Here's a scene from Fallout: New Vegas re-done Hotline Miami style. I wonder how a game like this would work? How would VATS come into the picture, if at all? Well, as long as I get to kill Super Mutants I guess!

Props to the artist, Reddit user Sliferjam.

Click the image up top for full size.

Via the Hotline Miami Twitter.

Post-apocalyptic worlds in video games don't necessarily have to be grimdark, depressing or colorless. There are many fine examples where the game's design either moves beyond these tropes, or develops them to perfection. We have collected a few of them below.

Enslaved: Odyssey To The West

source: Enslaved.uk

World Of Ruin In Final Fantasy VI

source: veteran0121's let's play of the game

Half-Life 2

source: Half-Life Wiki

2,300 AD In Chrono Trigger

source: Xytrasx's walkthrough of the game and The Chrono Wiki

Beneath A Steel Sky

source: NormanJayden's let's play

The Legend Of Zelda: The Wind Waker

source: 50CALBR's gameplay video

The Dark World In Dark Seed 2

source: Retsupurae

S.T.A.L.K.E.R. Shadow of Chernobyl

source: The S.T.A.L.K.E.R. Wiki

Fallout New Vegas

source: Fallout.bethsoft.com

Borderlands 2

source: Borderlands2.com

Tokyo Jungle

source: official trailer

Make sure to submit your own picks in the comments! With visual support.

You know what the Mojave desert was missing? My Little Pony, of course. My Little Pony buddies, to be precise. Here's a mod by Kuroitsune and Riven1978 on New Vegas Nexus that allows you to have the MLP protagonists as your companions. Not all ponies are included—for now, there's only Luna, Celestia, Twilight, Fluttershy, Applejack, Rarity, Rainbow Dash, Pinkie Pie, Ditzy/Derpy and a few others. Perhaps the best part about this is that the ponies come with specific perks.

Littlepip - Stable 2 - Whenever Littlepip is your Pony Companion, you will receive +10 points to Science, Medicine, and Repair and 1 point to Charisma, at a cost of 1 point of Agility and Strength, and -5 to Guns, Melee Weapons, and Unarmed Weapons.

Luna - Mare of the Moon - During the night as long as Luna is your Pony Companion, you will slowly regenerate health. Luna will also gain a 20% combat effectiveness.

Celestia - Mare of the Sun - During the day as long as Celestia is your Pony Companion, you will receive 30 points to Energy Weapons, at a cost of 10 to all of your other offensive skills. Celestia also gains a 20% damage potential.

BonBon - Friendship Is Magic - When Bon Bon's health gets below 30%, Lyra will appear to help out in the battle.

Lyra - Friendship Is Magic - When Lyra's health gets below 30%, Bon Bon will appear to help out in the battle.

Twilight - Studious - Twilight's intelligence is par none. While she is your Pony Companion, your accuracy, spread, and critical chance improve by 20%.

Fluttershy - All Creatures Great and Small - While Fluttershy is your Pony Companion, every creature in the Mojave is your friend, at the cost of your human relationships.

AppleJack - Apple Cider - While Applejack is your Pony Companion, she will give you Apple Cider every time you give her 2 Apples.

Rarity - Rarity & Charity - While Rarity is your Pony Companion, you will find more caps or hard to find weapons on fallen foes only she kills.

Rainbow Dash - Speedy Arrival - While Rainbow Dash is your Pony Companion, you will be 10% faster at everything you do, at the cost of 30lbs of your total carry weight.

Pinkie Pie - Party Time! - While Pinkie Pie is your Pony Companion, you will find more chems on your fallen enemies. But you will be 20% more likely to become addicted to chems.

Derpy - Muffins! - While Derpy is your Pony Companion, she will give you 3 Muffins every time you use a campfire once a day.

Trixie - Trixie's Greatness - While Trixie is your Pony Companion, you gain +10 to all of your skills that are under 50 skill points.

Vinyl Scratch - Bass Cannon - Whenever Vinyl Scratch is your Pony Companion, any explosive based weapon you use will have three times the power, at a cost of -20 of your sneak skill.

You can download it here, though I'm a little sad that they walk upright. I mean, that kind of makes it more hilarious, but still!

