Season 01: Final Fantasy IV

It’s finished!  Join with us and relive the magic that was/is Final Fantasy II/IV in serial audio drama form!

It’s been about a year and a half since a pair of video game nerds exchanged some texts about a goofy idea for a podcast; just under a year since the first words were put to a script, and nine months since the first episode was completed.

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Our “recording studio;” an upgrade from the microphone-on-a-table setup we started with!

The first season featured mostly just the two of us (Calvin Redburn and RPG Rabbit) until the last three episodes where we had a little extra help from Sean Bassinger.  Next season features voice work from dozens of people; friends, actors from the local community theatre, and contributions from people from all over the place via the Internet.  At the time of posting this, there are still a few small roles left.  If you have any interest in doing a few lines for us, let us know!  Even if we don’t end up using you for this next season, it’d be great to have a list of people willing to help us out for future seasons.

Final Fantasy IV

Episode 01: The Fall of a Dark Knight (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices

Episode 02: Collateral Damage (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices

Episode 03: Ordeals (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices

Episode 04: The Rise of a Paladin (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices

Episode 05: The Dark Bargain (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices

Episode 06: The Tower of Zot (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices

Episode 07: The Tower of Babil (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices

Episode 08: The Land of Summons (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices

Episode 09: Return to the Overworld (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices

Episode 10: To the Moon (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices
Sean Bassinger: FuSoYa

Episode 11: The Giant of Babil (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices
Sean Bassinger: FuSoYa

Episode 12: The Absolute Darkness, the Epitome of Hate (mp3 direct link)
RPG Rabbit: Narrator, female voices
Calvin Redburn: Male voices
Sean Bassinger: FuSoYa, Zemus, Zeromus

Should you want to contact/follow any of the folks who worked on this season:

Sean Bassinger

Instagram

Calvin Redburn

RPG Rabbit

RPG Rabbit’s bloge f

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Season 01: Final Fantasy IV, Episode 12: The Absolute Darkness, the Epitome of Hate

The final episode of this podcast’s first season!  Cecil and his company have come a long way, climbed many a mountain and fought many a foe, and all for what?  What is this foul alien demon thing and what is his aim?  Perhaps these questions will be answered in a clear, concise way to satisfy everybody but also maybe not!  Find out!

And get ready for our next season: Fallout!  The first episode is rumored to drop May 01, so…let’s hope we can adhere to schedule this time!

Thank you everybody who has offered their vocal talents for the upcoming season, and for those who tweeted or mentioned this podcast.  This is a niche audience, but there are probably a lot of people out there interested in just this sort of thing.  You can help us be more visible by rating us on iTunes or writing a review!  But it’s cool if you don’t; we’re pretty excited we have as many people tuning is as we do.

Stay tuned; next season has a smorgasbord of actors from all over the world.  We look forward to seeing (er, hearing) how this turns out.

http://thespoonybardpodcast.libsyn.com/episode-12-the-absolute-darkness-the-epitome-of-hate

Season 01: Final Fantasy IV, Episode 10: To the Moon

The gang boards an ancient floating whale and soars to the moon!  There on the tiny sphere they learn the name of the true evil behind all these nefarious events and it turns out the good guys and bad guys aren’t so different after all.

This episode we’ve also expanded outside of our limited actor resource pool and got a third person to come lend his voice to a few characters.  Can you find out who that is?  Hint: it’s not the guy who sounds like every other guy.  Much thanks to Sean Bassinger for his vocal talents!

http://thespoonybardpodcast.libsyn.com/season-01-episode-10

We thought there would be one more episode, but RPG Rabbit is convinced the rest of the game will encompass two.  After those final two episodes, we’re transitioning into Season 2: Fallout.  We’ve already had a dozen or so people contribute their voices to it, but there’s still lots of roles available if anyone wants to lend their voices!  Send us a message @thespooniest or facebook.com/spoonybardpodcast if you’re interested.

Season 01: Final Fantasy IV, Episode 09: Return to the Overworld

Or: A Summoning of Summons.  There’s a lot of summon summoning going on.

