Analysis & Critique of Visual Representation: Fallout 3
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Ultimart, Desember 2011, hal 97-106 Vol. IV, Nomor 2
ISSN 1979-0716
Analysis & Critique of Visual Representation: Fallout 3
ANGELA MCCARTHY *)
TRAVIS YATES *)
YUSUP MARTYASTIADI *); **)
*) Multimedia Games Development, James Cook University, Australia
**) Lecturer at Faculty of Arts & Design, Universitas Multimedia Nusantara, Indonesia
Diterima: 28 November 2011
Disetujui: 5 Desember 2011
Abstract:
Game play cannot purely rely on in game navigational tools. Players need some visual aid and cues in or-
der to guide their game play. Players should make use of all available game elements in order to effectively play
the game, for instance, visual cues that could be explicit, such as signs and general directions given directly
to the player.
This paper describes and observes the visual representations of the Fallout 3 game. The observation finds
the guide of the players’ navigational path within the game world, the use of game navigational utilities, tuto-
rials, visual representation and cues.
Keywords: Fallout 3 game, visual representation, visual cues, player’s experiment, game naviga-
tional utilities
Introduction slot into the Role Play Game (RPG) or Adven-
ture genres. The numerous RPG/Adventure
Over the years, video games for both the PC and
games include Mass-Multiplayer Online RPGs
console have developed immensely, growing
(MMORPGs) such as World of Warcra (WoW),
from basic black and white games, to the first
Guild Wars, Warhammer Online to name a few,
8-bit colour games which in turn developed with
and on the consoles there are several RPGs that
more colour into the 2D games. Those 2D games
feature large game worlds which include games
then progressed to the expansive and immersive
such as Oblivion, Fable 2, Viking: Ba le for As-
complete 3D virtual worlds that we see today,
gard and Fallout 3.
where, even now, the level of detail is becom-
ing closer to reality. In these large game worlds,
people become players, taking control over an
Overview of Game
avatar or ‘player character’ as they enter these The game that was selected for analysis and
game worlds and engage in the act of play. There critique of visual representation was Fallout 3.
are a variety of different games which have large Fallout 3 was released on 28th of October 2008 by
and expansive environments, many of which Bethesda So works for the PC, XBox 360, and
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PLAYSTATION 3. It’s rated MA15+ [Restricted] player get his/her Pip-Boy 3000. It’s a cleverly
by the Office of Film and Literature Classification veiled character creation and tutorial sequence
(OFLC) for Blood and Gore, Intense Violence, that sets the backdrop of the story. The player
Sexual References, Strong Language, and Drug lives in Vault 101, a bunker designed to keep its
References. Fallout 3 is an open-world RPG, com- occupants alive through the nuclear war that
bined with elements of a First-Person Shooter ravaged the surface, however, this vault did not
(FPS), where players can immerse themselves in reopen when the war finished and as the open-
the expansive game world, taking on numerous ing cinematic informs you. It is here, within the
missions and quests, as well as interacting with Vault, that you will die because nobody ever en-
non-player characters (NPCs) both hostile and ters or leaves Vault 101. As the player progresses
non-hostile. The Fallout universe paints a picture through the level, it reaches the end of the player’s
of a dystopian future; taking place in the Capi- childhood where he/she awake to alarm and con-
tol Wasteland in and around Washington, DC in fusion. The player’s father has opened the vault
2277, 200 years a er the bombs fell and 30 years entrance and taken flight, a fellow Vault member
a er Fallout 2 took place. It exists in what people has been killed as a result of it and the fragile
on the cusp of the atomic revolution in the 1950s existence of the other vault inhabitants has been
saw as the sci-fi world of tomorrow, if several sha ered. Through a sequence of events, and the
thousand nuclear bombs were dropped on it. It’s choice between life and death, the player ends
a quaint sci-fi view of a future filled with atomic up having to leave Vault 101. Once stepping out
cars, robot servants, and incredibly basic com- onto the surface it is here that the search begins
puter terminals. A nuclear war has taken away for the player’s father out in the wastes, and then
most of these technological comforts, providing the explorations of the game continue outside of
the backdrop for a game with a dreary, desperate the Vault 101.
atmosphere filled with glib and dark humour.
