the great journey fallout new vegas

Come Fly With Me

(1) Head to the REPCONN facility west of Novac to investigate rumors of ghoul activity there. (2) Enter the facility and discover the source of the ghouls. (3) Head upstairs to meet with the owner of the voice from the intercom. (4) (Optional) Search the nearby room for the Stealth Boy shipment the Nightkin are looking for. (5) Speak with Jason Bright, the leader of the REPCONN ghouls. (6) Get rid of the Nightkin in the basement. (7) (Optional) Return to Davison with news that the Stealth Boys are not in the REPCONN facility. (8) Report to Jason Bright that the Nightkin are gone. (9) Head to the REPCONN basement and talk to Jason Bright about what comes next. (10) Speak to Chris Haversam about fixing the rockets. (11) Find parts to fix the rockets' thrust controllers. (12) Find atomic fuel for the rockets. (13) Return to the Rocket Facility and give the parts to Chris Haversam. (14) Return to the Rocket Facility and give the fuel to Chris Haversam. (15) Talk to Chris Haversam to begin preperations for the rocket launch.

Important Items...

Jet (x4), Med-X (x5), Doctor's Bag (x3), Stimpak (x10), 5mm Rounds, Frag Grenades (x3), Energy Cells, 5.56mm Rounds, .357 Magnum Rounds, Frag Mines (x4), .44 Magnum Rounds, 9mm Rounds, Cowboy Repeater, .308 Rounds, 12 Gauge Rounds, Flamer Fuel, Bobby Pins, Super Stimpak (x2), Carton of Cigarettes (x2), Pack of Cigarettes (x3), Bottle Caps, Stealth Boy (x2), Microfusion Cells, Purified Water, Steady, Mentats, Thrust Control Modules, Isotope-239 Igniting Agent.

Earning this side quest will require you to speak with Manny, who is the "daytime sniper" up in the dinosaur statue's mouth in the town of Novac. Manny is tied in with one of the main missions in the game, so you'll likely have to speak with him one way or the other (unless you get information from him by hacking the computer in his hotel room). When you speak with him, you'll learn about a factory due west of Novac called the REPCONN Test Site. Novac residents scavenge from the factory to eek out a living, but Ghouls and other monstrosities have taken the site over. Your help is required to clear it. Offer to help, and once the side quest is undertaken, begin your voyage down the highway heading west.

Your voyage westward will almost certainly bring you to some sort of abandoned post blocking your path forward. There may be some Ghouls roaming around here that you'll have to kill, but even more striking are the Nightkin corpses you find all over the place. These menacing Super Mutant-like creatures won't have much to surrender to you, but this post certainly does. Scour the shelves, boxes and crates all around for Jet , Med-X , Doctor's Bags , Stimpaks , and plenty of ammunition, including 5mm Rounds , Energy Cells , 5.56mm Rounds , .357 Magnum Rounds , Frag Mines , Frag Grenades , and more. You can even find a Cowboy Repeater to add to your inventory. This is a great place to bulk up your ammo and curative item inventories, so don't pass up the opportunity.

Eventually, the gigantic factory you're seeking out will peek out on the horizon. Begin to run towards it. You'll run into the gigantic rocket model in front of the factory first, and this is likely where some Feral Ghouls and Feral Ghoul Roamers will begin to make more regular appearances. The former are extremely easy to kill, requiring only a headshot or two to down. But the Roamers are another story entirely, since those guys are a bit more robust in the hit point and defense realms. Nonetheless, it may be a good idea to draw out what enemies you can by circling around the compound as much as possible before approaching the building itself. Thinning the Ghoul ranks here will only make your job easier a little later on.

Eventually, closely approaching the factory's outer walls will be inevitable. You should be able to sneak through a gate to access this location. More Feral Ghouls will be drawn out at this time, so use VATS to effectively kill them as you explore. You'll find some more items, mostly in terms of ammunition, including Flamer Fuel , 12 Gauge Rounds and .308 Rounds , but little else. You'll notice that there are two doors into the factory itself. There's a small door on the side of the building, and a larger door at the front end of the building. This is the main entrance, and you should take this door to the building's interior in order to continue.

As soon as you head through the front door, a Ghoul will speak with you automatically through a nearby speaker. He won't identify himself, and he won't tell you why he wants to meet with you, but he will tell you how to find him. Before we do that, of course, we have a pretty extensive location to explore. Expect a few Feral Ghouls to attack you as soon as you enter the lobby of the building. Once they're downed, you'll be relatively safe until you start to explore the many rooms around you. For starters, head to the right side of the lobby (behind the counter) and explore the bathroom there. A medical box on the wall should give you some Bobby Pins , Stimpaks , and a Super Stimpak .