If Golbez gets the last crystal, then the path to the moon will be open.  Cecil and co. race to the sealed cave to stop the villain from fulfilling his vague and lofty goal.  When the forces of good and evil clash, it becomes clear that success can only be gained with the ample support of riends and family, townships and kingdoms, the living and the dead, monsters and humans, above ground and below.

http://thespoonybardpodcast.libsyn.com/episode-09-return-to-the-overworld

Season 2: Fallout 1 Casting Call

There will be much more information available here soon, including the entire script (more than 100,000 words!) and a breakdown of characters along with their gender, appearance, and other notes to consider.  Below is a really poorly put together but accurate list of characters.  Next to their name is an M or F, designating their gender, if they have one, and the number after that is how many lines they have.  Now, if you’d like to voice ANY of these characters, please send us an e-mail at thespoonybardpodcast@gmail.com or you can reach us via Twitter @thespooniest, or search for The Spoony Bard’s Aural Theatre on Facebook.  I’m also on Twitter as @credburn, and RPG Rabbit is @RPGRabbit.

(RECORDING…)    1
“WAR NEVER CHANGES” MONOLOGUE    8
ADYOWNER MALE 2 M   1
0
ADYTOWNER MALE 1 M   2
ADYTOWNER MALE 3 M   1
ADYTUM CIVILIAN FEMALE 1 F   1
ADYTUM CIVILIAN FEMALE 2 F   1
ADYTUM CIVILIAN FEMALE 3 F   1
ADYTUM CIVILIAN MALE 2 M   1
ADYTUM FEMALE 1 F   1
ADYTUM GUARD 1 MALE M   5
ADYTUM GUARD FEMALE 1 F   1
ADYTUM GUARD MALE 1 M   2
ADYTUM GUARD MALE 2 M   2
ADYTUM MALE 01 M   1
ADYTUM MALE 02 M   1
0
0
ARADESH M   20
BATTERED INITIATE M   2
BETH F   22
BLADE MALE 1 M   2
BLADE MALE 2 M   1
BLADE MALE 3 M   1
BLADES FEMALE F   1
BLADES FEMALE 1 F   1
BLADES FEMALE 2 F   1
BLADES FEMALE 3 F   1
BLADES FEMALE 4 F   1
BLADES MALE 1 M   1
BLADES MALE 2 M   1
BOB M   8
BOS PALADIN FEMALE ELEVATOR GUARD M   8
BRAHMIN    1
BROTHERHOOD OF STEEL ELDER FEMALE 1 F   2
BROTHERHOOD OF STEEL ELDER MALE 1 M   6
BROTHERHOOD OF STEEL ELDER MALE 2 M   3
BROTHERHOOD OF STEEL PALADIN MALE 1 M   2
BROTHERHOOD OF STEEL PALADIN MALE 2 M   6
BROTHERHOOD OF STEEL PALADIN MALE 3 M   1
BROTHERHOOD SCRIBE FEMALE 1 F   1
BROTHERHOOD SCRIBE FEMALE 2 F   1
BROTHERHOOD SCRIBE MALE 1 M   1
BROTHEROOD PALADIN GUARD MALE 1 M   7
BUTCH M   17
CABBOT M   16
CALEB M   12
CARAVAN DRIVER 2 M   1
CARAVAN DRIVER FEMALE F   1
CARAVAN DRIVER MALE M   1
CATHEDRAL GUARD M   20
CATHEDRAL HEALER M   4
CAVE RAT    1
CHILDREN OF THE CATHEDRAL CHANTER M/F   4
CHILDREN OF THE CATHEDRAL FEMALE 1 F   6
CHILDREN OF THE CATHEDRAL FEMALE 2 F   1
CHILDREN OF THE CATHEDRAL MALE 1 M   10
CHILDREN OF THE CATHEDRAL MALE 2 M   11
CHILDREN OF THE CATHEDRAL MALE 3 M   2
CHILDREN OF THE CATHEDRAL TEENAGER M   3
