#fallout the game

[feralghoulie]

Note: Ahhh! I'm not super proud of this one honestly, but it's okay. I was kind of blanking ideas for this one

MINORS DNI 18+ CONTENT.

Prompt: Blindfold (Day 2)

Summary: Cooper let's his guard down to be blindfolded by Lucy. He soon finds out, he's going to regret not being the one in control.

Cooper Howard (The Ghoul) X Lucy Maclean

☆

Lost Senses.

Cooper narrowed his eyes. Drilling holes into Lucy's wide smile.

"No."

He said in a stern manner. Crossing his arms.

"Absolutely not." He said rolling his eyes as her smile widened further.

Lucy frowned. Throwing her arms up in the air. "You're no fun! Fun sucker!" She taunted. The Ghoul staring back at her with an annoyed expression.

Cooper and Lucy had began to grow close with one another. Going from a shackled enemy, to the girl he can't get off his hip. Lucy brought out the deeply shelled happiness that still resided in him.

Wandering the wasteland together, Lucy managed to get a couple genuine laughs out of him. A light in a situation after she had experienced so much dark. Cooper occasionally cracking a joke to lighten the mood of mentioning her mother or father.

Though as much as they joked, Cooper was still a hardened man. Getting his boundaries down was near impossible. It would be easier to shake hands with a Death Claw rather than getting Cooper to open up about any of his past life.

It came to times like these where Lucy would have to relentlessly annoy him until he caved. She would get her way. One way or another at least.

Their tricky relationship had the added factor of sexual relations. The Ghoul having found himself studying her body. The sway of her hips, the way her vault suit hugged her perfect smooth skin.

He ravished her body like it was his first and last meal, and she enjoyed every single minute of it. She couldn't get enough of the way the Ghoul treated her. The way his fingers were rough yet so full of passion. Her soft lips against his. She cherished the feeling deeply.

Although Cooper had quite a high sex drive, Lucy was three times as worse. Every chance they got she would beg for just a touch. Maybe it didn't help the fact that he would tease her. Slapping her ass, whispering dirty things into her ear.

"If we don't find some cover soon, may have to take ya right here." He would whisper into the shell of her ear. Giving her ass a swift smack.

She would yelp and giggle, but never got the chance to enact her fantasy of being fucked shamelessly in the open.

Now that they had taken shelter safely in some old parlor. She wanted it. She absolutely needed it.

She insisted on trying something she had experienced in the vault. Her cousin using an old cloth to drape over her face. She hated recalling some of the things they did, but she didn't despise him.

He would drape the cloth over her eyes to restrict her vision, and touched her. It was a sensual experience and she couldn't get her mind off it.

Constantly fantasizing of using Copper for her pleasure while he laid blindfolded. Unable to see the bliss sprawl across her face. She wanted to hold his hands down and grind against his cock.

Slip it between her slick folds to tease his shaft. Forcing him with restricted vision to try and take control.

Cooper hated the idea. He hates being teased, and he hates not having full control.

With enough begging, he caved in. Pretending to be annoyed, but the idea alone drove him wild. He knew he would still have full control, but she would be in the mind that she was using him for pleasure.

Extremely excited, Lucy dug through her bag. Sorting through various items. She had stolen a bandana off one of the Raiders they wasted. A red unfolded cloth.

She grabbed it out of her bag and waved it around. The ghoul laid down on the dirty bed roll. Huffing as he did. His back was starting to feel the effects of constantly sleeping on the wood floor.

She approached him with anticipation, and tied the blind fold around his face. Removing his hat gently and placing it beside him.

"Don't overstep your boundaries Vaultie. Just cuz I like you don't mean i won't kill you." He said, knowing it was a partially empty threat.

"It's okay! I think you're going to enjoy this." She said caressing his cheek. Something she would be too nervous to do if he could see.

The ghoul flinched slightly. Feeling his heart pound. He was perfectly fine with intimacy. He could handle not being in control. Not being able to predict her next move.

