To get a better sense of what FO3 needs changed, added, or taken away, I tried my best to look at it objectively, forgetting my interminable lust for the originals.
Personally in any RPG I look for: Plot, Character Development, Player Choice, and Player Impact
Alright, I can look past most of what Kevin Spiess said on
http://www.neoseeker.com/news/9147-commentary-11-ways-fallout-2-was-better-than-fallout-3/ . The biggest two disappointments are the quests and the dialogue. Here's some things Fallout 3 did right, which took hundreds of hours playing to realize:
The main quest was actually rather exceptional from a plot-line point of view. The protagonists and antagonists were more than one sided. Stuff brewed under the surface. There were hints about Dr. Li having some emotional attachment to "Dad," there were abandonment issues (unfortunately nothing the player could do to help overcome or exacerbate these issues) Eden vs. Col Autumn was great. Regrettably there was no boss fight, but the bad men had motivation, and weren't being evil just because they felt like being evil. When it comes to motivation, it was all perfect symmetry. I mean really, taking villagers and dunking them in vats to make supermutants. . . just why? Why could you possibly want to keep doing that. . .? Creating a source of pure water! Brilliant! Brilliant I say! It at least explains why there are so few settlements. It's not trying to bring about world peace, or save the world from some phantom world-destroyer, but it's something a team of scientists can do to create some massively important and good change in the world. Although it doesn't answer the question. . . "if people need pure water, how does everyone survive without it?" problem, but that's something I'm willing to overlook, and is certainly never apparent to the point of destroying the immersive illusion. The only real disappointment I faced in the main quest was there was so much more that could have been done about attachment/abandonment issues (maybe daddy never came back to get the kid from the playpen and after about ten minutes of wandering around wondering why nothing was happening, just as the player was about to reach frustration someone /else/ came rushing in. . . or maybe the kid found his way out and found beatrice or somebody, and the whole leaving the vault thing to find dad should have been done because the player chose to rather than being chased out and then finding dad just because), and talking Eden into blowing up Raven Rock and destroying itself was extraordinarily too easy. "You know because you know? That's circular logic. It makes no sense." "Aha! You're right, I will now destroy everything I was programmed to stand for." For the love of god. . . Just make that harder. Force me to fight some anti-Liberty Prime type thing or something first. Or at least make me go through some dialogue screens a dozen times. Anything. Destroying an enemy base should not be that easy, although having the enclave there all attack you was a bad decision unless you're sneaking around killing them off (which I did first play though, and I thought I provoked Col Autumn into rescinding Eden's order not to touch me. Man was I pissed the next playthrough). Letting the player walk through the enemy base unmolested would have actually been a very unique and interesting idea.
So general plot aside; FO3 is lacking in all other three areas. The previous games set the bar so high in these areas that no game Black Isle didn't make even bothered to try to reach it.
1: Make NPCs notice companions. (Of course to really add depth, increase the number of companions available, then we add in the layer of NPCs interacting with eachother as well as the player, because I hate it when games force me to be the center of the universe instead of making me bust my balls just to ascend beyond mediocrity).
This Fallout is better related to Fallout 1. I first noticed in Fallout 1 (after I played Fallout 2) that Ian doesn't say anything new after you get him. Nobody really notices him. He's not as cool as Cassidy, but neither are as interesting as Vic. Pardon that I never took the time to attain a neutral karma, as that sort of thing is impossible if you want to complete quests and not micromanage it either by slaying hordes of innocent people (I killed every single unnamed person in Megaton, and Nathan, and ate their corpses because I cheat a little sometimes, stole everything I could find before I turned evil after only finishing the introduction in the Vault just so I could get Jericho and Clover, so btw; killing people should decrease karma more), so I never got Butch or the robot as companions, because neither were interesting enough to manipulate Karma by cheating, though Butch is a more interesting character just because he asked my help during the escape after being such a dick (which was, actually rather brilliant as well. I saw him coming around the corner and thought -- this is gonna be good. Time to pay. Wait. What? You need my help? Well go to hell! Wait, it's for your mom? . . . God damn you Butch. Alright). That said, while acquiring the companions was roleplaying pleasure (Charon kills his last employer, Fawkes is spraying everything he can find because I was the first person in his life to be nice to him--still should have been played up--even buying Clover), but after that they only existed in one liners that only stood out when inappropriate (This place is dangerous . . . the citadel. . .) and to shoot things and carry loot. Cross was so boring I never bothered. When not cheating they all look exactly the same in power armor since they can wear it and I can't most of the game, though I never do because I think it looks like crap, and the biggest thing; nobody in the world notices them. You'd think strolling into the citadel with Fawkes would evoke some mention from the mutant hating brotherhood, but no, it's apparently so day-to-day nobody thought to bring it up.
