role-playing
How Fallout 3 Is Different Than Oblivion
Posted by AJ Glasser at 1:00 AM on October 2, 2008
Oblivion had tons of girlie things for me to do. I could pick pretty flowers, collect pretty crystals and buy pretty clothes. Fallout 3 is distinctly un-pretty, but what did you expect from an irradiated post-apocalyptic Earth? The only flowers you'll find here contain death, and you can forget those fancy brocade gowns.
I never played the first two Fallouts and have very little sentimental attachment to Pip-boy, Vault 101, or Dogmeat. When early impressions of Fallout 3 labelled the game as "Oblivion with guns," I thought: sign me up. But many diehard fans and purists don't want that. They want an experience that's true to the spirit of the original Fallout, a game that builds on the innovations and atmosphere that evolved in Fallout 2.
After being filled in by Manfriend, I was able to take a look at Fallout 3 and judge for myself if it has more in common with Oblivion than it does with Fallout. And after three hours with the game, I've decided... it's 50-50.
The way you move and the world in which you move feel as much like Oblivion as Oblivion did - only the genre is different. The rats are mutated ants, the mountain lions are mole rats that chase you for miles over the wide world map, and everywhere you go, it seems like there's a cluster of raiders or thieves out to get you. But everything that holds that world together - from the people that populate it to the plot that moves your character through it - has an utterly different flavor than the magical land of Cyrodiil. That flavor is everything that Fallout ever was, plus a bit more.

The big ticket item is the combat system that incorporates Action Points. I'm glad they decided to make combat real time, because nothing screams "I'm afraid of evolving" like turn-based fights. You might think, then, that strategy goes out the window and the game devolves into shootouts whenever an enemy is encountered. To a certain extent, it does (if you're a trigger-happy spaz like me); but if you keep your cool long enough to press R2 instead of R1 (I was playing on PS3), you get a healthy dose of strategy by opening up VATS mode.
VATS mode works sort of like turn-based combat. When the menu is open and you're selecting targets (parts of the body to fire at), the game is paused. After you've set your commands and pressed X, everything moves very slowly while the bullets fly; like bullet-time, only you can't do anything. Each shot you want to take costs you Action Points. The cost seems to vary based on what weapon you're using, how far away you are from the target, and based on any bonuses you might have from your skills or your traits.

As you select targets, you can see the enemy's life gauge flash in portions, telling you how much health will be deducted if you hit your target. This is dependent on what body part you're aiming at. The AP gauge will flash also, telling you how many points are needed for the next hit. This is important, because you might find it takes five shots to kill something, but you've only got enough AP for four. Your strategy would then be to A) take the shots, recoup AP and open up VATS again for the final blow or B) come back and kill the guy later when you've got more AP.
AP will build up over time. Say you blow your entire gauge on awesome slow-mo headshots, but it turns out your target had several friends around the corner - and now they're pretty pissed and chasing you. You can't just open up VATS to take them out; you've got to wait for AP to recharge. In this way (and with having your weapons and equipment wear out over time), the game forces you to be strategic about shooting. You may want to settle for a grenade in the midst of a group of armed vigilantes (and don't stand next to cars when you do this - or it could result in your explode-y death) and save the shooting for close encounters only.
A second throwback to Fallout that hasn't gotten a lot of attention is the Karma system. Fallout 2 fiends will recognise this as a system for recruiting party members - and it works pretty much the same in Fallout 3. If you do something good (like giving a dying man purified water), an icon will flash on screen to tell you that you've earned Karma; do something bad, like killing an innocent townsperson, and that icon will tell you you've lost Karma. You can't actually view your Karma score in Fallout 3 (I thought you could in Fallout 2, correct me if I'm wrong), but tip the balance far enough in either direction and you'll start to see major outcomes in the game, beyond which party members you can have. If you're especially good, you draw the ire of the baddies and they'll send people after you; act like an asshole and law-abiding folk might take it upon themselves to take you out.
So those two major throwbacks hopefully satisfy the sensibilities of the Fallout elite. But what about the rest of us? If (*ahem*) we don't like shooters, but we do like RPGs, is there anything in Fallout 3 for us?
Damn straight there is. The main plot alone (which accounts for about 25 out of 100 hours of gameplay) has me totally sold.
Too bad I'm not allowed to talk about it.
Instead, I'll tell you about the side quest I managed to knock off in about an hour. I spent the first two hours of my hands-on time figuring out the combat system and picking out stats. Fallout fans will be glad to know that the S.P.E.C.I.A.L. system is completely intact and all their favourite perks are back, plus a few more (which I'm also not allowed to talk about). RPG stat-whores who aren't familiar with Fallout will be happy to know you can customise the skill set of your character to make pretty much any kind of guy or girl you want - and there won't be any combo you can come up with that'll make the game impossible.
That was a big problem in Oblivion - you'd want to play as a charismatic healing mage, and suddenly the main quest became impossible.
But back to Fallout 3 - I settled on the Lady Killer perk (which would have been Black Widow, had I been playing as a girl) and gave myself a lot of XP in the lock picking and sneak skills. Then I set off for the wasteland settlement nearest my vault - a town called Megaton. I had a few snags along the way: getting jumped by random vicious dogs and running into a sadistic group of miners that had taken over a rundown school.
I was really rattled there for a minute when I was trapped in a classroom with two rabid dogs and a lot of mangled corpses strung up on chains over the desks. I got out of that scrape by killing a few guys here and running away from a lot more guys there - eventually stumbling back out into the wastelands. I made it to Megaton where I met a cute girl in a bar who wanted me to take a message to her family somewhere up north. Since I had nothing better to do, I agreed.
Like in Oblivion, you can't fast travel to a place unless it's on your map or you've already been there once (which, duh, puts it on your map). Unlike Oblivion, the trek across the barren lands of what used to be Earth is visually upsetting and incredibly complicated. Everything is dry, dead, and completely destroyed. You take damage swimming across rivers; they're irradiated. And you can't pass within miles of most structures because there are likely people in them who will shoot at you.

The world in Fallout 3 doesn't exactly level up with you the way it does in Oblivion - so there are some pockets of deep shit you do not want to step into at too low a level. But there's also the assurance that if you walk into a dungeon, the creature you encounter there will always be that creature; so you could leave, grind, come back and kick its arse. And I'm told the game is more balanced than Oblivion, such that you're not forced into fights you're too weak to handle.
I can't speak to this, since I wasn't allowed to follow the main plot - but I did step into several pockets of deep shit right outside the vault that had me running away like a scared bunny (assuming I didn't catch it in the back of the head before I could get clear).
For every pocket of shit, though, there is a pocket of sanity; wandering traders willing to chat, or friendlies who want to ask a favour. Your navigation compass in the lower left hand part of the screen will tell you which is which by flagging good guys as green and bad guys as red.
I arrived at the small northern settlement - a cluster of tin shacks out on a broken overpass. Right away someone shot at me, but then had the good grace to come and apologise. He thought I was someone else.
Here again is a place where Fallout 3 blends its Fallout roots with the best of Oblivion: the dialogue exchanges. In Fallout and Fallout 2, there were complex trees of lines that led to completely different outcomes. Being polite over being sassy could be the difference between a firefight and a gift. In Oblivion, the voice acting and facial expressions were visual cues as to what you should say to placate characters; but often as not, those conversations usually had only one outcome. In Fallout 3, you can hear how a character talks and reasonably predict which response in your menu they want to hear. There isn't a charisma mini-game, alas, but certain dialogue options will open up based on perks or skills. (I heart Lady Killer/Black Widow because you can seduce people into telling you passwords.)

Warning! Here Be Side-Quest Spoilers!
I chatted up the guy who'd shot at me and he told me his town was under siege. If I wanted to deliver my message from the cute chick back in Megaton, I'd have to check on all three families in the settlement myself.
The family I was looking for had been killed - partially eaten, in fact. But apparently, a son wasn't among the dead and the guy who'd sent me to check on the families advised me to find the settlement of the dudes who were laying siege to the town. If the son went there, I could deliver the message to him and maybe rescue him, if he'd been taken against his will.
I was sort of annoyed that my quest didn't update at this point - no marker appeared on my map to tell me exactly where the cannibals had gone. I had only the vague directions of "northwest or north of here" from the dude to go on. This led me into several more encounters with roving raiders, until I eventually found an entrance to a subway.
There, I meet a couple of "Ghouls" - mutant people who didn't want to fight. These two only wanted to find a way to make "Ultrajet," a variant on the drug "Jet" that humans could use freely. Ghouls don't get respect in Fallout 3 and you can choose to terrorize them or be nice to them. I'm a nice girl, generally, so I bartered with them for information on where to find the guys I was looking for - all they wanted in exchange were boxes of Sugar Bomb cereal to make their drug.
I ventured deeper into the subway and got the feeling I was onto something when I got my leg crippled by a bear trap. Body parts are a big factor in Fallout 3 - both for enemies and for you. If you should happen to have a certain part of your person crippled (by bear traps or well-placed bullets), you either need to visit a doctor to have the damage undone or you need a stimpack healing item. There are lots of healing items in the world (most of them irradiated food or water), but only stimpacks will fix broken limbs.
I'm not sure if having a crippled limb has a real impact on your movement - the build I was playing on wasn't final and the guy next to me had a totally different experience when he got his head crippled. When that happened, his screen seemed to be all blurry and I guess maybe his character was suffering from some hallucinations or something - it looked way funky, until he popped a stimpack. But in my game, I didn't really notice a difference in movement, despite having a bum leg.