Right?

He found himself flinching at alot of her delicate touches. She was trailing her hands around his body.

It was hard to touch someone as clothed as him. He refused to take any of his clothes off. His huge trench jacket thrown aside, but that was all he was really willing to part with. His vest hiding his life before war. A sense of himself from clothes.

Lucy didn't seem to mind this. She worked her away around it. Rubbing his throat with her fingers.

Leaning in and pressing gentle kisses. Peppering him with kisses anywhere skin could be exposed. Pulling up his sleeves, kissing his rough fingers. Careful not to venture to far, but just enough to find new parts of his skin to tend to.

He let his head sink into the dingey bed. Biting his lip softly as she palmed his striped pants.

Such a simple experience felt exhilarating to Lucy. A growing wet spot forming in her panties from just ftom exploring his body. The scent of the Wasteland was strong on him. A deep yet attractive musk.

His hands had been stationary by his sides almost the whole time. Finding Lucy's hips after she decided to finally straddle him. He gripped them tight. Pressing his thumbs into her dips.

She was grinding against his bulge. Slowly, but deeply. She thought about how good it would be to feel his bare cock again. To be fucked raw.

She let out a long content sigh. Taking her hands away from the Ghoul. He questioned the absence, but gave a discreet grin as he heard her start to unzip her vault suit. Uncovering her dirtied tank top and panties. Tossing the suit aside, she continued.

Grabbing onto Cooper's belt buckle and undoing it. Sliding his belt fin out and giving his pants a few tugs. Enough to expose his partially tattered underwear.

Their exchanges had been silent almost the entirel time. Lost in their own minds of pleasure. The Ghoul finally breaking the silence.

"Well c'mon now sweetheart. Move a little faster.." He said as Lucy rubbed her thumb against his clothed cock.

She huffed. "Last I checked, I'm currently the one in charge." She said in a mocking tone.

He groaned. "Don't get too cocky there sweetheart- I could easily wri-" He was immediately cut off by Lucy swiftly pulling his cock out. Loudly spitting on it.

"I'm in charge." She said firmly. Giving his cock a few strokes. Pulling his pants down just a little further.

"I'm going to take what I want. Not you. As a matter of fact! I don't even care what you want." She said feeling high and mighty. Letting out a small giggle, feeling proud of herself.

He smiled to himself. Holding back his own playful giggles. It made him happy and weirdly turned on seeing her come out of her kind and caring comfort. Taking a charging role in something so intimate.

"Well, my my. Guess I should be listenin to your commands then, ah?" He said in a teasing tone.

She raised an eyebrow. "Well.. um. Yeah! Yeah you should be." She said nodding her head.

She adjusted herself and removed her panties. Setting them beside her quietly. Straddling him again, she adjusted herself. Grinding against his solid cock. Using his tip to press against her sensitive clit.

He was taken off guard by the sudden motions. Biting down on his lip, letting out a low growl. His hands snapping back onto her hips.

She let out quiet gasps as she pressed his cock against her clit, grinding against it to find the right spot.

He was growing increasingly more impatient. Waiting for the moment he would feel the tight warmth of her pussy. As she pressed his head against her clit, she fought to get her shirt off. Throwing it aside.

She leaned forward on his flat body, and stopped her motion. Letting her lips part, his cock slid inbetween. The slick letting it glide very slowly. She braced his shoulder with one hand, and used the other to guide her breast into his mouth.

He quickly realized once he felt what was against his face, his mouth widened. Suckling on her breast, his tongue flicking against the bud. Switching between sucking and licking as she occasionally bucked her hips in pleasure.

Before switching breasts, she lifted herself up, and guided his swollen cock head against her hole. Not immediately letting him in. She waited for him to force his way in, tightly squeezing. She sunk all the way down onto his cock. Switching breasts and leaning closer.

She carefully tried to bounce up and down on his cock. Finding it to be a hard time to prop herself in this position.

