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Boards Fallout: New Vegas Vault 11 overseer key. User Info: 0shade. User Info: Iceaxe Look for a holotape on a podium. The password will be with that. Or look on a computer in the atrium. Environmental storytelling is used to good effect: the propaganda posters, the placement of skeletons, a solitary handgun, an abandoned room where the corrupt politics was conducted. We absorb Vault 11's truth via virtual osmosis.
Then Vault 11 comes full circle, its conclusion leading into its introduction. It is a satisfying payoff, but not everything is explained. Mysteries remain. There is nowhere left to go but the overseer's office. Via a terminal, we open the sacrificial chamber. The overseer's desk raises from the ground to reveal a stairwell that goes down. There is a trail of human blood and organs. There is a door.
Behind it is a long corridor. At the end of the corridor is a light. There is light at the end of this tunnel, light that was seen by scores of overseers as they walked to their death. Please proceed to the light. Through a door we see four glaring construction lights in a room, then another door that leads to another room.
In it is a chair sat next to a projector that faces a screen. We sit in the ruined chair. The screen flickers into life. It is a presentation by Vault-Tec, the evil company that built Fallout's vaults, ostensibly life-saving chambers, in truth horrific social experiments - and Vault 11 is one of the worst.
The presentation, which includes voice over from the chirpy male voice from before, is a filmstrip in the iconic Fallout loading screen fashion. The chirpy male voice tells us our sacrifice means the vault can continue to thrive. We see a picture of a man on a beach, sitting on a chair, cocktail in hand, watching the sun go down.
This is a two-minute film about our lives, but it has nothing to do with real life. This is the unobtainable, perfect 50s American life imagined by Vault-Tec. This is Vault-Tec at its most monstrous, trying to convince its latest victim - the player - to accept their death peacefully, as if they should be grateful. This is also Fallout at its monstrous best - unsettling, insane and kind of funny. The lights go off and the walls of the room raise to reveal rock hard robots and ceiling-mounted turrets who immediately attack.
These robots are not messing about, and take everything you've got - all your stimpacks, all your performance enhancing drugs and all the ammo you're packing for your most damaging weapon.
You survive the encounter by the skin of your teeth, panting, confused and horrified. What just happened? Vault 11 is also deeply troubling. Its end seems inspired by the Milgram experiment on obedience to authority figures, an experiment that involved working out to what extent people would violate their own morals when ordered to. Vault 11 teaches us people would be willing to go quite far in such a situation. In a wonderful, unexpected twist, we find ourselves walking in the overseer's shoes, somehow a part of the deadly experiment as a player in-game and out.
We are the guinea pig, and we find that we obey. We sit in the chair and wait to die, just like all the overseers did before us. This, I think, is Vault 11's true genius. The robots still smouldering, we notice the floor is littered with over a dozen human corpses, each an overseer sacrificed for the good of the vault because the people voted for them to die. We count 16 corpses, which means Vault 11's social experiment lasted for 16 years after the bombs fell.
New Vegas is set around years since the Great War of We arrive at the scene some years after Vault 11 fell into chaos, after the armed rebellion swept death throughout the place.
Everyone died - or so it seems. Behind another door is the vault mainframe. This was the mainframe programmed to kill the entire vault unless it was given a yearly sacrifice. Inside a terminal we find a recording named Vault 11 Solution. Out of I don't know how many. We've talked and it's over. We're not going to send anybody to die anymore. So shut off our water or gas us or do whatever it is you're programmed to do. But we're done listening to you. This man was one of the five people we heard in the voice recording we found at the entrance to Vault 11 - and it sounds like the man who tried to stop the suicide, the man who, we suspect, escaped.
There's something else, an "automated solution response", which the five survivors would have heard after making the decision to defy the mainframe. Be sure to check with your overseer to find out if it's safe to leave. Here at Vault-Tec, your safety is our number one priority. Vault 11, we now realise, was yet another social experiment by Vault-Tec, which wanted to see how far vault dwellers would go under order of an authority figure.
When the five survivors we hear in the recording found at the entrance to the vault learned of this, when they realised all of the backstabbing, the politics, the threats, the fighting, the stress, the terror, the rape and the murder were based on a lie, they were so ashamed of their actions that they felt there was no option but to commit suicide.
Better that than the true story of Vault 11 ever come to light. Maybe Voice 1 felt differently. Maybe he felt the true story of Vault 11 had to come to light, to educate, to help prevent something like this from ever happening again.