Leg patched, I wound my way deeper into the subway and ran into two mutants I just couldn't beat. Luckily, the game doesn't punish you for running away like a scared bunny - and I was able to race past their nest to the underground hideout of the guys I'd been hunting.
I met a guard out front and told him I had a message for a guy from his sister and that he might be inside the settlement. I expected an argument, or at least that I'd have to bribe the guy with my hard-earned bottle caps - but he let me in straightaway because, evidently, the son of the dead family had gone with them willingly and advised them that he had a sister who might try and find him.
Inside, I met with the gang leader and had to rely on my instinctive charm and wit to avoid a throw down. He was the crazy type - one of those intellectual cannibals. He told me the guy I wanted to talk to was "in meditation" and not to be disturbed.
I found the nearest chick and Lady Killed her into telling me where the guy was and the password for his room. Another dialogue tree wound by and the guy decided he needed to be with his sister, so he went home. And now I had to tell the leader of the cannibals I'd just gone against his wishes and deprived him of a new member.
He took it rather well. There was no shooting, no screaming and no biting my face off. He even agreed to an armistice with the town and made me his emissary to them. Then he gave me a freaking sweet gift and sent me on my way - quest complete.
End Side-Quest Spoilers!

So there you have it: a game that has as much in common with Fallout as it does with Oblivion. For some, the balance might not feel 50-50 all of the time (especially if you reject the notion of "evolution" in gaming) - but for me, it suits rather well.
Now if only there were some pretty renaissance gowns I could buy for my character...
Fallout 3 is out on PC, PS3 and 360 Oct. 28. There will be Achievements and there won't be Trophies at launch - but relax; patches fix all.

Comments (AU Comments · US Comments)
Pip Boy
Posted October 4, 2008 5:54 AM
Those percentages during battle, are not how much health will be taken off, but rather your chance to hit each specific body part.
Anon
Posted October 18, 2008 8:28 AM
How can we take your word for any of this if you've never played any other Fallout games? Waste of time reading this, credibility is suspect.
Gerben Rampaart
Posted October 18, 2008 10:15 AM
While the comment by Anon sounds a bit negative, I can't but agree a bit. Fallout I & II were a completely different experience from what III will be all together. I recently finished them both again. Oblivion I played fully on the PC and xbox 360 and somehow I think it's hard to believe Bethesda could create a perfect 50-50 hybrid.
I have played nothing of Fallout III yet (I am most defiantly getting it for the 360) but I can almost guarantee it will look more like Oblivion than like Fallout I/II. You can't blame Bethesda for that, they are different people and make different games. Because the turn-based and camera view of the original Fallout series is different, the game will be different. It added to the atmosphere. I remember playing certain battles in Fallout II maybe 30 to 40 times from the same savegame for slightly different outcomes of the battle. I highly doubt part III will have the same effect when in 1e person and not turn-based.
Immersion is another aspect I fear for. Bethesda has done a crappy job immersing the players in Oblivion on many occasions. Strange AI and voices. Strange reaction from characters after a vicious sword swing from the player (like standing upright, clipping to the back and uttering foul language by only moving their lips and nothing more), the list goes on.
I think Bethesda repaired some of those things but not everything will be gone, I promise you.
There is a real feeling among Fallout players like me something like "They better not fuck this up". Because we played Fallout until the disc stopped working. And the memories were sweet. If you never played it before you will never have that feeling.
I still liked the article though, it gave a good feeling of what the game will be like. But 50-50 Oblivion/Fallout? I'll be the judge of that.
bob
Posted October 18, 2008 7:45 PM
Dear Anon,
How do we know who you are?
how do we know your thoughts and feelings matter?
YOUR credibility is suspect.
Neutral-fanboy
Posted 1:45 AM 2/10/08
Nice taster. Will you be able to build a party of people over the course of a game?
Neutral-fanboy
CoyoteGamer
Posted 1:44 AM 2/10/08
Been waiting for this for awhile now and it still seems too far away. I'm glad to hear that the leveling system is not like Oblivion. While I like the Elder Scroll series I've always disliked the world "leveling up" with you. It also sounds like the world is much more "dense" than Oblivion's, which is another big bonus in my book.
This is coming out only days after Fable 2 and only about a week before Gears 2. No one is going to see me for weeks.
Some die-hard Fallout fanboys aren't going to be happy with this game no matter how well it turns out. All I have to say is don't hate Bethsda, hate Interplay. They're the ones that sold it in the first place.
CoyoteGamer
Dragzonox
Posted 1:43 AM 2/10/08
It's bull**** that Bethesda Softworks got their fingers in the Fallout brand. Yes Oblivion was fun in a while, but as time passed it just got more like a square and fat. And my guts is telling me that Fallout 3 is just going to be Oblivion all over again with bad blood scenes, lazy fat mutants, overall-ugly-oblivion-style.
But this is the world we live in. It's a shame that it isn't against the law to rape a good game brand.
Dragzonox
syafiqjabar
Posted 1:42 AM 2/10/08
But it is Oblivion with guns!!! A wide open (50 square miles) world you roam freely in and filled with enemies, pretty environments with bad character models, lots and lots of guns; all fights use guns, including the flamethrower you can use to burn the grass around the enemy base. It's nothing like Fallout (it's even set in modern Africa). Ubisoft is making Oblivion with guns.
Oh wait, this article is about Fallout 3, I was talking bout Far Cry 2. My bad. Can't wait for this one.
syafiqjabar
Alchemistmerlin
Posted 1:42 AM 2/10/08
@Brian Crecente:
"So those two major throwbacks hopefully satisfy the sensibilities of the Fallout elite."
I read as
"Here, here's your bone. You should be happy you get that!"
Alchemistmerlin
firstworldman
Posted 1:41 AM 2/10/08
Thanks A.J. I'm really looking forward to this game. The combat system really convinced me. I should probably play the other Fallout games before I go and tackle this one.
January 2009 can't come soon enough.
firstworldman
ThursdayNext
Posted 1:41 AM 2/10/08
Will wait for the Trophies patch before I buy it. But will defo get this.
ThursdayNext
Brian Crecente
Posted 1:38 AM 2/10/08
@Alchemistmerlin: Where did you read that she was deciding whether this was a true fallout game?
Brian Crecente
TheLegendof_Erick
Posted 1:38 AM 2/10/08
I just hope they optimized their engine this time, Oblivion's countryside was awesome if you weren't afraid of load screens
TheLegendof_Erick
ASchwarzenegger
Posted 1:36 AM 2/10/08
I really needed this, I had been on the fence (not completely i knew i was going to get this game) about how much i really wanted this game. Oblivion was fun and all, i completed that to the last drop with over 100 hours in it. But I do get that same feel of oblivion when i watch some of the videos on F3. The way you travel and move, the reticle hasn't changed much, and the overall feel is very Oblivion-y.
But I am soo happy you gave us your impressions, and it was a pleasure to read, because honestly I didn't need it, but it helped out a lot.
Preeeesh
ASchwarzenegger
Alchemistmerlin
Posted 1:35 AM 2/10/08
So why exactly did you, someone who has never played Fallout, get the job of deciding whether or not Fallout 3 is a "true" Fallout game?
Alchemistmerlin
Ber'Zophus
Posted 1:35 AM 2/10/08
Thanks greatly for the preview, being as like you I've played Oblivion but not Fallout. You put one of my biggest fears to rest: that the game would have the same stupid leveled-monsters system as Oblivion. I enjoyed Oblivion overall, but that alone pretty much killed the immersion....when you could walk into a cave and find a band of psychotic antisocial killers somehow all had a masterwork of daedric armor. What the hell good is the best armor in the game if damn near everyone has it?
Not to mention it's annoying that when you level up you're punished for it by having to face stronger monsters. I should not be able to handily get through the game at level 1. It was just dumb and I'm glad Bethesda have come to realize it.
I want exactly what AJ talks about: being scared as hell to run into unfounded areas and getting ambushed, and be forced to take care in what I do, and gain the strength to take it on later.
Ber'Zophus
dubz
Posted 1:34 AM 2/10/08
"The way you move and the world in which you move feel as much like Oblivion as Oblivion did"
What?
dubz
Jezuz
Posted 1:33 AM 2/10/08
The only dilemma I have about this game is 360 or PC. PC seems the obvious choice, but I need to upgrade my comp a bit to get the same graphics as my HDTV. I wonder how it works on the standard PC right now.
Jezuz
Eville1 says SKUse me a sec.
Posted 1:33 AM 2/10/08
This looks like some mighty fine stuff. I'm looking forward to it.
Eville1 says SKUse me a sec.
natpoor
Posted 1:32 AM 2/10/08
Different FROM!!!!!! Or better than, but not different than. But besides the headline (is the editor off today?) a good read. (Ok yes, I bit on the grammar error, but Gawker has editors for this kind of thing. It's in the headline!)
natpoor
raunchytoilet
Posted 1:31 AM 2/10/08
this game is going to be a fucking slap in the face to the original fallouts. all you nubs just learning about this game, and all the bethesda fanboys will be unduly impressed, i'm sure. a shell of the originals, i can only hope it will be a better spinoff than BoS
raunchytoilet
Kotakus_Minty_Fresh_Urinal_Cake
Posted 1:29 AM 2/10/08
I hated Oblivion. I cannot understand all the Oblivion Love. Every thing about Oblivion was contrived and cliche.