Cooper was enjoying it. Moaning as he sucked and nipped at her. She took her breast out of his mouth and replaced it with her lips.

Immediately shoving her tongue into his mouth. This took him completely by surprise. They had never even kissed before, let alone made out. It took alot of intimacy for Cooper to kiss someone. Though in this case he didn't see it coming. Graciously accepting her offer, his tongue fought for dominance.

His hands helping her bounce on his cock. Pulling her hips to the rhythm of his eager bucking. Their lips parted and Cooper groaned.

"Good lord girl. You're fuckin pussy is so tight. You'r soaking my cock." He said pressing his head back into the mattress.

She only let out a breathy laugh in response. As his thrusts were starting to slow, she switched from bouncing, to grinding her walls against his cock. Letting his tip hit her g-spot.

She let out quick gasps as her climax started to rise. Gasps, turning into whines. Whines turning into strangled moans.

"Yeaaah. That's it honey. I can feel that pussy squeezing me real damn good. I need your fuckin cum on my dick." He winced, giving her ass a firm smack.

She furrowed her eyebrows, mildly annoyed by his interjection of dominance. Losing her rythem of grinding.

She swiftly removed herself off his cock, and kept his thighs straddled. She knew the orgasm wouldn't be as intense, but the satisfaction of pissing him off would be good enough.

Her fingers pressing against her clit, quickly circling and rubbing it. The slick soaking her fingers, the sound of her pleasuring herself surrounding in Cooper's ears.

He ripped his blind fold off, and narrowed his eyes. Watching her as she threw her head back in pleasure. Her fingers vigorously working her climax.

"You've gotta be fuckin kiddin me." He said watching with a lifted head.

She rode out her climax, huffing and catching her breath.

"I told you I'm the one in charge. And I say. You can't cum! Not from me at least." She smiled brightly. Tilting her hand as if she won an argument.

Climbing off him she hummed. Cooper following her with his eyes. Completely stunned by the stunt she just pulled. He grabbed at his shaft, using the slick she left behind to stroke his aching cock.

"I could fuckin kill you vaultie. I ain't going to be nice next time."

[jupi-tercreates]

My sister and I came up with a fun idea/theory in regards to the Fallout TV show (prime). We compared it to the Wizard of Oz.

Lucy = Dorothy (a whole new world filled with strange things where she is on a journey that changes her forever)

Maximus = The Tin Man (knight in silver armor but also someone who is struggling to find their place between good, neutral, and evil)

The Ghoul (Cooper) = The Scarecrow (this one kind of comes from thinking about Wicked as well, but someone who had a very different life before and had been stuck in one place for quite some time until Dorothy comes along and changes that path)

Norm = Cowardly Lion (he's learning to use courage and his intelligence to investigate and question and really dig into the parts of the Vaults that have never been dug into)

We would really love to know what others might think?

[quibbs]

just had SO much fun with the fallout tv show... i love you missus okey dokey

[caitlyn-kirammans]

FALLOUT: 1x01 - "The End" ↳ "War... war never changes."

[t00thpasteface]

best friends forever

[punkitt-is-here]

swear to god ever since bethesda started writing fallout games ive been like this

[wolfziedraws]

Alter Emos

[arbutus-blossoms]

Golden rule motherf*cker : Untitled Goosey Game 🔪

[falloutconceptart]

I cannot overstate this enough.

There is no single person more responsible for the aesthetics and design of modern Fallout than Adam Adamowicz.

Fallout and many of its designs were of course established prior to Adam's involvement with the series, but his work on Fallout 3 brought an astounding depth and detail to a world he had full vision for.

His concept work was the foundation that the game designers intensely relied on and its astounding how closely his concepts were translated into the game.

I just went through all 800+ concepts he did for Fallout 3 and it is fucking *insane* how he seemingly designed almost everything for that game, at least at the conceptual level.