We won't hold your hand through the minutiae here, because there's nothing mandatory to do for the time being. We will alert you, however, that there's plenty to see in this building. You can explore the floors above you, accessing them via either staircases, or fallen pieces of floor that act as makeshift ramps leading upward. You'll encounter lots of locked doors when you walk around, so pick them open when you can. You won't find anything too crazy as you explore, but being thorough should net you random items like Stealth Boys , Microfusion Cells , Purified Water , Steady , and more Cartons of Cigarettes and Packs of Cigarettes (which are good, light items to grab to sell later). Keep in mind that Feral Ghouls and Feral Ghoul Roamers will be encountered all the while, so you'll want to be very careful.

To continue, though, you're going to need to meet up with a couple of characters that are integral to advancing your quest. We'll start with meeting up with the unknown ghoul who told you how to find him a little bit earlier. The advice he gave you, to find a wide open room with a gigantic metal staircase leading upward, was apt. The room in question, if you look at your map, is in the northeastern part of the facility. Head over there, fending off Feral Ghouls and engaging in other extraneous exploration as you go. Take the staircase upward in this room to an isolated, sealed-off door. You won't be able to pick the lock open, but if you use the intercom next to the door, you'll be let in. On the other side, you'll find a man named Chris Haversam. And though he sounds just like a Ghoul, he isn't one at all. Just what's going on here!?

Chris Haversam is the least of your worries, though. You'll find everyone else here as you may have expected. These Ghouls are a crew that stick together to survive against a peculiar threat that haunts the basement of this facility. You saw some Nightkin bodies outside in the area surrounding the factory, but in the basement of the factory, you'll find that Nightkin are very much alive, and in great numbers. The Ghouls around here won't talk to you at length, but they are all of a Brotherhood, which should help you figure out that the Ghoul corpses you've found elsewhere in the factory belong to this same order. Who you're seeking out here is the Brotherhood's leader, a Glowing One-like creature named Jason Bright. Jason Bright is a devoutly religious Ghoul, as are his friends. It appears that they used to worship in the basement before a threat down there stopped them from doing so. Can you help these guys out? You'll have to if you want to complete this side quest successfully.

After speaking with Jason Bright and agreeing to help him out, go ahead and leave their isolated little bastion, and head back to the factory. Adjacent to the staircase, slightly to the south, you'll find another staircase leading down towards a blood-spattered door. This door leads to the aforementioned factory basement. Once you head down there, keep your wits about you. There are dangers lurking all over the place. Because you'll likely approach this side quest fairly early in the game, the Nightkin that stalk these hallways are likely too strong to deal with in any numbers greater than one at a time. And that will be a problem, since these guys like to gang up on you. The key is to fight one at a time, or better yet, avoid fighting them at all (at least for the time being).

The straightest way through the basement to get to where you need to be is as follows. After being transported to the basement proper, head forward through the initial room and through the right door into the hallway. Then, break immediately to the left. Ignore the first door on your right, and work slightly beyond that, where you'll find a staircase to your right heading downward. Open the door at the foot of the stairs, and you'll run into a strange Nightkin with his Stealth Boy enabled. This Nightkin's name is Davison. Davison pays strange heed to a Brahmin skull sitting on a nearby desk. While you could openly assault this guy if you want, your better bet is to offer to help him out with his problem. He and his fellow Nightkin are here looking for a shipment of pre-war Stealth Boys. They promise to leave if they find them, but there's a catch. A Ghoul in a nearby room is stopping them from advancing towards the Stealth Boy shipment's location. Obviously, that's where you come in.

At the end of your conversation, Davison should hand over a key that will grant you easy access to a door back on the main corridor. Simply go down the stairs parallel to your location once back on the corridor. This should lead directly to the locked door in question. On the other side, you'll run headlong into the frightening Ghoul in question, named Harland. It appears that Harland travels with Jason Bright's group, but got isolated and trapped down here in the basement. Unable to escape, he instead holed-up and defended his position. You have the option to help this guy out if you want, but we instead decided to kill him. You can use the nearby door (while dodging his traps) to reach his catwalk. He'll attack you automatically when you do this, so return the favor. Once he's dead, be sure to scour his body for some goods before continuing onward. (Should you choose to help him, you'll have to search the basement for the whereabouts of his lost friend. Don't attempt this until you're at least level ten, since you'll have your hands full with powerful Nightkin galore.)