The map with the indicator of where I need to travel, and who I need to talk to was a huge time saver. The dialogue was meaningful and really drove the story.
I'll prolly pick this up based upon reviews, and play it after I finish alphabetically organizing my spice rack. But it will definately be after hitting the bargain lot price.
Kotakus_Minty_Fresh_Urinal_Cake
Gray665
Posted 1:29 AM 2/10/08
Damn, this game sounds amazing. I don't think I am going to get much sleep with this, Fable 2 and Gears 2 dropping within weeks of each other. And I'm going to be broke, very broke. Cripes, and I thought last fall was bad...
Gray665
Capt_Billy
Posted 1:28 AM 2/10/08
Cannot wait. October is the month I sell a kidney. :(
Capt_Billy
BryanH
Posted 1:26 AM 2/10/08
@Kenofthedead: ...What about them?
BryanH
F22
Posted 1:26 AM 2/10/08
this game is going to suck up many hours of my life - and with DLC my god, need excuses now to deal with the GF heh.
F22
Parapraxis
Posted 1:25 AM 2/10/08
ahhh, longevity, there you are.
Parapraxis
mablung
Posted 1:24 AM 2/10/08
I will buy this with no hesitation... once trophy support is added.
mablung
huginn
Posted 1:22 AM 2/10/08
It says alot about a game that isn't even released yet when it drives up sales of it's older brothers in the series. Fallout 1, 2 and Tactics (Brotherhood of Steel can lick mine...)
With that said, this game looks like it will be the golden child of the series verse the black sheep. (other black sheep BoS... You're still in the doghouse) And it's getting better all the time.
huginn
DragonYen
Posted 1:22 AM 2/10/08
I'll wait until the "Game of the Year" edition comes out next year, with all the DLC included. But I do want this game.
DragonYen
Forestbear
Posted 1:21 AM 2/10/08
The first rule of Fallout is: you do not talk about Fallout.
Forestbear
burko
Posted 1:21 AM 2/10/08
So, what I'm getting from all this is -- yeah, basically Oblivion with guns. The Karma system was never that interesting anyway; if the targeting system is the only bone they have to throw Fallout fans, well, hey. Bethesda's gotta do their thing, that's fine. But this is just Oblivion in a wasteland with guns, it sorely and obviously lacks the nuance, wit, and appeal of Fallout 1 & 2. To its credit it strives for a similar style, but the guys at Bethesda don't understand irony and humor, and their art direction has always been hopelessly generic (albeit decently polished.) I'll probably skip this one, I just don't think Bethesda was the right team for this franchise.
burko
KindaGamey
Posted 1:19 AM 2/10/08
> There, I meat a couple of "Ghouls"
teehee.
Seriously, I am so hungry for Fallout 3 tidbits. I don't care if you guys talk about nothing else.
KindaGamey
SAKY
Posted 1:19 AM 2/10/08
Another holiday season filled with too many great games to finish them all. I'm still playing 1 or 2 games from last year.
SAKY
0rin
Posted 1:16 AM 2/10/08
Awesome write-up there! This is sounding like a great christmas gift! thank you!
0rin
Monster Chalk
Posted 1:15 AM 2/10/08
How your mom is better tahn Oblivion....
HA!!!!
I don't know I just felt like saying that.
Monster Chalk
KillerBee
Posted 1:15 AM 2/10/08
I sat through the developer walkthrough at PAX and I was blown away. When you see the world they have created for us to play in, your jaw will hit the floor much like mine did.
KillerBee
belo
Posted 1:14 AM 2/10/08
Good read. Lookin' forward to it.
belo
KevvyBear!Rawr!
Posted 1:12 AM 2/10/08
Neat! Im pretty damn excited for this game.
KevvyBear!Rawr!
Kenofthedead
Posted 1:09 AM 2/10/08
Drugs
Kenofthedead
DarthHater1137
Posted 1:08 AM 2/10/08
Have not wanted a game this badly in a while (well, maybe Rock Band 2...)
DarthHater1137
Hey_guy
Posted 1:07 AM 2/10/08
Fallout 3 is going to be the bee's knees.
Hey_guy
flyingsupernerds
Posted 1:06 AM 2/10/08
Lovely read. Recently downloaded the Fallout 3 trailer on my Playstation 3 and it turned out better than I thought it was going to be.
It'll be a PC purchase, though.
flyingsupernerds
OtherAdam
Posted 1:06 AM 2/10/08
I'm really waiting for this to come out. But I couldn't help yelling "holy shit! oblivion with guns!" when I saw the developer walk-through videos. The entire intro the the game where you come out of the vault is the equivalent to coming out of the cave in Oblivion, even down to the achievement you get when you leave the cave/vault.
OtherAdam
CoatedTrout
Posted 1:06 AM 2/10/08
Sounds fantastic. Thanks for the preview. I wasn't initally looking forward to this game (due to my natural negative disposition towards apocalypses) but this seems truly immersive.
CoatedTrout
-Scrixx-
Posted 1:06 AM 2/10/08
Need this game!
-Scrixx-
KFJ
Posted 1:04 AM 2/10/08
It's real simple, In Fallout, The world has already been set on fire, in Oblivion, it hasn't been set on fire.
Or what you said above :)
KFJ
ZetaCrossfire
Posted 1:04 AM 2/10/08
want this game!
ZetaCrossfire
TitillatedOcelot
Posted 2:10 AM 2/10/08
@Hey_guy: AND the cat's pyjamas, I'd wager!
TitillatedOcelot
nospamsam
Posted 2:09 AM 2/10/08
"I'm glad they decided to make combat real time, because nothing screams "I'm afraid of evolving" like turn-based fights."
This is crap. You stated that you never played previous Fallout versions. Your statement is unqualified.
I really enjoy turn based fights for many reasons.
Squad tactics: being able to select specific weapons for each of your team members so that they can support each other and taking the time to analyze the whole situation.
Constant interruptions: With turn based games, I can play a few turns, answer the door, get a cup of coffee, play a few more, go to the can, turn on the fan, eat a dounut, kick some more butt... sorry about the rhymes but I'm making a point. Real time is fine for multiplayer games and 1st person shooters. I play half life, counter striek: source and TF2 all the time. Fallout was a game that I could ponder like a chess game and still enjoy the genre.
I'm dissappointed that they followed everyone else into 1st person shooter land. It really lacked imagination.
Also some people I know, that enjoyed the earlier versions, will not be able to play since they experience motion sickness from 1st person shooters.
nospamsam
repoman123
Posted 2:09 AM 2/10/08
One question I really want to ask is...Is this game depressing?? I'm thinking if I play this game for four hours on a cold winters night and I get sucked in as I usually do with a good game... Is it gonna make me feel a bit crap....Obviously its just a game...but it would be good if there was at least a tiny bit of joy. I really liked oblivion I picked it up and played for a long ol' time but I'm not a great fan of "knights and dragons" (forgive me for genralising) so thats why Fallout appeals...but one thing I really did enjoy about Oblivion was there where genuine moments of happy lightheartedness and also dark so a nice balance...I just can't see this happening in a post apocolyptic world of Fallout?!?!?...P.S. I just read The Road by Cormac Mcarthy
repoman123
Yossarian
Posted 2:08 AM 2/10/08
@Yossarian: *where, exactly,
Yossarian
Alchemistmerlin
Posted 2:07 AM 2/10/08
@syafiqjabar:
Which is a bad thing.
Alchemistmerlin
Yossarian
Posted 2:07 AM 2/10/08
@Guitaratomik: Seconded on both gounts.
raunchytoilet, where exactly, are you getting the information necessary to judge it "a shell of the originals"? Played through it yet? If so, know where I can get a copy? If not, do shut up.
Yossarian
trigger2
Posted 2:05 AM 2/10/08
Another thing that is different from Oblivion (thank the Baby!): They got rid of (or vastly improved) those hideous "face-gen" faces for the characters! Every face in Oblivion was just a slightly more warped version of the previous face. And you could see where a face got stretched - there would be an ugly smear between the eyes where they were pulled farther apart. It was disturbing.
trigger2
Yossarian
Posted 2:03 AM 2/10/08
@burko: Unless you've played through the entire game, it's still too early to say this - though I know this isn't going to stop you or any of the other Bethesda haters from saying it anyway.
The beauty in the older games wasn't in the movement system, the combat system, or the environment - the only things we've -really- seen from Fallout 3, and the only things they can show in shortish web clips. The beauty in the older games was in the details, many of which you had to purposefully look for. Think they're going to show you a chance encounter with an exploding whale in a trailer? Wouldn't that kind of ruin the surprise?
Now, don't get me wrong, Bethesda could, in fact, screw the series up royally. They could also be making the next-generation spiritual successor. My point is that we simply don't have enough information to make those kind of sweeping judgments about the game, and I don't want to make them until I play it. On October 28. All night long.
Yossarian
Hamsfork
Posted 2:00 AM 2/10/08
I never played Fallout 1 or 2, but I really didn't care for Oblivion. I'm torn on this title. If this game really is "Oblivion with guns" I'll skip it. But it looks like it has potential.
