a lot of people are talking about how shitty the main storyline of fallout 4 is, with the all-but-mandatory Sad Dad shit, and I agree
but I think the single most fucked up thing is how they take a really cool angle and piss it away.
like, your character is from the pre-apocalypse USA, which has been explicitly established as a borderline fascist dystopia run by a shadow government. there’s no engagement with this whatsoever. the male Sole Survivor is a soldier, but never past the opening cutscene even alludes to what he actually did in war, and one can only imagine it was horrifying. the female sole survivor, a lawyer, never alludes to what sort of laws were in place – laws restricting free speech in order to save it, laws involving shipping Chinese-Americans to internment camps.
there’s a brief allusion to a catastrophic vision of capitalism in the opening cutscene. in game, the closest you get is Danse saying elevators are lazy. there’s no real commiseration with Nick about being people out of time, no celebration or regret or longing or anger; there’s no chance to really TALK to Codsworth about what’s changed, what hasn’t, what 200+ years alone actually MEANS to a seemingly sapient robot. at no point does your character get the chance to analyze the Silver Shroud or that weird story about the squirrels and say “holy shit, did I really not realize how fucked up this was?”
it’s an incredible hook with the potential to add a lot of social commentary, and a lot of depth to the main character, and a lot of lore to the history of the Fallout universe
but it’s never explored. it’s an afterthought; the plot point is solely used as a convoluted method of separating you from your shitty baby you never actually get a chance to grow attached to.
So this just arrived in the mail. It’s a huuuge polished quartz heart that I ordered at like 3am last week and completely forgot about until now. It has these beautiful silver flecks through it that go transparent from some angles?? So cool 💛✨
1x24 “Is There a Doctor in the House?” unlike the typical TJ Scott-directed episode, isn’t jam-packed with cool camera angles and stylish editing. In this ep he’s strategic about when to step back from the on-the-ground intensity of the field hospital and create a beautiful image. One of those beautiful images is the above, as Xena gets her first quiet moment with wounded Gabrielle. It’s a moment for regrets and reflections, and TJ composes it with all the gravity and grandeur of a religious painting. Note the symmetry of the three windows; their triangular shape echoes the triangle of Xena leaning over Gabrielle. Also interesting is the significant positioning of the three men behind Xena and Gabrielle: obsolete Galen watching uncomprehendingly from the deep background, Hippocrates too busy to look up as he ministers to the wounded per Xena’s wishes, and Marmax right at Xena’s shoulder, trying to console her.