I've always seen Fallout as a bleak and cynical video game series. Yes, it has humor, but that humor is, itself, very dark and cynical. As such, the goofy, slapstick humor of the early episodes of Amazon Prime's Fallout TV show were a bit off-putting for me.
Around episode 3 or 4, however, the tone begins to shift. From then on, this show is Fallout through and through. It is violent. It is graphic. It is cynical.
Amazon did a fantastic job with the cast. Ella Purnell is fantastic as the innocent and naïve vault-dweller (named Lucy) who serves as the audience surrogate for exploring this world, as well as an adaptation of the player avatar for all of us who tried to play the first game's Vault-Dweller in a "good karma" playthrough. Aaron Clifton Moten has a weird, detached quality to his performance as Maximus, as if Maximus is half sleep-walking through the events. As weird as the performance is, it does give a genuine sense that Maximus is just completely callous and desensitized to the violence and cruelty of the Wasteland, and he only ever seems to perk up when that cruelty gives way to some kind of comfort or happiness.
The side characters are also well cast and entertaining. From Kyle MacLachlan's vault-daddy, to Matt Berry as the voice of the Mr. Handy robots, and all the Wasteland inhabitants and vault-dwellers in between, everybody is great.
But the real show-stealer is Walton Goggins as the movie cowboy-turned-ghoul bounty hunter Cooper Howard. He steals every scene he's in, and gives off just the right combination of confidence, charm, and antagonism befitting such a gun-slinging cowboy anti-hero. We also see empathy and vulnerability in his character, especially in the flashbacks to the pre-war times.
© Amazon.
Walton Goggins steals the show, even if his make-up leaves a little to be desired.
The lower budget of a TV show does make itself apparent with some of the makeup effects and one character's digital de-aging effect looking pretty bad. Walton Goggin's ghoul makeup looks more like he's cosplaying the Red Skull than being one of the rotting zombies wandering the wastes. I'm wondering if this was the result of a contractual requirement that the actor's makeup not be too uncomfortable or hide too much of his face, because other ghoul characters and extras that we see in the later episodes look pretty ghoulish.
But other than that, the show looks good. The Wasteland has that eerie beauty that we come to expect from a post-apocalyptic landscape. Whatever money was saved on Walton Goggins' makeup must have been spent on the Power Armor costumes. The Power Armor costumes look fantastic and move surprisingly well for being such a large and bulky practical effect. Being an actual costume (or maybe a puppet?), the Power Armor has an appropriate dirty and weathered look to it, and doesn't clash with the scenery in the way I usually expect a CG character to look. [More]
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Tags:Fallout, Amazon Prime, Bethesda, Obsidian Entertainment, Fallout: New Vegas, New Vegas, New California Republic, Shady Sands, war, nuclear war, capitalism, corporate culture, post-apocalypse, Todd Howard, Walton Goggins, Elle Purnell, Aaron Clifton Moten, Kyle MacLachlan, Matt Berry
Normally, I try not to get excited about movie-tie in games. They have a very bad track record - with only a handful of exceptions. But this Mad Max game wasn't a direct movie adaptation, and it didn't release simultaneously with the movie, implying that it hopefully wasn't being rushed out the door to meet the movie's release. Warner Brothers Interactive had previously released Middle Earth: Shadow of Mordor, which was also sort of a tie-in to the Lord of the Rings and Hobbit movies, and that game was actually very exceptional! It had a novel and innovative concept around which the entire game revolved (making it very focused), and it was a very well-polished game that was immensely comfortable to control. So Warner Bros had earned some benefit of the doubt for its next game. I wasn't expecting Mad Max to match (let alone exceed) Shadow of Mordor, but I still had hopes that this one would turn out to be a well-realized game that could stand tall and proud as one of those rare, good movie tie-in games. After all, the concept of an open-world, post-apocalyptic action game about smashing spiky, nitrous-fueled cars into each certainly sounds like a solid premise for a game!
Well, not quite...