Did the other four try to silence Voice 1 after he refused to commit suicide? Did Voice 1 kill them in self-defense? Did Voice 1 murder them in order to save himself? Or maybe the other four committed suicide, as it first appears when we enter the vault and view the scene, hundreds of years later. We simply don't have all the answers.
All we know is Voice 1 was the sole survivor of the horror of Vault Vault 11 starts with a bang - four in fact - and it gets better from there.
In the slow exploration of the long abandoned place we learn the story of its people and the events that led to the incident at the entrance. It is a rollercoaster ride light on combat - save the killing of the odd mutated rat and the cacophony of chaos at the climax - but heavy on story. The peaks are packed with intense anxiety that hurtle toward revelatory troughs. There are moments throughout, such as when you learn what Katherine Stone put herself through for her husband, and, well, pretty much everything that has to do with the sacrificial chamber, that live long in the memory.
Vault 11 is, quite simply, Fallout at its very best, another example of a seemingly innocuous quest leading to something surprisingly intricate and entrancing. Don't forget to pick up that differential pressure controller, by the way. Vault 11 designer Eric Fenstermaker speaks about the making of the human condition. Eric Fenstermaker is a writer and designer who worked at Obsidian Entertainment for over a decade before leaving to go freelance.
He got his start in college as a summer programming intern at Pipeworks Software in Eugene, Oregon, working on a couple of Godzilla fighting games. Obsidian was Fenstermaker's first job after college. He inched his way into level and narrative design over time after joining as a gameplay scripter. New Vegas was about halfway into his time at the studio. More recently, Fenstermaker wrapped up work on Pillars of Eternity 2.
He was a lot of fun to write in the first game, and the other writers on that team are terrific to collaborate with, so doing him for the sequel was a no-brainer to me. Josh Sawyer, who was the project director, walked into my office one day and told me I was going to be doing Vault 11 and it should take inspiration in some fashion from Shirley Jackson's short story, The Lottery.
I had never read it, and I resolved at that point it would be better if I didn't read it as part of the research, just because I wanted the narrative of the level to stand on its own and not be some kind of rehash - even subconsciously. All I had to go on was the basic description Josh gave me, which was that the story was about a small town where every year they choose a person at random and stone them to death. I think.
I really should read it at some point. So I started thinking about what an annual execution would look like as a social experiment. What was the initial idea for Vault 11, the top level conceit you were going for? Everything came out of trying to envision what a community might do if they were forced to murder one of their own every year. What kind of system would they settle on? It occurred to me that, while random selection would seem to be the fairest approach, it probably wouldn't have sat well with people.
I figured they'd want to believe they had some kind of control over their circumstances. And the more aggressive types would work quickly toward a structure that they could manipulate in their favour.
A democratic framework would probably be the path of least resistance in that regard - it sounds fair on its face, it's an American ideal - especially for that generation, it minimises individual guilt over the decision, and it allows for a rationale. A random selection could mean you, could mean your kid. A democratic choice, you just have to not be the most hated person in the vault that year. That is something you could see an entire community getting behind, and it's also of course easily corrupted and manipulated.
So the reverse election became the foundation of the story. And with Fallout, you always have this pairing of willful s naivete with the stark, brutal realities of human nature. So a lot of the joy for me came from bringing in trappings from the postwar era, and at the conceptual level I thought it would be fitting and fun if we found out at the end that Vault-Tec had made a quaintly optimistic hypothesis about the experiment's outcome and then been proven horribly wrong.
The design document itself wasn't extensive. It was all text, and I think much of it was devoted to an overview of the narrative, and an explanation of the order in which it would be experienced.
The rest of it was art and sound requests. Since it was a vault, most of the level art came from preexisting Fallout 3 tilesets, so I focused my art requests on smaller things that would create the right atmosphere. I caught wind that legendary Fallout artist Brian Menze, a few doors down, was not overly busy at the time so I saddled him with a ton of requests for 50s-era campaign and recruitment posters, as well as the filmstrip slides.
Some of the posters got blown up and printed out and they're still hanging at Obsidian in their common area. Tell us about the design process. How do you go from a cool idea to it being this cool place in the game?
I spent almost all my time trying to work out the plot and how the level would progress it. I never got it quite as clean as I'd have liked, but the design took longer than it was supposed to as it was, and various managers had begun breathing heavily down my neck, so I had to run with it.
Implementation was fast. Compared to my other levels, I spent hardly any time on it.
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