Hamsfork
Chillblain
Posted 2:00 AM 2/10/08
I couldn't stand Oblivion but I'm a big fan of the Fallout series, so I'm still gonna remain a skeptic till I try it.
Oblivion was plagued with poor choices- the level up system, bland/repetitive environments, the lame dialog mini-game, really bad looking character models, and the ridiculous all-seeing guard detection system. Not to say it didn't get some things right, but the cons outweighed the pros for me.
Chillblain
syafiqjabar
Posted 1:58 AM 2/10/08
@Azriel77:
You should lick my...
...delicious home-made ice-cream. What? Finish reading my comments, yaa?
syafiqjabar
Neutral-fanboy
Posted 1:56 AM 2/10/08
@syafiqjabar: Cheers. At least my in game companion won't hear me scream like a girl when I get ambushed by a bunch of mutants.
Neutral-fanboy
Mister Adequate
Posted 1:55 AM 2/10/08
"There isn't a charisma mini-game, alas"
Wait, how is that a bad thing? That was one of the most ridiculous and bullshit parts of Oblivion.
Anyway, as to FO3, I think it's going to be a pretty good game, but I'm not expecting anything like a true sequel to 1 and 2. After all, Bethesda couldn't even make a true sequel to Morrowind, and they own the damn franchise. They turned one of the most compelling worlds in gaming into something completely generic and boring, that you have to mod like buggery. Once you do that it is incredible, but having to do that at all is lame.
Mister Adequate
SentientPudding
Posted 1:55 AM 2/10/08
This game looked completely unappealing to me at first, but now I can't wait to play it.
SentientPudding
thaKingRocka
Posted 1:54 AM 2/10/08
i've never been a fan of using "than" with "different." this is especially strange to me when simply comparing two nouns. i found the article interesting, but i will play fallout 3 regardless of how similar or dissimilar it is to oblivion.
thaKingRocka
zed1138
Posted 1:54 AM 2/10/08
Though I never played the original Fallout this blending of post-apocolyptic world with Oblivion (an excellent game!) looks like a win-win situation to me. I can see it pulling me away from my MMO gaming for a fair while!
zed1138
gblock
Posted 1:54 AM 2/10/08
...but I didn't really *LIKE* Oblivion. And I think that all the things that made me not like it might still be there in Fallout.
Combat felt awful in Oblivion. I didn't enjoy how canned every conversation with NPCs felt. And while there might be millions of side-stories in Oblivion, they all felt like the same thing - go here, fetch this, kill that, get reward.
The only part of the review that gives me hope was your ability to complete quests without actually being forced to kill everything and everyone in sight - but that's tempered by the map not updating to show the next location for quests, which just makes me feel like I'm going to be stuck in the overworld hunting for things while being randomly attacked by mountain lions that were raised and taught to track by Uncle Ben.
I'm still really divided - I hope when you guys manage to pull out a big review it's got more meat, because I still feel like I'm on the fence.
gblock
Bobarian
Posted 1:53 AM 2/10/08
what's the deal with PS3 DLC? Is it a no go for sure or is just going to be delayed but eventually available? I'd rather get it for my PS3 so my Xbox doesn't just look at the game disc and RRoD right there on the spot.
Bobarian
jimmyNewtron
Posted 1:53 AM 2/10/08
One of my bigger complaints about Oblivion was the lack of character AI, they basically had none, it was all kind of scripted. And that conversation mini game was useless, even if a character really hated you, he would still say the same thing "hi how are you" what? you hate me!
jimmyNewtron
Jezuz
Posted 1:52 AM 2/10/08
@Azriel77: VATs makes all your complaining seem pathetic. The combat is very similiar it seems to the first Fallout if you use VATs all the time.
Oh, and saying Oblivion with guns is like candy with sex to most people.
Jezuz
BryanH
Posted 1:52 AM 2/10/08
@Dragzonox: Yeah, I hate it too when developers take a known brand and make a great game out of it. Or is 'rape' a slang term for that now?
BryanH
syafiqjabar
Posted 1:51 AM 2/10/08
@Neutral-fanboy: Only one character can follow you, in addition to Dogmeat. But in this style of game, this is probably best.
syafiqjabar
Guitaratomik
Posted 1:49 AM 2/10/08
@raunchytoilet:
I've played, beat, and loved Fallout 2. I think the original games are amazing and I'm totally excited for this one.
The fact that you use the word "nubs" in a serious context officially negates your opinion.
Guitaratomik
jimmyNewtron
Posted 1:48 AM 2/10/08
@Dragzonox:
I agree, Oblivion got real boring real fast, after the OMG look at the graphics, there was zero substance.
It looks like fallout 3 is Oblivion re-skinned.
jimmyNewtron
CoyoteGamer
Posted 1:48 AM 2/10/08
@Dragzonox: Hey, Interplay is the one that sold the IP to Bethesda in the first place. If you're going to be an enraged Fallout fanboy at least place the blame where it belongs.
CoyoteGamer
JakeDunn
Posted 1:47 AM 2/10/08
a) awesome preview, thanks
b) I wonder if the ps3 patch will work with older savegames or if you'll have to start the game from scratch again
JakeDunn
Azriel77
Posted 1:47 AM 2/10/08
"I never played the first two Fallouts..." you lost me there.
Bethesda has ruined a great franchise by turning it into Oblivion with guns.
Azriel77
syafiqjabar
Posted 1:46 AM 2/10/08
@Alchemistmerlin: She is not comparing this to the previous Fallout. She's comparing this to Oblivion.
syafiqjabar
wired_fenix
Posted 2:34 AM 2/10/08
@Darth Navster: I am not sure about the actual gameplay, but it was announced that the download content that is going to be hitting is going to be available for PC and 360 only.
wired_fenix
Juthan
Posted 2:34 AM 2/10/08
My most anticipated game of 2008. An absolute first-day-buy masterpiece. This is exactly what my PS3 has been begging me for. I ended that sentence with a preposition to show how hardcore I am. I am so ready for Fallout 3!
Juthan
Eville1 says SKUse me a sec.
Posted 2:33 AM 2/10/08
@BigWeather: Who'se to say either of you are correct? I see everyone bitching about this and only one person sighted examples of why they feel turn based is more fun. Then someone else said she was unqualified to make the comment because she had not played the first two. As if Fallout 1 and 2 are THE ONLY TURN BASED GAMES IN THE WOOOOOORLD. Please, seriously, it's an opinion. Granted a badly stated one but still, I've played both turn based and real time games and the most turn based I want to get is Mass Effect. Calling her unevolved is just childish.
Eville1 says SKUse me a sec.
ForwardInReverse
Posted 2:31 AM 2/10/08
@Darth Navster: Nothing I can think of besides no dlc for the ps3 version.
ForwardInReverse
revolverx
Posted 2:30 AM 2/10/08
I played both fallout 1/2 and I am still very excited for this game. Just because a dev decides to do something different doesn't mean they aren't sticking true to the source material. Going in a different direction makes it so the universe seems new and fresh instead of the same old, same old.
revolverx
Musai
Posted 2:29 AM 2/10/08
@burko: I love how you can make a judgment about the game without playing the final build, and basically skimmed the article so you could rush down here and post "LOL OBLIVION WITH GUNS".
Go you.
Musai
BigWeather
Posted 2:27 AM 2/10/08
"I'm glad they decided to make combat real time, because nothing screams "I'm afraid of evolving" like turn-based fights."
Ummm, ooookay. Maybe once you've evolved you'll understand the appeal of turn-based fights.
BigWeather
Ashkihyena
Posted 2:26 AM 2/10/08
Well, it does have one thing in common with Oblivion, both were changed in the face of censorship, though I think Oblivion's ratings were just upped a bit.
Ashkihyena
sereal
Posted 2:20 AM 2/10/08
@huginn: It's just because no one heard of fallout 1 & 2 until the hype monster started. I still think it's a big shame they didn't stick with the isometric style of the previous games. I suppose no one would even care about fallout 3 then though.
Regardless what people say, my expectations are very low about fallout3. I hope I am wrong; just been burned by hype too many times.
On another subject, how about some handheld ports of fallout 1 & 2 and tactics? seems like something that could work nicely with a PSP or ds(stylus is a nice feature considering how much clicking is in the game)
Might as well post this since someone out there is probably interested. [www.fifengine.de] <---- opensource fallout engine.
sereal
Reikon
Posted 2:20 AM 2/10/08
@Razgriz1: Yeah, it's pretty ridiculous how the writer decides how much the game is like Fallout when she's never played the game.
She can compare it to Oblivion since it seems like she's played it before, but she should stay away from the Fallout comparisons.
Reikon
Darth Navster
Posted 2:18 AM 2/10/08
Does anyone know if there are any differences between the 360 and PS3 versions? I still haven't figured out which one to get.
Darth Navster
Yossarian
Posted 2:15 AM 2/10/08
@dubz: You see, engaging the paradigm of the Oblivion movement system in the content-rich, innovative environment of a post-apocalyptic world lends itself to a familiarity yet freshness as yet unparalleled in the world of modern gaming. Reminiscent of classic modalities, yet brimming with interaction and immersiveness, it retains its resemblance to the last iteration while never feeling repetitive.
User-generated. Procedural. Social.
(People get degrees for this sort of thing.)
Yossarian
parad0x360
Posted 2:14 AM 2/10/08
I love and hate articles like this. I follow a game when its first unveiled and they I try to stay as far away as possible from it. This way I dont get overhyped and then get pissed when it cant possibly meet an expectation.
