’t get offered
perks as often. Speaking of which, perks are the final pillar
to your character build. You get offered these every three times you
level up. You’ll only get around five to seven during
the entire game, however they do offer some useful benefits. As you can see, there’s a lot going on here
and the decisions you make have consequences. That’s more evident when you play around
with character builds that have notable weaknesses, like low intelligence, but this video focuses
on a more traditional campaign. There’s plenty more choices to make during
your playthrough and you’ll be forced to make some tough choices that affect your ending. Ah… choices in Fallout games. I remember when they were a thing. Fallout starts with the Overseer of Vault
13 telling you that the Vault’s water chip has broken and is beyond repair. The Overseer asks you to leave the vault and
enter the wasteland to find a new one. You’ve never left the vault before and you’re
left under no illusion about the risks. The wasteland is a dangerous place, but the
stakes are high. Without the water chip, everyone in the vault
will die. By the way, these claymation faces took four
man months to make each. They were made in a kiln and then modelled
using a 3D scanner. That’s why there aren’t all that many
of them in the game. This introduction feels completely different
depending on your character build. My main character is clever and capable. As I imagine it, the Overseer picked her to
get the water chip because she’s the one most likely to succeed. She’s being asked to risk her life for the
vault by taking on a deadly mission, much like James Bond might risk his life for his
country. Now consider playing as a character with low
intelligence. You’re barely able to say words let alone
speak in complete sentences. You’re strong, but not competent with guns. Why are you the one being asked to leave the
vault? It almost feels like abuse at this point. You’re being picked because no one cares
about you. You’re disposable and don’t offer any
value to the vault. The depth of the character creator lets you
see an identical cutscene from a completely different perspective if you’re role-playing
as a character. This difference hits even harder at the end
of the game. After a short section where you practice combat
against a bunch of rats, you escape into the wasteland and have complete freedom to go
wherever you want. The only marker on the map is Vault 15 so
most players will head East. Your route takes you directly through Shady
Sands, a small community of people who used to live in Vault 15. As most Fallout fans know, the vaults were
not built just to help people survive the nuclear holocaust. Vault Tec Corporation designed them as experiments
on the vault dwellers themselves. Typically these experiments took the form
of filling vaults with a specific demographic such as compulsive gamblers, talented musicians,
or under eighteen year olds. So what experiments were conducted in Vaults
13 and 15? Well, there are two completely contradictory
answers which are both kind of correct. The short answer is that these vaults did
not conduct any experiments. There’s no mention of it at all because
the experiments were not part of the Fallout lore in the first game. The slightly longer answer is that when developing
Fallout 2, Tim Cain came up with the vault experiment idea and retconned it into Fallout
1. Personally, I find this quite amusing knowing
how sensitive people can be about lore in the Fallout franchise. Turns out it wasn’t all created as part
of some grand vision back in 1995 after all. We now know that vault 13 was intended to
stay closed for 200 years, double the usual amount of time, to test out the effects of
long periods of isolation. The broken water chip forced the Overseer
to abandon that plan. Vault 15 was designed to stay closed for only
50 years and contained a deliberately diverse group of people to examine how they integrated. The vault 15 experiment didn’t go all that
well by the looks of it. The vault dwellers splintered into four groups. Three raider groups: the Kahns, Jackels, and
Vipers, and one peaceful group: the residents of Shady Sands. Shady Sands is a great little introductory
area. If you talk to the locals, they’ll drip
feed you information about the surrounding areas and you should be able to convince Ian
to join you as your first companion. You also get a couple of what we would now
call side quests such as going to kill some radscorpians in a cave. If you bring a radscorpian tail back to the
doctor he will make an antidote for you. Don’t spend too long in Shady Sands though,
because you’re on a timer. Perhaps two of them. On initial release, players had 150 days to
collect the water chip although they could get extra time by arranging for a separate
water supply to be delivered to the vault. In the Eurogamer interview, Tim Cain stated
that the timer proved incredibly controversial within the development team and got removed
in a day one patch. He refers to the water chip timer when he
says this, however every version of Fallout I’ve ever played has contained the water
chip timer, even when patched. I believe Cain might have been referring to
a second timer that kicks in once you’ve found the water chip which limited the game
to 500 days. From my own playthrough, it appears that the
500 day limit has been patched out but the water chip timer is still in place. Either way, you don’t need to worry about
the timers too much. 150 days is more than enough time to find
