Reviews
[Review] ‘Fallout 76’ is an Online Adventure With Great Potential, But Lacks Narrative Depth
Is the wasteland a little too quiet these days? Is the end of the world better with a few friends around? Find out in our Fallout 76 review.
When diving into Fallout 76, it’s important to let go of certain expectations. While it’s essential to keep in mind the entries that have come before, Fallout 76 is a unique installment in the series. If you go in looking for the karma decisions and dramatic narrative of past games, you may be disappointed; however, if you come in seeking a variety of quests and a big world to explore, the game has you covered. Fallout 76 takes some time to get used to, but if you’re patient, there is a lot to enjoy.
Taking off into Appalachia with a couple of friends allows players to create their own adventures in a largely familiar Fallout mold. The game includes a variety of events and quests to keep groups entertained, pitting them against a wide selection of grotesque, and intimidating enemies. One of the more prominent Fallout qualities that the game drops is that of a karma system; player choices and morality are more of a free-for-all given that this is an open-world multiplayer experience. There is somewhat of a larger narrative at work, but like previous Fallout games, sometimes you may want to take on some side quests instead.
The start of the game sends you on a number of fetch quests as you learn the ropes. Upon listening to a Holotape, your first goal is to head towards a location, only to pick up another Holotape and head towards another area, and so on, and so on. These fetch quests go on for some time, eventually leading to more interesting and varied missions. There was a mission where I went into a mine to clear them of infected creatures. The environment was a great change in pace while also bringing a boost in challenge. That mission promised that the more I continued to play, the more there would be to discover.
It is possible to play Fallout 76 by yourself, but doing so makes the game a somewhat isolating experience. Part of this isolation comes from the fact that the world feels lacking without NPCs (minus some robots you come across). It’s jarring that there aren’t any as they make for one of the best components of any Fallout title, bringing life and character to the game world.
Speaking of the game world, Fallout 76 takes place in West Virginia, making for the most beautiful locale a Fallout game has ever had. Walking about the immense forests of Appalachia is truly wonderful. The land offers a diversity of locales that keep things fresh; from the various towns, to the bewitching wilderness and dank mines, the game’s world provides many spaces to tread and seek treasures. Fallout 76 does a solid job providing environmental storytelling. As you’re walking by one place, you may see a few corpses holding each other on the side of a road; it’s one of the many morbid sights that will catch your attention, getting you to wonder what those individuals may have been thinking in their last moments.
As mentioned early, Fallout 76 does include a larger narrative, but by no means is it as dramatic as past entries. Essentially you leave your vault to look for your overseer and roam about from there; there and then an interesting plot moment may come up, but narratively, Fallout 76 lacks the emotion and thrills compared to past titles.
That said, Fallout 76 has a stronger emphasis on survival compared to previous Fallout games. Whereas past titles kept track of your radiation levels and any potential issues you may have, Fallout 76 also keeps track of your hunger and thirst. When these cravings are not satisfied, your ability to use action points is impacted. Helping with your survival is that of the C.A.M.P., a portable device that allows you to build a base. In this regard Fallout 76 is a lot like Fallout 4; in making your base, you can set up turrets, create a means to cook food, and build structures as your heart desires.
What makes survival more intriguing is that of the real-time gameplay; say you’re in the midst of trying to craft some weapons or healing materials, if an enemy shows up, they can attack you no matter what. Simple acts like pulling up your Pip-Boy don’t pause the game anymore; actions are real time, so you have to be more careful in where and when you decide to manage inventory.
The game also has more of a need for crafting materials. The world is full of different items you can come across and scrap, allowing you to build new armor and weapons along the way. I found this to be more simple than I expected, for you really can pick up almost anything you see, scrap it, and have more room to carry items.
Combat is pretty standard with the only significant changes being that of V.A.T.S. Rather than having the enemies move at crawling speeds, V.A.T.S. has enemies moving much faster, providing the player a locked on approach to attacking. In this shift it felt that V.A.T.S. had lost a good deal of its accuracy; I came to realize that I would have a much better chance of landing critical shots without using it. The RPG leveling system isn’t as dynamic as Fallout 4, but it’s easier to manage; building a deck of the stats and perks that matter to you make for an enjoyable means to customize your character, all while building upon your chances of survival.