My Little Pony Follower [New Vegas]

Harrison Krix, aka Volpin Props, is continuing on his never-ending quest to bring video game equipment to life. And he's doing one hell of a job.

His latest job is this Terrible Shotgun from Fallout 3, which as you can see (in these pics by Dan Almasy) is about as far from terrible as something can possibly be. Forget what it's called in the game, this thing should be called the Wonderful Shotgun.

The piece was made with more than just eye-candy in mind; it was minted for web series Nuka Break, which as you may remember was pretty damn good.

Terrible Shotgun [Dan Almasy]
Combat Shotgun (Fallout 3) [Volpin Props]

One of the most fascinating things about the Fallout franchise is the history of the vaults. Before United States was destroyed via atomic bombs, the government ordered the Vault-Tec corporation to build a number of underground safehouses. To the public, these vaults were supposed to help ensure the survival of the American populace after nuclear annihilation.

They didn't build nearly enough of them. Not to justify what Vault-Tec did, but in a way, building enough vaults to house an entire country is kind of crazy. So instead they only built 122 vaults—which, okay, still better than nothing. The issue is that the true purpose of the vaults is a nefarious one.

You know how most of the social experiments we hear about show that humanity is kind of screwed up? There's the famous Stanford Prison Experiment, for instance, where normal everyday men pretended to run a prison. Half of them became guards, half became prisoners. They didn't leave any detail out—prisoners got "arrested," the guards were given batons, and so on. It didn't take long before they all forgot it wasn't real, and the results were disturbing. The guards hazed and abused the prisoners, and the prisoners would have breakdowns. The experiment was canceled before it ran its course out of fear of what would happen otherwise.

There are other social experiments like it, in that they are testaments to our humanity—from how far we'd go to hurt others, to how long it takes us to go to someone's aid (if at all).

Many would argue that social experiments are inherently immoral and wrong. At the very least, if someone does something "as a social experiment" to get away with amoral behavior, we'd likely think that person is an ass.

While the war ramped up in Fallout, Vault-Tec became very powerful—practically another branch of the government. As cliche as it might be, that power corrupted them. They'd go on to research how to evolve humans with the FEV virus, along with a slew of other questionable weaponry and tech.

So it should come as no surprise that the vaults themselves weren't meant to help people. Actually, they were large-scale social experiments. Each vault tested certain conditions, often absurd and ridiculous, sometimes completely disturbing. Most of the vault-dwellers would never know this, save for the overseer, who had to make sure that everything in the experiment went according to plan. The purpose of these experiments was to test out how the population would react to certain conditions, and then to judge how the subjects go about repopulating the country.

In Fallout 1, we saw an issue with Vault 13 that was actually common amongst a good number of the vaults: the water chip was defective, and that's the reason your vault sends you on a quest. Nothing too crazy. Other vaults would have ludicrous conditions like "all women and only a single male." In Fallout 3, the infamous Tranquility Lane is a part of Vault 112, where residents are trapped in a virtual simulation that was maintained by the creator of the GECK.

Fallout: New Vegas, like all Fallout games before it, has vaults in it. Two are of particular note: Vault 21 and Vault 11. If you thought that a vault built in Las Vegas absolutely had to be themed around gambling, you'd be right—that's exactly what Vault 21 is, the gambling vault.

When you enter the strip, Vault 21 is nothing but a glorified gift shop maintained by Mr. House. But if you delve into its history, you find out that it was originally inhabited by only gambling addicts. The idea was to make the vault as "equal" as possible, and this meant that everything in the vault was left up to games of chance. The vault would be emptied by Mr. House after winning a bet against the residents of Vault 21, but you can't be too sad for them or anything. They left the vault for another gambling nirvana, New Vegas itself.

Vault 21 has one of the more amusing premises for a vault in New Vegas; Vault 11, meanwhile, is one of the more disturbing vaults. Here, the vault residents are told that they have to sacrifice a person from the population every year or else everyone will die. What they don't know: they're supposed to defy the decree, and if they do, the vault would tell them that they did good. Guess what: they don't figure it out until it's too late, and almost everyone is dead.

