24 years at Bethesda with Pete Hines – “There’s no question that the company is not the same”

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For over two decades, Pete Hines stood alongside Vault Boy and Todd Howard as a prominent figurehead for Bethesda. In his role as Senior Vice President of Global Marketing and Communications, he held an expansive understanding of the company’s strategies and focal points, experiencing both its triumphs and tribulations.

After retiring two years ago, he now dedicates his spare time as a volunteer consultant for those facing challenges in the gaming sector. Recently, I had the pleasure of looking back with him on one of the most captivating careers in video game history.

It all started with a love for a strategy game called X-COM: UFO Defense.

During that period, Hines was employed in the communications department at the American College of Cardiology. Since the internet wasn’t widely available in private households yet, he would often visit the campus library to access the computers available there.

As a dedicated enthusiast, I found myself drawn to the library, inspired by the enchanting X-COM game that had captured my heart completely. Eagerly, I sought answers – specifically, if there were any news about a sequel to this masterpiece. The moment I connected to the internet, my first action was to investigate its potential continuation.

In due course, he discovered a fresh gaming platform named The Adrenaline Vault, where they were seeking volunteer writers. Without delay, he applied and was promptly offered a position on their team. Subsequently, over several years, he balanced writing articles for them while also maintaining his full-time job and pursuing an MBA degree.

I have a clear recollection of our conversation with Bethesda about that job position. Todd Vaughn, who later turned out to be a wonderful friend of mine and currently holds the role of senior vice president of product development, propositioned me with an exciting offer: ‘Would you consider merging your roles and lead marketing and communications for Bethesda instead?’ I eagerly accepted this opportunity.

In October of 1999, shortly following the acquisition by ZeniMax, Bethesda – the publishing company – was relatively compact. Approximately ten employees were stationed within the same department as Hines, sharing a narrow corridor in the main structure.

Just as Hines, my family also lacked internet access in the early 2000s. Visits to video game stores were similar to browsing through a second-hand bookstore, examining cases and searching for novel experiences for my Xbox. One fateful day, I spotted Morrowind on the shelves, its cover reminiscent of an ancient, dusty book. The small snapshots at the back didn’t reveal much, but the description hinted at a fantastical world where you could explore freely and create your own character. Intrigued by this promise, I swapped several old games to acquire it.

Throughout the entire bus ride home, I delved into the comprehensive manual, starting from the beginning and reading through to the end. It was packed with extensive details about various schools of magic, spellcrafting, enchantment, alchemy, character races, birthsigns, and much more. Nothing like it had ever caught my eye before, prompting me to start visualizing my character’s traits even before I inserted the disc into the player.

Pete Hines wrote that manual. 

Hines recalls the company he was part of, reflecting on the old days when Bethesda was small and nimble. “When we launched Morrowind,” he says, “there were only a few of us – just me and a marketing artist. We handled everything together. I even moderated the forums. One day, Todd Vaughn walks into my office and tells me, ‘I don’t have a manual. Someone else tried, but it’s not good. Don’t worry, you’ll do well.’ I had no experience writing manuals, but he had faith in me.

Bethesda stood out for several reasons, one of which was the personal touch in their business dealings. Have you ever encountered someone using the expression ‘it’s not personal, it’s just business?’ I believe such statements are uttered by insensitive individuals who fail to recognize that they’re dealing with other human beings. In Bethesda’s case, my approach was always to blend professionalism with a genuine sense of self and our values. While we were running a company, I never hesitated to let my true character shine and advocate for what I believed was right.

During the initial stages of ZeniMax’s development, when the workforce was much smaller (before it reached its maximum of 2,500 employees), the developers personally prepared the physical product for distribution. This included inserting discs into their cases and wrapping them in shrink-wrap. Todd Hines didn’t become a spokesperson at Bethesda out of a desire for fame; instead, he took on this role due to a unique, comprehensive understanding of the company from both top-level and grassroots perspectives. Despite finding himself appearing at a Fallout 76 press event with a severe concussion, Hines felt it was his duty to ensure the company’s message was effectively communicated.

During a 40-plus soccer match, Hines recalls with a grimace, he received a forceful blow to the side of his head. His wife had to come and fetch him as he was vomiting severely. Despite suffering from a concussion, which doctors advise against exposure to bright lights and loud noises, Hines decided to attend an event filled with people playing video games all day long. He remembers very little about that particular trip.