Concerning bugs, fans of Bethesda have come to expect issues with game’s upon release; however, in my hours of playing Fallout 76, I dealt with very few problems. Even with some moments of lag and pop up textures, I’m glad to say playing was, by and large, a relatively smooth ride.
Fallout 76 may come off as somewhat of a jarring experience for long time players of the series (especially those not use to multiplayer or online gameplay). The lack of NPCs makes the world feel a little too empty, and the beginning requires slugging through some boring quests before things get a little more interesting. For longtime fans of the series it requires some understanding and acceptance; for those who have played games of similar ilk, it merely requires some patience. However, as one continues to progress in the bombed out remains of Appalachia, they will find themselves enchanted by the scenery and the promise of fun yet to come.
Whether you play with friends or by yourself, Fallout 76 is the beginning of a fascinating direction for the series. Having Fallout be an open world online game makes lots of sense, for the core element of the series is that of exploration in a post-apocalyptic world. I think in time, as Bethesda continues to build upon the game, we will see Fallout 76 become a stronger entry in the series, as well as a worthy online role-playing adventure.
Fallout 76 Review copy bought by the reviewer on PS4.
Fallout 76 is out now on PS4, Xbox One, and PC.
Reviews
“The Walking Dead: The Ones Who Live” Episode 4 Review – Danai Gurira Writes an Exceptional Hour of TV
“What We,” written by Michonne herself, Danai Gurira, is the fourth episode in AMC’s “The Walking Dead: The Ones Who Live.” Serving as an emotional climax for Michonne and Rick’s journey, the episode unravels much like a play (which makes sense given Gurira’s background as a playwright). Confined to an abandoned apartment building in the wake of Michonne pulling Rick out of a helicopter, the long-lost lovers finally have some alone time to talk things over.
What follows is a beautifully written, dialogue-heavy episode that is heightened by dynamic blocking and set design. Much of the episode finds Rick and Michonne arguing over their next steps, pacing and moving around the small apartment they’ve found themselves in. Despite an exit-plan at their fingertips, Rick seems hesitant to travel with Michonne back to Alexandria. Michonne, rightly frustrated, argues with Rick, spiraling the conversation into circles. Grimes is allegiant to the Civic Republic Military and truly believes he can do some good for not only his community, but for the world.
As the episode progresses, Michonne’s frustration with Rick rings just as true for her as it does for the viewers. Despite Michonne’s constant pleas for the man she once knew to return to his children, Rick keeps circling back to his supposed need to remain at the CRM. It’s clear, even more so this episode, that Rick is a shell of who he used to be. Beaten down by years of failed escapes and separation from his family, “The Brave Man,” as RJ Grimes calls his absent father, is not so brave anymore. In a post online, a fan pointed out that the Rick Grimes we once knew essentially did die on that fateful bridge back in season 9. And they’re not wrong.
While Rick and Michonne’s physical reunion was granted to viewers almost immediately in this series, the emotional reunion between the two iconic characters was only truly achieved in this episode. Preventing Rick Grimes from returning to his former glory with a simple snap has proved to result in a much more dynamic, intriguing, and believable narrative for the long-absent character. Michonne finding Rick was only one step of the battle, with Rick finding himself being the toughest hill to climb. Andrew Lincoln once again showcases a masterclass of acting as Grimes cycles through his damaged psyche, desperately trying to figure out how to connect with Michonne. Gurira matches Lincoln’s emotional performance, evoking Michonne’s desperation and anger with authenticity. Letting Gurira take over writing duties for this specific episode proved extremely beneficial given the emotional legwork the character trudges through in this particular installment. If there’s anyone who can understand Michonne the best, it’s Danai Gurira.
Despite the stellar writing and episode flow, “What We” is not free from a few so-so moments. A chandelier conveniently lands on Michonne, forcing Rick to stay back to rescue her as a shambling horde comes his way. It’s understandable why this sequence occurred, but with so many other ways to place Michonne in peril, the convenient crashing of a chandelier onto her leg comes across on the goofier side. It’s the type of fake-out dangerous moment the flagship series would too often pull on characters we surely knew would not meet their demise. Earlier in the episode, Rick and Michonne’s descent from the helicopter is shown. The visual isn’t super convincing, and the sequencing of shots that follow feels disjointed – clearly meant to hide a restrictive budget. It’s a rare moment of low-quality that sticks out amongst an otherwise polished, elevated looking show.
