A while ago, I heard some piece of Apocrypha that Fallout 3 was originally set only 20 or so years after the Bombs dropped, and was later moved up in the timeline in order to accommodate familiar and marketable setting elements like the BOS, the Super Mutants, and so on. I forget where I heard this, and I don’t necessarily think it’s true. But I think it’s a really interesting lens to view a lot of the stories and characters through. You assume 20 years and suddenly it makes sense that someone like Moira is just now getting around to trying to codify survival advice; your choice to take the project seriously or half-ass it for personal gain then becomes a statement about the future of the world. You assume 20 years and suddenly it makes sense that they’d build Megaton in a crater, even if it had a live bomb in it, and haven’t yet had opportunity to move somewhere without a bomb. You assume 20 years and suddenly the Andale cannibals make a lot more sense; they aren’t LARPing pre-war life with eerie accuracy, they’re desperately play-acting at the lifestyle they thought they were going to have when they were kids or young adults, and the old guy they’ve got with them is the actual adult from that period who has the context to understand what they’re aping and how fucked it is. Tenpenny, Moriarity, and Dukov all make more sense now; their immigration doesn’t post date the war, they immigrated *before,* to escape the resource wars. Tenpenny Tower as a power bloc is an affluent settlement that *held out* rather than something that just happened to spring up centuries afterward. Agatha doesn’t have a tenuous connection to a famous musician who got sealed up in vault 92, she herself was a famous musician who got out before it all went to shit, and reuniting her with the violin is a decision to help something purely good from the old world last a little while longer. The Gary uprising was recent. The Lone Wanderer is as old as the new world. Lucas Simm’s sheriff getup, Three-Dogs anachronistic radio DJ routine, the whole thing with the Vampires, the Mechanist and the Antagonizer- it’s not passed-down half-remembered cultural knowledge, they’re doing bits as a coping mechanism, or because its still actively recognizable to a plurality. Little Lamplight and Big Town I think make a little more sense under this paradigm. Vault 112 is aping a world that recently died. I haven’t even touched how much more sense the main plot makes if people have only been dealing with the bad water for half a generation instead of 200 years. Going full Charlie Kelly this fine evening
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