![]() Early on it was far too sparse and barren to be interesting enough from a gameplay perspective, with distances too great between the various scattered points of interest. It's very likely that a great deal of plant life would return after a few years and probably thrive in the real world, no matter how irradiated, but it was an appropriate stylistic decision to keep the world dry and brown in order to fit in with the classic Fallout aesthetic.Įven with these atmospheric paintings as a reference, it took time for our wasteland to come together in-game. There's plenty of dried and dead grass and shrubs, but no healthy green plant life to be seen anywhere. Our version was made up of treacherous rocky terrain, with course dirt, mud, and burnt tree husks littering the landscape. We wanted it to feel similar, but look appropriate for the new location. The challenge was re-envisioning the wastes as they would appear on the east coast, instead of the western desert-like locales from the previous games. The rule is bright, wide open spaces instead of the dark claustrophobic streets of the city. is the open wasteland, which comprised the vast majority of Fallout's real estate. They provided the world artists a benchmark to hit in terms of realistic object density, something that required a few creative tricks in order to have environments like this run smoothly in the game's engine. These paintings give a sense of level detail we wanted to capture, in order to have a realistic sense of destruction and decay throughout the city. We treated the urban zones of our world map as a large, multi-sectioned outdoor dungeon, using destroyed buildings and walls of concrete rubble and rebar to wall off various zones, or cells, that we would interconnect via underground subway tunnels. This meant quite a few of the structures, although heavily damaged, would still be intact to provide locations for dungeons and the like. So the decision was made early on that we would take some liberties with the level of destruction so that enough interesting "stuff" would still be left standing for the player to explore. Given that we were designing the aftermath of a devastating nuclear war, we did a bit of research to see just what would be left standing after such a holocaust. The palette was kept cool and blue, sky always overcast, to contrast sharply with the stark warm sunlight of the wasteland. We wanted the player to feel a sense of foreboding as he explored a dense concrete jungle of streets and alleyways. The urbanized area in and around downtown Washington D.C. Anyone who works with Adam will soon come to appreciate the speed at which he can get through a lot of material while maintaining a sense of humor and creativity that was essential for the world of Fallout 3. There isn't much in the game that wasn't concepted beforehand. Early in the project we spent quite a lot of time iterating through a few key designs, such as the Vault suit and Pip-Boy, but as time went on we didn't have the luxury to do 20 drawings for each asset, and the pace picked-up considerably. The next step was to go down a long list of costumes, creatures, weapons, and environments that would need detailed drawings for our mesh builders to work off of. Color palettes, sense of scale, and destiny of destruction were the elements we tried to capture with these, and the final in-game result is fairly faithful to these concepts. These were focused on the "big picture," mainly atmosphere and scope.something to provide inspiration for how various locations in the world would feel emotionally. Pre-production began with a series of paintings we commissioned from Craig Mullins. This book's goal is to give the reader a peak at a rich collection of artwork that our team has been privileged to work from during Fallout 3's production. This alone is quite the achievement, but the real achievement is an extensive collection of wonderful designs that capture the spirit of the Fallout universe in loving detail. He managed to do this, always with a smile, while Todd, Emil, and myself hemmed and hawed over every sketch, usually requesting yet another iteration. Adam Adamowicz, our concept artist, drew a lot of stuff.
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