StingingVelvet: Also when people say Fallout 3 is terribly written they're mostly talking about dialog, not plot or world design.
So those people pick what they judge so it suits their preference.
If people bring up bad writing for Fallout 3, and when presented with examples in Fallout 2 respond with "well, I didn't mean
that type of bad writing", that's bollocks.
StingingVelvet: it's the dialog and choice and consequence which suck. In those areas New Vegas is a massive improvement.
I don't know about dialog. Didn't strike me as that bad, though not memorable, either. It could suck, that's something I'd have to replay the game for, so I'm not going to defend that blindly.
But I think choice and consequence was explained here quite well, too. There's a lot of choice/consequence in the game, the choices are just less grandiose and the consequences not always immediately visible. You're generellay more acting on a small scale and don't make any sweeping decisions about the wasteland as a whole. But how is that a bad thing? I see that more as a matter of preference, not one of quality. Unless I misunderstood the argument, if anything I'd say it works rather well within the rest of the game.
MadalinStroe: That was an actually twisted good conclusion to the quest, though even then I remember feeling like, there weren't any hints at that being a possibility happening. Were there any warning signs? Or are we calling twist 'deus ex machina' endings good.
Basically everyone involved hates eachother. A lot. Roy also spills the beans about his plans to kill the inhabitants, if you decide to help him. So the whole outcome should probably not be extremely surprising. You might have incomplete information in that situation, but it's not a deus ex machina.