The story leading up to the downfall of Vault 11 is a tragic one. After the first batch of vault dwellers find out that the overseer knew about the twisted purpose of the vault, they elect the overseer as the sacrifice. The vault then adopts this as tradition, where all of its overseers are sacrificed after their term ends. It's funny, in a twisted way, to think that elections are typically characterized by a candidate's desire to be elected—but you'd imagine that in this case, people would campaign so that someone other than themselves would be given the overseer title, regardless of what power came with it.

Eventually a woman named Katherine Stone is told that if she doesn't have sex with a certain group of people, they'll elect her husband as overseer. She complies, only to find out that they intend to elect her husband anyway. She then starts killing those people off, supposing that at best they lose their majority and her husband is safe, or at worst she is elected overseer instead of her husband. She is right, and her first act as overseer is to abolish the election and to have the sacrifice be determined at random.

Naturally this upsets people, notably those who think that Stone's actions will destabilize the already-established power relations in the vault. This, in turn, catalyzes a war that leaves only a handful of people alive. Fate is cruel, and the last remaining vault dwellers find out the truth about the vault. They are so aghast with what they learn that they kill themselves... though even these final moments are filled with tension over what should be done. The only remaining evidence about these events are the audiologs that you find when you explore the vault years later.

You get the feeling that these social experiments were done because the government wasn't really interested in saving anyone that wasn't "important," (i.e., themselves) and this is reinforced by how the Enclave treats everyone on the wasteland as something other than human in almost all the games. Regardless, it's difficult to point fingers and be judgmental about it all, because this vault plot twist is exactly what makes them so fascinating. I know that whenever I play a new Fallout, I'm excited to see what new vaults the designers have thought up. My hope is that the Fallout in question features a good mix of funny vaults alongside upsetting ones.

Maybe we're just all awful human beings—that's what all these social experiments say, anyway. Consider this though: the Enclave might be the ones that set up the experiments, but we're the ones practically eating popcorn while we read the results.

When I play Bethesda's open-world role-playing games, I steal. A lot. I know I'm not alone in this—in fact, I'd wager that almost every single human who has played Fallout 3 or Morrowind or Skyrim has stolen something or other.

After playing so many hours of Skyrim over the past year, I've noticed something odd during my extended return to Fallout: New Vegas—the Karma System. It changes everything.

I noticed immediately how every time I stole some (necessary! important!) piece of ammo or health kit, the game would play that oh-so-disappointed "You've lost karma!" sound effect, and I'd feel bad about myself. Even when I was robbing someone like The Silver Rush, the one place in New Vegas that absolutely demands robbery. It's run by a crime family, and they're all assholes. But nope, Karma lost.

I'm not the only one who feels that way—in this thoughtful essay over at Extra Credits, Daniel Starkey recently posted about how New Vegas' predecessor Fallout 3 made him confront his real-life stealing. Upon meeting and interacting with the hardscrabble survivors on around the Capital Wastes, Starkey realized that he felt bad about depriving them of their much-needed supplies.

In Fallout, as I encountered different enclaves of people with their own strategies for survival, I was asked to critically consider their lifestyle, understand their perspective and finally judge the rectitude of their actions. It forces us to answer, both from observation and through play, how far we'd be willing to go to survive in the wastes. Fallout: New Vegas takes that core narrative one step further, with more nuanced mechanics and a greater number of "morally gray" agents, the questions posed are both more realistic and more disconcerting.

Who we are isn't always easy to understand. I stopped stealing long before I played Fallout 3, but I only did so to save face. It wasn't until I experienced, in a very real way, the effects of my own actions, that I was able to truly come to terms with what I had done. And in 2008, I began to apologize to all the people I stole from.

An interesting analysis, to be sure. I wonder, though, how much it the Karma system factors into this sort of thing, consciously or unconsciously? In Skyrim, I steal until I'm blue in the face (or rather, red in the hand), and as long as I'm not spotted, no one cares. I do enjoy that kind of loose moral approach, as it makes it much easier to change playstyles halfway through the game.

But then, Karma has been a part of Fallout for as long as the series has existed, and it'll doubtless always play a role. Surely I'm not the only one wandering around New Vegas at this point, so I'm curious if any of you guys think twice about stealing from some folks in this game, or if anything goes? And if you do have second thoughts, does the Karma system play into that?