Semantics of the Fallout 3 Game World
in Context of Game Play
Fallout 3 uses two perspectives, first and third per-
son, where the player can toggle the view with
the press of a bu on/key to an over-the-shoulder
view that can be zoomed in/out on the player’s
character. Both views are available throughout
the entire game and help aid the player in a va-
riety of different ways. By using the first person
perspective/point-of-view (POV), the player is
able to aim at targets easier and be er interact
with objects at close range, whereas the third
person POV gives the player a larger expansive
view of the area around them, and also any NPCs
that are out of the characters field of vision (such
as enemies sneaking up behind the character).
Players are able to flick between the different
(Bethesda/One Tiny Spark, 2009) views in order to utilise different playing strate-
gies, in order to obtain their winning strategy.
The game begins with the player’s birth and Players can engage in the Fallout game across
then quickly moves through childhood with three different platforms, being the PLAYSTA-
snapshots of pivotal events, such as the day the TION 3, Xbox 360 and PC, the first two platforms
01-analysis.indd 98 2/29/2012 8:30:14 PMAnalysis & Critique of Visual Representation: Fallout 3 ANGELA MCHARTY, TRAVIS YATES, YUSUP MARTYASTIADI 99
making use of controllers and the last platform on equal ground when it came to in-game play.
making use of a mouse and keyboard setup. On There are two main areas of play for Fallout 3. The
all the platforms however, players are able to al- first area is contained inside a fallout shelter. The
ter the controls to their specific taste, in order to game is very restrictive in this environment and
grant themselves an advantage in game. specific tasks need to be completed in a specific
Within the Fallout 3 game, there are a num- order. The second section is in a huge wasteland.
ber of different skills and utilities available to the This area is a more appropriate region of play as
player to make use of in game, each combination players can have more freedom to explore and
yielding different effects, strengths and weak- do whatever tasks they may choose.
nesses. Such utilities include the Vault-Tec As- Observations of the players (see Appen-
sisted Targeting System (VATS), in-game com- dix) were recorded as the selected player went
pass, large scale world map, Pip-Boy 3000 and through the game, checking for interactions such
the ability at different points in game to alter as state in the game, and state in reality/outside
their skillset. All of these utilities combined to- the game. The game was played upon the Xbox
gether, as well as the control system, all help the 360 platform, with all players using default con-
player in their game play. trols. A variety of different experiments were
conducted with the players to test how the play-
er can traverse and navigate through the game
Observation Methods
world, making use of the utilities provided or
The selected group that played Fallout 3 consist- making use of the environment surrounding the
ed of three different players, one female and two player. At first, inside the Vault, the player was
males of different ages, and also having a mix of to complete the missions and quests without
prior gaming knowledge (both with and with- the use of any of the in-game navigational items
out). All players in the selected group had never such as the map and compass, however, due to
played Fallout 3 previously, so all players were the nature of the Vault, where the majority of the
Figure 1: First POV
(Bethesda/GameSpotAU, Screenshot–Desolate Wasteland, 2008)
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environment looks the same; all players had to rate levels of the Vault made it difficult to work
resort to using the navigational tools provided. out how to get designated locations.
On the final mission of the first level, Player
Player’s Experimental Excursions B then took over the game, automatically switch-
ing over to third POV (see Figure 2: Third POV)
There were a number of experimental excursions
upon gaining control of the character. Player B
that the players had to go through in order to
preferred third POV in non combat mode as they
get an idea of contrast between playing meth- found the ability to view their characters position
ods when traversing through unfamiliar terrain. within the game to be a great advantage, though
Through the initial levels of the game, Player Player B would o en switch back to first POV
A (keeping within first POV [see Figure 1: First when facing combat, finding that it was easier
POV] the whole time) was able to follow other to aim. Player B explored through the different
characters to get to specific checkpoints, so not levels of the complex to get an idea where loca-
much navigation was required. Eventually the tions were in game, making use of navigational
game got to a point where the player needed to utilities, in-game visual cues and memory of pre-
escape into the wasteland. It became more dif- viously visited locations. Player B found using
ficult at this point. The shelter was on two dif- the compass to be confusing and preferred us-
ferent levels and it was hard for the player to ing the large map to get an idea of their location
determine where they were. Initially, Player A and set destination, making use of the map’s ‘set
avoided using any navigational utilities in game, destination point’ utility to figure out ways to
rather relying on visual cues such as directional go around in game obstacles such as walls and
signs and general exploration. Ultimately, due to locked doors. One particular in game object that
the difficulty of navigating within the monoto- was to be located was a set of keys which were
nous environment of the Vault, Player A resorted hidden in the Overseers bedroom. Both Player
to using the compass. The compass directed the A, B and C a empted to find the room, however
player in the right direction however the sepa- only Player B succeeded in reaching the desig-
Figure 2: Third POV
(Bethesda/GameSpotAU, Screenshot–Enemy, 2008)
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nated location (and as a result, escape the Vault) scribed the area and gave landmarks to look
through the use of the in game map. for, most of which, at some point or another, the
player would have passed when exploring the
Navigation through use of Visual Cues game world.
