As a game director — and it’s not like this is the first time you’ve done this — how do you even approach something like this? It seems like such a fairly monumental task, on two fronts: one, it’s just the issue of making a game this big, but you guys have done that before. But then there’s also the issue of inheriting that IP. Not that you’re doing it alone, but it seems like a pretty substantial undertaking. How do you approach that?
TH: The good thing with Fallout is that… from a workflow standpoint — I mean how we go about what we do — it’s similar to what we do with Elder Scrolls, where it’s very big, and it’s an established world — whether or not we’ve established it, or somebody else. The Elder Scrolls [world] is so big that no one person can remember it all, so when we think up stuff, we have to go research it. Like, “What did it say in this book in Daggerfall?” It’s so much stuff. So we go through the same work with Fallout.
And frankly, it was a very nice change of pace for us. We were really excited to do the project. So, I think we’re kind of used to doing it; I don’t know that there’s something specific I could point to, and go, “Here’s how we go about it.”
The one thing we do is we lay out the world. One of the first things we do is draw the map, and come up with the people and places. And the rest of it comes out of that. I mean, in Fallout, we knew we wanted to have vaults.
I usually come up with — this is bizarre — the first thing I always come up with is the beginning of the game, and the interface. I don’t know why. Like, how does it start, and what’s the interface. There’s no reason for that; it’s just what goes on.
And we knew we wanted to start in the vault, and play through. I’ve always been interested in games that just start, and you play them; the character generation is part of the game. An early influence is Indiana Jones and the Fate of Atlantis.
Check out the full interview over yonder.
This newsbit pilfered mercilessly from Kharn.