the water chip and I spent a lot of time wandering the wasteland without hitting a forced ending. I know for certain I didn’t mess about downloading
any patches back in 1997. I can barely figure that out in 2017. I’m still pleased the timer has been removed. Fallout is best when you have freedom and
timers limit that freedom. Anyway, with or without the time limit, you
wander over to vault 15, forget the piece of rope you need to get down the broken elevator
shaft, go back to Shady Sands, pick up the rope, go back to vault 15 and then find there’s
no water chip because the entire place has been picked clean. The only item of note is a decent SMG which
you absolutely should not, under any circumstances, give to Ian. He can’t be trusted. With Vault 15 a let down, it’s on to Junktown
to see if you can pick up more leads. This is what I typically consider to be the
beginning of the main game. Everything up until now was an extended tutorial. In Junktown, you get a couple more quests,
but most importantly, you can start making decisions that will affect the lives of those
in the Wasteland. The quest centering around Killian Darkwater
and Gizmo epitomizes everything brilliant about this game and its sequel. Killian is the mayor of Junktown. When you first meet Killian, a man tries and
fails to assassinate him. Killian knows that Gizmo sent the assassin
but he needs to get proof. Gizmo owns a casino in the area and is generally
considered to be bringing down the tone of the neighbourhood. Killian asks you to help get proof that Gizmo
is responsible and he gives you a recording device to get it. Gizmo is a fairly reprehensible human being,
but if you like, you can choose to side with him. Most people probably side with Killian. You get Gizmo’s confession on tape and team
up with Lars, the head of security, and kill Gizmo when he tries to fight his way to safety. That’s not exactly an unprecedented amount
of freedom but it’s the little differences that I like. You can get the confession in different ways
such as planting a bug on Gizmo if you have a high enough steal skill or through conversation
if you can talk English good. Or if you kill Gizmo yourself before getting
a confession from him, you’ll be banished from town for trying out your own brand of
vigilante justice. The choice of sides you make in Junktown is
reflected briefly in a slide that appears at the end of the game. If you sided with Killian, then you’re told
that the city prospered whereas if you sided with Gizmo the city became increasingly seedy
and fell into a state of disrepair. Interestingly, in an earlier version of Fallout
1, this outcome was going to be reversed. Siding with Killian would have suffocated
the town due to his strict business regulations, whereas Gizmo would have let the city blossom
due to his popular casinos. The developers decided to reverse it because
they felt that players wouldn’t like the unclear correlation between their actions
and the consequences. I’m really mixed on this. My first reaction was to say I loved the original
idea to flip what we expect as gamers on its head and have a good action lead to a bad
outcome and vice versa. It sounds great in theory, but I really struggle
with decisions in games when I don’t know which is the good outcome and which is the
bad one. I’ve seen this pop up occasionally in RPGs
or Telltale games and more often than not, it’s just down to bad writing that doesn’t
make it clear what your options are as opposed to being an unexpected twist. Scenarios like the one in Junktown can work,
but there needs to be more to it than just a gotcha at the end. Taking this quest as an example, the unexpected
outcome could be considered fair if there were clues in the world as to the eventual
outcome. Perhaps you could find notes in Killian’s
office where business owners have pleaded with him to loosen regulations. Or people in the town could tell you how much
they love Gizmo’s casinos because they bring in lots of visitors. I’m sure others will disagree with me on
this and that’s fine. It never made it into the game, so it’s
not important. I just find it interesting that it’s so
difficult to pull off twists on moral actions like this in a way that doesn’t annoy the
player at the end. As gamers, we like to feel that we’re in
control so long as we play by the game’s rules. Unfortunately, Junktown doesn’t quite offer
the level of freedom that fourteen year old me so fondly remembers. When you meet Lars, the head of security,
he asks you to report crimes to him. Clearly this is hinting at the dispute between
Killian and Darkwater, however that’s not the only criminal action going down in Junktown. Doc Morbid, yes, that’s his name, is running
a little side business in his basement where he sells human body parts as food. You can help Doc Morbid if you like, however
you can’t tell Lars what’s going on. It’s not an option. In fact, the nature of the dialogue choices
in Fallout 1 came as a bit of a shock playing it again in 2017. I remembered having lots of choices and you
usually do. However, I didn’t remember the dialogue
being quite so silly at times. Maybe tongue-in-cheek is a better phrase. It works in a game with relatively primitive
graphics and no voice acting, but I couldn’t imagine having these conversation options
in a modern first person version of Fallout. Many of the options would sound terrible if
they were voice acted. That was partly the point of course, and generally
games were a little less serious back then so it didn’t matter. But it is a little weird going back to it