I want to play this game, and I have about a week or so before I started reading into it. That gives me a week before launch to hype myself up just enough but not too much.
I just couldnt help myself when I saw this article posted. Great read.
parad0x360
Tarmus
Posted 2:14 AM 2/10/08
I'd be all over this, IF it had Trophy support.
As it is, not completely sure.
Tarmus
Razgriz1
Posted 2:10 AM 2/10/08
Under what rock did you guys find AJ Glasser in? Every article starts with "I've never played.."
Along with these gems..
"I never played the first two Fallouts"
"So there you have it: a game that has as much in common with Fallout as it does with Oblivion. "
Razgriz1
heretrix
Posted 2:10 AM 2/10/08
I'm a big Fallout fan from way back and while changing one of my favorite games of all time into a shooter isn't my fondest choice of how it should be revived, what I've heard about Fallout 3 and from what I've seen of it, it seems like my worries, while not completely extinguished, are somewhat dimmed.
As for Bethesda taking over, I'm more pissed at Interplay for completely running the company into the ground and leaving the franchise in this situation, than I am at Bethesda for taking it over and at least trying to keep it alive.
heretrix
AdrienneHelmer
Posted 2:56 AM 2/10/08
I think I'm still more interested in Vampyre Story than this. Played Fallouts and Oblivion. Didn't really like Oblivion for its Radiant AI, boring guilds (except Dark Brotherhood) and pretty non-existent acknowledgment of player development. (dialogue to guild master: "are you new here?") Wanted more post-master stuff to play. Dialogue was way too meaningless to me too. Fallouts were turn-based, had beautiful level-up mechanics (perks, tags, etcetera, made levelling more interesting), your choices affected the fate of the world (in end "movies"), though had somewhat little effect on the real game. So no real end-game there either (though some small things existed, but nothing major). I guess the biggest thing was immersion and the levelling system. And the very large amount of dialogue, too. Turn-based would have been good, because there isn't that much of it around anymore. Diversity would have been appreciated. Btw. VATS once in a while doesn't make it turn-based, it's just a queue for commands like in KOTORs. All in all, sounds like an ok game, but the real test comes with user feedback. Replayability, immersion and post-game? Can't really judge that yet. Don't want to buy another Oblivion, so I, at least, am going to wait before buying. In all cases. It will be profitable for Bethesda and just as long as it's at least passable, it won't kill future sales either. So I don't think, from Bethesda sales point-of-view, the result is going to matter. Sorry for the rant.
AdrienneHelmer
Eviscerate
Posted 2:54 AM 2/10/08
@Darth Navster: As an owner of both a PS3 and 360 I was wondering the same thing. Then I remembered about the horse armor deal with Oblivion and the Stronghold the 360 got, while the PS3 owners got to sit and watch with envy. So my advice, if you own both consoles, get the 360 version. Unless you have an awesome pc, than get that version. The mod community for Bethesda games are what truly separate the console version from the pc version.
Eviscerate
Rohit_N
Posted 2:53 AM 2/10/08
@Musai:
So...we can't make any kind of judgment before we play the game? Y'know, the kind one needs to make before buying the game?
Rohit_N
dawimp523
Posted 2:51 AM 2/10/08
That definitely sounds awesome! I tried to play the original Fallout last night on GameTap with my Vista laptop, but it was having problems. The intro was playing fine, but there were colors popping in and out that shouldn't have been there, which distracted my viewing of the intro. And when the main menu pops up, I can't move my mouse at all! Or press any keys or anything! I had to Ctrl+Alt+Del, and stop the program; I thought it wasn't responding, but it said it was running! Any ideas on how to fix this?
dawimp523
nenet
Posted 2:49 AM 2/10/08
@Kenofthedead: You forget: Skooma
nenet
rbf1138
Posted 2:48 AM 2/10/08
Anyone know if there will be vehicles/transportation systems, ala horses from Oblivion?
rbf1138
the_answer
Posted 2:48 AM 2/10/08
still on the fence on this one. for me, the two most important aspects of an RPG are the combat system and character development - two things that Bethesda is horrible at.
the_answer
Azriel77
Posted 2:46 AM 2/10/08
Problems with fallout 3
-making the brotherhood of steel into good guys, having mutants(Who are sterile) and enclave still here after they were destroyed after the second game.
-Having the fatman in the game, people were afraid of nuclear weapons, it goes against the history/lore
-exploding NUCLEAR cars (the never existed and they should have been scraped/gone off/defused by now.)
-idiotic dialog, the dialog is the same stupid one liners that was in oblivion, it just has branches now.
-maturity, the fallout games were remembered for its gritty realism and its maturity/adult situations(slavery, prostitution, kid killing, drug use, mafia..etc). It might have an M rating but it will be a teen game(With a lot of cussing, whoopee), Bethesda is too chicken to put anything real controversial in the game.
-good and evil, there are only two solutions(it is obvious if you watch any interviews), where are the morale grey areas.
There is a LOT more wrong with the game, but these are some of the ones that stick out the most with me. If you have not played the originals then you really will not understand. Actually, if you a fan of the original elder scrolls and look at how bethesda has been screwing their OWN elder scrolls series, you might understand why we are pissed with what they are doing with the fallout series.
Azriel77
Burlsan
Posted 2:46 AM 2/10/08
I want this game so bad that it hurts. Bethesda has really won me over from Oblivion, and this looks to be the next game for me to spend some real time on. I still play Oblivion from time to time, and I'm looking forward to the same experience with Fallout 3.
Burlsan
Chillblain
Posted 2:45 AM 2/10/08
@LavernaMallard: It's just a troll trying to get banned guys. Check out their other posts. Wish this thing had a reporting system so we could get stupid inane comments like this removed right away.
Chillblain
LandMineLandSnake
Posted 2:44 AM 2/10/08
I hope they don't force the VATS system on you as the "better way of combat" because even though it's similar to what was in Fallout, it looks very boring. I don't know about some people but I don't find it fun after awhile when my game slows down to show me killing someone. I want to be able to have the game enjoyable as an FPS aswell (even though I probably can't make my favorite Fallout pistol-wielding bad ass)
Also, do the enemies get a VATS system? Like do they get to shoot at you when you are done using VATS do they get to shoot at you with precision? I don't want to just use it then hide behind a wall and wait awhile.
And thirdly, karma didn't really matter in Fallout. Would people really care if you killed a man without anyone knowing but you and that man? In Fallout there were choices that effected you character permanently. Like if you became a slaver, they would tattoo your head (or hand? I can't remember) and then everyone will think you're a slaver even though you probably did it just to get inside information, some quests weren't doable or doable in a certain way, just because you got that tattoo.
All in all, I hope this will turn out great and hopefully won't get old like Oblivion.
And finally,
LandMineLandSnake
Eville1 says SKUse me a sec.
Posted 2:42 AM 2/10/08
@LavernaMallard: Agreed. TLDR. And I own enough books thanks.
Eville1 says SKUse me a sec.
beta_angel
Posted 2:41 AM 2/10/08
@LavernaMallard:
tl:dr
I'm gonna go out on a limb here and assume you don't think Fallout is all that great?
You know, you could have easily summarized your dissertation with: I don't think Fallout is all that great.
beta_angel
enewtabie(Future LittleBigPlanet Master Creationist)
Posted 2:40 AM 2/10/08
@LavernaMallard:
Please don't ever post again.
enewtabie(Future LittleBigPlanet Master Creationist)
syronimus
Posted 2:39 AM 2/10/08
"After being filled in by Manfriend". *giggle*
syronimus
MehGinla
Posted 2:38 AM 2/10/08
"The world in Fallout 3 doesn't exactly level up with you the way it does in Oblivion"
You just upped the sales of this game by alteast 1.
MehGinla
beta_angel
Posted 2:38 AM 2/10/08
Loved getting hands on time with it at PAX, loved reading what Ms (or is it Mrs?) Glasser had to say here.
The only other game all year that's had my anticipation up as high as Fallout 3 is Left 4 Dead. After those 2 games come out, i'll be set for a LONG time, methinks.
:D
beta_angel
Azriel77
Posted 2:38 AM 2/10/08
@Jezuz: I have a low opinion of MOST people anyway. Did I bring up combat? No, I really do not care if it is done in first person. That is fine as long as they do it right, however bethesda isn't.