One way or another, when Harland is out of the picture, you can go ahead and access the computer terminal that he was indirectly guarding on the catwalk he's stationed on. This computer terminal will tell you, amongst other things, that the Stealth Boy shipment that Davison is after was delivered to the factory mistakenly, and returned to its source soon thereafter. Thus, Davison's pursuit has been completely in error, and will prove to be fruitless. Too bad Harland had to die for you to find this information (well, he didn't have to die, but that's the route we chose, anyway). There's nothing left to do now but to return to Davison to give him the news, though he'll likely take it hard when you do.

With this new information garnered, you can now quickly take care of the problem between the Ghouls and the Nightkin. You may think that this will end this side quest, but you're about to find out soon enough that this side quest is a hell of a lot longer than you thought it was. Visit with Davison and convince him that what you found on the computer is true. He won't take that much convincing, though, before he and his Nightkin leave, officially making the basement that much earlier. Then, head back to the factory and then climb the stairs to reach the Ghoul's location. Seek out Jason Bright and tell him that the Nightkin are gone. He's very thankful for your help, and will return back down to the basement, where he and his people can continue on with their pilgrimage.

At this point, as we mentioned earlier, you'd probably expect that this entire fiasco would be over, and you could put this side quest behind you. But it's just not so. Jason Bright will encourage you to come down to the basement to follow-up with him, and now, you should do just that. Head back down to the basement, and follow your map's instructions to reach some tunnels below the basement. (Do keep in mind that you're free to explore the rest of the basement without Nightkin interference, though we won't guide you in doing so). The tunnel system is actually completely linear, with a few rooms and closets off of it holding nothing but junk. At the end of the tunnel, you'll find a ladder leading topside to your right, and a room straight ahead. Ignore the ladder for the time being, and instead, head straight forward and through the door.

Once through the door, you're going to find not only Jason Bright, but the human-who-thinks-he's-a-Ghoul as well, Chris Haversam. To speak with Chris, though, you'll first need to talk to Jason. You'll learn about their ultimate plan, which is to use the rockets here at the factory to blast-off to a new world, or an afterlife, or something of that nature. Clearly, this has disaster written all over it. Nonetheless, progress on the rockets has just about finished, but there are a couple of items the Ghouls are still in need of. This is when you should speak with Chris. He'll inform you that a couple of items are needed, and it'll be up to you to grab them. You can actually choose which goods to go after from here. We opted to go after the rockets' thrust controllers, though you can take an alternate path if you choose. Also keep in mind that, if you're Speech skill is high enough, you can pursue a whole different course with Chris in which he figures out that he's human after all. That path isn't covered here.

Retrieving the items you need isn't actually as hard as you'd think it is. After you've received instructions from Chris, head back outside. Once you're on the Mojave Wasteland, fast travel over to Novac, and then walk due north to the Gibson Scrap Yard. You'll run into this little service station-like building almost immediately. Within, you'll find an elderly woman named Old Lady Gibson. She has the Thrust Control Modules you seek, but how you go about getting them is another thing entirely. You can convince her to lower the price or hand them over, or you can pay 500 Bottle Caps for them. Or you can be extra evil and kill her, taking the key off of her body to open a case in the garage that contains the Thrust Control Modules (this will also require you to kill her guard dogs). Regardless of how you go about this, take the devices back to Chris at the REPCONN facility. He'll give you more instructions when you do.

Now, he needs Isotope-239 Igniting Agent. Indeed, this fetch quest garbage is annoying, but you're almost done. If you spoke to Old Lady Gibson when purchasing the previous items (or simply killing her and taking them), then you would have learned that she actually had this isotope at one time. The man who bought it from here then headed southeast towards Clark Field. You're going to be looking for this man's corpse on the ground outside of Clark Field. He's wearing a yellow radiation suit and should be lying on a dilapidated stretch of highway. Beware of Geckos that will attack you here! When you find the corpse, grab Isotope-239 Igniting Agent , and then bring it back to Chris. He'll now have everything he needs to get this ball rolling. And by ball rolling, we mean igniting this ill-fated rocket.

