RPS: Where do you stand on save-scumming? I have to confess that’s how I rescued little Ralphie Parker in the end, because I didn’t want to be the guy who doesn’t save drowning kids, but was I breaking your puzzle there?
Brian Fargo: Because people are able to save games and restore easily? I’ve got you covered there, because for so many events, the cause and the action are so very far apart. So you can’t just be doing that. In many ways, a lot of the tension is lost in some modern games because you can save it, try it, not like the result and immediately reload. We have things that happen because of what you’ve done, a kind of butterfly effect, 2, 3, 4, 5 hours later on. You want to go back five hours of gameplay? Go for it. It’s not worth it – so you are stuck with it. Once that happens a couple of times, you’re really going to start thinking about your decisions. “I didn’t do that, and now four hours later this happens, I got to be really careful with my decisions.” Nothing makes the game unwinnable, we wouldn’t do that to you, but it does change things, and that’s just the way it goes. “I would have liked to have met this cult, but now they all hate me and I will never know what it’s like to go into this town and talk to them because I’m not going to replay four hours.” Design philosophy-wise, that’s how we attack that.
RPS: Is the cause of these consequences always transparent?
Brian Fargo: If it’s a big impact, we try to message it obviously, if it’s a smaller impact, no. There are other things where there’s a more subtle butterfly effect. There’s this one NPC companion, which I love, and remember there’s like 12 or 14 different ones, but if you kept this one all the way to the end of the game – and I don’t know why you would, only I do know, because you get emotionally attached to these people – there’s a whole sequence that happens in the last 20 minutes. It’s hilarious. I don’t know what percentage of people will see it, maybe 5%, but I absolutely love it. If you do have the guy, you’ll be thinking “I can’t believe I’m getting a pay off for keeping him in my party.” It’s just a visual pay-off, but it’s very, very funny.
RPS: In that sort of vein, I like to ask developers what one element in their game that they were personally responsible for and might not get noticed at all they’re most proud of?
Brian Fargo: Well, I was pretty actively responsible for several parts of the game. One is that in one of Mark Morgan soundtracks you’re going to hear a preacher coming in and out of the music. That preacher is my grandfather. He was a fire and brimstone preacher, he travelled the Bible belt during the 30s and 40s and gave these revival talks, he was a revival minister. He died of a heart attack in his 30s, he was so over the top, but before that he recorded an album – he was that big. So I lifted that into this soundtrack and you can hear it in there.
Another one is I put this other character in, it’s just this odd moment and I love reading people trying to figure it out, he’s named Probost. You’re playing the game, and all of a sudden somebody starts following you. He says nothing. He won’t speak to you, he’s just following you. You go into combat and he’ll actually get into combat with you and help you. Then he just goes away. Never a word. The conjecture about what it means is fantastic. And if you kill him for no reason, he drops an Owl of Minerva, which is an Illuminati thing. There are some other Illuminati references in LA, so was he related? I love those moments where it’s ‘what did it mean?’ I love the non-sequitur stuff.
I don’t like in movies and TV where everything thing has to be right on the nose, every message that you get is right there helping you solve the puzzle or push the story forwards. I like that there’s a lot of other chatter going on in the world. Some of it is nonsensical, some of it you have to make sense out of it. One of my other parts is I have a whole bit in Russian, where there’s two Russians having a conversation over the airwaves that of course makes no sense to you. Unless you speak Russian. And if you do, you actually get a clue that you’d never have otherwise. I put in a bunch of old Cold War radio signals that we still to this day don’t quite know what they meant, and odd tones… I love the atmosphere of the world-building.
It was also my idea to put in the children’s choir singing. I was actually at one of my kid’s recitals, and they were singing about an event – that was actually a really shitty event – but the singing sounded wonderful. I was “this is brilliant! This is perfect! We have to get a kid’s choir!”
RPS: So basically you’re trying to get every member of your family to sing in Wasteland 2?
Brian Fargo: Well, I was going to get that choir, but then they convinced me to get a real kids’ choir, so that’s what we did. I think the kids’ choir is one of my favourite moments. I have a lot of little things in there. There’s another little musical piece late in the game, a licensed thing, I won’t ruin that but when it comes on it’s very odd. I just want to make sure that when you start this game – and it’s a big game – from beginning to end you never once feel like you’re just seeing the same stuff. You’re meeting people, seeing people, hearing music, odd moments from start to the very end. In fact I even had us introduce a new game mechanic in the last 20 minutes. The game actually operates completely differently in the last 20 minutes than it did the prior stuff.
RPS: It turns into Super Irradiated Mario?
Brian Fargo: Well, not quite that. More Sinistar. [laughs]. No.