00:00PEGI 18
00:50So you talk about building these worlds and building them from the ground up and trying to capture all those
00:56details.
00:56Now you're making a game that's coming out to the PS4 and the PS4 and the PS4 and the PS4
00:59and the PS4.
00:59The Xbox One and the latest PCs, what does having that extra horsepower working on current-gen consoles allow you
01:07to do, especially in terms of details, that you weren't able to do before?
01:11You know, most games today have really good graphics.
01:15It's pretty standard, but memory is important to us, how much memory it has.
01:19We can make a world that has more, not just more details, but more dynamic details that we can keep
01:26track of or we can stream in and load quicker.
01:30And all of that suspends your disbelief that this is a real world.
01:35So then when something crazy happens, you know, a deathclaw comes busting through, it's that much more real.
01:41It just allows you to really be part of that world, right?
01:44Yeah, or you're, you know, you stumble into an old, we like to do a lot of environmental storytelling, so
01:49you stumble into a bedroom where maybe somebody lived.
01:52It's just like a little beats of, you know, your own private thinking in those moments.
01:56Todd, another thing you talked about is building the game on an upgraded version of the creation engine.
02:02You mentioned full physical base rendering and dynamic volumetric lighting.
02:08Now I know what I saw, I saw the water looks beautiful, the world looks beautiful, and what does that
02:12mean to the gamer?
02:13So the gamer looks prettier, so people like that. The volumetric lighting, you know, when the weather rolls in, that
02:22sense of haze isn't just a series of effects that are on the screen,
02:26they're actually tessellated, you know, polygonal volumetric lighting that is hazing the world, and that's really good for Fallout,
02:34because we're doing a lot of things that, even though we have areas that load, we have a lot more
02:38things that don't load,
02:39so you're going to enter into like a destroyed house, and then those dust and light fog shafts that are
02:44coming through, you know, various holes from where the sun is,
02:48it just creates an atmosphere that we haven't been able to do before.
02:51I mean, speaking of living in this world, one of the first things that I noticed that I think a
02:57lot of people noticed was how much more vivid the colors are, especially the blues of the sky.
03:03Yeah, and it was funny, I think we're so used to it, because we've been working on the game for
03:07so long, that when people said,
03:08oh my god, there's blue, and looking back at 3, there is this sameness to the environment.
03:14If you're playing the game for an eight-hour stretch, it can be a little depressing.
03:18So, our view was, the world's already destroyed.
03:21You're going to get a lot of, you know, grays and browns and dust.
03:24And Isvan Pele, our lead artist on it, was, you know, really into calling out things for your attention that
03:31had bits of color that we wanted to do anyway,
03:34so finding the right balance of that.
03:35The other thing that people need to know, we kind of hint at it in the trailer and the other
03:39footage, is that there is different weather.
03:41We actually have a part of the world we call the Glowing Sea, which is where the bomb falls.
03:46That looks more like your classic Fallout 3 wasteland, but even more so.
03:51And then we have a new weather system for this one, so that the storms from the Glowing Sea, these
03:57radiation storms,
03:58can flare up and then blow through the world, and when the lightning goes off, you get radiated.
04:03But that creates a very post-apocalyptic look.
04:07And so having that, having that change while you're playing the game is really important to us.
04:12We'll see you next time.
04:14Bye.
04:14Bye.
