Fallout 3 Walkthrough V1.05
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Fallout Wastelands: a Post-Nuclear Role-Playing Game
Fallout Wastelands: A Post-Nuclear Role-Playing Game A Black Diamond Project - Version 1.3 Based on Retropocalypse by David A. Hill Jr, which in turn was based on Old School Hack by 1 Kirin Robinson Page Table of Contents 3… A Few Notes About Fallout Wastelands 66... Vehicles 5… Introduction and Setup 70… Item Costs 7... Character Creation 71… Encumbrance 12... Backgrounds 72... Combat Rules 13... Brotherhood of Steel Initiate 72... Initiative and Actions 16… Courier 74... Attack, Defense, and Damage Resistance 18... Deathclaw 76... Healing and Injury 20... Enclave Remnant 77... Adventuring 22... Ghoul 77... Environments and Arenas 24... Raider 80... Karma 26... Robot 83... Leveling Up 28... Scientist 84... Overseer's Guide 30... Settler 84... Specialty Items 32... Super Mutant 90... Harder, Better, Stronger, Faster 34... Tribal 92... Additional Traits 36... Vault Dweller 97... Creating NPCs 38... Wastelander 97... Creating Encounters 40... Skills 99... Cap Rewards 46... Perks 100... Bestiary 57... Items and Equipment 116... Character Sheet 57... Weapons 118... Version Notes 61... Armor 119... Credits 63... Tools 2 Page Section 1. A Few Notes About Fallout Wastelands For years I've loved playing the Fallout games, specifically Fallout 3 and Fallout: New Vegas since I didn't have access to a computer for gaming (I am working my way through the original Fallout presently!). I became enamored by the setting and fell in love with the 50s retro-futuristic atmosphere, the pulpy Science! themes, and the surprisingly beautiful, post-apocalyptic world that unfolded before me. It was like Firefly meeting Mad Max meeting Rango and it was perfect. -
Fallout Wastelands: a Post-Atomic Role-Playing Game
Fallout Wastelands: A Post-Atomic Role-Playing Game A Black Diamond Project - Version 1.3 Based on Retropocalypse by David A. Hill Jr, which in turn was based on Old School Hack by 1 Kirin Robinson Page Table of Contents 3… A Few Notes About Fallout Wastelands 63... Tools 5… Introduction and Setup 66… Encumbrance 7... Character Creation 67... Combat Rules 12... Backgrounds 67... Initiative and Actions 13... Brotherhood of Steel Initiate 69... Attack, Defense, and Damage Reduction 16… Courier 71.. Healing and Injury 18... Deathclaw 72... Adventuring 20... Enclave Remnant 72... Environments and Arenas 22... Ghoul 75... Karma 24... Raider 78... Leveling Up 26... Robot 79... Overseer's Guide 28... Scientist 79... Specialty Items 30... Settler 85... Harder, Better, Stronger, Faster 32... Super Mutant 86... Additional Traits 34... Tribal 91... Creating NPCs 36... Vault Dweller 91... Creating Encounters 38... Wastelander 93... Cap Rewards 40... Skills 94... Bestiary 46... Perks ##... Character Sheet 57... Items and Equipment ##... Version Notes 57... Weapons ##... Credits 61... Armor 2 Page Section 1. A Few Notes About Fallout Wastelands For years I've loved playing the Fallout games, specifically Fallout 3 and Fallout: New Vegas since I didn't have access to a computer for gaming. I became enamored by the setting and fell in love with the 50s retro-futuristic atmosphere, the pulpy Science! themes, and the surprisingly beautiful, post- apocalyptic world that unfolded before me. It was like Firefly meeting Mad Max meeting Rango and it was perfect. Once I finished Fallout 3 and moved on to New Vegas I began searching for a tabletop version of Fallout so I could explore the Wasteland with my friends at college. -
Gurps: Fallout