now. That’s no excuse for Fallout 4’s crappy
dialogue wheel mind you. Before leaving Junktown, you can get yourself
a couple more companions. They aren’t all as useless as Ian. Tycho is handy with a shotgun, but the real
star of the show is dogmeat. He’s mooching around after losing his previous
owner, however you can get him to join up by wearing a leather jacket to resemble the
owner who left him here. Given that Boyarsky cited Mad Max as one of
the many influences behind Fallout, it seems safe to say that this leather jacket wearing
man with a dog is a little reference to another post-apocalyptic wanderer. After collecting my small group of companions,
I headed to the Hub, which was full of merchants selling you weapons, ammo, and skill books. Don’t worry if you can’t afford what you
want to buy, because there’s a casino and at this casino, the house doesn’t always
win. If you get your gambling stat above 50% then
you will win more bets than you lose. The greater your skill, the higher percentage
of bets you will win. Simply hold down four and one on the keyboard
and your character will keep gambling and your funds will slowly go up. Twenty years ago I treated this like a cheat
code of sorts, but now I guess we’d call it a bug. Of course, it could be deliberate, but it
seems like a strangely easy way to break the game’s economy. The skills go up to 200%, so being able to
break the casino at just 51%, or ideally around 60% to save time, is far too generous. Having to get the skill above 100% would have
been more fitting while still being attainable. I wonder whether there was once a more in-depth
gambling system in place where perhaps you could play poker against NPCs and use your
gambling skill to bluff them out of money. As it stands, this is such an easy way to
break the economy that you might even do it by accident. Of course, you can just not abuse the system,
but I’ve never had much willpower when it comes to that kind of thing. Talking to the residents of the Hub leads
you to a place called Necropolis, literally the City of the Dead. There’s a lot of ghouls to clear out, so
now is a good time to explore the game’s combat system. Coming into the game, I didn’t remember
having any particular issues with the combat. There’s two possible explanations for this. One, I was formerly a childhood genius with
an excellent grasp of probabilities who thought carefully before each movement to ensure that
my characters always had the optimal strategic advantage in battle. Or two, I put the combat on easy mode and
blazed my way through it without thinking all that much. I’ll leave you to decide which option is
correct. Playing Fallout 1 now, I realize that the
combat is kind of terrible. Your character has a set number of action
points which kick into gear when you enter a combat scenario. Moving one place costs one action point. Movement is based on a hexagonal grid which
is why your character always runs in such a strange way. Attacking enemies also consumes your action
points, but the exact amount depends on your character build, perks, traits, and weapon
type. If you want to check your inventory to switch
out weapons or use a stimpack then that will cost you 2 action points, which feels a little
harsh. The probability of hitting with any given
shot, plus the damage done, is dependent on how close you are, your weapon type, and character
build. So far, so simple. In fact, it’s that simplicity that’s the
problem. There’s so little depth to combat that you
often feel out of control, especially when it comes to your companions. You can’t directly control Ian and co. You can give them vague commands such as stay
close to me and use your best weapon, but that’s about it. Worst of all, they don’t even listen to
those basic commands. Countless times I thought Ian must be out
of ammo because he resorted to using his fists, but no, he had plenty left, he just decided
it was a good idea to get into a fist fight with a super mutant. At least when he runs away he doesn’t run
the risk of dying. I believe charisma might be linked to your
companions listening to your instructions, however I’m not entirely sure. It’s hard to test. Having no control over your companions turns
combat into a complete mess. You are effectively on your own, with any
damage done by your companions to be considered a bonus. I’m all for a bit of randomness in combat. Most isometric CRPGs and many other games
have dice rolls going on behind the scenes, but you can usually play the odds. Sure, you never know when you’re going to
succeed in any given combat scenario, however you will have some idea of what to expect. That’s not what happens here. You can’t apply your knowledge of the odds
to your advantage because you have no clue what your companions will do. I didn’t enjoy the combat and it quickly
became a chore. In addition to ghouls, Necropolis is home
to deadly Super Mutants who are quite capable of killing you and all your companions with
one shot should they actually manage to be on target. If you’re careful, you can use the doorways
and corridors to only fight one or two of them at a time. Otherwise, you’re in trouble. Underground, you’ll find some peaceful ghouls
who ask you to help repair their water pump. You might as well do it because it’s on
your way to Vault 12 which is the next place we’re going to look for the water chip. If you don’t have the requisite repair skill
