Master Chris Avellone Thread

[jdcp]

Sorry, Fallout fans, but Obsidian isn't really interested in making New Vegas 2: After years of working on other people's games, the studio is finding 'joy' in doing its own thing

I don't think this is how we do business lol.

[Vergil]

Sorry, Fallout fans, but Obsidian isn't really interested in making New Vegas 2: After years of working on other people's games, the studio is finding 'joy' in doing its own thing

I don't think this is how we do business lol.

They aren't "interested" in making New Vegas 2 the same way a guy with no **** isn't interested in having sex with a beautiful woman.

[The_Mask]

He didn't say anything for 25 years. Huge post for 26. I can't understand MCA anymore. LMAO

Happy birthday to the collection of misfits that have lived long enough to have countless birthdays

[maidenhaver]

He didn't say anything for 25 years. Huge post for 26. I can't understand MCA anymore. LMAO

Happy birthday to the collection of misfits that have lived long enough to have countless birthdays

Maybe it wasn't a happy birthday.

[The_Mask]

Just because there are questions, no, I am not involved in the Fate of the Old Republic beyond letting you decide its fate in KOTOR2

Also, Casey+co.'s original idea for KOTOR2 (which I heard about years later) was way better than ours, so I don't think you have much to worry about.

(The story idea was you fight Revan and his new empire, iirc.)

BTW, I still cite Casey's design approach to KOTOR1 in design meetings to this day. ; )

Random guy asks: What was it?

MCA continues: He apparently got the staff in a room in front a whiteboard and said "let's write down all the stuff that you think of that makes Star Wars, Star Wars." And you can see these specific callouts in the game itself (Ebon Hawk/Mil. Falcon, R2/T3-M4, etc.)

It worked. ; )

[The_Mask]

Sorry everyone, I'll be locked into A.I. all week having fun with **** like this

[maidenhaver]

Christmas without family is like that.

[The_Mask]

https://80.lv/articles/chris-avellone-o ... s-engaging

Chris Avellone On Writing & Making Game Stories Engaging

We spoke with Chris Avellone about his career in video games, his approach to storytelling, keeping players engaged, finding new themes, and tips for beginner writers.



Please introduce yourself. What companies have you worked for? What projects have you contributed to?

designer, script doctor, script surgeon, narrative designer, writer, lead writer, creative director, project director, and business owner. I've had the good fortune to work on a number of projects – Planescape: Torment, FTL: Faster Than Light (for free, because I loved it), Divinity Original Sin 2, Dying Light 2, Star Wars Knights of the Old Republic II: The Sith Lords (sensing a pattern?), Baldur's Gate: Dark Alliance (but not the main Baldur's Gate series, or 3), Prey, Fallout 2, Fallout: New Vegas and most of the DLCs, Alpha Protocol, Into the Breach, Judas, Weird West, Tomb Raider, Horizon: Forbidden West (script consultant, minor), and Star Wars Jedi: Fallen Order, among others.

I'm usually known more for narrative design than other disciplines, but I enjoy area design and system design very much – the area design allows me to use some elements of my Architecture minor, but for the purposes of creating fantasy locales.

I'm currently working on four projects, but the main project is a fantasy RPG, working with Adam Williams at Republic Games. I'm enjoying it more than I think I've ever enjoyed working on a project.

I've also been a comic book writer (mostly Star Wars), an (awful) actor in Fallout: Nuka-Break, written some bad short stories, and a movie script writer (Legend of Grimrock). I also foster kittens and cats whenever I can.





How and when did you start working on stories for games? What was your first project?

I started as a pen-and-paper game master for D&D, Superworld, and Champions, and then began taking the adventures I designed and submitting them to various companies for consideration. This resulted in a lot of rejections (even from Monte Cook, who helped design the Planescape setting Torment was eventually made from), but eventually, a company called Hero Games gave me a chance.

After I'd gotten published once, I found it was easier and easier to write articles and modules, but it didn't pay very well. Realizing I was in a financial crunch, one of my editors at Hero Games recommended me to Interplay Entertainment's Dragonplay division as a junior designer.