With the combination of the visual cues in
Once the players were outside of the Vault, all
conjunction with verbal clues mentioned above
players (A, B and C) were able to easily travel
it was possible for the player to find a specific
through the game world, finding it easy to rec- game object quite easily, in which case, their task
ognise where they were, as well as travel to a was to find the nuclear bomb, which the player
particular destination then back to their point of found effectively within a few minutes. The fact
origin, both with and without the use of the in that it was a large object may have made it easier
game navigational utilities, but rather, making than some other missions. Sign posts helped find
use of visual cues in the surrounding environ- characters that gave clues to the bomb’s where-
ment. abouts, but there were no signs to the bomb it-
The players found a number of visual cues self. It was found by directing the player to a
to help them traverse unfamiliar terrain, which higher vantage point. The use of 3D techniques
included: to give a longer field of view when the player
a) Paths–Either worn paths with light shading, was higher was the biggest help. When switched
or for steep paths, wooden logs were laid to third POV the camera viewed from above and
sideways over the path. These paths helped also gave a wider range of view. This helped find
steer the players away from extraneous ar- objects that were just out of the field on view us-
eas. ing first POV.
b) Sign posts–Small sign posts were discretely The large scale map was not needed to re-
placed on the poles near the corners of build- turn to a point of origin. Here sign posts and
ings. These helped show the player which paths were the biggest help. By reading sign
paths to take. posts Player B could firstly identify where they
c) Signs–Signs over the doors of buildings. were and later read sign posts to return to that
These helped confirm the player was in the point. The other main help and visual cues were
right area or could be used as landmarks. the paths. By following paths and remembering
which turns were made it was easier to return
d) Ramps–Ramps with guardrails were identi-
to the starting point. The use of 3D techniques
fied and made navigation easier. These had
to give the illusion of a rising and or falling
a similar effect to paths but o en helped
landscape also helped navigation. By travel-
the viewer rise and get a clearer view of the
ling downhill for a period the player was able to
game layout.
know that they must be travelling uphill to get
e) 3D Linear Perspective–By adjusting the view
back.
of the elements in the game to match the
characters first POV as the character moves
it helped give the illusion of 3D. Techniques Used to Provide the Illusion
f) 3D Shading and light–Shading helped iden- of 3D
tify upward and downward slopes, light The Fallout 3 environment is an expansive 3D
sources coming from specific regions could world which is enhanced by the level of graphics
also be used as a reference and help keep the and the technology provided on the third-gener-
player orientated. ation consoles and high level graphics technol-
ogy in gaming PCs. There are a number of dif-
Verbal clues were also used to assist with ferent illusory 3D techniques which have been
navigation. Characters that the player met de- applied in game, such as object illusory depth
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(using both linear and non-linear perspective), illusory object volume and use of long textures,
differential brightness, composition and colour, colours and gradients.
Figure 3: The Pitt
(Bethesda/GameSpotAU, Screenshot–The Pitt, 2008)
In Figure 3: The Pi there are a number of identified as being high through the use of shad-
different qualities in the image that demonstrates ows and gradients, as well as illusory depth us-
a variety of different techniques to provide the ing non-linear perspective, in order to gain a bet-
illusion of 3D. The image makes use of illusory ter field of view of their environment. From the
depth using linear perspective by having objects high vantage point, Player B was able to see the
and subjects in the background becoming pro- pulsing bomb, which was suggested to be in the
gressively smaller the ’further back’ it is, as well distance due to its size and also the clarity of the
as making use of illusory depth in a non-linear object, having appeared somewhat ’faded’, as if
perspective such as the construction of buildings in the distance.