Azriel77
LavernaMallard
Posted 2:35 AM 2/10/08
You losers who think fallout is deep storytelling need to get some culture, fucking losers read this The Project Gutenberg EBook of Best Russian Short Stories, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Best Russian Short Stories Author: Various Release Date: September 11, 2004 [EBook #13437] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK BEST RUSSIAN SHORT STORIES *** Produced by David Starner, Keith M. Eckrich, and the Project Gutenberg Online Distributed Proofreaders Team [Illustration: ANTON P. CHEKHOV, RUSSIA'S GREATEST SHORT-STORY WRITER] BEST RUSSIAN SHORT STORIES Compiled and Edited by THOMAS SELTZER CONTENTS INTRODUCTION THE QUEEN OF SPADES _A.S. Pushkin_ THE CLOAK _N.V. Gogol_ THE DISTRICT DOCTOR _I.S. Turgenev_ THE CHRISTMAS TREE AND THE WEDDING _F.M. Dostoyevsky_ GOD SEES THE TRUTH, BUT WAITS _L.N. Tolstoy_ HOW A MUZHIK FED TWO OFFICIALS _M.Y. Saltykov_ THE SHADES, A PHANTASY _V.G. Korolenko_ THE SIGNAL _V.N. Garshin_ THE DARLING _A.P. Chekhov_ THE BET _A.P. Chekhov_ VANKA _A.P. Chekhov_ HIDE AND SEEK _F.K. Sologub_ DETHRONED _I.N. Potapenko_ THE SERVANT _S.T. Semyonov_ ONE AUTUMN NIGHT _M. Gorky_ HER LOVER _M. Gorky_ LAZARUS _L.N. Andreyev_ THE REVOLUTIONIST _M.P. Artzybashev_ THE OUTRAGE _A.I. Kuprin_ INTRODUCTION Conceive the joy of a lover of nature who, leaving the art galleries, wanders out among the trees and wild flowers and birds that the pictures of the galleries have sentimentalised. It is some such joy that the man who truly loves the noblest in letters feels when tasting for the first time the simple delights of Russian literature. French and English and German authors, too, occasionally, offer works of lofty, simple naturalness; but the very keynote to the whole of Russian literature is simplicity, naturalness, veraciousness. Another essentially Russian trait is the quite unaffected conception that the lowly are on a plane of equality with the so-called upper classes. When the Englishman Dickens wrote with his profound pity and understanding of the poor, there was yet a bit; of remoteness, perhaps, even, a bit of caricature, in his treatment of them. He showed their sufferings to the rest of the world with a "Behold how the other half lives!" The Russian writes of the poor, as it were, from within, as one of them, with no eye to theatrical effect upon the well-to-do. There is no insistence upon peculiar virtues or vices. The poor are portrayed just as they are, as human beings like the rest of us. A democratic spirit is reflected, breathing a broad humanity, a true universality, an unstudied generosity that proceed not from the intellectual conviction that to understand all is to forgive all, but from an instinctive feeling that no man has the right to set himself up as a judge over another, that one can only observe and record. In 1834 two short stories appeared, _The Queen of Spades_, by Pushkin, and _The Cloak_, by Gogol. The first was a finishing-off of the old, outgoing style of romanticism, the other was the beginning of the new, the characteristically Russian style. We read Pushkin's _Queen of Spades_, the first story in the volume, and the likelihood is we shall enjoy it greatly. "But why is it Russian?" we ask. The answer is, "It is not Russian." It might have been printed in an American magazine over the name of John Brown. But, now, take the very next story in the volume, _The Cloak_. "Ah," you exclaim, "a genuine Russian story, Surely. You cannot palm it off on me over the name of Jones or Smith." Why? Because _The Cloak_ for the first time strikes that truly Russian note of deep sympathy with the disinherited. It is not yet wholly free from artificiality, and so is not yet typical of the purely realistic fiction that reached its perfected development in Turgenev and Tolstoy. Though Pushkin heads the list of those writers who made the literature of their country world-famous, he was still a romanticist, in the universal literary fashion of his day. However, he already gave strong indication of the peculiarly Russian genius for naturalness or realism, and was a true Russian in his simplicity of style. In no sense an innovator, but taking the cue for his poetry from Byron and for his prose from the romanticism current at that period, he was not in advance of his age. He had a revolutionary streak in his nature, as his _Ode to Liberty_ and other bits of verse and his intimacy with the Decembrist rebels show. But his youthful fire soon died down, and he found it possible to accommodate himself to the life of a Russian high functionary and courtier under the severe despot Nicholas I, though, to be sure, he always hated that life. For all his flirting with revolutionarism, he never displayed great originality or depth of thought. He was simply an extraordinarily gifted author, a perfect versifier, a wondrous lyrist, and a delicious raconteur, endowed with a grace, ease and power of expression that delighted even the exacting artistic sense of Turgenev. To him aptly applies the dictum of Socrates: "Not by wisdom do the poets write poetry, but by a sort of genius and inspiration." I do not mean to convey that as a thinker Pushkin is to be despised. Nevertheless, it is true that he would occupy a lower position in literature did his reputation depend upon his contributions to thought and not upon his value as an artist. "We are all descended from Gogol's _Cloak_," said a Russian writer. And Dostoyevsky's novel, _Poor People_, which appeared ten years later, is, in a way, merely an extension of Gogol's shorter tale. In Dostoyevsky, indeed, the passion for the common people and the all-embracing, all-penetrating pity for suffering humanity reach their climax. He was a profound psychologist and delved deeply into the human soul, especially in its abnormal and diseased aspects. Between scenes of heart-rending, abject poverty, injustice, and wrong, and the torments of mental pathology, he managed almost to exhaust the whole range of human woe. And he analysed this misery with an intensity of feeling and a painstaking regard for the most harrowing details that are quite upsetting to normally constituted nerves. Yet all the horrors must be forgiven him because of the motive inspiring them--an overpowering love and the desire to induce an equal love in others. It is not horror for horror's sake, not a literary _tour de force_, as in Poe, but horror for a high purpose, for purification through suffering, which was one of the articles of Dostoyevsky's faith. Following as a corollary from the love and pity for mankind that make a leading element in Russian literature, is a passionate search for the means of improving the lot of humanity, a fervent attachment to social ideas and ideals. A Russian author is more ardently devoted to a cause than an American short-story writer to a plot. This, in turn, is but a reflection of the spirit of the Russian people, especially of the intellectuals. The Russians take literature perhaps more seriously than any other nation. To them books are not a mere diversion. They demand that fiction and poetry be a true mirror of life and be of service to life. A Russian author, to achieve the highest recognition, must be a thinker also. He need not necessarily be a finished artist. Everything is subordinated to two main requirements--humanitarian ideals and fidelity to life. This is the secret of the marvellous simplicity of Russian-literary art. Before the supreme function of literature, the Russian writer stands awed and humbled. He knows he cannot cover up poverty of thought, poverty of spirit and lack of sincerity by rhetorical tricks or verbal cleverness. And if he possesses the two essential requirements, the simplest language will suffice. These qualities are exemplified at their best by Turgenev and Tolstoy. They both had a strong social consciousness; they both grappled with the problems of human welfare; they were both artists in the larger sense, that is, in their truthful representation of life, Turgenev was an artist also in the narrower sense--in a keen appreciation Of form. Thoroughly Occidental in his tastes, he sought the regeneration of Russia in radical progress along the lines of European democracy. Tolstoy, on the other hand, sought the salvation of mankind in a return to the primitive life and primitive Christian religion. The very first work of importance by Turgenev, _A Sportsman's Sketches_, dealt with the question of serfdom, and it wielded tremendous influence in bringing about its abolition. Almost every succeeding book of his, from _Rudin_ through _Fathers and Sons_ to _Virgin Soil_, presented vivid pictures of contemporary Russian society, with its problems, the clash of ideas between the old and the new generations, and the struggles, the aspirations and the thoughts that engrossed the advanced youth of Russia; so that his collected works form a remarkable literary record of the successive movements of Russian society in a period of preparation, fraught with epochal significance, which culminated in the overthrow of Czarism and the inauguration of a new and true democracy, marking the beginning, perhaps, of a radical transformation the world over. "The greatest writer of Russia." That is Turgenev's estimate of Tolstoy. "A second Shakespeare!" was Flaubert's enthusiastic outburst. The Frenchman's comparison is not wholly illuminating. The one point of resemblance between the two authors is simply in the tremendous magnitude of their genius. Each is a Colossus. Each creates a whole world of characters, from kings and princes and ladies to servants and maids and peasants. But how vastly divergent the angle of approach! Anna Karenina may have all the subtle womanly charm of an Olivia or a Portia, but how different her trials. Shakespeare could not have treated Anna's problems at all. Anna could not have appeared in his pages except as a sinning Gertrude, the mother of Hamlet. Shakespeare had all the prejudices of his age. He accepted the world as it is with its absurd moralities, its conventions and institutions and social classes. A gravedigger is naturally inferior to a lord, and if he is to be presented at all, he must come on as a clown. The people are always a mob, the rabble. Tolstoy, is the revolutionist, the iconoclast. He has the completest independence of mind. He utterly refuses to accept established opinions just because they are established. He probes into the right and wrong of things. His is a broad, generous universal democracy, his is a comprehensive sympathy, his an absolute incapacity to evaluate human beings according to station, rank or profession, or any standard but that of spiritual worth. In all this he was a complete contrast to Shakespeare. Each of the two men was like a creature of a higher world, possessed of supernatural endowments. Their omniscience of all things human, their insight into the hiddenmost springs of men's actions appear miraculous. But Shakespeare makes the impression of detachment from his works. The works do not reveal the man; while in Tolstoy the greatness of the man blends with the greatness of the genius. Tolstoy was no mere oracle uttering profundities he wot not of. As the social, religious and moral tracts that he wrote in the latter period of his life are instinct with a literary beauty of which he never could divest himself, and which gave an artistic value even to his sermons, so his earlier novels show a profound concern for the welfare of society, a broad, humanitarian spirit, a bigness of soul that included prince and pauper alike. Is this extravagant