The devotion and commitment within the company originated from its leadership, specifically CEO and founder Robert Altman, who was greatly esteemed and beloved at Bethesda. During the pandemic, he would regularly send out inspiring, company-wide emails filled with poetry, aiming to uplift morale. In less extraordinary circumstances, he made a point to engage with employees at all levels of the company. Although he was a lawyer and businessman, he understood that video game companies thrive on their talent, a resource he always sought to cultivate.

Robert Altman’s company was where we worked, and there was no doubt about it, according to Hines. However, he made us feel more like family members rather than employees, and we thrived in the unique culture that resulted. When things were running smoothly, it was nothing short of magical. As a small, private firm, we avoided the scrutiny that comes with public earnings reports. There’s no denying that the company has undergone significant changes since then. It has been dramatically transformed from the one we had created. Regardless, change is inevitable, and things evolve over time. But at its peak, it was truly a remarkable experience to be a part of it.

In those joyful times, during the holiday season, when their festive gatherings took place at Dave and Buster’s and Altman distributed bonuses in small envelopes, the company championed honesty and integrity as its core values. That is, stick to your promises, and make sure to be clear about future actions. Occasionally, they might have missed their target, but their intentions were always honorable. It can be challenging to maintain focus on a moving goalpost.

Todd Howard emphasizes that at their company, they believe games aren’t truly great until they’re played, not just made. In other words, opinions about what makes a game good only matter when players actually experience it. This is because the ultimate definition of a game’s quality lies with its players.

For example, Oblivion underwent multiple changes to its combat system during development, which shows that they were unsure if the final version would be well-received. As such, they choose not to reveal too much about the combat mechanics, preferring instead to focus on aspects of the game they feel will connect with players.

In the process of creating Dishonored by Arkane Austin, a game known for its intricate systems and unpredictable interactions between player abilities and game world rules, an interesting event occurred. A quality assurance tester was testing fall damage limits by making players jump from great heights to see if they could survive. One day, during such a test, the tester used a power during their fall and inadvertently possessed a fish, essentially taking control of the fish rather than acquiring one. At this stage, the developers weren’t aware that you could possess fish, as it was initially designed for rats and humans. However, the game’s design philosophy, which encourages immersive and unconventional interactions, led to this peculiar incident. Instead of fixing it as a bug, the level designers seized the opportunity to incorporate secret underwater passages through levels, enabling clever players to infiltrate buildings by swimming up drainpipes like a slippery fish.

Initially, the importance of water in the game was insignificant; however, Hines explains, it has become crucial when he stated, “We’re not taking that out.” This shift necessitates a focus on fostering player creativity within the game. The challenge lies in narrating a story about an evolving project without mistakenly identifying which elements might change along the way.

Back in the day, before I stumbled upon the captivating world of Dishonored, Bethesda was undergoing its own transformation. They were dabbling in publishing third-party titles like Rogue Warrior, Wet, Sea Dogs, and a slew of other games that didn’t leave much of an impression, even on rentals from Blockbuster. The caliber of these games started to shape Bethesda’s reputation. To make matters worse, the legendary Skyrim developers at Bethesda Game Studios (BGS) weren’t even called BGS yet; they were simply known as Bethesda.

Hines expressed his discomfort about the ongoing confusion surrounding Bethesda developing a new game, with people assuming it was Todd Howard’s team. He felt frustrated by this, commenting, ‘Why do people keep thinking I’m the one who made Sea Dogs or similar games?’ As a response, they decided to establish a different name for their studio and publisher. However, this didn’t seem to solve the issue. People persisted in linking everything back to Bethesda, constantly referring to ‘Bethesda this’, ‘Bethesda that’, ‘Bethesda, Bethesda, Bethesda.’

In 2009-2010, I found myself thrilled as Bethesda embarked on an expansion journey, acquiring renowned game development studios one by one to strengthen their in-house talent. The acquisitions started with the legendary Doom creators, id Software, followed by Arkane Studios, Tango Gameworks, known for The Evil Within, and Wolfenstein’s MachineGames. It seemed like these studios shared a common creative thread, a mutual appreciation for similar gameplay elements. They excelled in crafting immersive first-person experiences, incorporating systemic design elements, and focusing primarily on single-player games. Bethesda carved out its unique identity as a publisher by releasing games that other companies were not venturing into. It was reassuring to see that Bethesda preserved the teams’ integrity post-acquisition, allowing their individual styles to flourish within the Bethesda family.