CHILDREN OF THE CATHEDRAL THUG MALE 1 M   8
CHRISTINE F   2
CHUCK M   18
CLEO M   2
COUGAR M   3
CRAPS DEALER M/F   4
CRAVOTTA M   4
CRAZED RAIDER M   4
CRIMSON CARAVAN CARAVAN DRIVER M   3
CUE SOUND    1
CURTIS M   3
DAN M   10
DANE M   31
DAN’S WIFE F   1
DAZED MAN M   2
DECKER M   3
DECKER’S GUARD FEMALE 1 F   3
DECKER’S GUARD FEMALE 2 F   4
DECKER’S GUARD MALE 1 M   3
DECKER’S GUARD MALE 2 M   1
DECKER’S GUARD MALE 3 M   1
DEMETRE M   8
DOC MORBID M   4
DOGMEAT    1
DUGAN M   9
DYING MUTANT M   8
EDITOR    1
FAR GO TRADERS CARAVAN DRIVER M   15
FARM WOMAN 1 F   1
FEMALE GUARD 1 F   1
FLASH M   1
FLIP M   3
FOLLOWER OF THE APOCALYPSE FEMALE 1 F   1
FOLLOWER OF THE APOCALYPSE FEMALE 2 F   2
FOLLOWER OF THE APOCALYPSE FEMALE 3 F   1
FOLLOWER OF THE APOCALYPSE MALE 1 M   1
FOLLOWER OF THE APOCALYPSE MALE 2 M   1
FOLLOWER OF THE APOCALYPSE MALE 3 M   1
FOLLOWER OF THE APOCALYPSE MALE 4 M   1
FOLLOWER SCOUT FEMALE 1 F   1
FOLLOWER SCOUT FEMALE 2 F   1
FOLLOWER SCOUT MALE 1 M   2
FOLLOWER SCOUT MALE 2 M   2
FROM THE JOURNAL OF THE VAULT DWELLER F   7
GABRIEL M   11
GAMBLER 1 M   1
GARL M   7
GENERAL MAXSON M   19
GEORGE M   3
GHOUL MANAGER M   4
GHOUL PRISONER M   3
GHOUL UNDERGROUNDER 1 M   3
GHOUL UNDERGROUNDER 2 F   4
GHOUL UNDERGROUNDER 3 M   1
GHOUL UNDERGROUNDER GUARD M   1
GIDEON M   7
GIZMO M   11
GIZMO’S GUARD 1 M   3
GLOWING ONE 1 M   4
GLOWING ONE 2 F   5
GRETCH M   9
GUARD M   3
GUARDSMAN M   1
GUARDSMAN 1 M   1
GUARDSMAN 2 M   1
GUARDSWOMAN 1 F   1
GUARDSWOMAN 2 F   1
GUARDSWOMAN 3 F   1
GUIDO M   3
GUNRUNNER FEMALE 1 F   1
GUNRUNNER FEMALE 2 F   1
GUNRUNNER GUARD M   5
GUNRUNNER MALE 1 M   1
GUNRUNNER MALE 2 M   1
GUNRUNNER MALE 3 M   1
GUNTHER M   9
HAROLD M   27
HARRY M   11
IAN M   54
IGUANA BOB M   6
INVADING MUTANT 1 M   1
INVADING MUTANT 2 M   1
INVADING MUTANT 3 M   1
INVADING MUTANT 4 M   1
IRWIN M   7
JAIN F   14
JAKE M   3
JASMINE F   4
JERRY M   3
JOB BOARD    4
JOHN M   7
JON ZIMMERMAN M   14
JUNKTOWN FEMALE PEASANT F   1
JUNKTOWN GUARD KALNOR M   6
JUNKTOWN JAIL GUARD M   3
JUNKTOWN PEASANT 1 M   1
JUNKTOWN SULLEN MAN M   1
JUNKTOWN WAITRESS F   1
KANE M   10
KATJA F   29
KATRINA F   14
KENJI M   2
KERI F   7
KILLIAN M   21
KYLE M   9
LA BONYYARD GUARD 1 M   1
LARRY M   1
LARS M   12
LASHER M   5
LAURA F   19
LEMMY M   8
LEONE M   4
LORENZO M   10
LORRAINE F   10
LORRI F   5
LOU TENANT M   37
LOXLEY M   14
LUCY F   2
LYLE M   3
MACRAE M   6
MALE GUARD 1 M   1
MALE SKAG 1 M   1
MALE SKAG 2 M   1
MARCELLES M   5
MARIPOSA AI    17
MARIPOSA MILITARY BASE COMPUTER TERMINAL    4
MARIPOSA MUTANT 1 M   3
MASTER MERCHANT M   9
MATHIA M   4
MAXSON’S LOG (CAPTAIN MAXSON) M   9
MERCHANT M   2
MICHAEL M   14
MILES M   14
MITCH M   5
MOORE M   3
MORPHEUS M   8
MR HANDY 1 M   6
MRS. STAPLETON F   9
MUTANT 1 M   2
MUTANT ON RADIO M   2
NARRATOR M   1093

