Insights from Fallout’s Lead Artist on Weapon Design and Power Armor

The newest edition of Edge magazine features an intriguing article that delves into the development of Bethesda’s Fallout series. Key figures from the studio share their experiences in transitioning Black Isle’s beloved isometric RPGs into a three-dimensional format. According to lead artist Istvan Pely, this transformation marked a significant shift for Bethesda, a company previously recognized for its high-fantasy titles like The Elder Scrolls. He notes, “It began with the box art.”

A pivotal aspect of Fallout’s aesthetic is its array of weaponry, ranging from handguns to futuristic energy weapons. Pely describes the firearms in Fallout 3 as possessing a bulky and functional essence. “The guns in Fallout are notably exaggerated, resembling caricatures in some respects,” he explains. “While we typically aim for vintage, pre-war realistic firearms, there exists a category of more advanced weaponry, like energy guns.”

One of Pely’s initial creations was the power armor, which transforms its users into formidable mech-like figures. This concept significantly influenced his perspective on weapon design. He mentions that the assault rifle in Fallout 4 was originally intended not as an assault rifle but as a weapon tailored for someone encased in substantial power armor. “In Fallout 4, our power armor underwent a scaling process, evolving into suits that you almost operate rather than wear,” Pely states. “Due to their size, the guns could appear somewhat diminutive in comparison. We sought something robust and substantial to match the overall feel, but ultimately, it became more of a standard assault rifle. In an average person’s hands, it looks rather absurd, but that’s just how it turned out.”

The firearms generally tend to be larger than one might expect, particularly since this exaggeration enhances the visual experience in VATs. Pely remarks, “Fallout embodies a universe of extremes, and we often push elements to be just beyond reality. This artistic choice has led us to favor chunky, hefty weapons that carry a slightly oversized appearance, allowing them to establish a distinctive identity separate from ordinary guns.”

This design philosophy aligns with Bethesda’s early decision to steer clear of realism in their game world. Pely comments, “While some players have a deep appreciation for realistic firearms, there are titles like Call of Duty that strive for absolute authenticity. Fallout, however, exists in its own unique universe, where everything has developed differently from our reality. The vehicles are absurdly large, resembling enormous vessels fitted with small nuclear reactors, reflecting an overall trend of inflation and exaggeration.”

The concept of visual manipulation also plays a role in how weapons are perceived based on the player’s gear, a detail that may go unnoticed by many gamers. Pely explains, “When a player dons power armor and wields a standard gun, we slightly adjust its scale. There’s a bit of distortion—while it may not be apparent in third-person view, we employ some clever tricks to ensure it doesn’t look out of place. We made these adjustments to accommodate the noticeable differences in scale.”