That said, my first video game project wasn't at Interplay, it was a "random encounter supplement" for Hero Games' Dark Champions called Hudson City Blues. The first project at Interplay I got a chance to work on was Conquest of the New World with Scott Bennie. Scott was one of the designers on Fallout 1, and he has since passed – he was a great guy and gave me my first place to live when I came out to California. On Conquest, we were writing historical snippets to flesh out the flavor of the game, and it was one of a few projects I contributed to in the first few years (Star Trek: Starfleet Academy, Descent to Undermountain, Die by the Sword) until I moved on to Fallout 2 and Planescape: Torment full-time.

I definitely learned a lot on each project, but it wasn’t until Fallout 2 and Torment that I got to finally do in-depth narrative design, dialogues, and reactivity.





What is the first step when writing a game story? Do you work with game leads or concept artists to build a common understanding? What helps you find the first brick? Perhaps you could share an example or two.

Whenever doing game writing, I fall back on two things at the outset before writing:

What's the "vision" and "emotional vision" for the game (e.g., Resident Evil is survival horror with an oppressive/anxious feel, Fallen Order is a third-person action title capturing the space opera feel of Star Wars) and…
The basic game mechanics (Fallen Order had a certain camera and power set for the main character, while Resident Evil used to have fixed camera angles, heavy use of sound design, a constrained form of combat that contributed to tension, a certain layout to fodder enemies, and so on). Narrative is intended to support game mechanics, but you need to know what the mechanics are in order to support them.
After this, you evaluate the mechanisms for how the story will be conveyed: is it cinematic, is it menu-driven talking heads, or is it devoid of all conversations and solely relies on environmental storytelling? You also want to be conscious of the budget: If you only have the budget for X lines of voice dialogue, or 10 minutes of cinematics, those are very important "design bookends" to know before deciding how you're going to flesh out the story and what kind of story you can tell with those limits.

You also need to start from the fact that it isn't just your story. It's also the player's, and it's also the team's: You want the team to have ownership of the game elements they're creating, and the chance to create their own visual and written narratives as long as they fall within the bookends above. I've found that giving designers their own space (whether key characters, certain areas of the game, or a faction) gives them more freedom and more investment in what they're doing vs. continually shifting those same elements across different designers every few months.

Once you have the basic game story premise down, you ideally present it to all the leads before anyone else, get their take on it, and make sure that at the end of the meeting, they can "speak" to the story if asked by someone in their department. As an example, if an animator comes to the lead animator and asks for information on the Think Tank in Old World Blues, the lead animator should be able to give a brief explanation of what they are all about, and also point that same developer to key people involved in that story aspect – say, Brian Menze for the foundation concepts and inspirations, then the level designers or I for any quirks each individual Think Tank member may have, and so on.

Also, one thing that I've found helpful – decide what's important to you and what's not, and if it's not key to the narrative, consider letting other team members explore an idea on their own. For example, in Knights of the Old Republic II, there were some companions and antagonist concepts I was very invested in, but there were others where the concept artist had more freedom to explore the characters' visuals the way they wanted, as long as it met the basic criteria of what the character was supposed to do.

So after you've run the narrative premise by the leads, got their approval/included their suggestions/did a revision, etc. then you present it to the whole team, using as many assets people have already created (for example, if Brian Menze had done some concepts of the Ghost People for Dead Money, I would include those concept art pieces in the story/game presentation for the DLC). People like to see how their work is being used to support the game's theme and story, and the more concrete examples you can use of people's work, the better.

After this story presentation (which you should record so you can play it for others coming on to the project later), then ideally, each team member should have a grasp of the vision for the DLC, what mechanics we're focusing on, what gear is to be found, what the story is, and who the key characters and antagonists are. We did story presentations like these as standard practice for most of the Fallout New Vegas DLCs, and it seemed to work well.



Let's there's a huge open-world game – Dying Light 2, for example – that needs lore. How do you structure this task? Do you start with the main story and then develop the world elements as branches? What are the main challenges?

Dying Light 2's probably both a good and bad example because the lore felt like it kept getting revised monthly. It's difficult to build characters and lore for a world in flux, but it's still possible as long as you can rely on the system mechanics being solid enough to build a foundation on. So, using the list I mentioned before, you can apply that to the lore as well.

Start with the emotional feel of the game: Survival horror, zombie-killing, a sense of humanity's survival teetering on the edge. This means the lore should emphasize a lack of safety, questions about "at what cost survival," and designing a game space to emphasize this.