NATALIA F   909
NEAL M   12
NECROPOLIS AGGRESSIVE GHOUL 1 M   2
NECROPOLIS AGGRESSIVE GHOUL 2 M   2
NECROPOLIS AGGRESSIVE GHOUL 3 F   2
NECROPOLIS GHOUL 1 M   8
NECROPOLIS GHOUL 2 M   4
NECROPOLIS GHOUL 3 F   4
NECROPOLIS GHOUL 4 M   2
NECROPOLIS GHOUL GUARD M   1
NECROPOLIS MUTANT 1 M   1
NECROPOLIS MUTANT 2 M   1
NECROPOLIS MUTANT 3 M   1
NICOLE F   20
NIGHTKIN MALE 1 M   1
0
PATRICK THE CELT M   8
PHIL M   5
POLICEMAN 1 M   3
RAIDER FEMALE 1 F   3
RAIDER FEMALE 2 F   1
RAIDER MALE 1 M   15
RAIDER MALE 2 M   10
RAIDER MALE 3 M   10
RAIDER MALE 4 M   5
RAIDER MALE 5 M   2
RAZLO M   9
RAZOR F   16
REGULATOR FEMALE 1 F   3
REGULATOR MALE 1 M   1
REGULATOR MALE 2 M   1
REGULATOR MALE 3 M   1
RHOMBUS M   10
RICHARD GREY M   30
RUTGER M   12
SARAH F   4
SCIENTIST MALE 1 M   7
SENTRY ROBOT 1    4
SENTRY ROBOT 2    2
SET M   18
SETH M   10
SGT. D. ALLEN M   9
SHADY SANDS CITIZEN 01 M   1
SHADY SANDS CITIZEN 02 M   1
SHADY SANDS PACING MAN M   1
SHADY SANDS SULLEN MAN M   1
SHERRY F   5
SINTHIA F   10
SKAG 1 M   2
SKAG 2 M   2
SKAG 3 M   1
SKUL 1 M   4
SKUL 2 M   1
SKUL 3 M   2
SKULZ GUARD M   8
SKUM PITT WAITRESS F   5
SMITTY M   15
SULLEN MAN M   1
SUPER MUTANT M   1
SUPER MUTANT 1 M   3
SUPER MUTANT 2 M   1
SUPER MUTANT 3 M   2
SUPER MUTANT 4 M   1
SUPER MUTANT MALE 1 M   3
SUPER MUTANT MALE 2 M   1
SUPER MUTANT MALE 3 M   1
System    0
TALIUS M   4
TALOS M   10
TANDI F   14
THE GLOW LOG M   22
THE HUB BAR TENDER M   4
THE HUB DRUNK M   1
THE HUB GUARDSMAN 1 M   1
THE HUB GUARDSWOMAN 1 F   1
THE HUB GUARDSWOMAN 2 F   1
THE HUB GUARDSWOMAN 3 F   1
THE HUB POLICEMAN 1 M   1
THE HUB POLICEMAN 2 M   1
THE HUB SKAG 1 M   1
THE HUB SKAG 2 M   1
THE MASTER M   16
THERESA F   6
THIEVE’S GUILD FEMALE 02 F   1
THUG M   1
THUG 2 M   1
TINE M   5
TON M   3
UNCLE SLAPPY M   12
UNDERGROUND GHOUL LEADER M   18
VANCE M   3
VAULT 13 CITIZEN FEMALE 01 F   3
VAULT 13 CITIZEN FEMALE 02 F   2
VAULT 13 CITIZEN FEMALE 03 F   2
VAULT 13 CITIZEN FEMALE 04 F   3
0
VAULT 13 CITIZEN MALE 01 M   2
VAULT 13 CITIZEN MALE 02 M   2
VAULT 13 CITIZEN MALE 03 M   1
VAULT 13 HEAD OF SECURITY M   10
VAULT 13 MEDIC M   5
VAULT DOOR SPEAKER M   1
VAULT DWELLER’S SURVIVAL GUIDE M   6
VAULT OVERSEER JACOREN M   16
VAULT-TEC GUY M   10
VERY UPSET GAMBLER 1 M   1
VINNIE M   15
VREE F   47
WATER MERCHANTS CARAVAN DRIVER M   11
WATER THIEF M   8
WIGGUM M   1
ZACK M   5
ZAX 1.2 M   15