Wasteland chaos
Many actions are overloaded to the X button - the game even displays conflicting prompts at times!
Virtually every interaction that I had with the game was either naggingly uncomfortable in some way or was prone to glitches. Even the basics of moving around and interacting with objects in the game world was a constant chore. When one button does everything; it does nothing (see my Assassin's Creed III review). Fortunately, a couple really important functions (like getting in and out of cars) were mapped to different buttons, but virtually everything else uses the X button. So if you're standing in front of a ladder and holding a weapon, it's a crapshoot whether the game will decide to let you climb the ladder or make you drop the weapon, and then it'll be a crap shoot whether the game lets you pick up the weapon again. Oh there's button-prompts to tell you what you can and can't do, but sometimes they outright conflict with one another. Besides, when you're running or fighting, then you're reacting on impulse and muscle memory rather than reading screen prompts. It doesn't help that the character's movement is very fidgety, so it's hard to position yourself properly when trying to interact with objects. I think the developers recognized this, which is probably why they make you have to hold the button for a second in order to perform most actions - to give you time to ask yourself "are you sure this is the action you want to do?".
Not enough space for vehicular combat
Clunky movement isn't limited to walking on foot. Steering vehicles is also very fidgety and floaty, and I found it very difficult to perform any precision maneuvering in the cars. The cars all tend to understeer at high speeds, but then strangely oversteer or fish-tail whenever you let off the gas. Trying to hit a ramp or knock down an enemy scarecrow or ram a sniper tower would often require multiple passes in order to succeed, and doing slaloms through the canyons resulted in a lot of cheap impacts. The rough terrain also leads to a lot of spin-outs. The vehicles feel so weightless and floaty that they can park on nearly vertical slopes, and running over a pebble can send the car hurtling and flipping 20 feet in the air. On a more personal note, I prefer my driving games to have cameras very close to the action, and so Mad Max's driving camera feels like it's a mile away from the action, which makes it harder for me to get a feel for precisely where the car is in relation to the environment. Virtually none of the game's vehicular set pieces really worked all that well for me due to these nagging control and scaling issues. If the map were bigger to accommodate multiple vehicles running side-by-side on a road, then dealing with the low-traction sand or the unlevel rocks wouldn't be so much of a consistent problem. Even having the option to zoom in the camera (an option that I couldn't find) would go along way towards helping me make more precise maneuvers.
The primary gimmick of vehicular combat works fairly well in spite of the map not feeling big enough to support it.
This game really lives or dies based on how well the cars perform. The bulk of the game is played from within your car. You use the car to travel the world, and it's actually your primary weapon thanks to the game's novel vehicular combat. This vehicular combat would actually be really fun if the cars handled a bit better and were durable enough to actually take the beating that the combat entails... [More]
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Tags:Mad Max, Max, Warner Brothers Interactive Entertainment, Avalanche Studios, vehicle, car, driving, combat, gasoline, water, wasteland, open world, sandbox, action, survival, fuel, food, post-apocalypse, nuclear war, Australia, Max Rockatansky, Chumbucket, Mad Max: Fury Road, movie tie-in, Achievement unlocked
"Pirate Lord Captain Gregle, Slayer of Ancients and World-Renowned Trapeeze Artist" sounds like a pretty legendary character, right? Well, he wasn't. In fact, he was a very lucky, over-achieving halfling rogue in a short-lived campaign of Dungeons & Dragons. I rolled for the character's initial stats, got fairly low constitution, and then rolled the minimum value for hit dice for the first few levels. The result was a sixth-level character with a pathetic sixteen max hit points! A single lucky shot from virtually any enemy could be an instant KO for that character, and getting engaged in melee would practically be a death sentence. While some power gamers may scoff at the idea, rage against their dice, and then remake their character with a standard array and average HP, I decided to run with it and role play the hell out of little Gregle.