Start with what key mechanics DL2 had: Zombie-killing, parkour, and "reactivity." Zombie killing is relatively easy, but you still need to make sure they are present as a threat and some flexibility in that threat, so there's always a new source of enemies and tactics. Parkour also informs the lore and game space – a city works far better as a game space than an open plain for parkour.



Now, on the reactivity element: I love designing reactivity in characters, factions, companions, locations, and anything that allows the player to make a mark on the world. So the design of the lore was to create factions that could change over time, had different agendas, had different approaches to the "survival" theme, and the setting was designed to allow for the introduction of new factions and enemies at points in the game based on clear, player-inspired actions.

That said, none of these designs made it into the game. I recall doing several treatments for a branching, reactive story, but none of them seemed to land, and it became apparent that unless the idea came from particular leads, it wasn't going to gain any traction. Ironically, some of those same leads expressed similar frustrations with trying to build lore and the story, to the point that at least one of them quit the lead role in the later stages (this was after I left). The lore process was also compounded by the fact that there was a rotating queue of writers that seemed to come onto the project and vanish. While I lasted the longest, it made keeping a consistent lore and tone approach difficult.

Techland and the Dying Light 2 team had great developers in the trenches, some of whom I've worked with on later projects and others who are friends to this day. That said, due to the other difficulties mentioned, I wouldn't work with Techland again.



Do you prefer working on large game worlds with tons of characters or on more character-focused experiences where side characters are kind of helpers that develop main characters? What are the main differences?

In a perfect world, either one is fine. In a budget and constraint-driven world, however (like any business), I tend to find a smaller, more reactive cast is better, if only because those characters are forced to have considerable depth. And the more reactivity a limited cast can respond to, in detail, can result in story moments that shine.

In a world with thousands of characters, that's still achievable (example: Fallout 2, New Vegas), but the cost is considerable, as evidenced by having four voice-over studios working at once to record VO for New Vegas (and while I did write for New Vegas, it was nowhere near as much as others). This likely resulted in Bethesda telling us, "Because of that, you only have 10K voiced lines in all the DLCs."

Now, the good thing with that is it meant we were forced to have a small cast for the DLCs, which caters to how I prefer to design narrative anyway, so that was fine (I also liked it in Prey).

You've worked on so many games and stories. How difficult is it to find something fresh each time? What are the tricks to creating something that doesn't feel too familiar?

It helps that the writing is in different franchises, as each franchise has its own set of narrative bookends that influence the writing. There might be challenges put forth by the antagonists that can only work in certain settings, for example: The Transcendent One's attempt to sever itself from you in Planescape: Torment and the resultant damage to you as the protagonist wouldn't have worked in Knights of the Old Republic II, and Kreia's view on the Force as her agenda would have been similarly out of place in Planescape – the franchise helps dictate the stories you tell.

Also, if your themes aren't fresh, then that can be an issue. I usually find each project has a theme they're hitting either on purpose or not, and usually, there's a new "song" in each theme that's interesting to explore, and that helps as well. For example, in Prey, representing Morgan's isolation being reflected back at him by the chief engineers struggle was intentional, and seeing the "damage" that your relationship with your brother had caused to various NPCs, in audio logs, also was intended to showcase that even Morgan's minor actions in the past had serious consequences on others... and showcasing that one may believe their actions are isolated, serious ripple effects can occur.





A lot of games have stories that feel like fillers – they give a starting point and some milestones, but don't keep players engaged. Why do you think that happens? What can be done to solve the issue?

I feel your pain. This can happen in a variety of ways. If you don't make areas and characters integral to the location and the plot, if the quests are killing forward momentum vs. supporting it, then it's hard to keep the players engaged beyond leveling mechanics. As an example, if you're given a task to save the world from a tidal wave of spirit armies beyond the Wall of Bells that encircles the north, but the very next town you go to they are having troubles with the rats in the granary, that definitely feels like filler and a disconnect in the importance of your role in the game as well.

Narrative designers, area designers, system designers, area designers, character modelers... hell, the whole section of the team involved in the design should all be working together and be on the same page. Audio engineers can do a ton of story support with background sound effects, ambient noise, and music stingers – often far more effectively than a writer can by themselves. An area designer's prop placement, which tends to shine in Bethesda games, can also tell stories all by itself. Enlist everyone to help with the story when you can.

