Desert Law: School Bus Mounted Howitzer

desert-law_w1010.pngMy Steam library is filled with post-apocalyptic games. Generally, I’ll pick up (or at least wishlist) any apocalyptic game I come across. Desert Law has been in my library for about two years. I picked it up on sale, played it for 10 minutes, and then uninstalled it. However, enough time has passed that I thought the game deserved another chance. Unfortunately, the game aged about as well as a bloated corpse in the wasteland sun.

Desert Law’s narrative makes Wasteland Angel look complex by comparison. After the apocalypse, tribes of road warriors kill each other over booze and car parts. What kind of apocalypse is this? We don’t really know. The entire world is a desert and some places are populated by angry sentient zombies napping beneath the sand.
Here’s the story: Generic wastelander Brad wants to woo a girl for mating season, but rival tribes of gangsters and pre-apocalypse military keep mucking up his plans. Brad convinces his tribe to kill everyone in their way until Jane (the love interest) notices him.

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The Postal Dude shoots Gengis Khan

The story is told in comic-book format. Make of the art style what you will. Speech bubbles appear and pages turn automatically. I personally found the speed of these sections to be a little too fast. I wasn’t able to read all the text before the page change. However, considering the prevalence of misused and misspelled words, it’s clear the game doesn’t care about the story and the player shouldn’t either.

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Gameplay revolves around commanding a handful of buggies and armored hotrods with swivel turrets. In an interesting twist, drivers can exit vehicles and continue on foot. Hero units drive standard cars, but grant slight bonuses to different vehicles. Like Starcraft, there are a few infiltrator style missions where you abandon your convoy and explore ruined settlements on foot.

Unfortunately, Desert Law is difficult for all the wrong reasons. A great source of difficulty comes from bugged pathfinding. Without micro-management, units will drive directly into scenery. Exciting chases are impossible because cars regularly bump into each other. Destroyed units act as physical barriers. Although the monster-truck unit can smash through concrete walls and small buildings, it cannot drive over destroyed cars. This makes defense missions incredibly difficult as your army is quickly boxed in.

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See the one car facing the opposite direction? The pathfinding made it crash into friendly units.

Units disobey orders and tend to chase enemies, making command options (stand ground, ambush, etc) completely useless. There’s no UI feedback to indicate you’ve given a unit orders. On multiple occasions, I’ve set up a defense line around a stationary turret. Despite being set to “stand ground” my weakest unit rushed into the fray before enemies entered the turret’s range. Even worse, this was a hero unit.

The game enters a fail state whenever a hero is killed. This wouldn’t be a problem in most RTS games, but in Desert Law hero units make up the majority of your army. Take, for example, the first real mission of the game. You start the quest with five units, three of them are heroes. As you progress through the quest, you’ll pick up another three heroes. You have a total army size of eight, but only two of your units are permitted to die during the quest. In most RTS games, hero units are exceptionally powerful, giving them enhanced survivability. In Desert Law heroes grant slight bonuses to standard vehicles. All these problems are only exacerbated by generally squishy units.

Enemies are comparable to player units, but are far more numerous. Units can be repaired by the mechanic hero, but there’s a catch. First, the mechanic doesn’t appear in every mission. Second, reflecting the post-apocalyptic setting, every unit has a set amount of ammo per level. The mechanic has no guns, but uses ammo by repairing vehicles.

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See the tiny health bar under the monster truck? That’s a foot soldier.

Just to recap, Desert Law is a strategy game where you instantly fail if any hero unit dies. The majority of your army is comprised of heroes who are only slightly better than standard units. You’re outnumbered 5:1 by enemies who are just as powerful as you. You can repair your vehicles, but can only make 3-4 repairs per mission. The game has no base building, but reinforcements occasionally appear after completing objectives.

There’s not a lot to say about Desert Law. It’s a single player blitzkrieg-style strategy game with an irrelevant story, no voice acting, and poor optimization.  Fortunately, the game is only $2.99, frequently goes on sale, and includes 29 missions. If you’re looking for a cheap distraction or compulsively buy post-apocalyptic games, give it a look.

If you’re interested in Desert Law, you can get it here

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Smegma Crazies, Gayboys, and The Golden Youth

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On the surface, The Road Warrior is a fine action movie that defined the post-apocalyptic genre and put everyone involved on the map. If we put aside the action and go a little deeper, we start to see some interesting clues about the Humungus tribe. As we already saw with Lord Humungus and especially Fury Road, George Miller loves adding cryptic details into his films. Perhaps the most discussed and yet mysterious of these details revolves around the Humungus tribe’s not-so-subtle homoeroticism.