praise? Then let me echo William Dean Howells: "I know very well that I do not speak of Tolstoy's books in measured terms; I cannot." The Russian writers so far considered have made valuable contributions to the short story; but, with the exception of Pushkin, whose reputation rests chiefly upon his poetry, their best work, generally, was in the field of the long novel. It was the novel that gave Russian literature its pre-eminence. It could not have been otherwise, since Russia is young as a literary nation, and did not come of age until the period at which the novel was almost the only form of literature that counted. If, therefore, Russia was to gain distinction in the world of letters, it could be only through the novel. Of the measure of her success there is perhaps no better testimony than the words of Matthew Arnold, a critic certainly not given to overstatement. "The Russian novel," he wrote in 1887, "has now the vogue, and deserves to have it... The Russian novelist is master of a spell to which the secret of human nature--both what is external and internal, gesture and manner no less than thought and feeling--willingly make themselves known... In that form of imaginative literature, which in our day is the most popular and the most possible, the Russians at the present moment seem to me to hold the field." With the strict censorship imposed on Russian writers, many of them who might perhaps have contented themselves with expressing their opinions in essays, were driven to conceal their meaning under the guise of satire or allegory; which gave rise to a peculiar genre of literature, a sort of editorial or essay done into fiction, in which the satirist Saltykov, a contemporary of Turgenev and Dostoyevsky, who wrote under the pseudonym of Shchedrin, achieved the greatest success and popularity. It was not however, until the concluding quarter of the last century that writers like Korolenko and Garshin arose, who devoted themselves chiefly to the cultivation of the short story. With Anton Chekhov the short story assumed a position of importance alongside the larger works of the great Russian masters. Gorky and Andreyev made the short story do the same service for the active revolutionary period in the last decade of the nineteenth century down to its temporary defeat in 1906 that Turgenev rendered in his series of larger novels for the period of preparation. But very different was the voice of Gorky, the man sprung from the people, the embodiment of all the accumulated wrath and indignation of centuries of social wrong and oppression, from the gentlemanly tones of the cultured artist Turgenev. Like a mighty hammer his blows fell upon the decaying fabric of the old society. His was no longer a feeble, despairing protest. With the strength and confidence of victory he made onslaught upon onslaught on the old institutions until they shook and almost tumbled. And when reaction celebrated its short-lived triumph and gloom settled again upon his country and most of his co-fighters withdrew from the battle in despair, some returning to the old-time Russian mood of hopelessness, passivity and apathy, and some even backsliding into wild orgies of literary debauchery, Gorky never wavered, never lost his faith and hope, never for a moment was untrue to his principles. Now, with the revolution victorious, he has come into his right, one of the most respected, beloved and picturesque figures in the Russian democracy. Kuprin, the most facile and talented short-story writer next to Chekhov, has, on the whole, kept well to the best literary traditions of Russia, though he has frequently wandered off to extravagant sex themes, for which he seems to display as great a fondness as Artzybashev. Semyonov is a unique character in Russian literature, a peasant who had scarcely mastered the most elementary mechanics of writing when he penned his first story. But that story pleased Tolstoy, who befriended and encouraged him. His tales deal altogether with peasant life in country and city, and have a lifelikeness, an artlessness, a simplicity striking even in a Russian author. There is a small group of writers detached from the main current of Russian literature who worship at the shrine of beauty and mysticism. Of these Sologub has attained the highest reputation. Rich as Russia has become in the short story, Anton Chekhov still stands out as the supreme master, one of the greatest short-story writers of the world. He was born in Taganarok, in the Ukraine, in 1860, the son of a peasant serf who succeeded in buying his freedom. Anton Chekhov studied medicine, but devoted himself largely to writing, in which, he acknowledged, his scientific training was of great service. Though he lived only forty-four years, dying of tuberculosis in 1904, his collected works consist of sixteen fair-sized volumes of short stories, and several dramas besides. A few volumes of his works have already appeared in English translation. Critics, among them Tolstoy, have often compared Chekhov to Maupassant. I find it hard to discover the resemblance. Maupassant holds a supreme position as a short-story writer; so does Chekhov. But there, it seems to me, the likeness ends. The chill wind that blows from the atmosphere created by the Frenchman's objective artistry is by the Russian commingled with the warm breath of a great human sympathy. Maupassant never tells where his sympathies lie, and you don't know; you only guess. Chekhov does not tell you where his sympathies lie, either, but you know all the same; you don't have to guess. And yet Chekhov is as objective as Maupassant. In the chronicling of facts, conditions, and situations, in the reproduction of characters, he is scrupulously true, hard, and inexorable. But without obtruding his personality, he somehow manages to let you know that he is always present, always at hand. If you laugh, he is there to laugh with you; if you cry, he is there to shed a tear with you; if you are horrified, he is horrified, too. It is a subtle art by which he contrives to make one feel the nearness of himself for all his objectiveness, so subtle that it defies analysis. And yet it constitutes one of the great charms of his tales. Chekhov's works show an astounding resourcefulness and versatility. There is no monotony, no repetition. Neither in incident nor in character are any two stories alike. The range of Chekhov's knowledge of men and things seems to be unlimited, and he is extravagant in the use of it. Some great idea which many a writer would consider sufficient to expand into a whole novel he disposes of in a story of a few pages. Take, for example, _Vanka_, apparently but a mere episode in the childhood of a nine-year-old boy; while it is really the tragedy of a whole life in its tempting glimpses into a past environment and ominous forebodings of the future--all contracted into the space of four or five pages. Chekhov is lavish with his inventiveness. Apparently, it cost him no effort to invent. I have used the word inventiveness for lack of a better name. It expresses but lamely the peculiar faculty that distinguishes Chekhov. Chekhov does not really invent. He reveals. He reveals things that no author before him has revealed. It is as though he possessed a special organ which enabled him to see, hear and feel things of which we other mortals did not even dream the existence. Yet when he lays them bare we know that they are not fictitious, not invented, but as real as the ordinary familiar facts of life. This faculty of his playing on all conceivable objects, all conceivable emotions, no matter how microscopic, endows them with life and a soul. By virtue of this power _The Steppe_, an uneventful record of peasants travelling day after day through flat, monotonous fields, becomes instinct with dramatic interest, and its 125 pages seem all too short. And by virtue of the same attribute we follow with breathless suspense the minute description of the declining days of a great scientist, who feels his physical and mental faculties gradually ebbing away. _A Tiresome Story_, Chekhov calls it; and so it would be without the vitality conjured into it by the magic touch of this strange genius. Divination is perhaps a better term than invention. Chekhov divines the most secret impulses of the soul, scents out what is buried in the subconscious, and brings it up to the surface. Most writers are specialists. They know certain strata of society, and when they venture beyond, their step becomes uncertain. Chekhov's material is only delimited by humanity. He is equally at home everywhere. The peasant, the labourer, the merchant, the priest, the professional man, the scholar, the military officer, and the government functionary, Gentile or Jew, man, woman, or child--Chekhov is intimate with all of them. His characters are sharply defined individuals, not types. In almost all his stories, however short, the men and women and children who play a part in them come out as clear, distinct personalities. Ariadne is as vivid a character as Lilly, the heroine of Sudermann's _Song of Songs_; yet _Ariadne_ is but a single story in a volume of stories. Who that has read _The Darling_ can ever forget her--the woman who had no separate existence of her own, but thought the thoughts, felt the feelings, and spoke the words of the men she loved? And when there was no man to love any more, she was utterly crushed until she found a child to take care of and to love; and then she sank her personality in the boy as she had sunk it before in her husbands and lover, became a mere reflection of him, and was happy again. In the compilation of this volume I have been guided by the desire to give the largest possible representation to the prominent authors of the Russian short story, and to present specimens characteristic of each. At the same time the element of interest has been kept in mind; and in a few instances, as in the case of Korolenko, the selection of the story was made with a view to its intrinsic merit and striking qualities rather than as typifying the writer's art. It was, of course, impossible in the space of one book to exhaust all that is best. But to my knowledge, the present volume is the most comprehensive anthology of the Russian short story in the English language, and gives a fair notion of the achievement in that field. All who enjoy good reading, I have no reason to doubt, will get pleasure from it, and if, in addition, it will prove of assistance to American students of Russian literature, I shall feel that the task has been doubly worth the while. Korolenko's _Shades_ and Andreyev's _Lazarus_ first appeared in _Current Opinion_, and Artzybashev's _The Revolutionist_ in the _Metropolitan Magazine_. I take pleasure in thanking Mr. Edward J. Wheeler, editor of _Current Opinion_, and Mr. Carl Hovey, editor of the _Metropolitan Magazine_, for permission to reprint them. [Signature: Thomas Seltzer] "Everything is subordinated to two main requirements--humanitarian ideals and fidelity to life. This is the secret of the marvellous simplicity of Russian literary art."