So not only should everyone be involved, there should be a reality check on the content and a reality check on the player's approaches to the game. As a developer, if the content sounds like filler to you, if it sounds like a detour, if it sounds like a diversion, the player will probably see it the same way. Put yourself in their boots, and ask yourself, "Why should the player care?" (I usually say, "Why should the player give a sh*t," but the intent of the question is the same) If you don't have a good answer to that question, do another pass of the original idea and see if there's a way to involve the lore, the plot, or (best case) the player themselves in the area and the quest.

In the initial drafts of Tyranny, we tried to solve the "filler" problem by having everything you do advance the game's plot, since a lot of it was reputation-driven. Once the player got "noticed" by the antagonists through actions they were doing, they would attract the next plot point... but in the interim, the players were free to do any activity in the world they wanted to do. Players in open-world games tend to gravitate to exploring the world on their own vs. following the critical path linear plot, so this design catered to that desire. The goal was to create an "open-world story" to match the open world we were striving for, and an open-world story should have as much freedom to explore it as the world you've designed.



Finally, could you share some tips for beginner writers who are willing to create their own stories for games? Where should they start? What skills should they develop?

Since this could be a very long answer, I'll try to hit the highlights. For those who want a longer answer, possibly tailored to the particular challenge they're having, feel free to contact me on LinkedIn or whatever social platform you prefer, and I'll do my best to give what advice I can.

One, play a lot of games, consume as much media as you can, and consume as many personal stories as you can. Interact with people. Travel. Analyze, store, and remember moments that resonated with you. If a villain in a book did something that literally infuriated you while reading it, analyze that: break down the steps in the design that caused that emotional reaction in you, and use that as part of your "how to make an a**hole villain the best a**hole he can be" design.

Do not solely focus on games for your research; you want to cast your net wide. Try studying cinematography (very important for games now that more and more "movie" quality cinematics are made), acting, new languages... you'll find that these pieces of knowledge will surface while writing and make it stronger. As Scott Bennie, whom I mentioned before, used to say to budding designers: "Read interesting history." He's right. Real history is far more insane and fantastical than some fantasy settings, and there are tons of fascinating stories echoing throughout the past and into the present.

Lastly, respect writing and take the craft seriously. Learn the ins and outs of English grammar before you start breaking rules. Learn to edit. Learn to do cinematic or cut scene scripting if you can. Learn how to maximize your time in the voice-over booth with an actor and prevent any delays or pick-ups. I've worked with game writers in the past who have said things like, "Oh, that's the editor's job." It's not. It's yours, too. All of it makes for a successful story.

Person interviewed: Chris Avellone, Narrative Designer
Interview conducted by: Arti Sergeev
Date of Interview: 05 February 2026

[The_Mask]

.@blockheadcc asked how Annah from Planescape: Torment came to be and the design + aesthetic steps involved, so here’s my answers - which also apply to companion design in general.

https://blockhead.cc/p/how-characters-come-alive

Chris Avellone thinks in character. Almost everything he writes is rooted in this thinking of how characters come to inhabit people’s minds. There are many great RPG writers, but few writers have embodied this character-driven ethos in their game design as much as Avellone did since his first 1990s credits as a designer and writer at Black Isle Studios. He was also a founding figure at Obsidian Entertainment, who shaped their game design philosophy as a creation process for unique characters and a willingness to take risks with those characters.

The past few years have been a whirlwind, but this interview is about the here and now of an industry beset with uncertainties and crises. As the world scrambles to adjust to a new technology and a new artificial reality, there is a core factor of game design that remains profoundly human. It is a factor that cannot be easily simulated or automated by the possibilities of training data models. That is the irreplaceable role of character.

This interview will be published in two parts, and this first part will be grounded in one character in particular: Annah-of-the Shadows, a tiefling thief in Planescape: Torment. Any reader unfamiliar with the world of Planescape in the overarching mythology of Dungeons & Dragons might feel lost, but even writers and players who spent years thinking about these worlds don’t understand them entirely.

The Setup

Avellone was kind enough to write a few thousand words in response to my questions, and I include the responses with some personal commentary to add my own perspective as a player and aficionado of character development. I began the interview with the story of a friend in Edmonton, Max Dickeson, who was born without sight. His perspective on Annah was one of the starting points for this interview.