Announcing Season 2! Fallout: A Post Nuclear Retro Video Game Radio Drama for All

Hey, fellas.  Calvin here.  As we wrap up our first season of The Spoony Bard’s Aural Theatre, we are setting the stage for the followup season, which will be based on the retro PC game Fallout: A Post Nuclear Role Playing Game, a turn-based “isometric-view” post-apocalyptic RPG developed by Interplay Productions in 1997.

fallout.jpg

RPG Rabbit adapted the script for Final Fantasy IV (in fact, she is still writing it, as that season is not yet finished) while I set out to work on one for Fallout.  She is more familiar with FFIV than I, and since that season was just the two of us, it made sense that she should also narrate the show while I voiced the protagonist, who is male.  Fallout’s protagonist does not have a set gender, and canonically it doesn’t matter, but since one can be female in it, it was decided early on that I would narrate and she would play the lead.

By the end of the first Final Fantasy IV episode, we realized that for future projects we need to have more people voice the characters than just us.  For Final Fantasy IV, we could probably manage with just one other male and female voice actor, since there are only a handful of people in the game, and only about ten characters who have more than a handful of lines.  By contrast, when it comes to dialogue dispersion, Fallout is the opposite; the main character has some 900 lines, and there are another two thousand lines dispersed between 500 other characters.  Besides the Narrator, the next most prolific speaker in the game has 54 lines.

Another difference between these two games is that FFIV is a very authored game; the game is generally on a linear path that guides you to cinematic events and places in which the camaraderie of the protagonists become the focus of that scene.  When it comes to events that must be experienced in order to progress the game, Fallout has maybe three or four.  The bulk of Fallout is in its nonlinear approach to storytelling; any two people who play FFIV will have almost identical experiences, but no two Fallout games are going to be alike.  There are a ton of options when it comes to offensive vs. defensive actions, stealth vs. rampaging, melee weapons vs. ranged weapons, good karma vs. bad karma, diplomacy vs. violence.

When I first considered one day doing a Fallout production, this was the first hurdle I felt needed to be overcome. It would be like trying to tell the story of an adventure through an MMORPG; everybody’s experience is going to be different,, and who’s to say which one is “correct.”  The idea behind the Spoony Bard’s Aural Theatre is to adapt the game in such a way that it recreates a game-playing and storytelling experience through a different medium, but Fallout is too open-ended to sate everyone’s appetite for a nostalgic bull’s-eye.  Yet, I didn’t want to just play it my way and tell you about it; this isn’t a Let’s Play.  Fortunately, there were some canonical clues left behind via references in dialogue in later games, certain events that had to have happened in order for later games to play out how they do, and, perhaps most helpful, the manuals that came with Fallout and Fallout 2.

otnkoy.jpg

Read The Fallout Manual.