--THOMAS SELTZER. BEST RUSSIAN SHORT STORIES THE QUEEN OF SPADES BY ALEXSANDR S. PUSHKIN I There was a card party at the rooms of Narumov of the Horse Guards. The long winter night passed away imperceptibly, and it was five o'clock in the morning before the company sat down to supper. Those who had won, ate with a good appetite; the others sat staring absently at their empty plates. When the champagne appeared, however, the conversation became more animated, and all took a part in it. "And how did you fare, Surin?" asked the host. "Oh, I lost, as usual. I must confess that I am unlucky: I play mirandole, I always keep cool, I never allow anything to put me out, and yet I always lose!" "And you did not once allow yourself to be tempted to back the red?... Your firmness astonishes me." "But what do you think of Hermann?" said one of the guests, pointing to a young Engineer: "he has never had a card in his hand in his life, he has never in, his life laid a wager, and yet he sits here till five o'clock in the morning watching our play." "Play interests me very much," said Hermann: "but I am not in the position to sacrifice the necessary in the hope of winning the superfluous." "Hermann is a German: he is economical--that is all!" observed Tomsky. "But if there is one person that I cannot understand, it is my grandmother, the Countess Anna Fedotovna." "How so?" inquired the guests. "I cannot understand," continued Tomsky, "how it is that my grandmother does not punt." "What is there remarkable about an old lady of eighty not punting?" said Narumov. "Then you do not know the reason why?" "No, really; haven't the faintest idea." "Oh! then listen. About sixty years ago, my grandmother went to Paris, where she created quite a sensation. People used to run after her to catch a glimpse of the 'Muscovite Venus.' Richelieu made love to her, and my grandmother maintains that he almost blew out his brains in consequence of her cruelty. At that time ladies used to play at faro. On one occasion at the Court, she lost a very considerable sum to the Duke of Orleans. On returning home, my grandmother removed the patches from her face, took off her hoops, informed my grandfather of her loss at the gaming-table, and ordered him to pay the money. My deceased grandfather, as far as I remember, was a sort of house-steward to my grandmother. He dreaded her like fire; but, on hearing of such a heavy loss, he almost went out of his mind; he calculated the various sums she had lost, and pointed out to her that in six months she had spent half a million francs, that neither their Moscow nor Saratov estates were in Paris, and finally refused point blank to pay the debt. My grandmother gave him a box on the ear and slept by herself as a sign of her displeasure. The next day she sent for her husband, hoping that this domestic punishment had produced an effect upon him, but she found him inflexible. For the first time in her life, she entered into reasonings and explanations with him, thinking to be able to convince him by pointing out to him that there are debts and debts, and that there is a great difference between a Prince and a coachmaker. But it was all in vain, my grandfather still remained obdurate. But the matter did not rest there. My grandmother did not know what to do. She had shortly before become acquainted with a very remarkable man. You have heard of Count St. Germain, about whom so many marvellous stories are told. You know that he represented himself as the Wandering Jew, as the discoverer of the elixir of life, of the philosopher's stone, and so forth. Some laughed at him as a charlatan; but Casanova, in his memoirs, says that he was a spy. But be that as it may, St. Germain, in spite of the mystery surrounding him, was a very fascinating person, and was much sought after in the best circles of society. Even to this day my grandmother retains an affectionate recollection of him, and becomes quite angry if any one speaks disrespectfully of him. My grandmother knew that St. Germain had large sums of money at his disposal. She resolved to have recourse to him, and she wrote a letter to him asking him to come to her without delay. The queer old man immediately waited upon her and found her overwhelmed with grief. She described to him in the blackest colours the barbarity of her husband, and ended by declaring that her whole hope depended upon his friendship and amiability. "St. Germain reflected. "'I could advance you the sum you want,' said he; 'but I know that you would not rest easy until you had paid me back, and I should not like to bring fresh troubles upon you. But there is another way of getting out of your difficulty: you can win back your money.' "'But, my dear Count,' replied my grandmother, 'I tell you that I haven't any money left.' "'Money is not necessary,' replied St. Germain: 'be pleased to listen to me.' "Then he revealed to her a secret, for which each of us would give a good deal..." The young officers listened with increased attention. Tomsky lit his pipe, puffed away for a moment and then continued: "That same evening my grandmother went to Versailles to the _jeu de la reine_. The Duke of Orleans kept the bank; my grandmother excused herself in an off-hand manner for not having yet paid her debt, by inventing some little story, and then began to play against him. She chose three cards and played them one after the other: all three won _sonika_, [Said of a card when it wins or loses in the quickest possible time.] and my grandmother recovered every farthing that she had lost." "Mere chance!" said one of the guests. "A tale!" observed Hermann. "Perhaps they were marked cards!" said a third. "I do not think so," replied Tomsky gravely. "What!" said Narumov, "you have a grandmother who knows how to hit upon three lucky cards in succession, and you have never yet succeeded in getting the secret of it out of her?" "That's the deuce of it!" replied Tomsky: "she had four sons, one of whom was my father; all four were determined gamblers, and yet not to one of them did she ever reveal her secret, although it would not have been a bad thing either for them or for me. But this is what I heard from my uncle, Count Ivan Ilyich, and he assured me, on his honour, that it was true. The late Chaplitzky--the same who died in poverty after having squandered millions--once lost, in his youth, about three hundred thousand roubles--to Zorich, if I remember rightly. He was in despair. My grandmother, who was always very severe upon the extravagance of young men, took pity, however, upon Chaplitzky. She gave him three cards, telling him to play them one after the other, at the same time exacting from him a solemn promise that he would never play at cards again as long as he lived. Chaplitzky then went to his victorious opponent, and they began a fresh game. On the first card he staked fifty thousand rubles and won _sonika_; he doubled the stake and won again, till at last, by pursuing the same tactics, he won back more than he had lost ... "But it is time to go to bed: it is a quarter to six already." And indeed it was already beginning to dawn: the young men emptied their glasses and then took leave of each other. II The old Countess A---- was seated in her dressing-room in front of her looking--glass. Three waiting maids stood around her. One held a small pot of rouge, another a box of hair-pins, and the third a tall can with bright red ribbons. The Countess had no longer the slightest pretensions to beauty, but she still preserved the habits of her youth, dressed in strict accordance with the fashion of seventy years before, and made as long and as careful a toilette as she would have done sixty years previously. Near the window, at an embroidery frame, sat a young lady, her ward. "Good morning, grandmamma," said a young officer, entering the room. "_Bonjour, Mademoiselle Lise_. Grandmamma, I want to ask you something." "What is it, Paul?" "I want you to let me introduce one of my friends to you, and to allow me to bring him to the ball on Friday." "Bring him direct to the ball and introduce him to me there. Were you at B----'s yesterday?" "Yes; everything went off very pleasantly, and dancing was kept up until five o'clock. How charming Yeletzkaya was!" "But, my dear, what is there charming about her? Isn't she like her grandmother, the Princess Daria Petrovna? By the way, she must be very old, the Princess Daria Petrovna." "How do you mean, old?" cried Tomsky thoughtlessly; "she died seven years ago." The young lady raised her head and made a sign to the young officer. He then remembered that the old Countess was never to be informed of the death of any of her contemporaries, and he bit his lips. But the old Countess heard the news with the greatest indifference. "Dead!" said she; "and I did not know it. We were appointed maids of honour at the same time, and when we were presented to the Empress..." And the Countess for the hundredth time related to her grandson one of her anecdotes. "Come, Paul," said she, when she had finished her story, "help me to get up. Lizanka, where is my snuff-box?" And the Countess with her three maids went behind a screen to finish her toilette. Tomsky was left alone with the young lady. "Who is the gentleman you wish to introduce to the Countess?" asked Lizaveta Ivanovna in a whisper. "Narumov. Do you know him?" "No. Is he a soldier or a civilian?" "A soldier." "Is he in the Engineers?" "No, in the Cavalry. What made you think that he was in the Engineers?" The young lady smiled, but made no reply. "Paul," cried the Countess from behind the screen, "send me some new novel, only pray don't let it be one of the present day style." "What do you mean, grandmother?" "That is, a novel, in which the hero strangles neither his father nor his mother, and in which there are no drowned bodies. I have a great horror of drowned persons." "There are no such novels nowadays. Would you like a Russian one?" "Are there any Russian novels? Send me one, my dear, pray send me one!" "Good-bye, grandmother: I am in a hurry... Good-bye, Lizaveta Ivanovna. What made you think that Narumov was in the Engineers?" And Tomsky left the boudoir. Lizaveta Ivanovna was left alone: she laid aside her work and began to look out of the window. A few moments afterwards, at a corner house on the other side of the street, a young officer appeared. A deep blush covered her cheeks; she took up her work again and bent her head down over the frame. At the same moment the Countess returned completely dressed. "Order the carriage, Lizaveta," said she; "we will go out for a drive." Lizaveta arose from the frame and began to arrange her work. "What is the matter with you, my child, are you deaf?" cried the Countess. "Order the carriage to be got ready at once." "I will do so this moment," replied the young lady, hastening into the ante-room. A servant entered and gave the Countess some books from Prince Paul Aleksandrovich. "Tell him that I am much obliged to him," said the Countess. "Lizaveta! Lizaveta! Where are you running to?" "I am going to dress." "There is plenty of time, my dear. Sit down here. Open the first volume and read to me aloud." Her companion took the book and read a few lines. "Louder," said the Countess. "What is the matter with you, my child? Have you lost your voice? Wait--give me that footstool--a little nearer--that will do." Lizaveta read two more pages. The Countess yawned. "Put the book down," said she: "what a lot of nonsense! Send it back to Prince Paul with my thanks... But where is the carriage?" "The carriage is ready," said Lizaveta, looking out into the street. "How is it that you are not dressed?" said the Countess: "I must always wait for you. It is intolerable, my dear!" Liza hastened to her room. She had not been there two minutes, before the Countess began to ring with all her might. The three waiting-maids came running in at one door and the valet at another. "How is it that you cannot hear me when I ring for you?" said the Countess. "Tell Lizaveta Ivanovna that I am waiting for her." Lizaveta returned with her hat and cloak on. "At last you