Games are falling fast and hard this time of year, but there's always time for a little bit more wasteland wandering. We'll have more Return to New Vegas posts up this week.

There's this small problem I'm having with Assassin's Creed III. It's nothing to do with the game itself, actually, and everything to do with me. The problem is this:

Assassin's Creed III is turning me into a kind of obnoxious person.

I've developed this running commentary while the game goes on. It has nothing to do with the game's themes, or characters. It's unrelated to the gameplay and more or less completely unconnected to anything meaningful inside the game. It sounds like this:

"I used to work about a block away from there."
"They haven't changed out those cobblestones since 1773 and they're murder on nice shoes."
"That hill is the Back Bay now."
"That river is the Back Bay now. They put the hill in it."
"Lexington Common looks different when it's full of cows."
"A beacon? On Beacon Hill? I didn't see that one coming."

I grew up in and around Boston, making my home well inside of Route 128 from birth until striking out down the coast for New York City shortly before turning 25. While previous Assassin's Creed games have claimed high fidelity in recreating Damascus, Rome, and Istanbul, the basic fact of the matter is that those cities aren't my home. Boston is.

AC3 certainly doesn't represent the Boston or New England of the 21st century, of course. But the late 18th century setting of the game, a scant 230-odd years in the past, retains much more immediacy than the Italian Renaissance or the Crusades. The creatively imagined Boston-that-was is close enough to my Boston-that-is to give me a sense of familiarity both comprehensible and misplaced.

Games occupy this strange place in memory, where we so clearly go places and explore worlds that never actually existed. Experiences like To the Moon explicitly address this dissonance, but it's true of every game. I can remember how to get around a space station as well as I can remember how to get around my local mall, but my body's only been to one of the two. The mall is real; the Citadel is not.

When game spaces represent real-world spaces, the strange sense of memory gets ever-stranger. I moved to Washington, DC the year that Fallout 3 came out. Controversial advertising sprang up through the city's Metro system depicting a post-apocalyptic Capital, but it wasn't until after the game came out that I felt the full weight of investigating my own ruined city.

The general size and scale of the virtual DC is of course a mismatch to the real one—spaces in games were ever thus—but the details are devilishly familiar. In particular, the ruined Metro that provides the Lone Wanderer a route for getting around a city full of toppled buildings, nuclear waste, and super mutants is uncannily, frighteningly similar to the Metro that federal commuters use every day.

At first, while playing Fallout 3, I'd wander through the game comparing its locations to ones I knew from daily life. But after fifty or so hours of Fallout, a funny thing happened. Instead of comparing game-play time to real-world experience, I began to relate the other way around. While waiting to change trains at Metro Center in the mornings, I'd see a bench in the shadows and think, "That's good cover for avoiding the super mutants," or I'd see a door and think, "Didn't I pick that lock yesterday?"

Two Kotaku colleagues not based in New York reflected that the Grand Theft Auto games had inspired similar deja vu in them. They had played the games first, and then visited the city. On visiting, they handily identified and remembered places they hadn't actually been. As someone who lived a block away from Brooklyn's Grand Army Plaza the first time she came to the neighborhood around Outlook Park in-game, I could sympathize. On that memorable occasion, I'd blurted aloud, "I can see my house from here!"

I can, of course, visit the real Boston—or New York, or Washington DC—at more or less any time, weather and cost permitting. I don't need to see them in a game in order to explore them to their fullest—and even when I do use a game, it's not the kind I can put in the PS3. Exploring a real space, and digitally navigating an imagined space, are never the same thing.

Sometimes, though... sometimes, when game spaces represent real spaces, the uncanny and the real cross over in a very strange way. Through the games I've played, I remember the cities of my heart as places I've never actually known them to be. The tall ships of Connor's era are long since replaced with ugly motorboats, but the next time I stand on Long Wharf, part of me will remember seeing Haytham sail in on the Providence even so.

My first brush with homosexuality was at age ten—and it happened thanks to Fallout 2. Imagine my surprise—being a girl with ultra religious parents—when I saw that given high enough charisma, my female character could flirt and then sleep with a woman named Miria in an early town. Before that I hadn't even considered the possibility of a woman loving another woman. My family never talked about such things.