GURPS: FALLOUT by VARIOUS AUTHORS compiled, EDITED AND UPDATED BY Nathan Robertson GURPS Fallout by VARIOUS AUTHORS compiled, EDITED AND UPDATED BY Nathan Robertson GURPS © 2008 – Steve Jackson Games Fallout © 2007 Bethesda Softworks LLC, a ZeniMax Media company All Rights Reserved 2 Table of Contents PART 1: CAMPAIGN BACKGROUND 4 Chapter 1: A Record of Things to Come 5 Chapter 2: The Brotherhood of Steel 6 Chapter 3: The Enclave 9 Chapter 4: The Republic of New California 10 Chapter 5: The Vaults 11 Chapter 6: GUPRS Fallout Gazetteer 12 Settlements 12 Ruins 17 Design Your Own Settlement! 18 Chapter 7: Environmental Hazards 20 PART 2: CHARACTER CREATION 22 Chapter 8: Character Creation Guidelines for the GURPS Fallout campaign 23 Chapter 9: Wasteland Advantages, Disadvantages and Skills 27 Chapter 10: GURPS Fallout Racial Templates 29 Chapter 11: GURPS Fallout Occupational Templates 33 Fallout Job Table 34 Chapter 12: Equipment 36 Equipment 36 Vehicles 42 Weapons 44 Armor 52 Chapter 13: A Wasteland Bestiary 53 PART 3: APPENDICES 62 Appendix 1: Random Encounters for GURPS Fallout 63 Appendix 2: Scavenging Tables For GURPS Fallout 66 Appendix 3: Sample Adventure: Gremlins! 69 Appendix 4: Bibliography 73 3 Part 1: Campaign Background 4 CHAPTER 1: A Record of Things to Eventually, though, the Vaults opened, some at pre-appointed times, Come others by apparent mechanical or planning errors, releasing the inhabitants to mix with surface survivors in a much-changed United States, It’s all over and I’m standing pretty, in the dust that was a city. on a much-changed planet Earth: the setting for Fallout Unlimited. -
Dark Heresy to Fallout Universe Conversion a Work in Progress ** = Denotes an Entry to Be Finalized
Dark Heresy to Fallout Universe Conversion A Work in Progress ** = Denotes an entry to be finalized Home Worlds Feral World = Tribal Hive World = City Slicker Imperial World = Wastelander Void Born = Vault Dweller Imperial Divinations - What the Player wants them to say; hopefully with considerably less grimdark xenophobic connotations. Careers Adept: Information keepers or seekers; Followers of the Apocalypse, Brotherhood of Steel Scribes, or a similar workers either in the Institute or independent. Arbitrator: Sheriffs, Regulators, Security; desperate folk bringing law to the wastes. (see Lucas Simms, Regulators, etc.) Assassin: Swift killers of the Wasteland. Possibly part of organization (See Talon Company), or solo (see Arkansas) Cleric: Often more of a charismatic leader (Caesar) than religious zealot (Joshua Graham); both options exist, however. Brotherhood of Steel offers alternative for the Machine Cult. Almost always have a good financial situation, as part of their connections, etc. Guardsmen: Mercenaries, Troopers; the wasteland's gunmen. (see NCR Trooper, Mercenary) Psyker: Not playable. The handful of psychic individuals in the Wasteland are either insane, limited in power, or already dead. Scum: Self Explanatory. Typically Raiders, Gangers or similar individuals with considerably low morals. (see Raiders, Powder Gangers) Tech-Priest: Hoarders and seekers of Pre-War technology. Either from the Brotherhood of Steel or its Outcasts. (see Brotherhood of Steel, Brotherhood Outcasts) Skills Skills Common Lore Adeptus Arbites = Regulators, Commonwealth Police general knowledge Machine Cult = Brotherhood of Steel beliefs Administratum = Institute Ecclesiarchy = Cult beliefs Imperial Creed = American culture, well-known figures Imperial Guard = Mercenaries Imperium = Commonwealth Tech = Post-War Tech Underworld = Raiders, slavers, etc. War = Great battles, weapons, etc. -
Fallout Theme
“War. War never changes.” Tropes called Deathclaws, a common and deadly hazard in the wastelands. Fallout centers around a post-apocalyptic retro-future America. The tone of the setting is a cross between post-apocalypse-survival and 50s-era-atompunk. Radiation After World War II, the world advances the power of The wasteland is still reeling from the effects of the the atom, and uses up many of its natural resources in world-encompassing nuclear war, even 200 years the process to create a variety of fusion powered later. Atomic energy was everywhere; from power comforts. When resources begin to run dry, hostilities plants that lit up the city at night to fusion powered around the world escalate, resulting in a catastrophic cars and airliners, even down to small fusion batteries nuclear war. Some people managed to survive in the that powered hand-held devices. The radioactive by- blasted wasteland of Post-war Earth, but others products of the nuclear age litter the