to fix the pump, the peaceful ghouls give you some repair books to boost your level. On arriving at Vault 12, you find the door
stuck open. It never shut properly when the bombs fell,
hence Necropolis is full of ghouls. Following the Fallout 2 retcon, we now know
that the door didn’t shut properly on purpose. It was designed to test the effects of prolonged
exposure to radiation on people. The three vaults in this game all have rather
boring experiments, however that’s likely due to them being added later. There wasn’t much they could add without
it being contradicted by something within the game. You find the water chip in Vault 12 and take
it back to Vault 13. The quest for the water chip might sound quite
simple, but it tends to be a little tougher in practice, especially for those of us used
to modern day luxuries like quest logs. Your PipBoy contains shockingly little information
so you have to remember exactly what you’ve been told by the NPCs. This can be a problem if you take a week away
from the game and come back to it between missions with no idea where to go next. In addition, crucial information pops up on
the text log at the bottom of the screen and is easily missed if a lot is happening at
the same time. My memories tell me that I enjoyed wandering
the Wasteland, taking my time and talking to everyone until I figured out what to do
next. With hindsight, I think fourteen year old
me had a little too much time on his hands. Anyway, the overseer thanks you for saving
the vault and gives you all of five minutes to bathe in glory before giving you another
mission. It seems that the mutant population has grown
at an extraordinary rate recently so there must be a facility nearby that is creating
them. Mutants threaten the safety of the vault,
so you’re once again sent out into the Wasteland to keep everyone safe. Story: Part Two After returning the water chip, the game shifts
from having a clear goal which you must accomplish within a time limit, to a relatively open-ended
experience with a vague goal of stopping the mutant threat. Even having played Fallout 1 before, the lack
of direction given to the player is really disorientating in this day and age. It’s a good thing, but it takes a bit of
getting used to. It’s worth noting that you don’t have
to get the water chip at all. You can move straight onto this part of the
game if you like, however it will be tough as you’ll likely be under-leveled and won’t
have good gear. I didn’t get much time to explore because
on my first trip back to Shady Sands I got distracted by a meaty side quest. The Khans, one of the raider groups formed
from Vault 15, have kidnapped Tandi from Shady Sands and you’re asked to go and rescue
her. You can kill the leader of the Khans or convince
him to let her go with your superior verbal skills. While relatively simple, I enjoy making choices
like this. It gives me that warm fuzzy feeling that I
only get from freedom in RPGs and telling people that Zelda games aren’t actually
that good. My enthusiasm was quickly dispelled when I
took Tandi back to Shady Sands expecting a hero’s welcome. Tandi’s boyfriend, who was the one who first
told me she was missing, only muttered a generic “thanks for your efforts” when I brought
his girlfriend back. The Fallout 1 I remembered had plenty of dialogue
that reflected each and every choice you made, but that’s not really the case. There are plenty of times where the world
doesn’t react to what you’ve done. Once Tandi was safe, I returned to the raider
camp to kill everyone and free the slaves that were still there. If you’re ever in doubt about where to go,
the Hub is always a good spot to get some gossip. If you ask around, you’ll get information
about attacks on traders. These attacks are initially blamed on monsters
such as the infamous deathclaw, however even after killing the nearby Deathclaw, the attacks
continue. As you may have guessed, the attacks on traders
are the work of the super mutants. Just as a quick aside, the Deathclaw is closely
modelled on a dungeons and dragons beast called a Tarrasque (I think that’s how you pronounce
it). Interplay had been working on a D&D game which
got cancelled. A clay model had already been made for the
Tarrasque, so the Fallout team took it, made a few changes, and created the Deathclaw. It’s named after Shadowclaws in Wasteland. I still had huge parts of the map to uncover,
so I went exploring. I quickly discovered that the North West part
of the map was far too tough for my crew and the South East presented a severe radiation
threat. Eventually I stumbled upon the Brotherhood
of Steel. The guards won’t let you into the compound
just yet. They give you a quest to retrieve an audiolog
from The Glow, the area with heavy radiation in the South East. You’re not meant to succeed at this quest. This is simply how the Brotherhood gets rid
of people who want to join up. There were a few wasted trips where I succumbed
to radiation poisoning and had to stock on up on supplies in the Hub before going back
to the glow and realizing I didn’t have the rope I needed to get down there. Once I had a rope and plenty of rad x and
radaway, I went down into the Glow and moved through it as quickly as possible until I
found the audiolog. When I returned from the seemingly impossible
quest, the Brotherhood let me into their base where I did a couple of small quests and found
a broken set of power armor just waiting to be repaired. This is why I recommended having a high repair
skill by the way. You can also get a suit of power armor from