But then! Should you sleep with Miria in Fallout 2, her father catches you and forces you to marry his daughter. Unless you manage to talk your way out of it, or unless you kill him, you are then stuck with his daughter for the rest of the game. Yes, even if you didn't want to get married. If you're an awful person, you can fix this "problem" by selling her to slavers later. Alternatively, there's always divorce—which you can do in the city of New Reno for the price of one bottle of alcohol. Then you can go wash all that down by becoming a pornstar in the same town.

Sex, gay marriage, divorce—twelve years after the release of the game, California—the state Fallout 2 takes place in—still hasn't legalized gay marriage, and homosexuals are still the scornful subject of the hyper-religious.

In this way, the Fallout franchise has always been progressive, and 2010's Fallout: New Vegas is no exception.

Character-building-wise, you're free to take up the confirmed bachelor or cherchez la femme perks. These allow you to pursue aggressive same-sex special options in dialogue and combat—the results of which make these perks a fan favorite.

Once out in the world, you meet a number of people who are gay, bisexual or more on the 'sexually liberated' side. JE Sawyer, lead gameplay designer of New Vegas, once went on record regarding the inclusion of such characters, "Represent marginalized groups when sensible. Diversity helps broaden the appeal of our media, can add interesting dimensions to thematic exploration, and in some cases may even generate themes that would otherwise go unexplored." Sawyer wrote this on his blog following the ruckus game websites made about Arcade Gannon—one of the recruitable companions, a doctor that you find aiding the Followers of the Apocalypse. A doctor who happens to be gay.

The argument was that Arcade was a great gay character because of how downplayed the "gay aspect" of his personality is. When depictions of gay characters in media likes to err toward the exaggerated, it becomes easy to commend Obsidian for how Arcade handles himself in the game. At best, you have just a few lines that give a nod about his sexuality, and they're not particularly explicit.

But as Sawyer wrote on this blog, it's difficult to nail characters like Arcade. You can't make everyone happy. Some people criticized the idea that the only good gay was one that wasn't in your face about it. Perhaps the best we can do is to make sure these characters are written by people who identify with the backgrounds depicted—because beyond that, what the hell are a bunch of straight people doing arguing about how to write a gay character? Or, more applicably to everyone, how can we possibly postulate the idea of a "correct" way to depict a gay person? Like they're all the same or something? Uh, no.

This stuff is complicated, but that's identity politics for you.

Arcade overshadowed the other companions who also weren't heterosexual—Veronica and Cass. I never met the former during my playthroughs (somehow), but her background story revolves around her sexuality. Being a Brotherhood of Steel member meant that her attraction to women wasn't welcome—the BoS is scarce, and they frown upon relationships that don't allow for procreation. Veronica's lover ended up leaving the Brotherhood as a result, while Veronica was shunned by the community.

The discussion of Arcade made me uncomfortable in that he became defined entirely through his barely noticeable sexuality—as if no other aspects of him existed—and with Veronica, that focus felt less like a circus act. You can't get to truly know her without learning about her struggle.

Cass, meanwhile, is a caravan owner who finds herself in a pickle. You find out about her sexuality in passing much like Arcade, but only if you happen to be a woman with the cherchez la femme perk. She tells you that once she's had enough to drink, she doesn't care who she ends up in bed with. And, if you try to recruit her despite having no room for a companion, she says "Not in the mood for a threesome," shortly following that up with "...today" under her breath. My reaction to that line? Damn.

The frisky business can get more explicit, but what do you expect in Vegas? There's Gomorrah, a casino where debauchery rules supreme and players can help a sex worker escape. In Freeside, if the player goes into the Atomic Wrangler, they can start a quest chain called Wang Dang Atomic Tango. This is the quest where one of the Wrangler's proprietors asks you to find special escorts for his customers. If you take it on, you'll meet a number of escort candidates, including a sexbot called FISTO (whose function I hope is...evident, but if not, hey. The game allows you to test it.) You can sleep with all these characters—if you have the caps. Though I'm not sure I'd brave FISTO given the drill sounds that reverberate in the darkness as you test him. Yikes.