Fallout 1’s manual, the “Vault Dweller’s Survival Guide” contains a wonderful narrative backdrop for the main character.  Though it doesn’t appear in-game, it can be assumed that this guide is carried with the Vault Dweller, or at least downloaded into the Pip-Boy.  Using this manual, we can canonically establish attitudes and backdrops for the main character and some other important figures.  Fallout 2’s manual, the “Vault-Tec Lab Journal” includes memoirs left behind by the protagonist from Fallout 1.  There are certain events that are mentioned in these memoirs, and since they become canon, it gives us more guidance on how to narrate an otherwise entirely open-ended game.

As for the protagonist, I have utilized the pre-made characters that nobody ever picks when actually playing Fallout as canonical options for the Spoony Bard’s Aural Theatre.  There are three pre-made characters, two male and one female.  Since RPG Rabbit is voicing the main character, there was only one option: Natalia Dubrovsky.

FO01_PC_Natalia.png

Kinda looks like RPG Rabbit, too.

She specializes in pick-pocketing and unarmed combat, a combination which makes for a very unique experience in Fallout.  I’ve played through Fallout a number of times in the past, but I never tried going the unarmed route.

So, using the Fallout manuals, and relying heavily on the wonderful Fallout Wiki, I am able to construct a plausible path that adheres to canon.  That isn’t to say these are the “correct” choices to make; (after all, one of the game’s greatest selling points is its nonlinear gameplay) they are just the choices that most coincide with established canon from the events and people discussed in the sequels and other resources.  The Vault Dweller’s memoirs also include the circumstances of two companions who die, so I couldn’t keep them alive all the way to the end; and on the other hand, I also had to keep them alive when they were pretty much just getting in the way.  Fallout 1’s companions don’t level up, so after a while they’re effective in combat as just a distraction.  A very easily killed distraction.

One of the first rules we established in The Spoony Bard’s Aural Theatre was that we would not “assume” anything that isn’t explicitly conveyed.  You never hear the narrator say, “He wants to do this…” or “He felt bad” or anything else that isn’t clearly contextual.  We as the audience can assume, but on this podcast, we are not omniscient narrators.  We are only adapting a script.  Final Fantasy IV manages to convey a lot of unspoken information through simple two-frame animations, but Fallout doesn’t really have provide animation for their characters.  Even the protagonist looks just like a specific kind of civilian the player can encounter.  Because of this, it’s that much more important for the voice actor(s) to help articulate the emotional situation of the character while not veering from the dialogue taken from the game.

Speaking of which, there is a lot of dialogue in the game.  Over 3,750 lines of dialogue will be uttered in what I estimate will be an eleven-episode season.  Over 1,000 are just the narrator, and the protagonist (Natalia) has about 900.  The entire cast of characters amounts to more than 300, though most only utter a single phrase and may not even have any dialogue options.  Also, a lot of spoken lines are silly battle banter, like this:

010203

The overall cast of characters will be divided into three tiers: Main Characters, which includes Natalia, the narrator, and her companions.  Then are Notable Characters, which include basically anyone with a name and more than a single line of dialogue.  The third tier is Simple Characters, mostly just single-use spawned bad guys or civilians.  I would encourage anyone wanting to do voice work for a notable or main character to also lend us a few lines for simple dialogue.

Speaking of dialogue, there is probably a lot of dialogue I missed in the game.  I tried to play the game as thoroughly as possible while giving context to the Vault Dweller’s motivation.  As an example, there is a very good reason to return to Shady Sands later on in the game, but the protagonist doesn’t know what’s going on, so it would seem reaching to have her arbitrarily wander the Wasteland for days and days so she can check up on things.  Another issue I encountered is that there is so much dialogue that the player will miss their first time playing through.  Many characters in the game interact with you in different ways, depending on your actions.  One of my favorite characters in the game is Set, a ghoul with a very unique kind of dialogue.