Chris will order you over to the launchpad. To get there from the room (after copping the goods on the nearby table, including a Stimpak , some Med-X and some Mentats ), return to the location where you first found the Ghouls. There, you'll find a door leading to the launchpad. All you have to do now is hit the launching device, and watch those rockets blast off. Their fate will be unknown, but I think you know damn well that these guys didn't make the trip to wherever it is they think they were going successfully. Either way, your task is complete, and at the very least, the people of Novac certainly appreciate your help.

Up Next: Crazy, Crazy, Crazy

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Jason Bright

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... The Great Journey awaits! To the promised land we go! To the Far Beyond!

Jason Bright is the glowing one leader of the Bright Brotherhood ghouls at the REPCONN test site in Fallout: New Vegas . He is an unique glowing one , with a resonating, transcendent voice, intact sanity, and an unique appearance.

• 1 Background
• 2.1 Interactions overview
• 3 Inventory
• 4 Notable quotes
• 6 Appearances
• 7 References

Background [ ]

Bright was born with his auspicious surname before the Great War. Following the war and the creation of his brotherhood, Bright affirmed that the creator has a destiny for everyone and his was to be a glowing one and lead his people to a promised land. [1] [2] Vision after vision tells that the "Far Beyond" is a beautiful place away from wasteland barbarity and Bright intends for himself and his flock, composed of sentient and feral ghouls, to use the rockets at the REPCONN test facility to fly there. [3] [4] [5]

However, when preparation for the Great journey was nearly complete, the cult was attacked by invisible "demons" without warning and nearly half of Jason's followers were killed or went missing. This caused all work toward the "Great Journey" to come to a standstill. [6] [7] They were forced to move to the upper levels of the REPCONN test site. [7] After this, the demons shouted threats at the ghouls and said that they'd kill any ghoul that came down to the basement, but if they stayed where they were, the demons said that they would let them live in peace. [8] When asked about it, he will imply that the Courier was sent by the "creator" to help them, and then he asks them to rid the demons from the basement of the REPCONN test site.

Should the Courier get rid of the "demons," progress on the rockets will start up again and Chris Haversam , the main scientist who is also a human, will get back to work, hoping to be saved in the Far Beyond. However, being human, Haversam will not survive the journey's radiation. Bright does not take pleasure in deceiving Haversam, but such is the creator's will. [9] [10]

Interactions with the player character [ ]

Interactions overview [ ].

• Come Fly With Me : Jason Bright asks the player to remove the nightkin from the facility's basement, so that the ghouls can set out on the Great Journey.
• I Could Make You Care : If Veronica's present, talking to Jason increments the dialogue counter necessary to start her quest.

Inventory [ ]

Notable quotes [ ].

• "[Who are you?] I am Jason Bright, the prophet of the Great Journey. All the ghouls you see here are members of my flock."
• "Gather, all. May the creator guide my words and help me speak true... The almighty creator has seen fit to answer our prayers. The time has come for us to board the rockets and begin the Great Journey. Though it may seem that all humans despise us, the creator has seen fit to instruct us differently. The Journey ahead would have been impossible if not for the intercession of two human friends, one new, the other a long-abiding companion. To our new friend, we say thanks, and promise never to forget how he cleared from our path the demons who sought to stay our Journey. But to Chris, we owe more than thanks. Chris, you have made this Great Journey a reality. From this moment forward, you will be remembered as the Saint of the Great Journey. We shall never forget you. I ask that you forgive us, Chris, and give us your blessing, and we bestow ours upon you. Seekers, board the rockets, take your seats. The Great Journey awaits! To the promised land we go! To the Far Beyond!"
• "[I'm here because feral ghouls have been wandering into Novac.] And they've been shooting them down like animals, haven't they? Those ghouls were members of my flock, even after the madness consumed their minds. We never let them wander free. We kept them safe on the first floor. We kept them contained. The demons must have let them out, somehow... And now they are lost forever, denied the salvation and healing glow of the Far Beyond... Please, wanderer, bear in mind that every feral ghoul you spare now is one that we can save later. Once the way is clear, our feral brothers and sisters will accompany us on the Great Journey. If there are any left..."
• "[Tell me more about these "demons."] The demons appeared from nowhere... except it might be more accurate to say they never actually "appeared" at all. The demons are invisible. Where one of them stands, the most one sees is the air shimmering, like sunlight on water... They set upon us as we were on our way to worship one morning. We had just entered the basement. My flock fought bravely, and killed a few, but at such cost. Nearly half of us died or went missing. The rest of us retreated up here. One of the demons raved at us, but they have not tried to attack us since. Still, their demonic presence brought all progress towards the Great Journey to a standstill. But now you have come. Once again, the creator has sent a human to help us across a seemingly insurmountable obstacle."