The interesting thing about that quest is how it treats fetishes. While it could be argued that New Vegas doesn't take fetishes seriously, it struck me as more of the tongue-in-cheek, ridiculous post-apocalyptic wasteland shenanigans. At the same time, I wouldn't blame anyone for reading this scenario as almost like, "Hey! Wow! Look at how wacky we are! Look at these fetishes, haha! Fetishes, amirite?"

Ultimately none of these things stuck with me as much as Betsy, a sniper with the NCR who suffers from sexual assault PTSD. As a means of coping, the game argues, not only is she in denial of what happened, but she also becomes alarmingly predatory with other female characters. Like, she can't stop talking about how much she wants women, even ones belonging to the faction that raped her. This is a dark situation, and it's not often that you see a game depict rape without it acting as something that builds character for women, depressingly.

What bothers me about how rape is treated in New Vegas is that it doesn't help with a common belief surrounding lesbianism: that those that turn to it must be victims of rape who need a way to cope.

And yet for all the criticisms I have of what New Vegas depicts when it comes to gender and sexuality, I can't help but stand in awe that it dares to include so many of these things, period. It doesn't get everything right, and I don't think it should get a pass simply for trying. But damn if New Vegas isn't ballsy.

Over the past couple of weeks, I've been returning to Fallout: New Vegas, using the game to patch up downtime between the big releases of the fall. I've got a bunch of mods installed, but nothing particularly crazy.

But if you DO want crazy, you could always follow Youpi's lead and make the game well and truly bananas. In a crazy "let's play" series of videos and images, we are taken through the wild, wooly, modded world of New Vegas, weirder than I've ever seen it.

Some images from the LP:

And of course, one that's probably most common:

Heh. Check out the whole thing at Selectbutton, though be warned: there are a lot of images and videos in the post, and they can slow your machine down. You can see a full list of the mods Youpi has installed here:

Holy shitballs.

Anyone out there play with Wild Wasteland turned on? Would you ever download this many mods and hope to have the game actually run in a reasonable way? Is it only a matter of time before this same kind of thing is possible with Skyrim?

Man. I like modding, but I feel like if I installed all of these, my PC would actually throw up on the carpet. Doesn't mean it's not fun to watch them, though. We'll be back with more random stuff from the Mojave Wastes as my (and maybe some other writers'!) return to New Vegas continues.

Let's Play Wild Wasteland [SelectButton.net]

"Necessity is the mother of invention," the old saying goes. If you've got a problem that must be solved but no proven way to solve it, you're going to have to get creative.

Fortunately for Bethesda, fixing Fallout 3's shooting didn't require a new invention—in fact, it required them to look to the past. When they sat down to make Fallout 3 (the precursor to Fallout: New Vegas), someone at the table must have pointed out the obvious: The current tech that Bethesda was using, a combination of the aging Gamebryo engine, Havok Physics, and other middleware in varying states of decrepitude, was simply not up to supporting an enjoyable first-person shooter. And yet if Fallout 3 was to be a first-person game, it was going to involve guns, and shooting. What to do?

The answer was written right into Fallout's DNA: V.A.T.S., or, the "Vault-Tec Assisted Targeting System," wound up being the perfect solution to Bethesda's shooter problem. It's also the system that largely defines both Fallout 3 and Obsidian's Bethesda-published sequel, Fallout: New Vegas.

Over the last couple of weeks, I've been returning to New Vegas and writing about it. I played twelve or fifteen hours of the game back when it first came out in 2010, but never truly got "into" it. Given that there's no vast open-world RPG this fall, I figured New Vegas might provide a good counterpoint to all the shooting, driving, stealthing and tactics-ing I was doing in other games. I was right.

It's amazing, really, just how well V.A.T.S. works. The action and shooting in New Vegas is remarkably bad; ancient feeling, crusty to a "free demo of off-brand 1994 FPS that came with PC Gamer" degree. Enemies float across the terrain, hovering left and right and shooting you. Your character slowly meanders backwards as your gun's huge iron sights pop up and obscure everything in your path, making it impossible to aim. A couple of melee enemies make a beeline towards you, swinging and yelling, and in about three seconds, you're dogmeat. Non-V.A.T.S. firefights in New Vegas feel jagged, shouty, disconnected, and altogether strange.

