Tag Archives: wasteland

January 27, 2017 – Borderlands

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The San Rafael Valley is a well-kept secret in the borderlands of Cochise County, Arizona. Micro-climates make this a surprisingly fertile territory for wine grapes, and several wineries are dotted throughout the area, surrounded by BLM territory and a collection of independently operated ranches. There are the odd ‘desert rats’ that live on these lands, too – individuals who prefer to live a more solitary life, away from the noise and bustle of the city.

This largely unmanicured region can seem threatening. The rules of the west are fully on display. If you trespass on the wrong property, you will most-assuredly come face-to-face with an angry rancher and a shotgun. Landowners are wary of outsiders; many are hardened against trespassers as a result of drug-muling and human trafficking. But for the casual traveler, if you play by the rules, the only sign of human life you will ever encounter are Border Patrol trucks and the occasional unmanned drone flying overhead.

I feel at home out here, looking down the deep valley, where the wind gliding through the dry grass is the dominant sound. Where the sky opens up and reminds one how small they really are.

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The Walking Dead – “No Way Out”

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“The Walking Dead” returned on Sunday from the mid-season break and, in the show’s well-established style, nobody is safe. Alexandria’s wall has been breached and we watched while various citizens were predictably devoured by the walking dead. This might actually be what’s most problematic about the series; despite interesting turns and high-tension moments, the show’s rhythms and repetitions are overwhelmingly obvious. Previous seasons have routinely established a pattern in which the core characters appear to find long-term safety, only to be pushed out by larger and larger herds of walkers or competing survivor groups. The countryside of Atlanta, Hershel’s Farm, the State Penitentiary, Terminus, and Alexandria have all fallen in a predictable series of missteps and misfortune. Corrupt and despotic leaders have also become a common element, from The Governor to the cannibals of Terminus to the still-mysterious (but soon-to-be-revealed) Negan.

If “The Walking Dead” has common themes of corruption, perennially unsafe shelters, and the promise of “unkillable” characters being killed, then the shocking moments become less shocking. We still care, but we see the writing on the wall. We oscillate between moments of sadness and moments of relief, but with less and less impact. In an attempt to ratchet-up the stress, the show has begun playing unfairly to our emotions. The incident with Glenn and the dumpster is our best example. It was a relief to see the show’s most loved character pull through, but it was an unnecessarily manipulative cheap shot. The story should be able to achieve these levels of emotional impact by itself, not through slights of hand.

The show still has tremendous momentum and consistently delivers strong performances, but that doesn’t mean we don’t need something to change in order to disrupt these increasingly played-out patterns. This may have already begun to happen, of course, as we consider how the early episodes of season six began to fragment the timeline. The architecture of the narrative has changed dramatically as the story has been compressed, telescoped, and as the moments of decisive action have begun to occur with greater frequency. Where in the beginning a season would take place over several weeks or months, the whole of season six has (at least thus far) taken place over only a couple of days. We also have one unique 90 minute episode that looks backwards in time, showing us how Morgan transformed after a chance encounter with a kind loner. It is truly a magnificent episode that could just as easily have been a stand-alone film.

The best “zombie” features actually focus little on the zombies themselves. Rather, the best zombie stories are preoccupied with exploring humanity. “The Walking Dead” is no different. Most of the story is about a group of people struggling to reason and fight their way through an extraordinary situation. This is a survival story, in which disparate personalities collide, pecking orders are established, and drama unfolds. Everybody in the zombie apocalypse wants the same thing: to live to see another day. But everybody has their own idea how to accomplish that goal. Others have the opportunity to seize control, become leaders, ascend the dictator’s throne, or become sacrificial and selfless. That’s what is so darn good about “The Walking Dead.” We all watch these characters, study their struggle, and we all have an idea of what it is we would do if placed in that situation.

