#Avowed previous in narrative how to#
"I think doing well in that transition is very much about learning how to ask the questions that you need to ask," she said. Laying the foundation for making that shared vision meant learning how to ask questions over her seven years with the studio. " it's really helpful to just say 'here's the vision we want to create, and as a cross-disciplinary team, if we're all on the same page about this, what are the different tools that we have from our disciplines to do that?" "The pulp noir version of The Outer Worlds had really big implications for environment art and area lighting," she explained. The DLC's noir-focused vision meant the team had to figure out how a far-off asteroid could resemble the classic look of '40s crime flicks, and how character and story could be filled out without an area filled with bustling NPCs. When it came to taking over the role of game director, Patel said there wasn't necessarily pressure to live up to Cain and Boyarski's original vision, and that the main challenge was in learning to provide vision for other, non-narrative departments that were outside her previous purview. "This is one of the thing that I think that I think is very interesting about RPGs in general is that this genre has a reputation for being all about the the survival of kingdoms the conquest of world.but I think what many players really attached to are stories that feel personal." Building a language to lead around She compared it to The Outer Worlds' other planet-driven arcs, which focused on local disputes informed by a system-wide crisis, and drift away from the game's main quest. What's neat about Patel's described approach is this storytelling focus centers on the game's non-playable characters, rather than the player character. She said the team looked at the problem as "how you tell a story where someone's personal experience is very much what grounds a much larger epic, world altering experience?" "One thing that Kate specifically brought up was the idea of the Manhattan Project and the notion of these people who work together on something terrible and destructive, and then they sort of split up and fell apart from each other," Patel said. Patel credited lead narrative designer Kate Dollarhyde with helping shape Peril on Gorgon's overall thematic direction.
Unlike most of the other games' areas, Gorgon draws players into a noir-type adventure by way of a package containing a severed arm, where a mysterious heiress tasks them with tracking down her missing mother. She said this led Obsidian to look closely at the game's Marauder enemy types and the in-game drug called Adrena-Time as sources of inspiration, since both go somewhat unexplored in the main game. Peril on Gorgon takes place on the sequestered Gorgon asteroid, home of a mysterious research facility. Patel credited the post-release development of Gorgon for giving Obsidian time to look closely at what players responded positively to in the original game, which helped her team hone the vision for the DLC. They're specific stories sequestered away in a new area of the game, meant to be experienced by players who've reached the endgame or new players attracted to the title with the release of new content. Peril on Gorgon is structured similar to some of the DLC content you might have seen in BioWare's RPG games from the 2009-2014 period, or what Gearbox has used to fill out its Borderlands releases. It's a huge task for any game developer to take the role, since it often involves a move into leadership over departments they weren't previously involved in.
To lead up this DLC, Obsidian tapped lead narrative designer Carrie Patel, who took over game directing duties from Leonard Boyarsky and Tim Cain.
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