Hines stated that it was significant, referring to the high regard they held for id Software’s work. The conversation wasn’t about acquiring them but rather collaborating, similar to MachineGames and Arkane Studios. It started with expressing a desire to create something together, acknowledging their admiration for what id Software produced, and recognizing shared traits. Additionally, the opportunity to work with Shinji Mikami, the creator of Resident Evil and founder of Tango Gameworks, was not one to be refused.

As a gaming enthusiast, stepping into QuakeCon feels like diving headfirst into a vibrant Bethesda universe! This annual event, named after the legendary arena shooter, has grown beyond expectations, now showcasing all Bethesda studios and their games. The shared design principles between these studios create a unique synergy that’s palpable in the air. After getting hyped up on Bawls energy drinks, I can say that gamers who flock to QuakeCon for the thrill of the original game are just as eager to discover what other delicious Bethesda creations are cooking up next!

Initially, we began developing our own proficiencies and fostering internal knowledge, rather than relying on external collaborators who might have their own conflicts. This proved beneficial as it enabled us to engage in discussions, such as comparing gun designs between Bethesda Game Studios and id Software, for instance, to learn how they create guns that feel heavy and powerful. We strive to give them creative freedom while ensuring we care for our team members who have personal responsibilities like careers, families, tuition, and rent.

As a passionate gamer, I’ve experienced firsthand how Bethesda prioritizes the well-being of their team. This became particularly evident after Todd Howard, a key figure at the company, expressed burnout due to how they managed E3, the annual gaming event in LA. The grueling schedule of back-to-back appointments for an entire week, where the same gameplay section was shown, left everyone feeling drained.

However, for Fallout 4, they took a different approach. Instead of presenting numerous demos to the press and public each day, they only showcased one demo live on stage, giving us a single, comprehensive segment to analyze. This not only eased the schedule for the team but also resulted in a more enjoyable experience for us gamers, as we got to see a larger portion of the game at once.

This flexible company structure allowed Bethesda to challenge convention, driven by their belief in their games and the talented individuals who create them.

‘We’ll do just fine.’

What made it so enjoyable was our exceptional skill at it, as evidenced by the awards we’ve garnered, the top-tier talent we’ve recruited, and our commendable approach. I desire to be affiliated with a team where I can confidently showcase our methods to outsiders without any reservations.

Upon reflecting on his career, Hines admits to having few regrets when one takes a closer look and parts the veil. However, a specific canvas bag continues to be a lingering issue for him. Initially, The Fallout 76 Power Armour Edition was intended to include a high-quality canvas West Tek bag; however, buyers discovered upon unboxing that they received an inferior nylon bag instead. Bethesda then updated their website’s description, blaming the switch on increased costs of canvas and offering a meager amount of in-game currency as compensation. Eventually, players received the promised item after a seven-month wait. Interestingly, Hines himself found out about this mix-up on the very day his own Collector’s Edition arrived.

Initially, Hines expressed surprise when he noticed a canvas bag included in the collector’s edition, as it wasn’t part of the original design he had approved. The team added the canvas bag to enhance the value of the collectors’ edition, but this decision often led to disagreements with the finance department regarding pricing. Hines frequently objected to the high price tag, arguing it was outrageous. However, in this instance, the team’s intention was genuine, as there was a shortage of canvas and they had to make adjustments. Unfortunately, Hines failed to act swiftly in ensuring that those who wanted a canvas bag could receive one. Looking back, he admits it was a foolish decision not to address the issue promptly, especially since he wasn’t informed about the inclusion of the canvas bag or the shortage ahead of time.

After 24 years with the company, Hines’ response left me taken aback. In just three months on probation, I’ve made blunders that were more substantial. It certainly leaves one questioning his feelings towards Prey.

After the game Dishonored, developed by Arkane Austin, came Prey, described as a spiritual successor to System Shock. In this game, players engage in combat against extraterrestrial beings on a sprawling space station. To outsmart and overcome significant obstacles, players utilize both their intellect and special abilities. Prey boasted numerous innovative ideas, ranging from the layout of the space station to the unique powers that could be harnessed – including the popularly advertised ability to transform into a coffee cup – and offered an entirely novel concept, despite similarities in design principles and science fiction setting compared to System Shock. Initially, Arkane had several title suggestions for their game; however, Bethesda preferred using one they already owned: Prey.