At the beginning of the film, we see Wez, his companion, and a few mooks engaged in a fast-paced pursuit. When the scene slows down to give Wez his fist close up, the audience immediately notices Wez’s companion, a young man credited as The Golden Youth, wears a black leather bondage harness. What I’ve always found more interesting is the chain and padlock dangling from his neck.

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While Wez is removing the crossbow bolt from his arm, the camera is positioned such that both The Golden Youth and Wez share the frame. In fact, The Golden Youth remains shares the frame throughout the shot, even as the camera pans up to focus on Wez’s twisted expression. George Miller could have done a simple close up of Vernon Wells followed by a reverse reaction shot of Max, but it seems he wanted the viewer to take notice of The Golden Youth, especially since this is the opening scene and the audience’s first encounter with the Humungus tribe.

Early drafts of The Road Warrior suggest The Golden Boy was originally meant to be female, but the writers (Miller, Hayes, and Hannat) wanted to demonstrate that gender roles were meaningless in the post-societal world. This motif comes through with another character who is practically The Golden Youth’s opposite and was originally supposed to be male. The Warrior Woman has agency and character, while The Golden Youth remains silent and submissive until his sudden death.

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Would Wez arm a slave?

Some have suggested The Golden Youth was a sex slave, but I think there’s more to it than that, especially since he can be seen wielding a baseball bat. The Golden Youth’s death adds another layer to Wez’s character, who would otherwise be a mass murderer without motivation. Alarmed at his partner’s death, Wez erupts into a violent rage. The focus of the scene switches from Humungus’ speech to Wez’s outburst. Humungus knows something about the relationship between Wez and The Golden Youth as the bandit king calls Wez’ name while he kneels next the corpse.

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When Wez screams for the murder of Papagallo’s entire tribe, Humungus tries to sooth him, saying “We all lost someone we love.” I believe Lord Humungus’ immediate concern for Wez combined with that additional line provides a little extra insight into the relationship between these characters, particularly since The Golden Youth’s death serves as the motivation for Wez’s unrestrained (and later physically restrained) hatred of Papagallo’s tribe.

The Golden Youth isn’t the only homoerotic aspect of Humungus’ tribe, but it is the most obvious. While Max is eating dog food and watching the warring tribes from the ridge, Humungus can be heard commanding “Smegma Crazies to the left. The gate! Gayboy Berserkers to the gate.”

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These two lines, barely audible in the movie, provide a little extra context when set against costume design. The Road Warrior’s costume department divided Smegma Crazies and Gayboy Berserkers into two distinct styles. Smegma Crazies wear tan jumpsuits, hides, and masks. Gayboy Berserkers wear police outfits, like Max’s uniform. Other members of the Humungus tribe wear black leather bondage gear.  Additionally, while the main Humungus force drives muscle cars, Smegma Crazies drive carts and Gayboy Berserkers drive looted police cars.

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What does this little detail add to the story? That depends on how you look at it. Some have theorized Smegma Crazies and Gayboy Berserkers are two separate tribes dominated by Lord Humungus. Others say they’re just ranks within the tribe. George Miller is a stickler for little details. The script could have had these characters listed as anything (Wallabeaters, Madboys, etc), but ultimately, we got Gayboys and Smegma Crazies. This tiny detail, combined with Wez’s relationship to The Golden Youth, raises the question as to whether the entire Humungus tribe is homosexual.

I tend to think that, following the post-societal deterioration of gender roles, the Humungus tribe will probably act on any sexual gratification they can get. For example, when Papagallo sends scouts into the wasteland, the couple are immediately captured and raped by the marauders. Similarly, although it may seem that Humungus’ tribe is made entirely of men there’s a handful of female marauders in the background of Humungus’ introduction.

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If there was any doubt, there’s also the infamous “tent scene” where the presence of women in the Humungus Tribe is undeniable. These details might lend some credibility to the theory claiming Gayboys and Smegma Crazies were added to Humungus’ fold after the initial founding. Since gender roles only fell apart after the fall of society and since Gayboys and Smegma Crazies are based on military and police, it stands to reason those tribes would be exclusively male and (as their name implies) homosexual.