Michael by the gym, however you only get to chose one item from him and I wanted the laser
pistol. While you’re here you can pay for surgery
to boost some of your special stats up to ten. You’ll talk to many NPCs throughout your
playthrough and it’s often hard to tell which of those conversations are important. You don’t have to talk to Vree, but you
should. Vree has experimented on the super mutants
and discovered that they’re all sterile. She gives you a disk complete with her research
on it which you can view on your PipBoy. I love how game changing this information
ends up being later on. It’s subtly delivered and in many ways this
conversation is just like any other. It’s only right at the end of the game that
you appreciate its significance. You can power through to the end of the game
now if you like, but I visited Adytum next to solve another town’s problems. While doing so, I experienced a pretty big
problem of my own. Adytum is part of the remnants of Los Angeles
and, like Junktown, there are two competing factions with the Mayor at the center of things. Mayor Zimmerman is mourning the death of his
son, who was killed at the hands of the Blades. Zimmerman works with a group called the regulators
who protect the citizens. He pays you to go and execute Razor, the leader
of the Blades. Razor tells you that the Blades have been
framed and she gives you proof that it was the Regulators who killed Zimmerman’s son. You can kill Razor anyway, but I took the
proof to Zimmerman who was then promptly executed by a Regulator. Next, I intended to clear out the town of
all the Regulators. This didn’t go smoothly. As I mentioned earlier when talking about
combat, each shot has a probability of hitting. Due to my character build, I nearly always
had a hit percentage of 95%, so I didn’t miss all that often. On the rare occasions I did miss, the shots
typically disappeared into thin air. Sometimes you hit another enemy or if you’re
really unlucky you hit one of your companions. You can also be hit by misfiring shots from
your companions. In other words, sh*t happens and you learn
to deal with it. I’d nearly finished clearing out Adytum
of all the Regulators, when I missed a shot and hit a civilian. Obviously, that’s bad, but it was clearly
an accident. I’d already killed loads of Regulators,
so my intentions were clear. I was there to help. Without wanting to sound overly callous, this
guy should have been considered collateral damage and I would have happily paid compensation
to his widow. Unfortunately, the citizens of Adytum didn’t
see it that way. All of them immediately turned aggressive
towards me and there was nothing I could do about it. I couldn’t talk my way out of it or apologize. I had to either leave the town, with regulators
still there to control the other citizens, or kill all the citizens myself. Worst of all, the game slowed to a crawl because
every citizen had to take their turn to move towards me. It took me an eternity to leave the town. Of course, you should be saving often so this
isn’t a problem. I was saving often, it just so happens that
I pressed the quick save button instead of the quick load button, so I was stuck with
the consequences. This wasn’t a one off and I’m fairly certain
it wasn’t part of the intended design. I saw similar situations during random encounters
on the map where I helped people defend themselves from raiders. A couple of times, my companion shot one of
the innocent people by mistake and they all turned on me. I killed them all because it seemed quicker
and they weren’t in any way important to the story. After killing them all, some text appeared
on screen where they thanked me. I don’t know who was speaking as there was
no one left alive, but they appreciated my efforts I guess. I’m not even counting all the times I accidently
shot Ian because he had the exact same character model as the enemies I was supposed to shoot. There aren’t all that many character models
and Ian’s leather jacket and jeans combo is one of the most common. The worst example of people turning against
me happened on a second playthrough with a low intelligence character who could only
communicate in grunts. Low intelligence playthroughs can be quite
fun, but I recommend going with a level 2 or 3 for your intelligence stat. Not being able to talk at all gets boring
after a while. Anyway, I walked into Shady Sands and talked
to the guy at the entrance. Instead of having a conversation, I was just
warped to the underground area to kill the radscorpians. I came back after completing the quest and
was on autopilot as I headed through the entrance to give the radscorpian tail to the doctor. I saw a comment flash up on the screen asking
me to put away the knife but I didn’t react quick enough. I was just a few yards inside Shady Sands
and was only holding a knife, however the entire town attacked me. I tried to leave and come back, but it was
too late. For that minor offense, I was effectively
banned from one of the main areas of the game. Now, I’m all for your actions having consequences
in RPGs, but the punishment should fit the crime. This is a touch extreme. Imagine if someone is crazy enough to slag
off Taylor Swift. Sure, they shouldn’t have done that and
have likely broken a few laws, but they shouldn’t get the death penalty. They can be rehabilitated and one day be reintroduced
into society. Putting these problems to one side, I eventually
stumbled upon a military base chock full of super mutants. You can attempt to kill them by yourself or