Max is a highly competent DM running 5E campaigns in his own homebrew universe. A few years ago, when we first started hanging out, he asked about my top RPGs, and I mentioned Planescape: Torment first. He’d never played it, but he’d read a document online with all of Annah-of-the-Shadows’ lines and content. Max studied this closely because he’d heard she was one of the most memorable characters in RPG history.​

My first question to Avellone was: “What makes Annah endure?” She appeared long before explicit discourse on representation or strong female characters in games. Yet she’s always felt psychologically real, emotionally alive: abrasive, vulnerable, human. How did he begin to build that complexity? What guided her voice, her bond with the Nameless One, her place in that world? Was there a conscious push against tropes, or did her depth emerge organically?

How Annah Came Alive

Avellone tells the story of Annah’s creation as a multifaceted and complex process, less motivated by one single approach or factor. There is no shortcut to character complexity, and engaging with that complexity from many angles and perspectives was a necessary step in creating a character like Annah.

Her creation came both organically and from pushing against tropes, but it also included embracing some tropes. Also, I had help from Annah herself.

To explain, one thing that happens as a writer is once you establish what you believe to be the foundation for a character, that character starts writing their own story based on that foundation… and often, the character can get away from you. Ravel, also from Torment, definitely did and became far more important to the plot over time.

Annah was no exception – once you know someone’s background and their personality traits, skills, and so on, they’ll start making story decisions for themselves.

Method actors have a similar process that allows the emergence of the characters on their own terms, rather than the actor’s terms. Writing is different from acting in many ways, but there is an overlap in how actors enact their characters and how writers develop theirs. The feeling for what would be out of character becomes intuitive, not something that can fit into a simple scheme or algorithm.



Rogue’s Gallery

Annah is one of the several companions that The Nameless One, the player character, can recruit and interact with as they progress through the game. Companions are never isolated in a room with the player; they exist in relationships with other companions as much as with the player character. The companions for Planescape: Torment remain one of the blueprints for companion design in Western RPGs.

Now another thing that builds upon a companion character’s own “voice” and autonomy is if there’s also other similarly-detailed characters in the party, say in even an atypical D&D party like Torment, the other companions will act as sounding boards for each other… and then their reactions to each other can also start making story decisions. So over time, even through companion exchanges, Annah developed more and more detail, just like the other characters.

In terms of how Annah came to “be,” I’ll start with a pragmatic answer. Usually the example I’ve used for this breakdown in the past has been Morte in Torment (and the answer was, “hey we needed a mimir [a Planescape encyclopedia shaped like a skull, it’s part of the franchise] to explain everything, but we wanted it to have a personality, and someone you could relate to if you were a stranger to the universe, oh, and since you get him early on, having him be able to tank and soak up damage is good,” and so on), but the same step-follows-step process was true for Annah as well.

The relationships between the characters are not accidental or superfluous; they are essential for each character to develop and serve their purpose in the story. Morte’s role as a mimir is not only an exposition device but also an engine for character development. Morte and Annah have a particularly prickly relationship that drives the story to something more lifelike, bickering as true friends do.



System Flock

Planescape: Torment was based on the Advanced Dungeons & Dragons 2nd Edition ruleset, which differs radically from subsequent editions, featuring the now-obsolete THAC0 system. The narrative focus of Torment also entailed tweaks, such as highlighting exotic races and simplifying class progression, but retained core mechanics like THAC0, proficiencies, and saving throws. Avellone confirms how some system constraints contributed to character development:

We started with some system constraints:

- In general, you want companions that represent a range of personalities, races, representatives of castes/factions important to the game, and so on. As such, we knew we had “human,” githzerai, “mimir,” tanar’ri, etc. so whoever we made needed to complement the existing structure and give everyone a chance to shine.

- We wanted a tiefling in the party because tieflings are a big part of Planescape.

- We wanted a thief to represent the skills of that class.

- In addition, the very nature of designing a “companion” come with a list of traits to be considered (which I’ll elaborate on later).

Tieflings have since become much more popular in D&D, appearing in prominent roles in Baldur’s Gate III, and in a sense, revitalising the possibilities of character design and development. Arguably the most popular companion, Karlach is a tiefling barbarian who is quite different from Annah in several ways, while also reflecting the same principles of how characters come alive and captivate players.

