Nuka-World's threatening guise never recovers from this farcical moment. The Overboss has lost the plot, you need to defeat him (with a water pistol, no really) and take his place to restore harmony to Nuka-World. After using your wits, firepower and perks to overcome a viciously hostile version of the Eliminator Challenge from Gladiators, you receive a radio call from the Overboss' right-hand-man, filling you in on the situation.
The nightmare-Disneyland-stylings of the now raider-infested theme park promises the kind of oddball irreverence with a wry-eyed look at child-friendly cultural capitalism that the Fallout series can – and really should – excel at. To some extent this argument has always held water, even if the overall medium's reliance on player agency is potentially a wider issue when discussing the creation of "living, breathing worlds", where NPCs refuse to put a foot out of step or inhale oxygen until a player avatar enters their vicinity.įor the vast swathes of converted fans however, Bethesda has almost always circumvented this problem by building expansive, finely-detailed open-world environments whose visual cues and designs tell a rich story that enhances the moment-to-moment narrative.įallout 4's final slice of post-launch DLC, Nuka-World, exhibits this attention to sometimes inane detail well, possibly even better than our muddled initial trip to the Commonwealth. For the new Companion, see Gage and his perk Lessons In Blood.Bethesda games are frequently criticised for casting their mute, often encumbered protagonists as the The Most Important Person To Have Ever Lived™.
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