A digital strategist and creative director with over a decade of experience in tech innovation and design thinking.
The Fallout TV show has come back to its platform, and it's accurate to state that audiences were pleasantly surprised by the quality of its initial run. By illustrating the atomic-age, nuclear-ravaged United States through the eyes of three distinct characters, it succeeded in capturing various facets of the player's experience.
We followed Lucy the vault dweller, trying to uphold her morals and learning that the ruined world made that incredibly hard; Max, the militant faction rookie, who starts challenging his cult's leadership and creates a lot of havoc in mechanized battle suit; and Walton Goggins's character, a fan-favorite figure who has entirely abandoned any sense of morality out in the radioactive wilderness.
The debut season's ending disclosed key information about the culprits behind the global annihilation that condemned a group of people in bomb-proof bunkers for an extended period. It also left plenty of questions unresolved for the next installment – and, this time, hopes are much greater.
“We'd gladly accept ‘pretty good’ – let’s get that on a poster,” quips one of the series creators.
“Going into the first season, people were like, ‘Just get it right’,” states Todd Howard. “We are ecstatic with the response to the show, so this time people are bringing more enthusiasm and altered expectations.”
The new season is set in the neon-lit city, the backdrop of the 2010’s game Fallout: New Vegas, which is frequently celebrated for having the sharpest dialogue and cast in the franchise, even if it was technically flawed at launch.
“It embodies a sun-baked feel, a Mojave vibe, that’s so essential to that game,” says the co-creator. “That dusty, blasted-out Route 66 aesthetic of the game is so much rewarding to translate into the show.”
In the series narrative, a significant amount of time has passed since the story of the New Vegas game by the time the characters make their way there. However, the creators suggest that it acknowledges the fan's adventure.
The Fallout TV series is praised for its physical authenticity – its production team insisted on real props and locations were fabricated, mirroring the improvised nature of the towns in the games.
“As a sci-fi fan, so many series I watch, I’m conscious that they’re all filmed against a blue screen,” observes another of the showrunners. “The key objective of an translation, especially of a video game, is to appear as if it’s authentic.”
Indeed, virtually each creature you see on-screen is practical, including the infamously terrifying irradiated monsters known as Deathclaws. In the show, they are brought to life with puppets, and were apparently quite terrifying up close.
The Fallout series resonates because it is made by accomplished storytellers who are also longtime fans, with the help of the game developers behind the video games. This shared passion for the world is apparent in the final product.
The second season is being released on a episode-by-episode basis rather than as a binge-able batch, offering a different experience from the first season. This approach will foster a altered viewing experience, a dynamic the creators themselves are looking forward to witness.
“It delves deeper, it’s larger in scale, it’s more humorous, it has a lot of twists,” says Howard. “I can't wait to seeing what people think.”
A digital strategist and creative director with over a decade of experience in tech innovation and design thinking.