How about any number of scenes where clover might try to pick a fight with any woman the PC talks to (could happen whether or not the PC is male. . .) It would be annoying, but it would be clover.
Jericho might try to hustle one of the brotherhood of steel. Or a random scavenger. I mean, I gave him a thousand dollars, maybe he just, all on his own, tries to use it in one of those classic con artist manuevers. Or just occasionally randomly whacks a friendly scavenger.
I guess Cross could talk to Dr Li and have some one on one time or something. I don't know.
2: Make Companions interact with the story.
While in a half-deluded state of awake while trying to go to sleep, I had this idea. Say Jericho and the PC are in a bar, drinking whiskey, smoking cigarettes, and the PC tells Jericho about this girl back in the vault who he never told her how he felt. Or he could tell Charon, who'd probably be even less sympathetic than Jericho, or Clover who'd get jealous, or Butch who'd maybe say he felt the same way about her, or Fawkes who'd be remarkably intrigued by this emotion. Depending on what happens in that scene may trigger another companion intervention when he sees her in the vault again and she's telling him to leave. Jericho might say, "tell her, or Imma put twenty rounds in her just to remind you." Clover might attack her on sight. Charon might do something un-charon like. Fawkes might say something widely inappropriate and reminiscent of the scene in Transformers when the one autobot says "the boy's pheremone levels suggest he wants to mate with the female" and everybody gets uncomfortable, something like that. The key to any art is the evocation of emotion. The key to a roleplaying game is player-generated or player-defined emotion. Dad was great yeah. bonding over shooting stuff at first play through was something special. watching him die, only saying "run," kinda sad. Of course I didn't have anything to do with those things, so the easy defense was "well, that's the game." The trick is, "I chose to tell Jericho in the bar that I had feelings for this girl, now he's inspiring me in his own way to act on them." Wow, simple.
3: Quests:
We need more man-whoring (or just whoring). More ways to solve problems. This is difficult because most problems are very involved one-shots. There is no way to solve the galaxy news quest other than get the dish, put it in the tower. There is no way to deal with the bomb besides disarming it and blowing it up. The whole Harold the tree god thing had the most options, but were entirely superficial because you /do/ the same thing, go to the heart and click an option. You can't screw the slaver to get Vic out. You can't talk the slaver out of being a slaver. Your options in the game seem to have very little effect on the world (except whether to blow up megaton, and tenpenny tower's ghoul problem). You can buy the kids, help them escape, or murder every slaver in town, but in the end it changes little. You're either out 2k, or all the slavers are dead, or not.
Another thing is the volume of quests, and their use to add complexity that was prevalent in FO2. This wasn't about, "I need this, go get it/do it. This is, I want to screw this person over. Help me." Then you have the option to do some of that, or sell out and help the other guy.
One potential way to fix this in FO3 is to add quests with available characters. There's plenty of stuff brewing already between the Brass Lantern guy and Colin Moriarty (who's name and reputation are rather misleading since you lose karma for stealing his stuff). So why not rip off an old favorite and destroy someone's whiskey still.
Here's another thing. . . there's so many dungeons in FO3 that have no point other than to be dungeons of killing and looting. Minefield is at least interesting. . . I could have done without Moira pointing it out to me. There's some crazy survivalist named Arkansas (though I wouldn't know it without seeing his name in red letters or the Slaver quest to mez him), sniper in the tower, put mines everywhere, but he didn't stockpile any food that I can see. . . there's no family he's protecting or anything, he doesn't say anything. . . what the hell is the point of this. . . but at least I can imagine he's a crazy survivalist. So the best I've got is a situation where I can pretend something is going on to suggest an intelligence behind the activities of one guy you start out being hostile to, other than captives that everybody likes to eat.
The vast majority are just raider outposts. There was only one raider outpost in FO2 that I saw, and it was all it needed (and yes, if I wear Raider Armor I want them to think I'm one of them, so at least I can kill them in their sleep). FO3 has built in random encounters; use more of those for raider attacks, and take out all the stupid little camps. More than that is just redundant. Take them out, please. Put in NPCs who are doing something productive. Or at least less less repetetive. It's like driving down a back road in ohio where you see cow, after cow, after cow, after cow, after cow, corn field, cow, cow, some soy, cow, cow, cow, cow. Think of raiders as a seasoning. There's too much salt in this game. Killing in this game is fun. But not that fun. Not when I see the same head come off the same torso the same way a thousand times. I like to kill for a reason. Leave random combat to random encounters. If I want to play an FPS I'll play Call of Duty. Hell, Call of Duty is better at giving you reason for combat. I want the choice not to kill people. Otherwise I'm just reacting. Playing a character, to me, is about /acting/ being /proactive/ or taking the initiative. You don't go down into the molerat cave in junktown for fun, you go down because it's messing up the town. If Lucas Sims said, "there's raiders keep attacking us from the outposts at the school, the bed and breakfast, this other place, here, there, he could give me a laundry list but at least I'd be slaughtering for a reason and it'd be my decision.