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Standard Humungus Marauders

So what about the bondage gear? While it might serve to subtly separate Humungus’ main force from the sub-tribes, it seems to be a product of the costume designer, rather than the writers. As the story goes, costume designer Norma Moriceau got her inspiration for the Humungus Tribe’s costumes by living next to an S&M shop. Because of that anecdote, whether these outfits say anything about the tribe or if they’re just an odd piece of inspiration seems a little ambiguous, especially since Papagallo’s mechanic also wears studded leather. However, because The Road Warrior defined a genre, it led to the rise of fetish clothing and homosexual marauders in the post-apocalyptic setting.

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As I’ve often said, The Road Warrior spawned a slew of b-movies trying a cash in on its success. We recently looked at Warriors of the Wasteland, where the antagonists were an explicitly homosexual tribe of nihilist men bent on ending all human life. This twist on Humungus’ tribe adds an abstract element of decay to idea of post-apocalyptic raiders.

By their nature, raiders only destroy. They are vultures, feeding off the old world without putting anything into it. Once the last can of dog food is gone, once the last settlers are tortured and killed, once the last can of guzzolene used up, they will have nothing left. This specific type of raider, first popularized by The Road Warrior, actively seeks to eliminate any chance of human reconstruction. If, as in the case of Warriors of the Wasteland, these raiders are also incapable of reproduction, they become symbolic of horsemen (or motorcyclists) of the apocalypse, looting and murdering until the entire planet is dead.

Do the Smegma Crazies and Gayboy Berserkers matter? Why include such a small detail? Tell us in the comments!

What is MUTATION: The Wasteland Survival Guide?

MUTATION: The Wasteland Survival guide is a six episode long series exploring the quirky and unusual world of MUTATION, as seen in The Journal of Joe Junkman. The show itself documents the writing of the Mo-Javi Wasteland’s very first survival guide. Charged with writing this book is wasteland legend James Gray and local shyster Joe Junkman. Throughout their journey, our heroes will struggle with radioactive dust storms, water scarcity, and each other.


I want to break character for a moment to say how excited I am to be moving forward with this project. The world of MUTATION has gone through a lot of change since its conception. What originally began as a pen and paper RPG has transformed into serial fiction, a website, and a show. I can’t wait to see where it goes next.

To make a long story short, Ben and I got together in the summer of 2015 and began brainstorming ideas for this short series. Although we have all the footage, brainstorming was about as far as it got. It seems embarrassing now, but we didn’t have a script or anything. Essentially, we had a concept for each episode and a location. For better or worse, almost every scene is improvisational.

When I first established this website, I had no idea what the response would be. These past few months, I’ve been consistently amazed at the hospitality and support I’ve received from the online post-apocalyptic tribe. Thank you for giving us a chance and following our stories week after week.

I’d also like to announce at this time that Ben and I are planning to attend Wasteland Weekend this year! I’ll be in character as James Gray and I believe Ben will appear as Joe Junkman.

We hope to see some of you there! The Rad-Lands wouldn’t be here without you.

-Ron Welch

How A Boy and His Dog Established a Genre

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Like science, fiction is often built on the shoulders of those who came before.  That is to say, most images from our imagination comes from putting a twist on what we’ve already seen. In horror, we can see a very clear progression from Poe->Lovecraft->Kolchak: the Night Stalker->X-Files. Though it seems odd to say it, building on the work of others is the surest way to come up with new ideas.

In the 1970s, post-nuclear fiction had been developing into a small (but growing) genre for nearly 20 years. Many nuclear holocaust films in the 50s and 60s were about the start (and end) of WWIII rather than survival in the radioactive wastelands to follow. Dr. Strangelove, for example, is counted as a nuclear holocaust film.

In 1975, something happened to solidify the tone of a desert wasteland. Harlan Ellison’s A Boy and His Dog provided audiences with a visual medium to express the post-atomic world. The little details in storytelling, set design, and costumes would inevitably shape the Mad Max franchise, the Fallout franchise, and much more.

A Boy and His Dog would define the tone of the post-nuclear genre in 4 ways:

  1. The Wasteland
  2. Settlements
  3. Clothing
  4. Mutants

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 The Wasteland: A Boy and His Dog portrays the world as an endless post-apocalyptic desert. This would set the backdrop for the entire genre as even Fallout 3 (a game set in Washington D.C.) was comprised of desert. However, A Boy and His Dog redefined the post-nuclear landscape by setting the entire thing in the deserts of Arizona. From a storytelling perspective, this puts the audience in the mindset that life is hard, water is scarce, food is hard to come by, and the survivors are more than likely to be desperate bandits (creating a sci-fi wild west motif). Years later, Mad Max and Fallout would use the concept of endless radioactive desert to build their own universes.

