It's funny that you bring up planescape: Torment as the other example of a game that does that sort of narrative idea as they're both designed and written by Chris Avellone.
Yeah, Avellone seems to know how actual deconstruction is supposed to be done. He isn't trying to be post-modern about it, as in destroy things. He just takes things apart and examines them under a microscope. Where Fallout 1 gets you with the, "woah, the world just ended" Fallout 2 gets you with the, "how does the current world function after the world just ended?"
The same goes for Fallout 3 and Fallout New Vegas. Fallout 3 was basically another "woah, the world just ended" whereas Fallout New Vegas was, "here's a story about how society has evolved after the apocalypse."
KotoR II took all the elements from the OT and PT and examined them more thoroughly. Kreia's main issue was that Jedi and Sith were meaningless in the grand scheme of things because, in either case, the Force had a will of its own. You can kind of see the same ideologue presented in FNV's
Lonesome Road DLC where the Courier is confronted with the idea that there's essentially no difference between the NCR and CL.
I've a theory that Avellone must have been influenced by Dante's
Divine Comedy at some point or other because in his games he paints these pictures of people who have taken their petty grievances with them into some semblance of hell. And wars continue, despite the fact that all parties are still consigned to oblivion.
This is more blatant in PT, but even in
Lonesome Road one gets the idea that the Courier is like Dante, being lead deeper and deeper into sub sequential layers of hell's depths by Virgil (Ulysses). I think that's why Ulysses speaks the way he does, almost like he's reciting poetry.