and other numerous architecture. Differential The Fallout environment makes use of illu-
brightness is also used to connote environmental sory depth using both linear and non-linear per-
qualities, in particular, the presence of dust and spective through objects in the environment, as
smoke, where any lighted object, when shining stated earlier and seen below in Figure 4: Player
appears to be somewhat blurred and faded, as and Dog, where objects in the background ap-
per the environment. pear smaller and also hold 3D qualities such as
When Player B was given the task of find- depth through the use of gradients and shadow-
ing the nuclear bomb using visual cues, Player B ing which gives the effect of illusory object vol-
made use of their environment in order to gain ume. Differential brightness, composition and
an understanding first of where they were, then colour also helps portray environmental quali-
secondly, where the bomb may be. The player ties, as seen above in Figure 1: First POV and be-
used a high vantage point, which was easily low in Figure 4: Player and Dog where all objects
01-analysis.indd 102 2/29/2012 8:30:14 PMAnalysis & Critique of Visual Representation: Fallout 3 ANGELA MCHARTY, TRAVIS YATES, YUSUP MARTYASTIADI 103
in the background appear faded, which not only seen to fade into the distance, textures upon the
helps portray distance, but also suggests that ground start out hard and defined before fading
the environment is filled with dust and smoke out into lighter colours, giving the impression
which gives the player the impression that the that they’ve been worn through and contrasting
environment is very dry. The use of long textures, colours are used with each other to differentiate
colours and gradients are used across all objects between different environments; in particular,
in the game, as well as characters. The sky is light and dark.
Figure 4: Player and Dog
(Bethesda/GameSpotAU, Screenshot–Player and “Dogmeat”, 2008)
Conclusion must make use of all available in game elements
It is thoroughly clear that game play cannot in order to effectively play the game. In particu-
purely rely on in game navigational tools and lar, Fallout 3 has demonstrated that it makes su-
that players need some sort of visual aid and perior use of its environment in order to guide,
cues in order to guide their game play. Whether help and teach players navigation within the
these visual cues be explicit, such as signs and world, making use of in game navigational utili-
general directions given directly to the player, or ties, tutorials and most importantly, visual repre-
more subtle such as worn away paths, players sentation and cues.
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Appendix
Observations
Taken by Angela McCarthy and Travis Yates
Participants: Angela McCarthy, Travis Yates and Yusup Martyastiadi.
State in Game Player State
Cinema c started playing Player skipped cinema c
Select Gender Boy–made a small laugh/sound of amusement
As cinema c playing Player gazes at screen, then control, scratches head
before looking back at game
Name Select Chickenhouse
Player Visual crea on Player selected basic haircut, changed to grey, then
started selec ng facial hair, looking at different
op ons, player then looked through complete list
before picking any and proceeding
ONE YEAR LATER
Cinema c Player tried skipping, game wouldn’t let them skip
CONTROLS TUTORIAL
You’re Special Book Player experimented with different bu ons on control
pad before finding triggers to open book
Player flicked through book casually before hi ng
the skills altera on sec on, played around with skills,
dropping them all down to one before distribu ng
them as appropriate
NINE YEARS LATER
Looking at op ons
Looking at presents Player had op on to select a date with someone,
laughed at it, but then selected something else
Exploring party room Talked with several characters, exploring the different
op ons, every now and again skipping through
dialogue
Player open up wrist band (Pip Boy) Looking through different op ons, ”What the ****
does this do?”
Player tried going through door Player
Naviga ng through Vault Player moves around, and makes a comment about
the arrow poin ng to the direc on to go
Character tells player to wait another minute for ”For ****’s sake, I don’t want to wait another minute”
surprise
Player given BB Gun Player made comment about finally ge ng something
Player shoo ng Shoots father out of curiosity, laughs in amusement
upon realising it’s possible to shoot other characters
SIX YEARS LATER
Player told to go and take GOAT ”Okay, geez, I get the idea.”
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Player si ng down for GOAT Player looks around for things to do before going and
si ng down. Sees Amata character and goes up to
talk to her, but character responds nega vely. Makes
comment about shoo ng her in the back of the head.
When wai ng for test, makes comment, ”Come on!