From mutants-

To robots-

To the buildings-

To guns-

To the details and vibe of the decayed metro-

Adam's artistic vision and creativity was behind the style and design of the entire game.

Adam was a generational talent and he left the world too soon.

Bless him and RIP.

[cat-cosplay]

He's my S.P.E.C.I.A.L. boy.

[honourablejester]

I’m realising as I browse around that I really love lore when it comes to ttrpgs, games and game worlds. And by that I don’t mean I like to obsessively learn lists of dates and wars, and the names of leaders of factions, I mean …

I like learning weird, juicy details about the worlds of games. I like finding little nuggets that say things about the set-up and culture and assumptions of the world. I like finding fragments of ideas to hang whole story and character concepts off.

I love that in D&D 5e’s Spelljammer, the Astral Sea is full of the corpses of dead gods that you can fully sail up to in your ship. Just. Floating out there. Waiting for you to rock up to them.

I love that in Sunless Sea, the king of the drowned is the way he is because he fell in love with an eldritch sea urchin from space, and successfully married it. His niece is an angry sentient floating mountain whose mother is a goddess-mountain and whose father is a face-stealing humanoid abomination. This is fine and normal.

I love that in Starfinder, there are mysterious bubble cities in the surface of the sun that the church of the sun goddess discovered and cheerfully occupied despite having no idea who the hell built them or for what purpose.

I love that in Dishonored, the entire industrial revolution that has built the empire we’re in the midst of saving or destroying was built on the properties of whale oil harvested from eldritch tentacled whales that live half in the oceans and half in an eldritch void personified in the form of a weird-ass black-eyed shit-stirrer of a deity who was formed from a murdered and sacrificed child. And this is largely a background detail.

I love in the Elder Scrolls that the dwarves up and fucking vanished, as a race, at some point in history and absolutely nobody has any clue what happened to them or where they went, but their technology is so insane that ideas like ‘they time-travelled’ or ‘they erased themselves from existence’ are absolutely on the table.

I love that in Numenera, so many incredibly advanced civilisations have risen and fallen on this world that it’s absolutely littered with bonkers science fiction artefacts that have caused the current medieval-esque society built over top of them to develop in bizarre ways, and also you can find a mysterious artefact that absolutely baffles and delights your character, but that you the player will fully recognise as a slightly-more-advanced thermos flask.

I love that in Fallout, an irradiated post-nuclear apolocalypic hellscape, there’s a cult that worships the god of radiation as they have come to understand it, and they are mysteriously immune to radiation with absolutely no explanation whatsoever. They’re not ghouls, the usual result of fatally irradiated humans with some resistance, they’re perfectly normal humans who can somehow just tank rads all damn day. It could be a mutation, but Lovecraftian gods apparently do also fully exist in this setting, so it’s also possible that maybe they were on to something with this Atom thing.

I love that in Heart The City Beneath, there’s a mass transit train system that they tried to hook up to the eldritch beating god-thing buried under the city so that they could metaphysically chain the stations together more easily, which went horrifically and metaphysically wrong in entirely predictable fashion, and now there’s a whole order of train-knights who have to keep people safe from the extradimensional weirdness magnet the network has become.

That, and all the fantastic little details you can stumble across. There’s a biotech augmentation in Starfinder called an angler’s light that gives you a little angler-fish bioluminescent antenna on your forehead, and it was developed by asteroid miners who needed light but also both hands free for work. In Dishonored there’s a festival that everyone pretends is outside of time so nothing you do during it can be held against you. There’s a god of snuffed candles mentioned in a single line from Heart The City Beneath who has pacifist cannibal priests, and that is literally all the information you get on him.

