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The TV show ‘Fallout’ is a bad idea — unless it’s a joke

From cats for The Wing of Zero in giving the extraordinary threat that “all your weapons are ours” 30 years ago, the content of video games has received a wide range of interest. Often, they are referred to as stilted, glamorous, and irrelevant. At the same time, it has become very popular, instantly known to them. When the first serious discussion came out incomplete translation-like Magneto in 1992 The X-Men arcade game calls itself “Magneto, master of magnet!” and shouting “Welcome … die!” -many have been dangerous in and of themselves: Peter Dinklage, for example, tried to take a clever approach to the lines in which he was fed. The future and it sounded as if he had been drugged.

To make matters worse, Hollywood has spent billions of dollars trying to turn franchises into reality television and television shows, yet decades have passed since the dreaded Dennis Hopper became world-famous with his time as Nintendo’s Bowser. pa to no avail. Which recent program will start the search? Dana. The story was heard earlier this month as Amazon worked to transform the Bethesda sports franchise, as well as on post-apocalyptic, retro-futuristic wasteland – the exploding genre of Don Draper’s Manhattan, featuring robotic food suppliers – sounded like TV popularity. But here’s the problem: The developer has done more to promote the idea that recording a video game is more dangerous than any other modern studio. From angry orphans mu Dana to Argonian loving women mu Scrolls of the Elders, the characters love to do what actors, who record time on YouTube, call it “Bethesda dialog.” Forever examples quantity. Fallout 4 alone it had 111,000 painted lines and now some unfortunate writers have to link the beast’s plots with the 7-foot yellow version arguing over who should “gather more people. ”

This does not mean that it is impossible. Giving permission to the TV will allow the show’s writers to make difficult changes and record live shows, but sometimes giving the idea of ​​disrupting more space only creates confusion. Instead, to change what Bethesda has done Dana there can be only one answer: Make a surreal drama.

One of the main reasons Bethesda has escaped from being a hokey for so long — the reason their games are still popular meme food years after release — is that conversations take place in the game. It has power. It is like an argument, motivated by doubts in deciding what to say. Turn this into something that the player / viewer has no organization, when the script writer has made a choice for them, and it falls to the ground. The Internet did repeatedly said that initial discussion Danas and Fallout New Vegas is superior to other texts. Yet even New Vegas’ Final negotiations with the red-feather, gold-clad warrior, Legate Lanius would not be pleasant if it were not you who were trying to persuade him not to remove the Hoover Dam.

Often viewers, especially critics, miss out on the best of art because they come to expect it to meet their expectations – in this case, the best known of the people. But what if they – and “they” I mean Dana‘s screenwriters — isn’t it? Bethesda, unknowingly or unknowingly (and probably more intentionally than people want), creates amazing worlds. One of the the first pieces I wrote to WIRED, referring to the absurdity of technology in video games, I quoted Peter Stockwell, who said it was “inconsistent” which meant surrealist jokes – jokes that “attracted attention to their communities as a place of no return.” Truman Show-like dream worlds, with people living their whole lives around senselessly.

This stupidity comes down to writing, whether it appears through white photographs or sounds like an opportunity encounter. Bethesda conversations are interactive, feeling like each line just connects to the next. Notably, most people are familiar with these types of expressions in David Lynch’s work: ambiguous words, confusing pauses, misunderstandings, the feeling that the characters are talking thin, cards, not to everyone. name. The foundations of Bethesda are also compelling. The studio has taken two of the most widely used electronic devices – fictional apocalypse – and injects them into a frenzy. Clichéd lettersLarge Scrolls‘Fithragaer, a smiling bull, for example – can often be in extreme darkness, such as saying good-bye to the ball player when he is trapped in a stone trap. Bethesda games are anti-immersive, always differentiating their players based on the interest in the game. This is the darkest joke about the people of Bethesda: Not just living through the apocalypse, or fighting wolves in the Tolkien-lite land; trapped in a game of poor performance.

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