Gallery [ ]

Jason Bright near the rocket launching pad.

Appearances [ ]

Jason Bright appears only in Fallout: New Vegas .

References [ ]

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Fallout: New Vegas

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Dragon's Dogma 2 goes all-in on the open-world RPG design trick that made me fall in love with Skyrim and Fallout: New Vegas

Opinion| Fast-travel isn't always all it's cracked up to be

If I had a nickel for each time a Bethesda-owned RPG sent me bouncing around a handful of close-knit settlements before sending me to the other side of the map, I'd have two nickels. Skyrim 's journey to Riften and Fallout: New Vegas ' hike from Nipton to its titular city remain, to my mind, significant parts of how these two games were able to gain such an enduring hold on the genre. Now, playing Dragon's Dogma 2 more than a decade later, I'm finding the same expeditionary design philosophy that made me fall in love with those fleeting moments written throughout the whole game.

New Vegas was the first Fallout game I ever played, and I squeezed everything I could into that first playthrough. No inch of the Mojave went unscoured, no DLC went unplayed. The obvious follow-up, of course, was Fallout 3 - a game in which I ended up with less than a fifth of the playtime of  its Obsidian-made successor. But that meager 18 hours belies my fondness for Fallout 3, moments of which stick just as clear in my mind as those from New Vegas; the flight from Vault 101; Tranquility Lane; laying traps for Super Mutants in the bowels of the museums. So why did I spend so much more time in the Mojave than in the Capitol?

The answer to that lies in each game's critical path. In Fallout 3, Bethesda holds your hand pretty hard as it sends you through the suburbs and subways of D.C., bouncing you from objective to objective across a relatively small swathe of its map for most of the main quest. In New Vegas, Obsidian took a different approach – you'd undertake a few short journeys around Goodsprings, but then the training wheels would come off, the next main quest objective firmly on the other side of the map, all of the danger and promise of the Mojave between you and your goal. Skyrim would follow suit, sending you on the long hike between Whiterun and Riften. Those grand journeys opened up those worlds, encouraging organic exploration rather than the slavish following of the next quest marker. And that's exactly what Dragon's Dogma 2's entire world is built around.

The road less fast-traveled

Dragon's Dogma director Hideaki Itsuno has made his thoughts about fast-travel abundantly clear - you only need to skip from place to place if your game world isn't exciting enough to warrant making the journey yourself . There are means by which you can get around faster than simply travelling on foot, but the friction remains: if you want to take an oxcart, you'll have to wait for it to arrive and potentially protect it from ambushes; you can jump to a specific spot, but it'll cost Ferrystones and Portcrystals to do so. 

The question that jumps out to me so far, however, is why would you want to? Itsuno has also made clear that Dragon's Dogma 2 was his opportunity to build on the freedom that he wanted to include in the original game . Towering enemies can and will follow you to the ends of the earth should you stumble across their path, but roaming NPCs will fight at your side. Pawns will encourage you off the beaten track with the promise of rewards to be found in the next cave, mountain, or forest glade. Clever use of spells and abilities turns simple traversal into progression-based puzzles. It feels good to explore and roam around, so I never feel the desire to fast travel in the first place. 

An Unexpected Journey

The highlight of my pre-release Dragon's Dogma 2 preview was a fight against three golems and a griffin. The free-form nature of this world meant that I stumbled on one golem, then another, then another. The Griffin was a later arrival, though it did swoop in to do some serious damage to my Pawns before it was dispatched. In total, this fight took 18 hours as it ranged across the foothills outside a nearby city, and it's an experience that I'm still looking to capture with the main game. It's also one that never would have happened if I'd merely jumped towards my nearest objective – only by being encouraged to explore the world on foot did I bump into the golem that kicked off this brawl. 

Skyrim and New Vegas understood that same idea. It's clear Itsuno has been happier to offer the player a level of friction that Bethesda and Obsidian eventually shied away from. But both games understood that if they wanted players to truly appreciate their RPG worlds and not just the 'chosen one' stories at their hearts, they needed to show those players what those worlds were really like when they stepped off the beaten path. The best way to do that is to force them on a journey so long that there's no chance they'd remain on any kind of intended route. 10 years later, I don't really remember what happened on my journeys to Riften or New Vegas beyond a few snapshots, but I do know that by the time I arrived in each place, I was invested enough in each of those worlds that I wanted to explore them in their entirety. In Dragon's Dogma 2, Itsuno takes that idea and makes it a successful part of not just one important journey, but almost every journey, ensuring that Vermund and Battahl offer the same draw as Skyrim and the Mojave.

