The plot of “Fallout” involves three separate storylines. We have Ella Purnell’s Lucy, a vault dweller searching for her father; Aaron Moten’s Maximus searching for a device for his Brotherhood of Steel; and Walton Goggins’ The Ghoul searching for a bounty. These eventually merge, with the three people all after a MacGuffin that can grant any of the many factions in the wasteland control over it.
Much like the games, part of what makes “Fallout” fun is the juxtaposition between the dark, depressing state of the world and its cartoonish violence and grim comedy. This is a place where everyone wants to kill you and/or eat you, where ghouls roam the wasteland, but also where giant radroaches and monsters with fingers for teeth try to kill you.
“Fallout” is in an interesting position as an adaptation. It isn’t “The Last of Us” and its carbon copy remake, or even “Castlevania” and “Arcane” which have original stories using their games’ characters. Instead, both characters and story are wholly original here, even if there are plenty of nods to the games. Characters like The Ghoul share elements with Hancock from “Fallout 4,” while the story of the MacGuffin that drives the plot works similarly to the water purifier in “Fallout 3.” This results in the season feeling like another game in the series, one that is familiar to players of the first games because war never changes, while also being fresh and new.
The show also adds its own twist to the lore of the games. Sure, some purists may scoff at the changes, but they make for a fascinating take on the source material because they fit the tone, and they supplement the adaptation’s main themes of class tension and the culture of division.
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