Wasteland. Vast survived by paying for space in large underground sections of the country are still deadly radioactive hot- Vaults constructed before the Cataclysm, Vaults built zones. Vehicles once powered by the atom lie by an American corporation called “Vault-Tec”. dormant and rusting, causing their fusion powered engines to leak and sometimes explode in mini- atomic blasts. Vast quantities of radioactive waste 50s Atompunk Americana were improperly disposed of, allowing toxic sludge to The Fallout United States diverges slightly from the seep into nearby ground-water. Lakes, streams, and real world sometime after World War II. -
The Prosthetic Imagination: Meditations on Virtual Space and Experience in Single Player Computer Role Playing Games By
The Prosthetic Imagination: Meditations on Virtual Space and Experience in Single Player Computer Role Playing Games by Michael David Brian Taylor A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Architecture Waterloo, Ontario, Canada, 2011 © Michael David Brian Taylor 2011 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. iii ABSTRACT Today’s video game players sit in front of their screens immersing them- selves within the fictional environment of the video game. They connect their physical self to the game-controller and their cerebral self to the game-world. The video game medium becomes a cybernetic and psycho- logical appendage, a prosthesis that allows game players to share their con- sciousness across actual and virtual realities. Such an appendage has the ability to expand the personal spatial environment of the game players as they navigate the spaces of an increasingly complex, digitally constructed extension of the imagination. The thesis begins with an autobiographical summary of personal ex- periences in the suburbs and the resultant escape from suburbia that video games provide. The thesis then presents a series of experiential diaries gen- erated from gameplay. This is followed by a conceptual analysis that uses six meditations to discuss the spaces and experiences presented in the dia- ries. The purpose of the conceptual analysis is to investigate how the nar- rative and spatial experiences of single player role playing video games ex- pand our perceptions of architecture and space beyond the real-world. -
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00:00:00 Music Transition Gentle, trilling music with a steady drumbeat plays under the dialogue. 00:00:01 Promo Promo Speaker: Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR. [Music fades out.] 00:00:12 Music Transition “Huddle Formation” from the album Thunder, Lightning, Strike by The Go! Team. A fast, upbeat, peppy song. Music plays as Jesse speaks, then fades out. 00:00:19 Jesse Host It’s Bullseye. I’m Jesse Thorn. This next interview is about video Thorn games. And even if that’s not the kind of thing you’re into—maybe you don’t know what Fortnite is or the last console you owned was a Sega Genesis, but still, hear me out. You’re gonna wanna keep listening. For the better part of a decade, the video game industry has made more in revenue than Hollywood. Year after year. It’s not even close anymore. The two industries have a fair amount in common. Both movies and video games take enormous amounts of work to produce—work that spans dozens of disciplines, sometimes employing thousands of people on a single project. There are big studios, small studios, indie projects, multibillion dollar franchises. But the video game industry—at least compared to film and TV—is relatively new. It’s changing constantly. Sometimes for the better, sometimes for the worse. And the folks who make these games, most of them don’t have the same protections movie crews find in, say, a union or guild. Jason Schreier has made a career reporting on exactly that. -
Fallout Wastelands: a Post-Nuclear Role-Playing Game