Start already.” Sits back in chair, leaning head back on
chair
Going through test Makes comment ”It’s mostly logic”. Last ques on,
laughed at responses (4x ”The Overseer”). Picks skills,
concentra ng on a ack style skills
THREE YEARS LATER
Cinema c to wake up Player goes through following op ons
Runs into Radroaches Player trying to figure out where gun is, can only
punch, ”Gun, where the hell has my gun gone?”
When asked to help another character Helps character even a er first saying no
Takes clothes from dead character Laughs when character is le without clothes
Player trying to figure out where to go Exploring, doing different tasks along the way
Player opens up Pip-boy Player figures out by going through different menus
how to equip gun. Kills two guards, ”Now we’re ge ng
some stuff”, while pilfering guard’s bodies
Switched to 3rd POV
Tried some doors but locked Made tu noise with mouth
Opened door to vault Leaned back in chair and brushed hair back
Found visual clue to classroom and followed it Made a tu noise when no skills found
Checked map and read quest, followed compass Said ”Damn it!”
got to a locked door
Opened door to security and shot Overseer in leg
Leaned back in chair said ”oops”. Pressed bu ons
then died fran cally, ”You can’t kill the Overseer that’s crap, this
sucks”
NEW LIFE STARTED
Picking lock, tried a few mes ”I broke it”, watched very carefully, let out groan
Making use of Naviga onal Features in game Outside environment failed, compass failed, map s ll
hard because of doors and different levels eventually
used walkthrough–Player complained about compass
being difficult to navigate with, also used placed points
on map to aid in naviga on, ”Damn walls and doors
keep blocking the path.”
FOLLOWING IN HIS FOOTSTEPS
Player escaped Vault, moving camera around Looks at rocks, pathways, walking along as exploring.
looking at environment Player then finds a worn path and water hole. Chooses
to go right up path, following the pathway
Walking in game Finds narrow worn path lighter than normal
Finds cow follows it for a bit then leaves it
Sound in game changes and buildings in the area Sound cue turns to right and finds Lucas Simms
begin to increase Mission starts
01-analysis.indd 105 2/29/2012 8:30:14 PM106 Analysis & Critique of Visual Representation: Fallout 3 VOL IV, 2011
Player talks with character in game, is given Ge ng interac on with the characters you’re given
instruc ons landmarks to help iden fy visual clues, ”Well, that’s
good. I can look for things easier now.”
Explora on of town Player walks down worn path a er looking around
360 in surrounding area, goes exploring around,
looking around for an objec ve
Look for bomb Don’t want to fall down slope, but it looks low, so I’m
gonna go down. I saw the bomb earlier from above
Player NarraƟng Thoughts as Traversing through so I’m heading towards it. But I can see, ... basically,
Game World the city is around everything and you have everything
above and around. There’s a sign that shows where
everything is. Basically, the way to follow paths,
there’s bits of wood to show that it’s a path, there’s
liƩle signs, some half hidden, that you can read and
tell where you are. And there are also signs above the
door, so it’s not too bad. Talking with the character,
got a Ɵp from some dude on how to get some ****.
References
Bethesda/GameSpotAU. (2008, October 28). Bethesda/One Tiny Spark. (2009, January 28).
Screenshot–Desolate Wasteland. Retrieved Fallout 3. Retrieved April 11, 2009, from One
April 10, 2009, from GameSpotAU: h p:// Tiny Spark: h p://onetinyspark.files.word-
au.gamespot.com press.com
Bethesda/GameSpotAU. (2008, October 28). Kevin VanOrd, GameSpotAU. (2008, October
Screenshot–Enemy. Retrieved April 10, 2009, 29). Fallout 3 Review for Xbox360. Retrieved
from GameSpotAU: h p://au.gamespot.com April 6, 2009, from GameSpotAU: h p://
Bethesda/GameSpotAU. (2008, December 12). au.gamespot.com
Screenshot–Player and “Dogmeat”. Retrieved Angela McCarthy, Travis Yates. (2009, April 6).
April 10, 2009, from GameSpotAU: h p:// Fallout 3 Observations. See Appendix.
au.gamespot.com Lars Kalland/Nicola Bidwell. (2009, January).
Bethesda/GameSpotAU. (2008, December 3). CP3410 Lecture Notes. Retrieved April 6,
Screenshot–The Pi . Retrieved April 10, 2009, 2009.
from GameSpotAU: h p://au.gamespot.com
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