George A. Romero’s original zombie masterpiece, “Night of the Living Dead,” set the stage. It’s a brilliant thought experiment as we watch a half dozen strangers, marooned in a  farmhouse, arguing about the best course of action. Zombies occupy less than five minutes of screen time and most of the violence is implied. The script was written like a brilliant one-act play, and the moral questions are so compelling that we barely realize there’s hardly any action driving the plot forward, just words.

“The Walking Dead” could be a compelling television show even after the last walker collapses in dry-rot and melts back into the earth; the world is still a wasteland, filled with roving bands of survivors, scavengers, and highwaymen. Civilization still has to be rebuilt, infrastructure established, townships reclaimed. If the show can find a way to break out of it’s rinse-repeat cycle, it could be around for a long time to come.

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Fallout – Bob’s Big Boy

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As Paradise falls, so falls Paradise Falls.

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In the western hills of The Capital Wasteland a tall monument can be seen in the distance. The remnants of a commercial shopping center, Paradise Falls is the home of the largest slaver camp in ‘Fallout 3.’ A hulking fast food mascot hovers over the camp’s guard tower and chain-link slave pens, bearing a significant resemblance to a real-world mascot.

The Big Boy restaurant chain began as Bob’s Pantry in Glendale, California in 1936. “Home of the Big Boy Hamburger,” the chain is most recognizable by its trademark chubby boy in a red-and-white checkered pair of overalls holding a double-decker cheeseburger.

The early versions of the statues were huge, measuring up to 14 feet tall. Naturally, the version in ‘Fallout 3’ avoids infringement by eliminating the checkered outfit and replacing the burger with an ice cream cone – that and it stands significantly taller than any of it’s real-world counterparts. At one point in the early concept sketches of Paradise Falls, game designers were interested in having a scaffolding wrapped around the statue with a sniper’s nest atop the sculpture’s head. Time constraints prevented this from becoming a reality.

In recent years, Big Boy statues have come into conflict with local zoning ordinances, and  the closing of several locations has seen the dismantling some of the statues. Many of them have been acquired by private individuals, and they appear somewhat regularly on eBay. Smaller versions are still sold today as coin banks and bobbleheads (another theme in ‘Fallout 3’), and vintage Big Boy ash trays, salt & pepper shakers, and wooden counter displays are still floating around out there.

lard lad

References to the famous Big Boy statue are ubiquitous in popular culture. From Bruce Springsteen lyrics and Austin Powers to The Simpsons (“Lard Lad Donuts”) and elsewhere, the days of Bob’s Big Boy are far from over.

Have a happy holocaust!

Fallout – Strategic Nuclear Moose

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“And God said: Let them have beer!”

One of the least important locations on the “Fallout: New Vegas” map, Brewer’s Beer Bootlegging is the official title of a small shack located northeast of McCarran airport, due east of the Sunset Sarsaparilla corporate office. The Mojave Wasteland is a forbidding place, but no amount of nuclear holocaust will keep a good brewer down! The shack appears to be abandoned, but the interior leads to an underground bootlegging operation that has been recently used.

Complete with fermenters, crates, and consumable beer, the crowning touch is the painted shipping pallet in the corner. The white paint reads: Strategic Nuclear Moose – let them drink beer. This is a reference to real-life Scottosh brewing company BrewDog. Their attention-grabbing achievement is known as “Tactical Nuclear Penguin,” boasting a whopping 32% alcohol content.

Previously branded irresponsible for an 18.2% beer called “Tokyo,” the gentlemen behind the operation decided to thumb their nose at critics first with a low-alcohol beer called “Nanny State” before eventually unleashing “Tactical Nuclear Penguin.”

A warning on the label states: “This is an extremely strong beer; it should be enjoyed in small servings and with an air of aristocratic nonchalance. In exactly the same manner that you would enjoy a fine whiskey, a Frank Zappa album, or a visit from a friendly yet anxious ghost.”

I would stab a guess that somebody on staff at Bethesda Game Studio is a fan.

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