Fallout Wastelands: A Post-Nuclear Role-Playing Game A Black Diamond Project - Version 1.3 Based on Retropocalypse by David A. Hill Jr, which in turn was based on Old School Hack by 1 Kirin Robinson Page Table of Contents 3… A Few Notes About Fallout Wastelands 66... Vehicles 5… Introduction and Setup 70… Item Costs 7... Character Creation 71… Encumbrance 12... Backgrounds 72... Combat Rules 13... Brotherhood of Steel Initiate 72... Initiative and Actions 16… Courier 74... Attack, Defense, and Damage Resistance 18... Deathclaw 76.. Healing and Injury 20... Enclave Remnant 77... Adventuring 22... Ghoul 77... Environments and Arenas 24... Raider 80... Karma 26... Robot 83... Leveling Up 28... Scientist 84... Overseer's Guide 30... Settler 84... Specialty Items 32... Super Mutant 90... Harder, Better, Stronger, Faster 34... Tribal 92... Additional Traits 36... Vault Dweller 97... Creating NPCs 38... Wastelander 97... Creating Encounters 40... Skills 99... Cap Rewards 46... Perks 100... Bestiary 57... Items and Equipment 116... Character Sheet 57... Weapons 118... Version Notes 61... Armor 119... Credits 63... Tools 2 Page Section 1. A Few Notes About Fallout Wastelands For years I've loved playing the Fallout games, specifically Fallout 3 and Fallout: New Vegas since I didn't have access to a computer for gaming (I am working my way through the original Fallout presently!). I became enamored by the setting and fell in love with the 50s retro-futuristic atmosphere, the pulpy Science! themes, and the surprisingly beautiful, post-apocalyptic world that unfolded before me. It was like Firefly meeting Mad Max meeting Rango and it was perfect. -
Mod Money, Mod Problems: a Critique of Copyright Restrictions on Video Game Modifications and an Ve Aluation of Associated Monetization Regimes
William & Mary Business Law Review Volume 11 (2019-2020) Issue 3 Article 6 April 2020 Mod Money, Mod Problems: A Critique of Copyright Restrictions on Video Game Modifications and an vE aluation of Associated Monetization Regimes Carl "Ott" Lindstrom Follow this and additional works at: https://scholarship.law.wm.edu/wmblr Part of the Intellectual Property Law Commons Repository Citation Carl "Ott" Lindstrom, Mod Money, Mod Problems: A Critique of Copyright Restrictions on Video Game Modifications and an vE aluation of Associated Monetization Regimes, 11 Wm. & Mary Bus. L. Rev. 811 (2020), https://scholarship.law.wm.edu/wmblr/vol11/iss3/6 Copyright c 2020 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/wmblr MOD MONEY, MOD PROBLEMS: A CRITIQUE OF COPYRIGHT RESTRICTIONS ON VIDEO GAME MODIFICATIONS AND AN EVALUATION OF ASSOCIATED MONETIZATION REGIMES CARL “OTT” LINDSTROM* ABSTRACT Video game modifications (mods) have had a tremendously positive impact on the game industry, both in terms of commercial success and evolution of the medium. But the present court doctrine, enabled by Micro Star v. Formgen and abetted by restrictive End User License Agreements, greatly underserves the mod community and undermines the principal tenet of copyright law: the funda- mental right to reap the benefits of what one has created. This Note examines and critiques the current doctrine and its ethical pitfalls. It also explores the pros and cons of current methods of mod mon- etization, including remakes, developer partnerships, and donation systems. Finally, it advocates for a more equitable and ethically sound paradigm of mod rights through a proposed open licensing standard modeled after the tabletop gaming industry. -
Meyer V. Bethesda Softworks
Case 3:19-cv-00820-RS Document 1 Filed 02/14/19 Page 1 of 6 PUBLIC VERSION 1 KENDALL BRILL & KELLY LLP Alan Jay Weil (63153) 2 Shauna E. Woods (300339) 10100 Santa Monica Blvd., Suite 1725 3 Los Angeles, California 90067 Telephone: 310.556.2700 4 Facsimile: 310.556.2705 [email protected] 5 [email protected] 6 Margaret A. Esquenet (pro hac vice in process) Email: [email protected] 7 Anna B. Naydonov (pro hac vice in process) Email: [email protected] 8 FINNEGAN, HENDERSON, FARABOW, 9 GARRETT & DUNNER, LLP 901 New York Avenue, NW 10 Washington, D.C. 20001-4413 Telephone: (202) 408-4000 11 Facsimile: (202) 408-4400 12 Nicholas D. Petrella (299194) Email: [email protected] 13 FINNEGAN, HENDERSON, FARABOW, GARRETT & DUNNER, LLP 14 Stanford Research Park 3300 Hillview Avenue 15 Palo Alto, CA 94304-1203 16 Telephone: (650) 849-6600 Facsimile: (650) 849-6666 17 Attorneys for Defendant 18 Bethesda Softworks LLC 19 UNITED STATES DISTRICT COURT NORTHERN DISTRICT OF CALIFORNIA 20 OAKLAND DIVISION 21 ALEX MEYER, individually and on behalf of all CASE NO: 4:19cv00820 22 others similarly situated, NOTICE OF REMOVAL 23 Plaintiff, PUBLIC VERSION 24 v. Trial Date: None Set 25 BETHESDA SOFTWORKS LLC D/B/A 26 BETHESDA GAME STUDIOS, a Delaware corporation 27 Defendant. 