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He speaks in this sort of dialect that sounds like post-nuclear beat poetry.  I ran into a problem in which I wanted to engage Set in a long back-and-forth of dialogue, but because of events that happened before I met him in-game, he would only give me a few lines and then attack me if I said something wrong.  Here’s where I took some artistic license that marginally breaks the rule of authenticity in the game; Set’s dialogue is amazing, and I absolutely wanted it in the podcast, so I wrote his scene while using his dialogue file as a guide to other conversations he could have had with the protagonist.  None of this is contrary to canon, nor does he say anything that goes against whatever events had happened (there were a few specific examples, like Set mentioning things that either hadn’t happened yet or could not happen because of previous actions.  These lines of dialogue were not edited, but simply omitted.)  I think some people might notice that Set talks about some things that would only have been prompted if the protagonist was evil, or had first killed the mutants in the area, or had destroyed a water pump.  Does this go against the rule of providing no more data than is on-screen?  I think it toes the line; the dialogue is there, and I didn’t make any of it up, but I did cheat a little to get him to say it.

By the way, rummaging through the dialogue files on the Fallout Wiki is an endeavor.  It can be very difficult to determine who is talking and if I cannot duplicate the conversation in-game for whatever reason (like having a poor reputation or having killed the wrong guy or what have you) this is all I have to go on.

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“Hoooot!” is a dialogue choice if you have an exceptionally low Intelligence score.

In an effort to retain as much authenticity as I could, many of the descriptions come directly from the game itself.  For instance, here are messages that appear in the Pip-Boy:

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This is what we get instead of the sprite nuances of Final Fantasy IV.  With a few replacement pronouns and changing this from second-person to third-person, many of the narrative descriptions in the podcast use this exact text.  I tried to use these descriptions any time they appeared.  Also, you must have noticed how RPG Rabbit weaves descriptive actions throughout dialogue in FFIV.  That’s because the characters in that game are always doing something.  They’re hopping around, looking up and down, pouting, falling down.  Fallout’s characters remain stationary in almost every case.  Fortunately, there are a few descriptors interjected into dialogue that helps a lot in keeping the episode from falling into a sterile slog.

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Example of narrative integration.

 

Playing through Fallout again was a blast and I really recommend it to anyone who is a fan of turn-based RPGs, a non-fantasy setting, or the Fallout setting in general.  It plays surprisingly well given its age.  In order to put together the script, I took thousands of screenshots (more than 4,000) and used them as a kind of storyboard to stitch together a narrative.  It’s a very different approach to how RPG Rabbit has worked on the FFIV script; she plays the game with her laptop next to her and writes down everything she can as it happens.

Anyway, on to some stuff regarding how we’re going to produce this.  As I stated before, it has become necessary for us to get more people on board.  I have a rather limited range and have stretched it to the limit with characters from FFIV, and RPG Rabbit can only do so much herself.  We need more actors, many more.  We cannot offer you anything more than the opportunity to be part of this project.  You need only a decent microphone — it doesn’t have to be anything fancy.  RPG Rabbit and I use a Yeti mic that cost less than a hundred dollars.  You may be able to do well with a cheaper one, but something more advanced than an Xbox Call of Duty headset needs to be utilized.

There’s a small piece of conflict I am seeing with some of the characters in Fallout: many of them are already voiced!  (And by celebrities.)  Tony Shalloub, Tony Jay, Richard Dean Anderson,  and Michael Dorn all lend their voice to this game, and they do a fantastic job, and I don’t want to replace them.  The only problem I’m seeing is that there are certain segments in which they “speak,” but via text only.  I can’t very well call up Warf and ask him to record a few extra lines for our silly podcast.  So ultimately the decision will have to be made whether to record all their lines and use our own actors, or to get rid of their non-voiced dialogue, or perhaps someone can do a really good impression of one of them and we can flub it.  Well, we’ll see when we come to that.

FFIV is being released as we make it; we finish the episode usually a few hours before it goes online.  It takes a shocking, SHOCKING amount of time to make a 45 minute episode.  I wish to have all the lines recorded for Fallout before we start releasing episodes; I want to be able to spend two weeks editing an episode without the stress of also recording.  So, there will likely be a kind of gap between FFIV and Fallout, but the quicker we get some people on the project, the sooner we can begin.  And I’m really excited; I just finished playing the game and I love the setting and the sound and the story and the amazing ambient “music” by Mark Morgan.  I am eager to re-experience this in the form of a podcast serial.