"Major Tom to Ground Control..."

Do you think that the success of Barbie ($1.446B USD to date) is helping Tom Hanks get any traction with the Major Matt Mason movie?

- Sid

You know, the other kind of gaming bugs.

If I have one complaint about the otherwise stellar Fallout series, it's the lack of monsters. I've spent a lot of time in the Wasteland, and it's a LOT more dangerous than it's portrayed in the show.   We only see two monsters - one yao guai mutant bear, and one gulper, and gulpers aren't even from the original game, they're from the Far Habor expansion pack 

Seriously, where are the Deathclaws, the most iconic danger of the Wasteland?  Or the mirelurks? Why didn't we see a single radscorpion?  Bloatflies, bloodbugs, stingwings - even a mutated mole rat or two would have provided some welcome representation from the regular cast of hazards.  

Season Two will apparently take us to the Mojave Desert, and damn it, I'd like to see some fire ants.  But, I'm willing to be reasonable, they can just leave the cazadors out of the show, or else Lucy and the Ghoul going to need some serious plot armor to survive more than an episode or two.

- Sid

"I don't want to set the world on fire..."

According to the Steam™ game management system, I've spent 1,405.4* hours in the post-apocalyptic world of Fallout 4, not to mention extensive untracked time in Fallout 4, Fallout 3 and Fallout: New Vegas before switching to Steam™**.  (Sadly, my Fallout 76 online experience has not led me to a return visit.)  

As such, it's safe to say that I'm more than a little familiar with the alternative future of the franchise, which fully prepared me to bring a critical eye to the new Fallout series which made its streaming debut on Amazon Prime Video this week.  To my intense relief, the adaptation is excellent, using all the building blocks from the source material to combine drama, humour, action and violence into a clever, gripping storyline.

For readers unfamiliar with Fallout, it takes place in an alternative version of the United States which diverged from our timeline somewhere in the 1950s. Atomic energy has become a commonplace power source, to the point that even cars are powered by small atomic reactor units.

In 2066, China invades Alaska in order to seize its oil reserves, and eventually the conflict escalates into a merciless exchange of thermonuclear weaponry that destroys the world in 2077, leaving behind a legacy of death, chaos, and conflict. The series is set in 2296, just over 200 years after the disaster.

The opening scene in the first episode is a disturbingly realistic introduction to the end of the world, as mushroom cloud after mushroom cloud rise over the future Los Angeles, after which we are taken to the post-war paradise of Vault 33, one of the underground Vaults created by the Vault-Tec Company to preserve a chosen few survivors whose descendants will eventually emerge to rebuild civilization.  

The writers have chosen to focus on characters from three areas of the Fallout world: Ella Purnell plays Lucy Maclean, who has left her secure home in Vault 33 in search of her kidnapped father; veteran character actor Walton Goggins is the Ghoul, a victim of severe radiation poisoning which has left him a damaged and distorted parody of humanity but granted him near-immortality; and Aaron Moten takes the part of Maximus, an aspirant in the Brotherhood of Steel, a paramilitary organization dedicated to restoring civilization by any means necessary.

As in the game, Fallout uses the naive character of Lucy the Vault Dweller, and her quest for her missing father, to introduce us to the post-war Wasteland and its various perils, monsters, inhabitants and communities. The show does a superb job of evoking the look and feel of the game, and is loaded with background Easter egg references: Vault Boy bobbleheads, laser rifles, two-headed mutated Brahmin cattle, raiders, cannibals, and feral ghouls - not to mention the beloved Dogmeat the dog, a stalwart companion for any quest. 

As with the games, the series has stories within stories, plots within plots, and mysteries within mysteries.  The quest-driven nature of the computer versions translates well to the narrative format, combining a larger overall storyline with smaller sidebar interludes.  The episodes alternate between the post-war plot and a pre-war storyline about Vault-Tec, in which Goggins portrays Hollywood cowboy Cooper Howard before his transformation into a mutated monster.

The writers make full use of the same oddball humour that characterizes the game dialogue - and the same level of violence, perhaps more than expected by some viewers. To be fair, the source material is a first-person shooter computer game, but even so, it's a bit more graphic than the standard television fare in terms of gore.

Based on the final episode, Season Two will take its cast of characters to New Vegas, a logical step from the Los Angeles setting of the first season which will allow the writers to integrate material from Fallout: New Vegas, which is generally considered to be the best of the Fallout game franchise. 

And, finally, the season ends on an appropriate note with Walton Goggins uttering the franchise's iconic motto: 

"War.  War never changes."

Let's hope that's true, at least in terms of future episodes.

- Sid 

* To give some perspective to this, if playing Fallout 4 was my job and I worked seven hour days (with an hour for lunch), five days a week, I've spent about seven months living in the Wasteland.

** I actually started all three back in the days of installing from physical media.  (Oh, sorry - for the younger readers in the audience, games used to be sold on discs - originally floppies, later CDs, finally DVDs - all of which involved switching out disc after disc as prompted by the installer, and then requiring that the first disk to be in a drive for the game to run.)