Simultaneously setting the bar for both depth of storytelling and versatile, reactive dialog.

This and its predecessor demonstrate an excellent implementation of turn-based combat, with guns no less, in addition to showing the importance of setting - it's not just post-nuclear, it's retro 50's post-nuclear, and it's those kinds of details that can pull people in. Fallout also has a few lessons on how not to do things as well - such as fair and realistic treatment of evil actions, for one.

Aside from a fantastic turn-based combat system, this game is a plethora of examples of what not to do. First and foremost being: Never work with publishers. Ever. Second, this game shows the value of having at least decent content outside of combat, typically in the form of story and character. Because without it ToEE grows boring quickly, in spite of its potentially addictive combat.

THE game that manages to be epic, moving, and utterly hysterical all in equal measure.

Among other things, like more turn-based combat, Wizardry 8 showed me the importance of character. Despite having the same dialog system as Morrowind, Wizardry 8 was multitudes more fun, because it had interesting characters, both player and non-player. Every character that could be spoken to was unique and interesting. Meanwhile, Morrowind's relentless barrage of lifeless characters put it only slightly ahead of watching paint dry or grass grow (though if you can manage to watch both at the same time Morrowind's toast).

Setting the standard for party members that truly feel alive and aware, reacting and interacting with each other to a staggering degree considering the number of party members available. All the more motivating with the knowledge that I - no, we, as an industry, can and eventually will do better.