And yet with V.A.T.S., battles become distinctive, satisfying, tactical, and even humorous. If only more first-person games had some sort of option that let you freeze time with a button and ponder your options! (Okay I guess they do... the pause button. But that's not what I mean. And bullet-time, while similar, doesn't count—I'm talking freeze time here.) "Okay, this guy charging me needs to be dealt with, so I'll shoot him a couple of times, then I'll have to unfreeze time and reposition over behind that dumpster..."

Double-tap into the dude in slow mo, then make your next planned move, dodging fire as your action points recharge. Whoops, you've been flanked by a flamethrower-wielding lady you missed the first time around! Better freeze time again.

I'm not sure I've ever seen a single system so effectively flip a game from bad to good. Imagine if Fallout 3 hadn't had V.A.T.S., if it had featured real-time combat like Oblivion and Morrowind before it. Oh, the overall game probably would have been fine—the vast wastes, the hidden environmental storytelling, the crusty, lonesome wonder of it all; none of that would have gone anywhere. But it wouldn't have been anywhere near as fun.

In fact, V.A.T.S. makes it a bit tough to go back to Skyrim. I've been picking my way through that game's first downloadable content, Dawnguard, and after a weekend with New Vegas, I regularly found myself hitting RB to trigger V.A.T.S., only to accidentally unleash a fireball on the air in front of my character.

It's a shame, really, that there's not yet a V.A.T.S. mod for Skyrim. Despite plenty of expressed interest over at The Skyrim Nexus, no modders, however industrious, have made it a reality. As much as Skyrim's combat improves over Oblivion, I would devour a V.A.T.S. archery system in the game. Those slow-mo kill-cams even feel like V.A.T.S.—why not just go ahead and build in the rest of the system? Hey modders, you're amazing. Can you put this sucker together? The world will thank you.

Truly, for my energy-weapon totin', headshottin' badass wasteland chick, V.A.T.S. is the alpha and the omega. It's the entire reason she's able to own the battlefield, and it lets me keep the initiative instead of constantly just backpedaling and holding down the trigger.

The "Project Nevada" mod I've got installed ostensibly makes the game more like a first-person shooter, but while it does feel a bit smoother, it still has that janky action-figure feel that makes shooting in Fallout so generally unfun. V.A.T.S. singlehandedly makes Fallout: New Vegas fun.

On top of that, V.A.T.S. makes for great stories. These days, I avoid the "Bloody Mess" perk, because I like the randomness of the aftermath of a V.A.T.S. attack. I fight with energy weapons, so critical strikes often vaporize my enemies. I have to admit, I've always been a bit disappointed by this, since I get a sick kick out of the many goofy ways enemies blow apart in Fallout games. All the same, V.A.T.S. opens up all sorts of humorous and tactical options, given that you can actually effectively target an enemy's various parts. (I do wish, however, that the camera weren't so finnicky and selective—there are far too many times where I'll just be unable to get the damned camera to focus on an enemy's head, to the point where I'll have to pop out and back into V.A.T.S. to make it work.)

So now I'll pause for a second and imagine the future: Can you imagine if the next Fallout, let's just call it Fallout 4, had combat that was actually good on its own? Enemies who use the environment intelligently and are animated smoothly, whose A.I. has gradations and whom you can hide from, re-ambush, and confuse? Imagine an aiming and shooting feel that felt closer to, say, Borderlands 2. Okay, now imagine that on top of all that, you also had V.A.T.S. Suddenly, the system would feel less like a band-aid and more like a garnish. Considering how enjoyable V.A.T.S. already is, I'd welcome that with open arms.

How about you? Any games you think would do well with a V.A.T.S.-like system? Also: I never play as a melee character, but how is that with V.A.T.S.? Does it bug you how using explosives with V.A.T.S. almost never works, since enemies run right past your grenade? Share your V.A.T.S. stories here, folks.

I'll be playing a lot of Need For Speed this weekend, but I bet I'll break it up by continuing my treks across the Mojave Wastes. I'll have more Return to New Vegas posts up next week.