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The Far Beyond is an unknown area somewhere in the wasteland.

Background [ ]

Jason Bright , the leader of the Bright Brotherhood , has been having prophetic visions of the Far Beyond. The area is highly radioactive. This leaves it a place of safety and healing for ghouls, [1] since the radiation would kill any humans that attempt to travel there. [2] Jason plans to lead his flock to the Far Beyond aboard rockets from the REPCONN test site . [3] The rockets were almost ready to launch when a group of Nightkin led by Davison arrived searching for Stealth Boys . The Courier can assist the Brotherhood with the rockets, sending them off on their journey, and even improved the flight trajectory to get them 15% closer to their destination. After the Second Battle of Hoover Dam , the Bright Brotherhood will return to help the town of Novac , either helping to fortify the town against the NCR [4] or evacuate it from the oncoming Legion . [5]

Appearances [ ]

The Far Beyond is mentioned only in Fallout: New Vegas .

References [ ]

• ↑ The Courier : "What is this Far Beyond?" Jason Bright : "I have glimpsed it only in visions, wanderer, but what I have seen is truly miraculous. It is a place of light and healing, and I know in my soul that my flock will be safe there." ( Jason Bright's dialogue )
• ↑ The Courier : "So you're going to leave Chris behind?" Jason Bright : "Such is the creator's will. Vision upon vision has shown me that, were Chris to accompany us, he would die in minutes. The radiation around the launch pad alone would kill Chris in minutes. The radioactivity of the Far Beyond is much stronger." ( Jason Bright's dialogue )
• ↑ The Courier : "What's the 'Great Journey'?" Jason Bright : "We wish to escape the barbarity of the wasteland, especially the violence and bigotry of its human inhabitants. The creator has promised to my flock a new land: a place of safety and healing... a paradise in the Far Beyond. Preparations for the Great Journey were nearly complete when the demons appeared." The Courier: "How will you make the 'Journey?' " Jason Bright: "The means by which the Great Journey is to be accomplished are an article of faith, not to be discussed with outsiders." The Courier: "Are you seriously going to make your 'Great Journey' on those rockets?" Jason bright: "Yes. The rockets will convey us to our promised land in the Far Beyond. Vision upon vision has confirmed it." The Courier: "Are these surface-to-surface rockets? Or will they launch you into orbit?" Jason Bright: "I understand your concerns, friend, and I thank you for voicing them. But the creator's will for us has been made manifest." ( Jason Bright's dialogue )
• ↑ Fallout: New Vegas endings, Novac : "Though Novac was a low-priority target for the Legion, many of Novac's citizens died in its defense. In the weeks that followed, several Bright Followers returned to Novac to help restore its defenses, allowing it to remain independent of the NCR."
• ↑ Fallout: New Vegas endings, Novac : "During the Legion's attack on Novac, Bright Followers, returning from their long pilgrimage, assisted in its evacuation. Though Novac eventually fell to the Legion, many citizens of Novac were able to escape, alive and intact."
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Giancarlo Esposito knows how to play the villain. In ‘Parish,’ he steps into the antihero role

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For years, Giancarlo Esposito’s performance as stoic and ruthless cartel distributor Gustavo Fring was pivotal in helping “Breaking Bad” and its prequel spinoff, “Better Call Saul,” become prime examples of antihero-centered shows. Fring’s illicit power and reign of terror established a spectrum of villainy to measure against Walter White and Saul Goodman’s moral ambiguity.

In AMC’s crime drama “Parish,” Esposito now gets to be the leading man who pushes the fine line between right and wrong. He plays Gracián “Gray” Parish, a man who is coping with the death of a son and struggling to keep his luxury car service in New Orleans afloat, when his criminal past resurfaces, entangling him with a local Zimbabwean mob family. Esposito is also an executive producer on the six-episode drama, which is based on the U.K. series “The Driver.”

“Parish” follows the release of Netflix’s “The Gentlemen, ” Guy Ritchie’s stylish British crime caper, in which Esposito plays Stanley Johnston — with a “T” — an impeccably dressed, wine-loving American drug baron billionaire.

Esposito spoke with The Times about how the themes of “Parish” aligned with his own story, putting his driving skills to the test for the series, and his relationship with ambition. This interview has been edited and condensed for clarity.