While things like the history and geography and timeline of a world do also fascinate me, I’m not really here to memorise stuff like that. I’m here to find weird little nuggets of information and worldbuilding and delight in them. Give me funerary customs and weird myths and oddly specific circumstances and baffling little objects and absolutely bonkers cosmological implications. Give me the corpses of dead gods, and aesthetic movements with highly specific backstories, and bureaucratic fuck-ups of titanic scale, and mysterious things that seem to break all other rules of your setting with absolutely no explanation because people in-universe have no fucking clue how they work either. Why are the Children of Atom immune to radiation without ghoulifying? Not a clue, but Confessor Cromwell has been cheerfully standing in that irradiated pond that kills the player character with about 10 minutes of exposure for the last year and he’s still absolutely fine.

I just. I really love lore. I like my settings to have some meat in them, some juicy details to dig into, some inexplicable elements to have fun trying to explain. Particularly that last bit. I feel like a lot of people when building worlds feel like the rules have to be absolute and everything has to have an explanation, but nah. Putting some weird shit in makes everything immediately feel bigger, more real, because we don’t have even half an idea of how our world truly works, there’s always something we just don’t fully understand yet, and you can put that in a fictional world too. Some mysteries, some contradictions, some randomness, some weirdness. There’s a line, obviously, this depends on execution, but a little bit of mystery really does help.

Lore is awesome. And weird lore is even more so. Heh.

[zekeram]

BEHOLD. I HAVE SOLVED FICTION.

Split version under the cut:

If that's still not enough to make it readable here's a google drive link

[msdarkshadow666]

"Your son has been kidnapped. You must find him." Me, playing Fallout 4:

[justdiptych]

There's a scene in Fallout: New Vegas that I find really interesting in how it uses skill checks in dialogue. A merchant company, the Crimson Caravan, want to buy out one of their rivals, Cassidy Caravans, and they hire the player character to negotiate the deal. The player has likely already met the rival company's owner, Rose of Sharon Cassidy, by this point - in fact, it's entirely possible that she suggested they ask the Crimson Caravan for work in the first place.

Cass is propping up the bar at a truck stop on the border near the game's opening area. She's heard that her caravan has been destroyed in her absence - her employees killed and their wagons burned in an attack on the road - but she can't investigate because of a bureaucratic hold-up. The man in charge of the border post, Ranger Jackson, has halted all commercial traffic across the border because of dangers on the roads - wild animals, bandits, and enemy soldiers - that the authorities are struggling to get under control.

When the player brings the Crimson Caravan's offer to Cass, she refuses on principle. Her business may have effectively been destroyed, but she's too proud and too stubborn to sell her surname for any number of messes of pottage. Convincing her requires that the player employs one of either their Speech or Barter skills - there are two options for each, requiring either moderate or high investments of skill points. Skill and Barter are the game's two Charisma-based skills, and it's not uncommon for them to appear side-by-side like this, but here, they diverge in application.

The easier Speech option is simple - the player just reminds Cass that, if she sells the business, she won't be commercial traffic anymore, so she'll be able to get across the border. She's itching to get on the road again, so this convinces her. (She will ask the player to help Jackson clear the roads for the benefit of her fellow merchants, but this is a very simple quest that they likely already completed hours ago.)

The more challenging Speech check is to tell Cass that there's no way her business can survive, so it's her duty to do the merciful thing - shoot it in the head, bury it, and move on with her life. This, naturally, brings her close to socking the player in the jaw, but she sees the truth in it. She's been holding onto the forlorn hope that there might be something left to save, but she really has lost everything. This bypasses Jackson's quest - she just wants to walk out and not look back.

The Barter options approach things differently - from the Speech options, and from each other. The more challenging one involves making some sport of the offer, challenging Cass to a drinking contest. The player has to supply the booze, and they run the risk of getting embarrassingly drunk if their Endurance stat is too low, but, either way, this will impress Cass enough that she'll sign the contract.

The easier Barter option, though, is, I think, the most interesting. It requires the player to sweeten the deal with their own money - a not insubstantial amount of it, in fact. Cass is still hesitant, though, which allows the player to make a very interesting point. With the money from the Crimson Caravan plus the player's contribution, she'd have enough to restart her business - buy new animals and equipment, hire a new crew, start trading again.