What’s interesting about the wasteland of A Boy and His Dog is most of the world we see is still in one piece. Everything is underground, usually in a somewhat serviceable condition. Early in the film, Vic and Blood come across a slave driver mining cans of food. In the second act, Vic takes refuge in an underground hospital.
40 years later, the Mad Max video game would expand on this idea with The Dunes, an area of the wasteland which is functionally identical.

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The third act of A Boy and His Dog takes place in an underground bunker/town called Topeka. The American government has survived and upholds a caricature of 1950s America with a powerful metal fist. This seems like a clear jumping point for Fallout to build off of, especially since the tone of 1950’s Americana took greater hold of the series from Fallout 3 onward.

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Settlements: Using the visual medium, A Boy and His Dog was able to craft a living world full of tiny details to express the desperation and restructuring of the post-nuclear world. As all the resources are buried underground, survivors are forced to make their homes out of junk. The opening credits depict a hut made from nothing but discarded tires. Vic begins his adventure in a lean-to made from sheet metal and barrels. The wasteland theater has a wall made of car parts, sheet metal, and other junk, reminiscent of Fallout’s Junktown and The Road Warrior’s refinery.

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These little details demonstrate how, even decades after the apocalypse, survivors have only done what is necessary to trade with each other and survive. A Boy and His Dog was stuck in the post-apocalyptic mindset, but began the movement toward the post-post-apocalyptic genre, a concept that was fully developed by Fallout.
Mad Max 3 and Fallout would later develop towns and settlements with unique cultures, but it all began with A Boy and his Dog.

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Notice how each costume is just a collection of random junk

Clothing: From the savage biker gear of Mad Max to the settler outfits in Fallout, Wasteland attire is generally described as a mixture of whatever you can cobble together. Nowhere is this truer than in A Boy and His Dog. The tone for clothing is set fairly early with the slave driver. His outfit is a mixture of things that look interesting, but have no practical use: a leopard print naval hat, several brightly colored quilts, a crest of feathers, and a handful of gold rings. This shows the breakdown into tribalism and feudalism seen in both Mad Max 2 and Fallout.

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Extravagance over practicality.

It is easy to see how A Boy and His Dog influenced post-nuclear fashion as a cosplay of any character from the film would fit right in at Wasteland Weekend. For 40 years, the manner in which post-nuclear survivors choose their clothes has remained the same.

Mutants: One of the best parts about the post-nuclear genre is the mutants. Post-apocalyptic scenarios with zombies are generally limited to caricatures of humans, with some variation of speed and muscle mass. Nuclear mutants can be (and have been) nearly anything as there is no limit to how familiar creatures can be twisted into something utterly monstrous.

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The burnpit screamer: a creature so mysterious, it has never been seen.

A Boy and His Dog established future use of mutants with Blood the talking dog and followed that with the legendary burnpit screamers.  Although certainly unrealistic, mutants bring danger, fear, and life to the wasteland. The incorporation of mutants portrays a changing world, one that will never be the same and practically puts the audience on another planet. Mutants are critical to the post-nuclear genre as they make the world feel alive. The Fallout, S.T.A.L.K.E.R., and Metro franchises owes much of their success to the addition of creatures transformed by radiation.

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Although Mad Max 2 defined the functionality of the post-nuclear genre,  A Boy and His Dog set the tone and feel nearly a decade years before. Despite being 40 years old, Harlan Ellison’s work has become a cult icon of the genre and will continue to inspire, despite its outward simplicity.

The Little Details That Make Mad Max Great

The Mad Max game (2015) is loaded with small details that make the world feel like a living breathing entity. The wasteland is full of lore and history which shows in every area. Everything in the environment was placed with gentle care. Quest items are hinted at through decorations in the world. To illustrate this, I’ve collected the top five small details that make Mad Max great.

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  1. Thrall Rustlers: Slavery plays a big part in the wasteland. A handful of main characters are slaves. Nearly every camp has slave cages. The player hears a lot of discussion about the slave trade, yet there aren’t slave caravans or opportunities to free slaves in the game. What there is however, is a very interesting idea.
    They only appear in one mission before Max wipes them out, but the Thrall Rustlers have a very cool concept. A slaving guild that only kidnaps people with strange deformities or useful skills. Had this been developed a bit more, this could have been an impressive faction.
    For the Thrall Rustlers quest, I would have enjoyed seeing Max use Chumbucket as bait (since he is a renowned mechanic with a deformity), then follow the slavers to their hideout. This would also better establish the relationship between Max and Chum. There was a lot of opportunity in this quest for something really interesting, if only it had been given an extra push.