The show captures the pressures that many people feel right now — trying to make ends meet while shouldering whatever problems torment us. While few would rob a bank , start a drug empire or find themselves entangled with a mob family, many are forced into bad life choices to get by. Is there a moment in your life where you felt that kind of desperation, especially as a father?

Oh, absolutely. I had four daughters, I lived in Connecticut beyond my means — put the strike and the pandemic together. No work. This is going back 10 to 15 years. [I was] desperate; the mortgage is due on the house. I just went belly up and couldn’t get it together — beg, borrowed and stole from everyone I could. I relate to this story deeply.

When I first saw the original [series], I recognized there’s a man who’s about to collapse and cave in and be conquered. It’s reflective of some elements of my life that were real. I not only lost my house, I lost my family. I got a divorce and they went one way and I went another way. But I was so committed that, with every last penny I had, I had to take care of them; I wanted to take care of them. That was my desire, so that my kids wouldn’t have to suffer what I suffered when I was young. That was my impetus to pull out. I sacrificed everything I have to be able to get back on an even keel for them. But I carried shame for many years. I’ve been through it and came out the other end and I have a great relationship with my children and my former wife, amazingly so, but I look at myself differently. I feel differently. Because the shame that was choking me, the shame and trauma that Gray is going through, the depression that he’s in is heavy duty. This show appealed to me on all these levels because there was a relationship that I had to the element of what the character was going through. Because if you still feel that pain, it means you still have work to do. If you still have that work to do, this might help you be a little bit more honest with yourself about that part of your life that you don’t want to talk about.

How did you pull through? I’m sure the wild thoughts creep in: ” Can I rob a bank ” ? What do you remember about that time of your life?

You’re so astute. My former wife, the mother of our beautiful children, her family was in insurance. I found myself asking these pointed questions in a roundabout way: “How does that insurance policy work? How much am I insured for? Oh, and what are the premiums?” Just trying to be laissez faire about it because in my mind, I thought, “OK, is suicide covered?” It’s not covered. But I thought maybe I could find someone to knock me off so that my family can really make it. That’s where my mind was. The other part of it is I’m an actor, a master of disguise, a voice of physicality. So you brought it before right to the forefront: I could rob a bank. I’ve done it before on TV. I can do it in real life. You think of horrible ways and things to do that would be the least harmful for you to 1) not get caught and 2) be able to continue to live with yourself after doing something reprehensible. But then, if something goes wrong, then what are you going to do?

In our story [of “Parish”], things go wrong, they don’t go according to plan. Then you often think about, “What would I do? And where does that put my children and my family then?” So I just started to dig deeper and deeper, to figure out how to re-create myself and eventually, I started to work again and find spaces where I could find my niche. Thank goodness my family was really strong. It was really the impetus for me to start the journey of this show [years ago]. Of course, “Breaking Bad” pulled me out, and “Better Call Saul” continued it. A few years ago, I was doing five different shows as a guest artist at one time. I became very in demand and still am, juggling a lot of different balls. But what it taught me was tell your passionate story.

We were talking earlier about the points of connection to Gray. Does a performance feel truer to you when you feel like you can relate to the character?

Well, it does, but it doesn’t have to. It’s the elements of the character that I like to be able to relate to. In “The Gentlemen,” I’m playing the richest man in the world. Oh, my gosh, that’s a dream. I’d love to be the richest man in the world. I kind of know how to do that. I’m a prince. I’m a king. Most certainly, the imagination soars that you can walk through that door and be that. To me, it’s always important to have one thing, even if it’s just one little thing, that you can connect to that will open the door to 10 things.

But this project, [“Parish,”] has been different. This really reflected my heart and soul because it’s personal. It’s become so personal to me to be able to just be proud of myself for not having succeeded in my own self-annihilation. Because I’m a guy who loves life. I love my children. But I also relate to being the martyr; I relate to saving people; I relate to being a hero. But I want to live. So my gratitude runs deep because not everyone gets a shot to be who they really are on the level that I have.

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Do you consider Gray an antihero?

Yes, partly I do, because he’s resorted to going back to an old life that’s slightly underhanded to save the above-board life he really wants. He’s equal parts of both because his intentions are good; he’s struggling against the dark intention he’s held in his life for a long time. And as we progress, knock on wood, we’ll learn about his life before his family — his wife and child. And that would be a great clue as to what he’s carrying and why.

