Democracy is on the brink of collapse. Caesar’s Legion, the authoritarian slave state across the Colorado River, has launched a massive assault on the last, best chance for freedom in the post-apocalyptic world of Fallout. It’s a grim certainty in Old World Blues that the New California Republic will fight Caesar’s Legion: they’re the wasteland’s two superpowers, diametrically opposed ideologically, each expanding towards the other. I just thought I was better prepared. While Caesar was annihilating every ill-defended tribe to the west, I was rearming, inviting new states into the republic, and admittedly annexing a few tribes myself. With the game paused, I assess my options, reorganise my armies and ask, finally, does democracy die in 2279?

Old World Blues is a mod for Hearts of Iron IV which transports the World War II grand strategy game hundreds of years forward into the post-apocalyptic American west coast of the Fallout series. Players select a faction in the year 2275 and attempt to survive and thrive in the west coast wasteland. Structurally, it’s similar to Hearts of Iron IV, but the content and style has been transformed. Old World Blues is tremendously fun, comparable in quality to the standard Hearts of Iron IV game, and it does a terrific job of translating Fallout to grand strategy. (more…)

Since its foundation in 2003, Obsidian Entertainment has worked with seven different publishers. Commencing with LucasArts on Knights of the Old Republic II, Obsidian has since signed contracts with Atari, SEGA, Bethesda, Square Enix, Ubisoft and most recently, Paradox Interactive. In fact, up until Pillars of Eternity [official site], every single game Obsidian had made was funded and distributed by a different publisher.

This is a highly unusual state of affairs, and has proved precarious more than once in the company’s history. But it has also provided Obsidian with a unique insight into how the world of publishing works, and how the relationship between developer and publisher has changed in the last couple of decades. This topic is especially pertinent today, as new methods of funding and distributing games have seen a significant shift in the power dynamic between developers and publishers.

I spoke to CEO Feargus Urquhart about how it all works (and doesn’t).

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