Character sheet for "Pirate Lord Captain Gregle, Slayer of Ancients and World-Renowned Trapeeze Artist"
With the low initial constitution, I focused my character around stealth abilities, disengagement and evasion tactics, and ranged attacks, and continued to improve those skills as I leveled. Knowing that he's a pathetic weakling, Gregle overcompensated by being a very flamboyant braggart and narcissist (I took inspiration from Stephen Colbert), and thought that he was more charming than he actually was. He routinely hid in the shadows, taking pot shots at vulnerable enemies and racking up kill steals from afar while his two warrior companions did most of the heavy-lifting. He would occasionally disarm a trap or unlock a door, and once used a clever trick to pacify (and subjugate) an entire band of pirates. He then took credit for much of the party's achievements.
Despite having only slightly above average charisma, he leaned on his halfling luck to succeed on some charisma checks and make himself a bit of a celebrity with the local townies for his exaggerated heroics. He reveled in the unprecedented access to their community that the locals provided, and he reveled in the adulant gifts that they showered upon him, happily hoarding it all in his bag of holding. The other party members never called him out on it in public, since they were just happy to have the cooperation of the locals.
While the other players and DM enjoyed Gregle's antics, their characters only barely tolerated his presence. During the actual adventuring, he was constantly getting into trouble and needing to be bailed out by his fellow adventurers. He once falsely awakened the party during his night watch after mistaking a wyvern for a dragon. In another instance, he was KO'd while using spider-boots to walk up a ceiling to pursue an enemy that had climbed a rope to escape the conflict, and he became stuck on the ceiling, forcing the party to figure out a way to get him down. They reluctantly obliged to help him, since Gregle was the possessor of the party's bag of holding, and was actually good at sneaking around to perform recon, unlocking doors, disarming traps, coming up with clever plans to avoid direct conflict, and other appropriately roguish things.
Gregle was one of the most fun characters that I've ever played, and he provided me with one of my most entertaining gaming experiences. This is the power of role playing to a character's strengths and weaknesses. It's a power that Bethesda shows no interest in utilizing for Fallout 4.
Out of the vault and into the wastes
I have to give credit to Bethesda for making one really interesting decision with Fallout 4: the game starts in a time period prior to the Great War that triggered the nuclear holocaust, and so it explores as yet unseen elements of the series' backstory. Or at least, it does for all of fifteen minutes. Much like Fallout 3, the pre-war gameplay and time that you spend in the vault is really just an extended tutorial and character-creation process. But unlike Fallout 3, it doesn't give enough time and depth to those settings to make the player legitimately care about them or the characters in them.
You don't spend enough time in your pre-war home or vault to develop any attachment to the place or people.
After creating your character and setting your S.P.E.C.I.A.L. stats, you and your spouse immediately flee with your infant child to the neighborhood vault. Once inside, you're handed the trademark silly superhero pajama jumpsuit and then promptly cryogenically frozen. You awake to witness your spouse get murdered and child kidnapped by apparent raiders, but then get frozen again. Then you awake again to do the combat tutorial against radroaches before leaving the vault and starting the game proper.
You spend virtually no time in the pre-war time period; you don't bond at all with your spouse or child; you don't establish any connections with your home or neighbors. There is absolutely no emotional bond between the player and what is lost in the war. So when the game drops you in the wasteland with a dead spouse, a missing child, and a quest to track down the kidnapper/killer, it does so without creating any emotional connection or investment for the player. I could go to Concord and then to Diamond City and search for my son, or I could just wander off in any random direction fighting raiders and painstakingly building my own little settlement out in the middle of nowhere using salvaged car tires and scrapped raider armor. Fallout 4 doesn't waste any time taking a nose-dive into the open world limbo.
Fallout 3 simulated an entire childhood in the
vault, with friends, family, and even bullies.
Compare this against Fallout 3's prologue. It spent a considerably longer time developing your character and immersing you in the vault. Your dad (voiced by Liam Neeson) plays with you as a baby to teach movement and camera controls, he teaches you how to shoot, and throws a surprise birthday party for you. You interact with a childhood friend, other vault dwellers, and even a bully in order to tutorialize persuasion and speech checks and learn how to solve conflicts without violence. You even go to school and take a test to determine your default skills. In the short amount of time in the vault, you've lived a montage of an entire life.
