Police State

“Two weeks hard labor.”

That was the sentence given to me by “his honor” the Judge. Geeze. I can still see that fat sluggish tongue scraping the cheese dust from his bloated lips. Guy looks like a bullfrog with a mustache. And the smell… his whole courtroom smells like a plate of steaming hot puke with a glass of skunked beer.

After my “trial” (if you can call it that), I was shackled, beaten again, and hauled off to the blacksmiths. Saul Fore wouldn’t get me out of this one. For two weeks, he just glanced at me and shook his head. When I called out to him, he said that I was beyond helping. Those words hit a lot harder than the police batons, even if they didn’t leave me covered in purple splotches.

For the past two weeks I’ve been lighting forges, assembling weapons, and handloading fresh bullets. My fingers have turned grey, but it hasn’t been so bad. I’ve actually learned a lot about how guns work. Plus, all this gave me some time to clear my head and think about everything that’s happened in the past few weeks. Besides, hard labor is a lot better than getting thrown out in the wasteland…again.

You’re probably wondering: How did that idiot Joe Junkman get into this mess?

Well, I had just entered the BLVD with Saul Fore our food caravan. It had been a long, but uneventful journey from Abundance. Almost immediately, I spotted a crowd gathered round a band playing on a rusting pickup truck. Then the music hit me. All I could hear was the wonderful strumming of a finely tuned guitar. I ignored Saul Fore’s warning and followed the string of notes drifting through the air. I caught myself nodding my head and shaking my hips. I was in a trance, comfortably numb to the world around me.

That’s partially why I didn’t hear the curfew siren. The other reason is that I had no idea the BLVD had a curfew in the first place. At first, I didn’t even notice the “counselor’s” approached wearing their fancy suits and armed with nightsticks and hand crank sirens. The crowd quickly dispersed, but I had no idea what was happening. Nobody told me anything! Of course the Judge croaked out that “ignorance of the law is no excuse.” Seems pretty stupid to me.

It wasn’t long before I was the last person on the street. The counselors boxed me in. One shouted something at me through a megaphone, but I couldn’t make out what he was saying. I didn’t want any trouble, so I shot my hands up and slowly walked toward the suit with the megaphone. He didn’t like that.

Something slammed into the back of my head. I hit the ground hard. A padded knee rested on top of me as my arms were roughly placed behind my back. I tried to use the old Junkman charm, but that just got me a steel-toed kick to the guts. Bruises. Just what I needed. I’m sure someone will find that attractive.

After all that, I was hauled off to the courthouse to await my trial the following morning. Of course, I had to defend myself in court so it didn’t go well. But all this got me thinking. What if someone were to put an official list of the BLVD’s laws on paper? And what if they sold that list for a few tags? And what if that someone was me?

Gunman Taco Truck: Refreshing!

gmtt-4.jpgAfter the monotony of Wasteland Angel and the abject failure of The Underground Man, I was delighted to learn of Gunman Taco Truck from Romero Games. The ultimate surprise came when I looked at the game on Steam and found that it was designed by a 9-year-old boy. With that said, Gunman Taco Truck is an addictive arcade game with a great sense of humor and a steep difficulty curve.

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The premise is simple. Scientists accidentally set off nuclear bombs, killing or mutating almost everything in the United States. One mysterious food truck driver must embark on a cross country trip from San-Diego to Winnipeg, Canada. Gasoline is expensive in the apocalypse. To make ends meet, our hero must slaughter mutants, harvest their meat, and sell delicious tacos.

The gameplay is a nice balance of resource management, lane defense, reflex based shooting, cooking games, and memory. It sounds like a mess of parts, but combined with a powerful premise, it all fits together quite nicely. In fact, I haven’t seen a game that flawlessly pulled together so many elements since Sunless Sea.

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To get meat, you’ll find yourself in a lane based arcade shooter, where you simply have to kill enemies before they get to you. Along the way, you’ll also need to shoot road signs for scrap metal (to upgrade your vehicle) and un-mutated animals for specialty meats. To pay for gas, you need to sell tacos. Here’s the catch: You need extra ingredients (cheese, salsa, cilantro, mold, etc) to fulfill the orders. Each gas station has either a grocer or a mechanic. Prices of items vary at each location. You never really feel safe because no grocer sells every kind of topping. On the one hand, this ensures that you can’t grind tacos. On the other hand, if you run out of toppings then you’re going to have a bad time.