return to the Brotherhood and tell them what you’ve found. They’ll then help you attack the base. The base is full of mutants, but you can cut
the numbers down a bit by finding a radio on one of them outside and faking a call to
lead some of them away from the base. Before going into the base, you should probably
say your final goodbyes to Dogmeat, because there’s no way he’s making it through
this. The base has forcefields that do damage if
you walk through them. Some of them can be briefly deactivated, but
regardless, Dogmeat will run through these forcefields tail wagging happily as he takes
damage until he dies. There are a couple of tough fights in here,
but if you have the power armor you should be okay. You’re here to destroy the vats that are
creating super mutants as part of a grand plan by The Master, a man formerly known as
Richard Gray. You can complete the game without knowing
much about the Master, but by talking to characters like the ghoul Harold, and reading the Fallout
bible, you can piece together an interesting backstory for the game’s main nemesis. Before Harold turned into a Ghoul, he was
a prominent trader around the Hub. He teamed up with Richard Gray who had been
expelled from his vault for murder. Their caravans kept getting attacked and their
attempts to find the culprits led them to this military base. At the time, the base was being used as a
test center for the forced evolutionary virus. Gray got knocked into a vat of the green fluid
and Harold woke up outside the base already starting to transform into a ghoul due to
exposure to the virus. Harold assumed Gray was dead, but Gray survived,
albeit looking slightly worse for wear. Gray started testing the virus on animals
before moving on to the people he ordered kidnapped from caravans. The kidnappings were blamed on monsters such
as the deathclaws. The master then created the unity plan to
take humanity to the next level with the forced evolutionary virus. He brings a doomsday cult on board and uses
them as his spies under the guise of a religion called Children of the Cathedral. You meet these religious figures throughout
the game however it’s hard to figure out the point of them until right at the end. Ultimately, they are just puppets for the
master and most of them probably don’t even know what they’re doing. By the time Fallout 1 starts, the Brotherhood
has already found a super mutant body and Vree is performing experiments on it. The Master is located underneath the Cathedral
but you need to go up before you can go down. You need a keycard from a guy called Lasher. He will either to give it to you if you ask
nicely or you can just kill him. Strangely, killing Lasher doesn’t turn everyone
here against you. No one seems to care. Upstairs you’ll face resistance from enemies
known as nightkin, super mutants who didn’t lose their intelligence during the transformation. The only difference of note is that they equip
stealth boys to become invisible, but they still aren’t too tricky to pick out. Eventually you find Morpheus who has a keycard
you can use to open one of the doors at the bottom. Annoyingly, the two keycards are similar colors
and there’s no indication on the door that you have to use a certain one. I got stuck here for a long time when I first
played the game because I didn’t understand why the keycard wasn’t working or that I
had to use a different, but seemingly, identical one. I don’t know if the colors looked more similar
on my old monitor or if I was just feeling especially stupid that day, but I thought
I’d point it out. On the way to the Master, I freed some prisoners
and watched them celebrate their freedom in style. Now it’s time for your showdown with the
Master. He tries to convince you to join him in his
plan to enhance humanity and offers you a dip in the vats to become part of the next
phase. You can accept his offer and get a bad ending
where you see yourself submerged in the virus. This scene didn’t fit too well with my playthrough,
because I’d already destroyed the vats at this point. Maybe there were vats somewhere else? Either way, I appreciate the effort the developers
went to in creating a special ending animation at a time when this stuff was seriously expensive
and took up a disproportionate amount of disc space. The good endings are more interesting. You can fight the Master head on. He calls in super mutants to help, but by
this stage, you won’t have too many issues dealing with them. Once he’s dead, you flee the cathedral just
as it blows up. However, there’s a far more satisfying way
to end the encounter. Remember the information you got from Vree
about the mutants being sterile? If you have that recording you can show it
to the Master and tell him that his plan for a new race of super mutants is doomed to fail
because they can’t reproduce. You also might be able to convince him of
this without the proof, but I think it requires high charisma. If you succeed, the Master commits suicide,
saving you the need to fight him. Whatever ending you choose, you get a slideshow
summarizing the consequences of the decisions you made during the game. I love this feature and hope they bring it
back for future Fallout games. We’re told that with the master dead, the
super mutants destroy the Children of the Cathedral and flee to the East. The residents of Shady Sands go on to form
the New California Republic that fans of New Vegas will be very familiar with. There’s one final surprise in store. After the slideshow, the vault dweller returns