The title “Prey” carried a significant history. Initially, there was an existing game called “Prey,” a first-person shooter that had Native American themes and included puzzles. It had a strong following. Later came “Prey 2,” developed by Human Head Studios, where players took on the role of a human bounty hunter amidst alien civilizations. While it sparked much interest upon announcement, its development was halted as Bethesda sought higher quality standards and the game was cancelled. The new “Prey” by Arkane is unrelated to both previous games, which caused confusion among new players and frustration for fans of the original or eager followers of the cancelled sequel.

Hines responds with a sigh when I inquire about a certain topic. “I stirred up quite a bit of internal opposition over it,” he admits. “Being the leader, I had many team members from branding, PR, and community management who felt we were saddling the game with a name that required more explanations than discussions about the actual game. The name Prey consumes so much of our conversation time, which I believe is energy wasted on discussing why it’s called that rather than focusing on the game itself. I wish I had won that argument, but let me assure you, I put in every ounce of my effort to change people’s minds about it. My main concern was that we spend too much time talking about what the game isn’t, instead of its features and potential positives.

As a fervent admirer, I can’t help but share my thoughts on the simultaneous announcement and release of Tango Gameworks’ Hi-Fi Rush. Perhaps Bethesda aimed to bypass speculation about a survival horror studio venturing into rhythm action games by simply presenting it for our enjoyment. As Xbox claims, the game was another triumph, amassing three million players. However, in this era of subscriptions, one might ponder what truly constitutes success. Three million players equates to a vastly different scenario compared to three million sales. A year post-launch, both Tango Gameworks and Arkane Austin, the minds behind Dishonored, found their doors closing (fortunately, Tango was resurrected by Krafton), along with Arkane Austin, which debuted its Xbox Game Pass title, Redfall, in a similar fashion.

Hines explains that he no longer works in these companies and therefore some of his previous knowledge may not be current. However, he was involved enough to recognize certain short-sighted decisions made several years ago, which seem to be having the predicted impact now. He suggests that subscriptions have become a controversial topic, as it appears you can’t buy a product anymore – only a subscription that relies on content. If the needs of the service providers and content creators aren’t balanced, the subscription will not be successful. Hines emphasizes the importance of acknowledging, compensating, and valuing the work of content creators, as they are crucial to the success of any product in this ecosystem. Unfortunately, many content creators are being negatively impacted because their efforts aren’t properly valued and rewarded within this system.

In essence, music trends suggest that shorter pieces with catchy hooks are becoming more popular due to their compatibility with Spotify’s algorithm, leading musicians to optimize their work for wider audiences in much the same way as SEO is used for websites. As our attention spans dwindle due to bite-sized content and TikTok clips, it seems inevitable that game developers will face similar challenges, needing to compete for our fleeting attention and shrinking budgets by adapting their art. This conditioning is a result of the attention economy being at its worst, with people increasingly preferring vertical videos, live events, crossovers, and games that never end. Essentially, we’ve been trained to expect continuous updates and unending gameplay.

Hines expresses that people generally dislike repeating the same tasks continuously. He adds that the monotonous process of serializing something isn’t appealing either. Bethesda, for instance, didn’t limit themselves to just the Elder Scrolls series, right? For some time, we were mainly focused on it. However, Todd Howard suggested expanding our creative horizons by venturing into other territories, such as Fallout. This diversification would not only refresh our perspectives but also enhance the quality of our Elder Scrolls games.

In the 2000s, there was a demand for Bethesda Game Studios (BGS) to continuously produce Elder Scrolls games. However, Hines, Howard, and their team at the studio resisted this pressure, instead focusing on giving themselves creative freedom. With each new Elder Scrolls release, they scrapped everything and started anew, meticulously redesigning every aspect of the game to offer a fresh player experience. If BGS hadn’t experimented with different genres and experiences, the beloved series would have become repetitive, similar to Call of Duty.

It’s essential for developers who aim to work on multiple projects throughout their careers, as they might move to different studios if not creatively fulfilled. Regardless of your focus on financial gains (as a ‘suit’), it seems wasteful to discard the skills and knowledge you’ve accumulated over the years. Nurturing the talent of artists to refine their craft and explore new ideas is an investment in our future, ensuring we create higher-quality games.

Hines states, “Those who craft the games are individuals, not just workers.” He continues, “While they are employees, if you don’t recognize their humanity first and foremost, then I believe you’ll struggle to comprehend what drives them. These are imaginative artists, coders, and designers, who yearn for more than being confined within a narrow space, repeatedly painting the same scene.

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2025-09-05 17:22