28 NOTICE OF REMOVAL PUBLIC VERSION 603161637.1 Case 3:19-cv-00820-RS Document 1 Filed 02/14/19 Page 2 of 6 PUBLIC VERSION 1 PLEASE TAKE NOTICE that defendant Bethesda Softworks LLC (“Bethesda”) removes the 2 above-captioned action from the Superior Court of California for the County of Alameda, where the 3 action captioned Meyer v. -
Savaged Fallout Overseer Handbook
Setting .........................................................................................................................3 Background..................................................................................................................3 Weird Wasteland……………………………………………………………………………..4 The Wasteland: 2249..................................................................................................5 Locations......................................................................................................................5 Map...............................................................................................................................9 Economy.....................................................................................................................10 Mechanics …………………………………………………………………………..………11 Attacks........................................................................................................................11 Skills...........................................................................................................................11 Interaction...................................................................................................................11 Radiation……………………………………………………………………………..11 Rad Poisoning……………….…………………………………………………………….12 Chem Addiction……………………………………………………………………………..13 Traps & Mines............................................................................................................13 Random Encounters…………………………………………………………………….….13 -
Game Design by Numbers
Game Design by Numbers: Instrumental Play and the Quantitative Shift in the Digital Game Industry by Jennifer R. Whitson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Sociology Carleton University, Ottawa, Ontario © 2012 Jennifer R. Whitson Abstract This dissertation chronicles ideological, technological and economic changes in the digital game industry, focusing on how games are transforming as play becomes instrumentalized. It pays particular attention to the struggles of developers as they search for creative freedom and autonomy in a risk-averse industry. It makes original contributions to the literature on games by situating and explaining industry-wide shifts in terms of the socio-economics of game development and the rationalities that drive individual developers. It contributes to social theory more generally by explaining how transformations in play, games, and creativity are linked to much wider adaptations in the operation of capitalism and how it is justified to both workers and consumers. I use ground-level accounts from those within the game industry to describe how new media technologies interact with socio-economic forces, detailing the adaptability of capitalist modes of production in the face of critique. I show how definitions of 'games' and 'play' are changing as they come into contact with technology, allowing games to be reformulated in powerful new ways, so games are not only tools of entertainment but also tools of governance. I argue that the collective valuation of objective quantitative data and the belief in the fallibility of individual creative autonomy has turned game design into "design by numbers".