With only a little bit of buy-in from the player, Fallout 3's Vault 101 becomes a living, breathing place populated with people who you can relate to and care about. You, as a player, have an investment in it and the characters that inhabit it. So when shit happens and you have to leave the vault, it's a monumental moment, and the events of your life, and the decisions that you've made, will shape your character's development over the rest of the game.
Even Skyrim gave the player interesting role-play decisions in its tutorial by required your character to make an immediate decision to follow the imperials or the Stormcloaks (though the scenario makes that decision a pretty one-sided one). And your initial choices of weapons and battle tactics would level up those specific skills; thus, starting the character down a path towards specializing in those skills as the game progressed (though you were completely free to change all that if you want).
And Fallout 4 has a perfect opportunity to take that father / son dynamic from Fallout 3, and invert it! The game could have opened with the birth of the baby. Since Bethesda had to record dialogue for multiple names for the player character, they could just as easily have done the same with the child's name. The doctor could hand you a paper with "This Year's Popular Baby Names", and you could chose one of those names that were explicitly recorded in dialogue. You could even be given the option to type your own name and replace the child's name with "my son" in dialogue. You could fill out the child's name and your own character's name on the birth certificate. Naming the baby would create a sense of ownership and connection to the child that might help encourage the player to pursue the main quest.
Fallout 4's vault serves only as a combat tutorial with no depth, emotional resonance, or meaningful decisions.
But it doesn't have to stop there... [More]
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Tags:Fallout, Fallout 4, Bethesda, RPG, Boston, commonwealth, minuteman, minutemen, wasteland, post-apocalypse, nuclear weapon, nuclear war, NPC, Dogmeat, power armor, crafting, ludonarrative dissonance, open world, sandbox, raider, synth, android, slavery, underground railroad, freedom, rights, morality, ethics, family
For years, I've been complaining about the dumbing-down of movies and the lack of subtlety, complexity, nuance, and meaning in the stories that Hollywood has been willing to tell. Apologists keep telling me that the modern movie-goer doesn't have the patience for deeper, more philosophical narratives. Filling the screen with explosions as audiences shove popcorn down their gullets is the only way to fill the theater seats, they say.
I don't think this is true. After all, many of these movie-goers are the same people who watched (and revere) movies like Alien, The Terminator, The Empire Strikes Back, and the other classic action and science fiction films of yesteryear. These movies were more than just dumb action movies. They had depth. They told well thought-out narratives that took place in believable, lived-in worlds that used subtle details to tell the untold stories behind the scenes with their sets, costumes, props, and other visual elements.
Why can't modern audiences accept movies like that anymore? Why do we have to buy into this idea that an action movie can't have a complex plot with real characters, and action that actually serves a plot while the plot also serves the action? If Mad Max: Fury Road proves financially successful (it's already proven critically successful), then it will prove that modern audiences can accept such a movie.
If you do want to shut off your brain and watch explosions for two hours, then Fury Road has you covered. It is an over-the-top, non-stop orgy of car chases, shoot-outs, and guitars that shoot fire! But it's also so much more.
The action serves a purpose by helping to develop the characters without wasting time with exposition.
The action scenes are very well constructed, and used a lot of practical effects and stunts. The sequences were appropriately chaotic and furious, and didn't suffer from the appearance of being tightly choreographed (even though it certainly was). And every bit of action moved the plot along and provided depth and characterization for the characters.
The movie doesn't waste time with much character exposition. But there is still plenty of development and depth to the characters. The film uses its action to inform the characters' personalities ... [More]
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Tags:Mad Max: Fury Road, Mad Max, Max, Max Rockatansky, post-apocalypse, nuclear war, driving, cars, guitar, feminism, George Miller, Tom Hardy, Charlize Theron, Nicholas Holt, Australia, gun
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