The Fallout TV series has made a triumphant return to streaming services, and it's accurate to state that audiences were delightfully shocked by the excellence of its debut season. By illustrating the atomic-age, nuclear-ravaged United States through the perspectives of three different characters, it succeeded in capturing various facets of the gamer's experience.
There was vault-dweller Lucy, trying to uphold her morals and discovering that the barren landscape made that very difficult; Brotherhood initiate Max, the Brotherhood of Steel initiate, who starts challenging his cult's leadership and causes significant chaos in robotic power armour; and Walton Goggins's character, a fan-favorite figure who has entirely abandoned any sense of morality out in the radioactive badlands.
The show's first season ending disclosed crucial details about the culprits behind the global annihilation that condemned a group of people in bomb-proof bunkers for centuries. It also raised plenty of questions unanswered for the second season – and, on this occasion, expectations are significantly higher.
“We'd gladly accept ‘not terrible’ – let’s get that on a poster,” says one of the series creators.
“Heading into the initial season, people were like, ‘Just don't mess it up’,” adds the game director. “We are thrilled with the response to the show, so this time people are bringing more eagerness and different expectations.”
The upcoming season is set in the neon-lit city, the location of the beloved game Fallout: New Vegas, which is often praised for having the most compelling narratives and characters in the series, even if it was technically flawed at launch.
“It has a desert vibe, a Southwestern essence, that’s so key to that game,” explains Nolan. “That dusty, blasted-out Route 66 feeling of the game is so much enjoyable to bring into the show.”
In the series narrative, a significant amount of time has passed since the events of the New Vegas game by the time the characters arrive there. However, the creators indicate that it does reference the gamer's experience.
The Fallout TV series is distinguished by its tangible quality – its makers prioritized authentic items and sets were fabricated, echoing the makeshift nature of the outposts in the games.
“As a sci-fi fan, so many productions I watch, I’m aware that they’re all filmed against a green screen,” says another of the showrunners. “The primary goal of an translation, particularly of a video game, is to seem like it’s real.”
In fact, almost everything you see on-screen is real, including the legendarily scary radioactive creatures known as Deathclaws. In the show, they are portrayed by puppets, and were by all accounts pretty frightening up close.
The Fallout series succeeds because it is developed by skilled directors who are also dedicated players, with the help of the game developers behind the franchise. This mutual respect for the universe is clear in the end result.
The new batch of episodes is launching on a episode-by-episode basis rather than as a full-season drop, marking a change from the previous season. This approach will foster a different viewing experience, something the creators themselves are excited to observe.
“It has more depth, it’s more expansive, it’s funnier, it has a lot of revelations,” promises the game director. “I’m looking forward to seeing what people think.”
Elara Vance is a Toronto-based journalist and cultural critic with a passion for exploring the intersection of politics and everyday life in Canada.