I do believe because some of us had worked with Fallout for so long, that helped maintain consistency as well.
Seeing consistent architectural styles and props go a long way to making you feel like you're sharing the same space as the Mojave even if other elements of the DLC are new (atmospheric changes such as rain, toxic clouds, dust storms, and so on). We did make an effort to try and use these architectural building blocks in new ways (Lonesome Road being the best example). One element of consistency that was resource-dependent was using the existing architecture that had been established both in Fallout 3 and New Vegas, both terrain and actual buildings. Old World Blues was the anomaly, it took everything in the Mojave I thought was odd and tried to give a logical underpinning for it (Cazadores, Nightstalkers), so in essence, Old World Blues was a way of pulling back the curtain and see additional support structure for creatures and events in the Mojave. Eric also helped by setting up evidence of Elijah's path with the bomb collar victims in the Mojave as well. With respect to the narrative, we made sure we laid the foundation for Ulysses with Nash in Primm to establish the mystery for Lonesome Road, there were plenty of references to the Burned Man in Honest Hearts in the loading screens and in character dialogue that Josh Sawyer (NV Project Director) took care to place in, and I fleshed out the Elijah hooks with Veronica in coordination with Eric Fenstermaker and sat in on Felicia Day's voice recording session for her backstory with Elijah to make sure it connected to Dead Money (although we had to mask the references in the GECK so it didn't spoil what was to come). There were a few steps we took, some resource-dependent, others more design-dependent: - We set up narrative and visual hooks in the Mojave that would tie to the DLCs, whether players recognized them (the Canyon Wreckage was pretty obvious) or only in retrospect (Sierra Madre billboards and posters, Burned Man graffiti and dialogues). What steps did you take to ensure that each one retained a consistent feel with New Vegas, as well as Fallout in general? We recognized each DLC had to set itself apart, but still fit in the universe. Each of the DLCs you've released takes a different approach in both gameplay and setting.
I do want to warn folks who haven't played the DLCs because they're waiting for the Ultimate Edition, there are a lot of spoilers to follow, so you may want to stop reading now if you don't want the new content revealed until you have a chance to experience it. We're grateful for the opportunity, and on the bright side, the Ultimate Edition is coming out early next year, so if people want to do a second run-through with all the new DLC toys and locations, it'll all be in one package. Gotta say, it's sad putting up the chairs and turning off the lights - still, with New Vegas and the DLC run we got to work on Fallout one more time, which is more than we could have hoped for a few years back. Is that correct? Courier's Stash and Gun Runners' Arsenal are the last two DLCs in the series, yes. Here's the first half for your post-nuclear reading enjoyment: Our understanding is that Courier's Stash and Gun Runners' Arsenal are the final two add-ons to be released for Fallout: New Vegas. To our surprise, he spent a great deal of time answering each and every question in detail, and the end result is a Q&A so massive that we had to split it into two separate installments.
Avellone would only have time to address a handful of them. When Chris agreed to do a post-mortem interview about the game and its add-ons, Thomas, Eric, Simone, and I all rounded up a bevy of questions with the expectation that Mr. Chris Avellone has been instrumental in crafting some amazing CRPGs during his career, with his most recent contribution to our role-playing game collections being Fallout: New Vegas and its four story-driven DLC packs.