to vault 13 where he is greeted by the Overseer and told he cannot come back inside. The overseer states that if you were to return
to the vault, you would be idolized and other vault members would want to leave the vault
to have an adventure of their own. The overseer refuses to let you back inside. He walks away and if your character has good
karma then they will simply go their separate ways. If your character has bad karma, he or she
kills the overseer. This ending is often credited as an example
of the mature storytelling in the Fallout series. It certainly hits hard and, like the beginning,
your attitude to what happens outside the vault can change based on your character. My character was more than happy to sacrifice
herself for the good of the vault. However, if you have a low intelligence character,
you might feel that he has been taken advantage of. You’ll likely feel sorry for him as he probably
can’t fully understand what’s happening. Either way, the ending has never quite sat
right with me and it goes back to my gripes with the restrictive nature of some of the
conversations. At the start of the game, you’re told that
the wasteland is a dangerous place and you’ll be lucky to survive. The first place you stumble upon is Shady
Sands, a fully functional settlement with working farms that is getting along just fine
except for a few problems with raiders. Junktown isn’t too far away either and they
do alright for themselves once you’ve removed Gismo from the equation. Before returning the water chip, you can tell
the Overseer about life outside the vault, but he quickly dismisses the idea of letting
people leave. I’m fairly sure the conversation option
was just added in to appease players, without much thought being put into it. Of course, leaving the vault would make the
quest for a water chip slightly redundant and would be hard to implement, but it doesn’t
quite fit with the supposed freedom you otherwise have. . Even ignoring this problem, the ending doesn’t
make a lot of sense. You grew up in the vault so people know who
you are. They know you were sent outside to find a
water chip. They know you found it and came back to the
vault. You probably helped out with a side quest
while you were there. You’re still going to be talked about as
a hero. In fact, I’d argue that not having you in
the vault would only enhance your status. If you moved back into the vault, people would
remember you’re just another human being instead of elevating you to god-like status. They would also assume that the vault is the
best place to be because you came back. If you’re banished, people in the vault
are going to wonder what happened. They might even go looking for you. Many people, likely the majority, feel differently
about the ending, and I’m not for one second suggesting they’re wrong to do so. Ultimately, there’s a hell of a lot that
doesn’t make sense in Fallout 1 and people are bothered by different things. It’s why some people refer to complaints
as nitpicking, because it doesn’t bother them personally. I opt to pretend the epilogue doesn’t exist
and imagine that my vault dweller chose never to go back to vault 13. Should You Play It? Fallout 1 was undoubtedly a great game in
1997. I’ve discussed some of my memories of Fallout
1 from my teenage years, however the vast majority of the criticism here comes from
the perspective of someone playing the game in 2017. I’m not attempting to discuss the game as
if it were 1997 because that’s impossible and a fairly pointless exercise at that. If you want people’s opinions from 1997,
then it’s best to read people’s opinions from 1997. Just to give you an idea of how good Fallout
1 was back then, I’ll repeat an anecdote from Tim Cain’s GDC speech. Fallout’s Quality Assurance testers couldn’t
quite finish their playthroughs in the work week and the game was reset each Monday morning. The QA team was so desperate to finish that
they would come in at the weekend and work for free, even though Interplay offered them
time and a half to play other games. They were hooked. Fallout 1 nearly didn’t get made and it’s
incredible that it ended up being as good as it was with so few resources. It can’t be overstated what a fantastic
achievement it was for the time and before I get a little negative, I want to make it
crystal clear that I am very grateful to Tim Cain, Leonard Boyarksy, Feargus Urquhart and
everyone else who helped make Fallout 1. I never regretted my purchase which cost a
relatively large percentage of my available funds back then and it kickstarted a great
franchise. It’s also great to see Tim Cain being so
open about Fallout’s development because the game’s industry is typically close-mouthed
about this stuff and I find it fascinating. So to get to the question, should you play
it now? Well… probably not. Obviously that’s going to prove contentious,
so I’ll state right off the bat, that there are certain people who definitely should play
it. Anyone who’s a big fan of the Fallout franchise
should of course give it a go to see how the series started. There’s the first appearances of the Brotherhood
of Steel, the Deathclaw, and the super mutants, plus you’ll get to see the creation of the
NCR first hand. I’ve not covered even half of Fallout 1
in this video, so there’s plenty more to see. You can help out memorable characters such
as Harold or side with Set in Necropolis. Not to mention, it’s been given away free
a couple of times over the years, so there’s a good chance you already own it. In an ideal world, everyone with even a passing
