""Bethesda introduced the radio in Fallout 3, which we didn't have in the original Fallout games, and I thought that was really cool. But most of the stuff they did, and in New Vegas, was all off-the-shelf existing music," The Outer Worlds 2 creative director Leonard Boyarsky tells Inverse, "I understand why they had to do that, because it'd be ridiculous to think you would come up with 60 songs from scratch. So even back then, it was in the back of my brain that it'd be cool to hear what music from this place would have sounded like.""
""We actually had some very rudimentary radio stuff early on, but there's so much beyond just the content for the radio. How are you going to handle it when people start talking? How are you going to keep it from being ov"
Obsidian Entertainment's new sci-fi epic leans heavily on design lessons from Fallout: New Vegas, notably through a surprisingly robust in-game radio system. The radio enables tuning into dozens of songs, radio dramas, and propaganda that flesh out factions and enhance worldbuilding. Leonard Boyarsky notes Bethesda added radio in Fallout 3 and New Vegas used licensed music, prompting Obsidian to pursue original, in-world musical content for authenticity. Boyarsky's background on early Fallout titles and Obsidian's prior rudimentary radio prototypes informed the decision to fully implement a richer radio experience in The Outer Worlds 2.
Read at Inverse
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