Here's this for a quest--straight from Baldur's Gate II: Make 20000 and give it to somebody. Turn 3 Dog into a double-dealing bastard, it'd be better than the one-dimensional loudmouth he is today. Don't give any direction, or any sense of purpose behind it. Make me 20k and I'll talk. I need it for the good fight. And this hooker I've been seeing. Nope. Can't talk past this one. Can't screw past it either. Go out there and do whatever you want. Now that's open-ended. Hell, make the money hooking to the brotherhood, who cares? Maybe that's the only quick way, and only real incentive to play a female. Make it a minigame, get extra caps for pillow-talk. Seduce the poor johns, make them fall in love so they empty their pockets quicker. I really like this idea actually. Run a gun smuggling cartel. Sure gun runners are everywhere, but think more "Lord of War" kind of stuff. The caravaners in the game don't have a problem trading at paradise falls right now, but imagine if they just skipped that stop, and those guys were willing to pay a lot for guns. Wouldn't have to do anything really wrong. . . just barter. What the weapons are used for aren't your concern, are they? You could do a lot with the ramifications of either choice.
4: Geckos.
I want Geckos!
5: Settlements:
We need more of them. They need to be bigger. They need to have interesting people, choices, whatever. New Reno was easily where I spent the most of my time because you had to pick and chose between five damn families and you could do most of the quests for each of them before making up your mind. You could shoot, screw, stab, and/or scoundrel your way through them. Take scoundrel to mean whatever you want, I only said it because the other three started with an S.
6: Reputation.
Alright. FO3's got a decent gig with 3-dog calling you something else every time you gain a level. But really. . . that's also game generated, not player generated. I didn't become a porn star in FO2 for the money, it's about one thing--R-E-S-P-E-C-K. Respeck! (since that doesn't translate well in text, sound it out for yourself. No no, out loud. Okay. There you go. Got it?) People recognize you for the things you do. If I massacre paradise falls, I want them to call me the Liberator everywhere, rather than having random people give me things and say I'm a good guy. A DC 35 check on explosives in the beginning of the game is the only thing you're ever known for right now. And that's boring. I want a ring of prize fighters, I want to duke it out hand to hand, even though I get VATs and the opponent doesn't. Then I want people to call me by my stage name. They actually did that in Oblivion, but somehow they couldn't do it in Fallout. If I sleep with everything that walks like the Witcher on steroids, call me a gigalo, I'd deserve it. If I'm a well known slut, hey, have every single guy in rivet city pinch my character's butt as she walks by. Because then I know my choices have made some impact on the game.
By the way, there's a whole lot more that can be done with the Temple of the Union. Just imagine the possibilities.
7. The difference between right and wrong.
Some things are just wrong. They're injust. A toddler knows them. Animals sense them. Sure, I may play a character who murders a nameless megaton NPC in his sleep because I like the way his outfit looks, but really. FO3 has some characters that form the basis for a really unique and deep perspective on the difference between good and evil. The Enclave is a shade of gray. They really want to benefit humanity by their actions, they just happen to feel their the best people to lead the way, and if they have to kill people that's collateral damage. No government on earth is any different. But there's shades of true black out there. It may be too dark for even a game with a Mature rating to publish officially. But slavery's a real thing, as is genocide and rape. You get megalomaniacle psychopaths who happen to have an ounce of charisma and they just run with it. It starts out as a lie, but people buy it. Think now, who really built Tenpenny Tower?
Here's an idea for an optional "Emerald Weapon" sort of scenario. Alistaire Tenpenny is the leading purchaser of slaves. Sure, Paradise Falls catches them, and sells them I guess, but who better to use them? And why stop at running the ghouls out so they'll stop trying to get in. How about; there happens to be some resource down there. Slaves can be out there trying to plant fields in irradiated land as well, of course, and rightly should, but really, how about giving true evil some depth. Then maybe there's the evil side, instead of murdering Alistair for his evil you want some of that juice, kill eulogy for him so Mr Burke can take over paradise falls on his behalf. But meanwhile you have to look into the eyes of the slaves who get brutalized and know there's no turning back. Of course, when you see that little girl from little lamplight up in his suite, who you helped to kidnap. . . and you just know what's going to happen to her. Well, that could be a good point to initiate the option for redemption. Three dog could interview you about it, that'd be sweet. That kind of emotional depth would give me reason to play an evil character. Ah, and the complexities you get when you have companions too. . . imagine Jericho looking at Bumble sitting down, with some robot butler telling her she needs to wear this or that, be brave, not to cry, and Jericho saying, "I've done some fucked up shit. . . but this. . .?"