interest in video games would play Fallout 1. It started a huge franchise that has sold
tens of millions of copies over twenty years. It’s a part of history and every gamer would
be better off for having played it. However, there are a lot of games demanding
our time these days and finding twenty or so hours for a Fallout playthrough is a big
ask. Who of us doesn’t already have a huge backlog
of games demanding their time? The people who want to play Fallout 1, probably
already have. When you remove the novelty of seeing the
start of the Fallout universe, you’re left with an isometric CRPG that has a terrible
combat system, entire towns that turn on you for holding a knife, and a dialogue tree that
doesn’t have quite as much freedom as you might have been led to believe. The graphics are of course looking a touch
dated. Some parts are still great, such as the talking
heads you see on screen here. They each took four man months to make and
required a clay head to be sculpted and scanned in a 3D scanner. It took a hell of a lot of work by the sounds
of it. Unfortunately the in game animations aren’t
as good. One animation in particular is kind of hideous
and you’ll see it a lot. Whenever you open a door, your character will
stop and do this weird animation where he or she fiddles with something in the air as
if picking a lock. This animation is the same on wooden doors
that open on a hinge and metal doors that slide open. It’s slow and annoying because you can’t
ask your character to move into a room until they’ve opened the door first. It’s definitely a small problem, but it
begins to grate after 25 hours. This animation is also used to heal people
and steal from them. Speaking of which, if you want to move items
between you and your companions, you have to steal from them, even if you’re actually
giving them stuff. Speaking of the inventory, there doesn’t
seem to be any way to organize it which is especially annoying when you enter towns and
have to put your weapons away and then equip them again when you leave. These are just little niggles of course, but
I find stuff like this harder to deal with than primitive graphics in old games. None of this should stop you playing Fallout
1 if you’re interested. Every game I intend to play as part of this
series is probably worth playing, but it would be pointless for me to recommend them all. For one thing, it would take over a 1000 hours
of your time to play them. I want to focus on the very best of the best
and I honestly don’t believe Fallout 1 is the best isometric CRPG out there. I’m cheating slightly as I’ve also played
Fallout 2 before and I’m fairly sure it’s better than Fallout 1. Likewise, I’ve played some Baldur’s Gate
and prefer that. I don’t want to end this video on a negative
note, so I want to talk about one of the many small details that makes Fallout 1 special. During my playthough, I kept waiting for the
mission where you get sent to find an alien spaceship. I knew this was part of the game. I found an alien spaceship back in the day. It had to be out there. Nope. I played the entire game without ever finding
that quest. I did a bit of research afterwards and discovered
that the alien spaceship, complete with dead aliens, actually pops up in the random encounters,
not as a quest. My memory had misled me. I booted up an old save and wandered the wasteland
for literally hours. Still nothing. In the end, I gave up. Apparently, the spaceship shows up based on
the luck stat of your character and mine was only 6. The alien spaceship contains an alien blaster
that is the most powerful weapon in the game. This was added in the full knowledge that
most people would never see it and in those days that was a big ask. There are other little details like this,
but I’m not going to spoil all of them. You can feel the effort put into Fallout 1’s
development. It’s not as good as I remember, but it’s
got more soul than certain other games in the franchise. Despite not being completely awestruck by
the brilliance of Fallout 1 this time around, I don’t regret playing it again at all. I’m used to old games not being as good
as I remember; it’s pretty much par for the course with retro gaming. There are very few games that play as good
as you remember 20 years later. My rapidly failing memory tells me that Fallout
2 is better than Fallout 1. We’ll soon see whether that’s correct
because in chronological order, the next major isometric CRPG is, well, Fallout 2. The Christmas break is going to mess up my
schedule a bit, but I hope to get the Fallout 2 video up in February. I hope you enjoyed this Fallout 1 retrospective. This is an ongoing series, so I’m desperate
to get your feedback in the comments. I will be reading all of it and taking it
on board for subsequent videos. What bits did you like? What bits did you hate? For future videos, should I delve into the
development history more or less? That kind of thing. Old games tend to have a niche audience on
YouTube, so I would really appreciate, even more than usual, if you could hit the like
button and maybe consider sharing it. I’m going to keep making these videos regardless
of the audience for them, but getting views helps a lot with motivation. I’m still hoping to get another video out
before Christmas or maybe during the break. It will likely be on either Wolfenstein 2:
The New Colossus or Hellblade. If you want to be kept up to date, then follow
me on Twitter and maybe consider checking out my Twitch streams. Okay, thanks for watching. Cheers.
