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.
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