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  1. Christmas in Underdune: Upon driving into the legendary Underdune for the first time, I was floored by the amount of detail. The player is tasked with getting a garland of electric lights from this buried airport. What’s impressive is that it’s not without reason. There is a logical explanation as to why there are electric lights in Underdune.
    It was Christmas time before the fall. The player can recognize this as soon as they enter the airport’s largest cavern. The lobby is decorated with hanging metal wreathes, long ago stripped of their leaves, but still identifiable because of the ribbons hanging from their bases. There’s also a large golden star hanging from the ceiling in that same cavern.
    It’s one thing to send players into a deathtrap for a McGuffin, it’s another to let them know why the item is there. This is great environmental storytelling.

 

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Most toilets are situated on a ledge, adding to the realistic feel.

 

  1. Livable Camps: Every camp in the wasteland looks like a place that people could realistically live in. Care was taken to add animals cages, beds, toilets, and knick knacks to every single location. Again, the world doesn’t just feel lived in, it feels alive. At certain locations (specifically scavenger locations in Dump), Warboys can be seen gazing upon the landscape or resting in their beds. Unlike the raiders in Fallout 3, who are on constant patrol for enemies, the Warboys in Mad Max have duties (though small and scripted) beyond waiting for the player to show up. It’s a small detail, but it brings the world to life.

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  1. Max’s Leg: You can’t have Mad Max without his iconic leg brace. Avalanche took great care with this seemingly tiny detail. When Max falls from a great height, he struggles to walk for a few dozen steps. The farther Max falls, the greater his injury. During my last playthrough, Max fell down a slope somewhere in Gutgash territory. When he finally stood up, I realized he was actually holding his brace and was unable to move for a few seconds. This tiny detail adds a lot of character, separating Max from other generic characters. Knowing that someone took the time to animate Max holding his leg, the player can tell that a lot of love went into this game.

 

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5. Language: I’ve often thought what separates good fiction from great fiction is in-universe language and phrases. Tolkien created the Elven language for the world of Middle Earth. Frank Herbert included a glossary with Dune. Likewise, the Mad Max game reflects a world where society has collapsed and formal education is a myth. Phrases become muddled. Letters and numbers disappear as tribal cultures takes over the wasteland.

Occasionally while passing a balloon, Chumbucket will say (and this is reflected in the subtitles) “Look! A Hoddarballoon!” This is a great and subtle example of a fluid wasteland language. Chumbucket has never seen the words “hot air balloon” in writing, he only imitates what others have said until the three words become one muddled idea. This is just one instance of how the developers changed language in Mad Max; combined with other terms like “Kamakrazee” and “Lighties,” the player understand that this world is not the same Max was born into.

Furthering the collapse of the English language in the Wasteland, the player will notice that written language has been replaced with hieroglyphics. Carved into a flatscreen in Deep Friah’s temple is a sacred location described through pictures. This is the first of several treasure hunts involving pictures. During other quests, Max will hunt for treasure using images of the old world, rather than specific locations. Written English only exists on crumpled photographs and weathered road signs. This is surprisingly effective in building the theme that the civilized world is gone forever.

Did you see know any other small details in the Mad Max game? If so, please share in the comments section!

Show, Don’t Tell: Scarcity in Mad Max

Resource management is nothing new to video games. Survival games and RPGs have had players carefully manage their supplies for over a decade. However, Mad Max (2015) took that concept and ran it in a completely new direction. In the Mad Max franchise, the oceans have dried up, crops have withered, and the great machine of society has sputtered until it finally ground to a halt. The future belongs to those who control the last precious drops of water and guzzolene. By giving glimpses of a backstory and making resource management an integral part of the gameplay, Mad Max makes players fear scarcity both in the game and reality.

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In Mad Max, the player can only be healed by drinking water or eating food. Water is kept in an accessible canteen, but food can only be used once and always consists of either wild animals, canned dog food, or corpse maggots. Since the local warlord has deployed hundreds of his men into the dried seabed, Max will need to heal quite often. This gives the player a sense of risk over reward: they could waste their precious water to heal or they could explore the enemy camp a bit longer and hope they find some food before a murderous war-boy finds them.

