Bethesda has always fumbled the ball on the leftist slant, Capitalism exists where it likely shouldn't yet and in general mocks the Cold War propaganda yet plays most Communist characters as though the propaganda is true, actually.
The series was always generally leftist, but it never really crossed the threshold into being a full Disco Elysium or anything. However, in the hands of Bethesda, it's just a playground.
I swear, no one can properly mock fascists in any way that insults them.
The closest I can think of are orcs from Tolkein, and even then if I worry that if we starting calling white people and fascists "orcs", they'd take it as a compliment too or I'll just sound too much like a NAFO lib.
I swear, no one can properly mock fascists in any way that insults them.
I've always said that if you want to have a parody fascist in a modern fictional work, you've got to make them totally pathetic. Maybe make them a weaboo with a fedora and a katana. They act super badass but it comes across as extremely cringe, and really associate that cringe with the racist/incel shit that they occasionally say when they're not repeating the most boring/bad anime takes imaginable.
Fallout is an interesting case of tripping into a material analysis despite itself.
I think part of the reason modern Fallout games don't resonate is because of a shift in focus in Fallout 2.
☢️ Disclaimer ☢️ I'm about to critique Fallout and all of its runty children, but it comes from a deep place of love. Proceed cautiously...
The greatness of the original Fallout was it's relentless juxtaposition. Wandering around its world deeply reminded me of Percy Shelly's poem Ozymandius. The incredibly kitszch pre-war civilization was muted because you would only catch glimpses and fragments in the ruins surrounded by the Wasteland. You could say the old world haunted the world and people. The bleakness of the setting gave a sympathy to even the "bad" guys, especially when many player choices revolved around the best of bad options and unintended side-effects. The people living in that world embodied a critique of the entire ideology that created the blasted-out world. The game embodied a ghost story.
Where its own analysis falls over is a shift away from Ozymandius and into more familiar tropes typical of post-apocalyptic/fall-of-civilization fiction. The focus shifted away from the juxtaposition and towards an analysis of the people that lived in those ruins. We no longer see the games as a critique of Hubris, but a critique of their world, and (increasingly) a critique of the post-war inhabitants. The pre-war civilization went from haunting to set dressing. It's easy to point to Bethesda for this phenomenon, but (if we're being really honest with ourselves) the problem started in Fallout 2. The game became a franchise, and its own lore began to eclipse the general irony. In the original Fallout the pre-war culture was as alien to the world's inhabitants as it was to ours. Part of what made it work was the very little that was revealed in the bombed-out ruins. Now we have a fairly liberal (yes, even in FO2 and FNV) takes on the human condition, while the player has an encyclopedic knowledge of the pre-war world.
In a very real sense, where does the franchise go from here? Truthfully, nearly all post-apocalypse/fall-of-civilization fiction falls into this trap. Zombie fiction suffers from this phenomenon the most. In Fallout's case, returning to the haunted nature of the old world might breathe new life. It lends itself to a mysticism and reverence by the people living among the ruins.
Yep, you hit the nail on the head. I've been saying that Fallout needs a reboot and universe reset for a while, too much of it is too far gone and has become a parody of itself.
Bethesda has always fumbled the ball on the leftist slant, Capitalism exists where it likely shouldn't yet and in general mocks the Cold War propaganda yet plays most Communist characters as though the propaganda is true, actually.
The series was always generally leftist, but it never really crossed the threshold into being a full Disco Elysium or anything. However, in the hands of Bethesda, it's just a playground.
I swear, no one can properly mock fascists in any way that insults them.
The closest I can think of are orcs from Tolkein, and even then if I worry that if we starting calling white people and fascists "orcs", they'd take it as a compliment too or I'll just sound too much like a NAFO lib.
I've always said that if you want to have a parody fascist in a modern fictional work, you've got to make them totally pathetic. Maybe make them a weaboo with a fedora and a katana. They act super badass but it comes across as extremely cringe, and really associate that cringe with the racist/incel shit that they occasionally say when they're not repeating the most boring/bad anime takes imaginable.
So basically Elon Musk
Fascists have been comparing the races they don't like to orcs for a while now.
Oh yeah, that’s another big one. There’s just way too much baggage to use orc/goblin/troll/etc to refer to chuds.
In order to properly mock a fascist you have to use the Mel Brooks technique. Make them silly.
deleted by creator
Fallout is an interesting case of tripping into a material analysis despite itself.
I think part of the reason modern Fallout games don't resonate is because of a shift in focus in Fallout 2.
☢️ Disclaimer ☢️ I'm about to critique Fallout and all of its runty children, but it comes from a deep place of love. Proceed cautiously...
The greatness of the original Fallout was it's relentless juxtaposition. Wandering around its world deeply reminded me of Percy Shelly's poem Ozymandius. The incredibly kitszch pre-war civilization was muted because you would only catch glimpses and fragments in the ruins surrounded by the Wasteland. You could say the old world haunted the world and people. The bleakness of the setting gave a sympathy to even the "bad" guys, especially when many player choices revolved around the best of bad options and unintended side-effects. The people living in that world embodied a critique of the entire ideology that created the blasted-out world. The game embodied a ghost story.
Where its own analysis falls over is a shift away from Ozymandius and into more familiar tropes typical of post-apocalyptic/fall-of-civilization fiction. The focus shifted away from the juxtaposition and towards an analysis of the people that lived in those ruins. We no longer see the games as a critique of Hubris, but a critique of their world, and (increasingly) a critique of the post-war inhabitants. The pre-war civilization went from haunting to set dressing. It's easy to point to Bethesda for this phenomenon, but (if we're being really honest with ourselves) the problem started in Fallout 2. The game became a franchise, and its own lore began to eclipse the general irony. In the original Fallout the pre-war culture was as alien to the world's inhabitants as it was to ours. Part of what made it work was the very little that was revealed in the bombed-out ruins. Now we have a fairly liberal (yes, even in FO2 and FNV) takes on the human condition, while the player has an encyclopedic knowledge of the pre-war world.
In a very real sense, where does the franchise go from here? Truthfully, nearly all post-apocalypse/fall-of-civilization fiction falls into this trap. Zombie fiction suffers from this phenomenon the most. In Fallout's case, returning to the haunted nature of the old world might breathe new life. It lends itself to a mysticism and reverence by the people living among the ruins.
Yep, you hit the nail on the head. I've been saying that Fallout needs a reboot and universe reset for a while, too much of it is too far gone and has become a parody of itself.