When you’re watching someone else play the “true villain,” is it hard not to wonder how you would play a line if you were in that role?

It is sometimes because I think our true villains, many of them are stereotypical. We don’t take the time to draw them as complete human beings. I think that’s part of my success when I’m presented with playing the possibility of a villainous character; I want to make him a complete human being, not a stereotype. But we want the shorthand or we’ve resorted to the shorthand for a long time in our business, I believe. That’s what makes the difference in good film and good television that allows you to see what made that person who that person is.

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We obviously need to talk about the driving in “Parish.” I long to get on a highway and just go pedal to the metal even though it would terrify me. I know you’re a car person. How much of it were you able to do and how was it to lean into that?

It was really wonderful. I think as a driver who has taken a couple of driving courses — not as much as the stuntmen take — when they asked me to come down and show them (it’s happened on [a few] movies: “Maze Runner,” I did a moment driving in that movie; “Harley Davidson,” “The Marlboro Man”), I can spin this pickup truck around or come and show us how you could stop on a dime if that rock is the camera and it’s right in front of you. I have to prove it. And when they asked me to do the same for “Parish,” take the driving course with them and learn a reverse 360 and practice spinning the car around and weaving, I thought, “Oh, I know how to do that.” But it takes practice. Even if you know how to do it, you need a refresher course. I drove my butt off on “Parish.” I don’t want to say too much because there were a few moments where I’ll just say I was chided. I did what you wanted to do on the very narrow streets of New Orleans. I learned a lot about my own self-control. I learned a lot about my reflexes and being safe. Andy [Dylan], our stuntman, was amazing. We had amazing car people, we had amazing first ADs [assistant directors] who were able to guide me, and I was able to push it to a limit, but not over that limit, and feel as if I still had control.

I do want to ask you about “The Gentlemen . ” You play Stanley Johnston, who occupies the opposite end of the economic spectrum to Gray in “Parish.” How was it navigating that elite and perilous world?

Oh, so much fun for me. I wanted to be very specific about who Stanley was. I really wanted to research and work with Loulou Bontemps, who had such great clothing design [on the show]. It put me in a space where I felt like I was the king. The king doesn’t worry about anything. The king worries about his presentation and takes care of his business. It allowed me, through my conversations with Guy Ritchie, who was familiar with a person — African American, as well — who had that kind of stature in our world, [to] realize that that was always a dream of mine; and I could make it possible in this reality, in this show “The Gentlemen.” What I loved about it, is it’s a way of carrying yourself. My character, Stanley Johnston — with a “T” — knows all about British history, he knows about their culture and their rulers, he knows about their politics. He’s educated himself because he’s fascinated with that culture. It allows him to have an upper hand on being ahead of what he’s about to offer you. He’s also persistent. And he also has all the means in the world. There’s a lightness about Stanley that I really enjoyed incorporating into the wolf in sheep’s clothing.

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Let’s take a step back. Your mother was an opera singer and your father a stagehand. You’ve been acting since you were very young, making your Broadway debut when you were 10. Did you feel ambitious as a kid?

I felt ambitious to get out of the situation I was in. I didn’t like my home life. My mother and father — leading up to their divorce — weren’t nice to each other. I had a brother who dominated my personality, in that he was the stronger one. I was always reluctant to show who I was. I chose that path. I felt like I had a vision for my life but didn’t know quite what it was. I think the ambition was to be the best I could be. I love the story of [explorer Ernest] Shackleton. I loved adventurers. And I think that’s what led me to be an actor. Because in my acting life, I feel like somewhat of an adventurer. I’m in this world where I’m navigating something I don’t know — and it’s unsure and unsafe and edgy, and I’ve got to find a way to survive in it and to move forward. I have these Giancarlo-isms, one of them is: If you don’t know where you’re going, you’re never gonna get there. So it’s like, choose something, otherwise, the choice gets made for you.

So the stories I want to tell, and I continue to tell, there’s something about me sharing them on a personal level that allows someone sitting at home, eating Cheerios or pork and beans — like I was at 29th and 8th Street, my mother, brother and I were sleeping in one bed that rolled into the middle, we had plastic on the windows in the middle of the winter because it had no glass, [it] was a flat pass — and sees this interview or reads me in the L.A. Times and one thing, who knows what it’ll be, in this conversation it will allow them to go: “Oh, wait a minute. I’m not going to stop, I’m going to keep trying.”

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Yvonne Villarreal is a senior television writer for the Calendar section and co-host of “The Envelope” podcast.

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