Love Stories

How players will actually engage with characters is unpredictable because players are unpredictable humans. Avellone notes how Annah’s temperament could have alienated players (and perhaps did alienate some players), but she still manages to come out on top as the most popular and most memorable companion and love interest. She might be the only romanceable character to ever nibble the player.

…we drilled down into the narrative aspects:

- We wanted another love interest – the “Betty” to Fall-From-Grace’s “Veronica,” even though those high-level Archie definitions don’t quite fit for either one. Fall-From-Grace seemingly has everything going for her (she doesn’t) and Annah is the opposite: it seems like she has nothing going for her (which also isn’t true).

- Annah provided a perspective on the slums of Sigil and also a tie to the major NPC Pharod beyond Pharod simply being a scheming NPC and made him something more than just a quest objective. Also, it was intended for the player to see (in her) her foster father’s manipulations, and the pain of being manipulated/leveraged that places on someone who has no one else in the world to call family.

Inner Life

The secret ingredient is inner life. Characters cannot live in the service of the player and other companions; they must have their own thing going on as well. And in a world like Torment, they must, of course, be tormented by something: by feelings of inadequacy, a lack of belonging, orphanhood, and so on. Annah’s inner life springs from a place of empathy in Avellone’s character development process.

- … we wanted each companion in the party to be wrestling with something that had deeply wounded them emotionally. For Annah, it came from feeling outside of the world, someone who Pharod viewed as a tool to be cast away as needed, so she had to (indirectly) communicate that pain.

- Annah also utilizes a classic trope arc and it’s (1) two characters meet with evident hostility, (2) this hostility causes various dramas and conflicts, (3) the two characters bond, either over respect or affection or both, and (4) this one is key: you bonding with Annah causes her to be willing to fight to defend you… even to death. This hostility-to-life-loyal-kinship is something I happen to like in most media, as it’s usually a reward for the protagonist (you, the player) being loyal, just, sacrificing, caring… basically, all the heroic elements we strive for, except in the game, you can clearly see what the reward is in the end when you confront the Transcendent One. This is an arc that hits me strongly, so I wanted to include one into the game – and Annah was one of the representations of it.

Loyalty is perhaps one of the most persistent and flexible themes across literature, religion, politics, and popular culture in general. It sits right at the intersection of emotion, morality, and social order, standing out as a core value in social contexts. Annah’s loyalty to the player character, “even to death,” is tested in the final act.

Avellone’s thoughts and memories on this soon-to-be 30-year-old game and its cast of characters are especially valuable because they help us reclaim what we love in games as something more than killing-time entertainment, as more than an assemblage of words that could be generated by any NPC language model.

“What can change the nature of a man?” is a question that resonates and sits with us for years, even decades. In the second part of this interview, we’ll discuss how, once characters come alive, they must also, in their own way, change, live, and die.

[Roguey]

OP's day is no doubt made.

[asf]

i am not reading all this crap but i liked the conquest of the new world image there

[The_Mask]

Talking Fallout with Chris Avellone

[maidenhaver]

Talking Fallout with Chris Avellone

He confirms Fallout was going to space, and the bit in Van Buren with BOMB-1 and Victor Prosper was presaging that. Also, he's helping on a crpg and its about a year into development.

[Tweed]

Helping add more ******* and ****** probably.

[wndrbr]

Talking Fallout with Chris Avellone

is he on ozempic or something?

[maidenhaver]

Talking Fallout with Chris Avellone

is he on ozempic or something?

Does he look fried to you, too? I chalked it up to age.

Also: the Tunnelers were based on the Molemen concept from a comic, where they sappered entire cities and ate everyone after the cities sank, but their weakness is the sun. I'm thinking an upgraded HELIOS could be weaponized against them, but then the Elijah ending to Dead Money has the Cloud engulfing the Mojave, so who knows. Would have been cool if Bethesda had balls to go there. He says Todd very much covets Fallout, and makes the point Zenimax didn't need to sell BGS to Microsoft, so their terms likely included all BGS ip's will remain in-house and under their full creative control. FNV source code is lost, and the one guy at BGS who was cracking it left. An official remaster isn't likely.

[Roguey]

Avellone got really fat in the late 10s when he stopped lifting but still continued to eat at his lifting levels. He's lost it all, but who knows if it he did it the old-fashioned way or through drugs.