Further, the player can point out that the Crimson Caravan are unlikely to continue using the 'Cassidy Caravans' name after buying it. They're only buying her out to try to monopolise local trade, after all. If they don't use the name, they'll forfeit their rights to it - meaning that Cass can, as she puts it, take their money, give them nothing, and go back to running her business as if the attack never happened.

Cass, naturally, accepts this offer, though she's staggered that the player is so willing to sell out their employers to help her like this. (The player needn't feel any moral misgivings about doing so. A little investigation reveals that the attack on Cass's business was actually engineered by the Crimson Caravan themselves, in collusion with a crime family, in a conspiracy to wipe out their competition.)

I think this entire interaction represents how well New Vegas uses skill checks. Barter, in RPGs, is often a very barebones skill. Its use is letting the player earn more and spend less - as part of an equation determining shop prices, or in dialogue options that boil down to asking for money. It's not uncommon for Speech to be the skill of the peaceful, benevolent diplomat, while Barter is for common mercenaries.

Here, though, the Barter options actually cost more than their Speech equivalents. The player ends up out of pocket for a sizable chunk of change or at least a lot of booze. Instead, the Barter skill represents the character's understanding of common business practices and relevant laws. It allows them to convince Cass to accept a deal by finding a loophole that benefits her more than if she refused.

The equivalent Speech options, meanwhile, are effectively free, but do involve making Cass feel that little bit worse. They emphasise what she's lost, how trapped she is by her circumstances, and convince her to give up and let the Crimson Caravan win. In the long run, this doesn't make a real difference - once she leaves the outpost, she and the player can discover the conspiracy and get their revenge either way - but I think the choice does let the player say something about their character.

Part of the brilliance of this game is how little details, like Cass being stuck at the outpost, tie into other details all across the story. Caravan traffic is halted, in part, because deathclaws have nested near the roads to the north. They've nested there because the local quarry has ceased operations - the noise caused by the digging and blasting had previously scared them off.

The quarry closed down because escaped convicts raided it and stole the workers' stash of mining explosives. The convicts escaped because the government was using them for forced labour on the railroads, and foolishly entrusted them with enough dynamite to stage an uprising, seize control of the prison, and turn it into a fortress and a base of operations for banditry.

Similarly, the threads of Cass's story spread outwards, ultimately affecting the entire future of New California. When she learns that the Crimson Caravan and their allies killed her friends, Cass is furious. She wants to march over there and beat the snot out of the people responsible. The player can convince her to instead settle things legally - get proof of their crimes, pass them on to Ranger Jackson, and hope the justice system gets revenge for her.

If Cass does things her way, the criminals pay with their lives, but their bosses end up better off for it. With their regional execs murdered, the trading companies can claim that the government isn't doing enough to protect them - so, they don't have to support the government's interests, either. They withdraw trade, demand special treatment, and end up making their shortfall everyone's problem.

If the legal option is pursued, though, the evidence becomes blackmail material. The government has the trading companies over a barrel, and that lets them pass stricter trade laws. Given the choice of accepting regulation or facing criminal investigation, the crooked execs choose to stay out of jail. Those responsible for the murders technically avoid justice, but their hopes of a monopoly are dashed - and their superiors are unlikely to be pleased with them having hurt long-term profits so badly.

Cass's story is political and economical all the way through. It's about the influence of wealth on government, and the fundamental injustices of the carceral system. It's about revenge, and reform, and how to hit people where it hurts - their bottom line. And it's about how, sometimes, skills in an RPG aren't about making numbers go up - they're about how a character understands the world around them, and how they can apply that understanding to help someone out of a jam, or help reshape the trade lines of a whole nation.

[radroachmeat]

[sleights-of-hand]

✍Preston Garvey?

Redeeming aspects of Fallout 4 are this guy, and the retcon of 'cats extinct in Fallout'.