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Your car runs out of gas in the tutorial missions, but that will probably be the only time.

Fitting with the theme of scarcity, all cars in Mad Max run on guzzolene. Some cars are more gluttonous than others and the player is required to keep their vehicles well fed or else be run down by the warlord’s convoys. In this post-society world, those without a car are quickly made into slaves or fertilizer for the maggot farms. Two aspects of gameplay can give the player pause when using guzzolene. The first is that occasionally Max must sacrifice a can of fuel to be used as a bomb. The second is that a major part of the story involves Max traveling from camp to camp, destroying the local warlord’s oil rigs. It’s explained that this is done so there’s no reason for the warlord’s minions to come back.
In a future where those with gas rule, it seems foolish to destroy multiple oil rigs and crude oil stockpiles, rather than to take control of them; especially when you consider that Fury Road’s opening narration established the oil wars by saying “We are killing each other over guzzolene.” Perhaps it was intentional that Max declares war on the oil producers of the new world, as if to show history repeating itself even in the post-apocalyptic age.

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Fallout 3’s Springvale: an untouched opportunity across the street from Megaton.

Compared to Bethesda’s Fallout games, one of the great things about Mad Max is that the world feels like people have been living in it. In Fallout 3, 200 years have passed since atomic fire and nobody in Megaton has bothered to scavenge the neighborhood across the street. For 200 years food, supplies, weapons, and building materials were just waiting to be found. In Mad Max, survivors have produced methods for collecting water and generating food.Scavengers go out into the drained seabed hoping to find a rare shipping container packed with canned goods. The world feels alive and lived in, something that has always been a hallmark of the Mad Max franchise.

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Playing the game for the first time, those new to the franchise might think that Mad Max takes place in a horrific sci-fi world of endless sand, like Arrakis in Dune. However, to the game’s benefit, one of the major collectibles in Mad Max are “history relics”. These items take the form of either pieces of cardboard with writing on them or photographs with messages written on the back of them. Max will speak about certain items, providing context either for the post-apocalyptic world or how the times before The Fall relate to present moment and Max’s state of mind.

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This handwritten touch adds a lot that reading a wall of green text in Fallout 3 doesn’t.

When looking at a picture of a lake Max will say “So much water. It seems wasteful now.” Likewise, when looking at a picture of barbecued meat, Max will say (with a hint of disgust in his voice) “We ate our fill and threw out the rest.”
None of the characters in the Mad Max game care about the old times. Many wastelanders were born into the new world and don’t know anything else. The soft exposition does a good job of informing  both completionist players and those who know more, without detracting from the primary quests.  These small cues combined with the resource based gameplay cause the player to consider the scarcity of our own world. Ultimately, the gameplay and the backstory combine to form a warning, even if the player doesn’t immediately recognize it.

The Mad Max game forms a subtle subtext that directly relate to the game’s world and our own, rather than making blanket statements against the lifestyle of a consumer based economy. This is surprisingly well done because Max isn’t warning about what might happen, he merely explains what has already happened in his world. Every person Max finds a picture of is dead. reflecting the loss of his own family (the first relic in the game is a picture of Max’s family).

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Unfortunately, as Max becomes more powerful, the feeling of being in a dying world wears off. Max is given the opportunity to upgrade his own abilities and the fortresses of his allies. Through spiritual experiences, Max can dramatically increase the amount of water he finds and the fuel efficiency of his car (making guzzolene only useful as a bomb toward the end game). By upgrading fortresses, Max is treated to a variety of benefits every time he returns to a quest hub: Full health, a full tank of gas, a full bandolier of shotgun shells, and a full canteen of water. Although this makes the world feel alive and gives the player hope for a better future, it feels wrong to allow Max to have the maximum amount of equipment at all times in a world where most people have nothing.

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It’s great to see a fortress grow into a village, but the gameplay rewards interrupt the tone.

Every post-apocalyptic scenario deals with scarcity in some form be it women (A Boy and His Dog), water (Fallout), or even life itself (The Road). The Mad Max game takes both the concept of resource management and post-apocalyptic scarcity and molds it into something new. Mad Max doesn’t give endless exposition to say how scarce everything is. Instead, (at least for the first few hours) it throws the player into an inhospitable world and tells them to survive. Combined with commentary and images of the old world, this game produces a surprisingly effective rhetoric that causes players to at least reflect on their current lifestyle, even if they don’t realize it.

Does providing players with unlimited resources support or detract from the scarcity based game play? Tell us in the comments!