[wndrbr]

Sopranos Quote: \u0022Think about it, sudden weight loss?\u0022 \u0022AIDS?\u0022 Nobody\u0027s got aids!

[Roguey]

The MASTER puts a chud in his place.

Just found out youre one of the guys responsible for Dead Money, the worst DLC in all fallout imaginable. **** you, dude. That was bad and you should feel bad.

The only thing you should feel bad for is your racist sock puppet account with what, 4 followers?

Zero posts and a selection of parody accounts eager to engage with “Hotbox Media’s hot racist spew is some of the saddest **** ever seen.

I went through that guy's account to see what got him riled up, saw a post where he gave what seemed to be a largely-accurate description of abbos stated bluntly. I guess MCA is a big-time abbo respecter.

[rusty_shackleford]

The MASTER puts a chud in his place.

Just found out youre one of the guys responsible for Dead Money, the worst DLC in all fallout imaginable. **** you, dude. That was bad and you should feel bad.

The only thing you should feel bad for is your racist sock puppet account with what, 4 followers?

Zero posts and a selection of parody accounts eager to engage with “Hotbox Media’s hot racist spew is some of the saddest **** ever seen.

I went through that guy's account to see what got him riled up, saw a post where he gave what seemed to be a largely-accurate description of abbos stated bluntly. I guess MCA is a big-time abbo respecter.

"better to be a rapist than a racist" — avellone

[Roguey]

The Disco Commie couple got him hooked on some degenerate tv series.

I had zero interest in watching what seemed to be pandering tweener drama show, but I have 100% interest in a well-crafted drama show with great characters that have a lot of depth but don't wear their motivations on their sleeves.

Also, Robert Kurvitz and Helen Hindpere recommended it, and I trust their judgment. : )

"Euphoria" follows the troubled life of 17-year-old Rue, a drug addict fresh from rehab with no plans to stay clean. Circling in Rue's orbit are Jules, a transgender girl searching for where she belongs; Nate, a jock whose anger issues mask sexual insecurities; Chris, a football star who finds the adjustment from high school to college harder than expected; Cassie, whose sexual history continues to dog her; and Kat, a body-conscious teen exploring her sexuality.

Yeah, that seems like something they'd be into.

[wndrbr]

Petition to add a barfing reaction button @rusty_shackleford

[Atlantico]

The MASTER puts a chud in his place.

I hate Dead Money.

[Irenaeus]

The Disco Commie couple got him hooked on some degenerate tv series.

I had zero interest in watching what seemed to be pandering tweener drama show, but I have 100% interest in a well-crafted drama show with great characters that have a lot of depth but don't wear their motivations on their sleeves.

Also, Robert Kurvitz and Helen Hindpere recommended it, and I trust their judgment. : )

"Euphoria" follows the troubled life of 17-year-old Rue, a drug addict fresh from rehab with no plans to stay clean. Circling in Rue's orbit are Jules, a transgender girl searching for where she belongs; Nate, a jock whose anger issues mask sexual insecurities; Chris, a football star who finds the adjustment from high school to college harder than expected; Cassie, whose sexual history continues to dog her; and Kat, a body-conscious teen exploring her sexuality.

Yeah, that seems like something they'd be into.

Did he ever get married and had kids?

[Roguey]

Did he ever get married and had kids?

He is married, and it's unlikely he'll have kids, wife doesn't seem the type.

[Irenaeus]

Did he ever get married and had kids?

He is married, and it's unlikely he'll have kids, wife doesn't seem the type.

Oh well

[rusty_shackleford]

He's gay

[The_Mask]

Did he ever get married and had kids?

In that last podcast he was in he dropped a throwaway line in there at how he's not fond of kids.

I thought that was interesting because the whole reason why he's someone is because kids played his games. I don't know...

EDIT: on the other hand he did mention he plays games with his wife and that he loves her and the way that she thinks, so I don't know.

Personally, I'm not trying too hard anymore.

[The_Mask]

Chris Avellone, writer on Fallout 2 and Fallout: New Vegas, joins us to discuss the role of storytelling in the Fallout series of post-apocalyptic video games.

Chris Avellone: The Story of Fallout

Spotify link, for those that prefer to listen in the background: https://open.spotify.com/episode/6SlYBtIS7yT7VBr7tvykGg

[Stack of Turtles]

I still have no idea who this Abalone guy is.