On the other hand, “What We” is full of incredible stand out moments. As Michonne changes out of her wet clothes, Rick notices her “X” scar for the first time, a mark fans of the flagship series will remember. Michonne and Daryl’s fateful encounter with a community of murderous children proved to be one of Season 10’s darkest episodes. A somber dialogue occurs later in the episode, offering longtime fans another moment of Michonne filling in Rick about one of the many impactful moments he missed during his absence. The real revelation comes when Michonne mentions Rick’s “Children” and a look of subtle shock washes over Grimes’ face. Michonne breaks the news about RJ, their child that Rick never got the chance to meet.
Even after the revelation, Grimes still refuses to just leave with Michonne, forcing her to try even harder to break his spell of delusion. The constant back-and-forth between these apocalyptic lovers plays out against the framing of a beautiful rectangular window. As the episode progresses, the apartment building itself begins to collapse into rubble, a consistent visual motif for a relationship that is on the rocks.
After an elongated sequence of several walker kills, close calls, couple bickering, and some hilarious jabs (Michonne mocking Rick by calling him “Commando”), the duo finally return back to the apartment room and connect on a physical level. The scene is shot like a fantasy, backlit by a warm circular light and serenaded by Sam Ewing’s beautiful original score. Intimate framing showcases the emotional reaction of the characters, emphasizing the importance of this long-awaited moment and the rekindling of their love. “You’re still lying to me, you’re lying to yourself,” Michonne says in the aftermath of their romantic moment. The walls are down, and Michonne is ready to pry the old Rick Grimes out of his decaying shell.
With the building at the brink of collapse, Michonne orders Rick to stay back until they decide exactly what they are doing next. “They’ve taken so much from us, why give them anymore!” Michonne pleads to Grimes. And finally, Rick Grimes spills his guts as Andrew Lincoln puts on an intensely raw performance crying through the following poignant monologue:
“Tell me what is really going on here? What did they take from you?” Michonne asks.
“Carl…They took Carl. I lost him again,” Rick reveals with a tenderness in his voice.
“I’d meet up with Carl in my dreams. And that’s how I survived up here. Kept me alive. And then one day he was just gone. He just left. But then I started dreaming of you. And there you were. You and I fell in love in different ways. And it kept me going. And then you were gone too. I couldn’t see your face anymore just like I couldn’t see Carl’s. I can’t live without you. Without you, I die. And I figured out how to do that. I know how to be dead and live now. You can’t just come back here, make me come alive again if I don’t know if I won’t lose you again. What if I lose you and I can’t figure out how to die all over again? I need to get ahead of it Michonne.”
As Ewing’s somber music swells, nostalgic shots of Rick walking along the fields with Carl play out and the core heart that kept Rick fighting for all of these years becomes emotionally apparent yet again.
In a full circle moment, Michonne hands Rick a broken phone with artwork of Carl on it, a visual reminder of a face Rick longed to remember and a great payoff to Michonne stumbling upon the phone artist in the CRM city. Much like how a broken phone with artwork on it brought Michonne back to Rick, the same has brought Rick back to Michonne. Rick’s monologue also elegantly ties in the entire show’s motif of “The Walking Dead,” as Grimes cries to Michonne about how he has learned to “be dead and live.” The entire sequence is one of the show’s (and possibly the series’) best, featuring Emmy-worthy performances from both Gurira and Lincoln.
The killing of Carl back in Season 8 still remains one of the boldest and somewhat baffling decisions the core show made, but much like how the series turned Carl’s loss into a motivator for Rick to restore a brand new world, the power of Carl’s memory is able to ground Rick back to his emotional center. For a flagship series that can sometimes all too quickly move along after the tragic deaths of its main characters, the overall writing arc for the loss of Carl has proved to be beautifully crafted.
United yet again, Michonne and Rick make a mad dash out of the collapsing building, disposing of walkers and making out along the way. The production design of the decaying hallways call to mind the corridors of the hospital Grimes first woke up in, perhaps a slight nod to this moment being yet another “rebirth” for the character. As the duo drive away from the collapsing building in a nearby truck, it’s evident that the apocalypse’s power couple is finally back, and together no one can stop them.
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