That leads me to the next area: difficulty. Though the game starts out simple, the difficulty curve pulls up so hard it’s almost at an overhang. If you fail to upgrade your vehicle (or can’t find enough scrap metal) you’ll be eaten alive by super-mutants and giant frogs. The farther you go, the more enemies you face. In other words, the late-game quickly becomes bullet hell.

Now I mentioned that nobody sells every kind of taco topping. That turns out to be a major downside in this game. Some ingredients (salsaespecially) are included in almost every recipe. Unfortunately, I found that (because the game uses RNG) some ingredients are incredibly hard to find. I’ve had at least seven “Game Over” screens simply because no one was selling salsa.

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Though difficult, the visuals make gameplay rewarding. There’s a huge number of mutants, meats, and weapons in the world. Sprites are fun, colorful, and cartoonish. Great feedback, colors, and “hurt” sprites help the player navigate harder levels. Close ups of customers are charming and seem to invoke the art-style of Papers, Please.

It’s also worth noting that the game is honestly funny. After feeding hungry customers, you receive reviews. There’s a lot of flavor text and references that contributes to the tone and humor, without distracting the player. Finally, there’s the kid friendly “pinata mode”. Instead of exploding into a thousand bloody bits, enemies will explode into candy and stuffed animals. This is a great extra addition and highlights the care that went into this project.

I love games that you can jump into and play for 30 minute sessions; “Gunman Taco Truck” is no exception. From its fast gameplay to its charming premise, this is a welcome addition to your library of post-apocalyptic games. My one caveat would be price; Gunman Taco Truck sells for $11.99. Regardless, when compared to other post-apocalyptic indie games, this is a breath of fresh air.

If you’re interested in Gunman Taco Truck, you can get it here.

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

I Have No Mouth and I Must Scream: Gorrister

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Con-man, pacifist, business woman, Nazi, scientist. Five improbable entities stuck together in a pit of darkness. A prolonged nightmare of 109 years conducted by a sadistic self-aware supercomputer with unlimited power. This is Harlan Ellison’s I Have No Mouth and I Must Scream.

Although on the surface IHNMAIMS is a straightforward story about five people trapped in an endless underground complex after a nuclear war, it has transcended into a franchise. The human characters from the short story were greatly expanded upon in the 1995 video game while the supercomputer, AM, gained some depth in a 2001 radio drama. A comic adaptation was created but never published, though a few English panels and the full Spanish version found their way onto the internet. This has become one of my favorite post-apocalyptic stories due to the development of the characters and the themes at play.

In this series, we’ll break down each of the humans: exposing their fatal flaws and then identifying what led them to redemption (and further punishment).

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Gorrister’s comic adaptation

Gorrister. The first character introduced in both the text and the video game. Originally, he was a conscientious objector, a peace marcher. In the game, he was an electrician and truck driver before the machine captured him. The only similarity between the two versions of this character is the spoken wish for death.

Like Benny, Gorrister was made into a parody of his former self. AM transformed an anti-war organizer into a man of indifference. Gorrister no longer cares enough to take action against AM (even if it was possible); all he can do is hope the machine will finally kill him. What’s interesting is that AM didn’t necessarily need to physically alter Gorrister’s mind; it’s possible that the torture and hopeless atmosphere of the machine’s complex was enough to reduce this character into an apathetic shell. Additionally, there’s an excellent irony to be found in this character. Staying out of the war is what led to his eternal torment. Had he been on the front lines of the war, he likely would have been nuked along with everyone else.

AM’s alterations of Gorrister are easily identifiable in the original text. Reduced to a shoulder shrugger, Gorrister sided with Ted in the belief that there was no point in journeying to the ice caverns. Further, even when practically immortal and on the brink of starvation, Gorrister could not be bothered to fight AM’s giant mutant bird. Perhaps he knew that AM would never let him have the flesh or perhaps he knew that fighting the beast was simply not worth it; either way it goes to show that Gorrister’s state of mind has been worn down to complete indifference.

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There is however one exception to Gorrister’s alterations that has always stuck out to me. When Benny is attempting to climb to the surface, Gorrister slaps Ellen to the ground for displaying her concern for Benny. I found it to be particularly interesting that the so-called shoulder shrugger, the so-called objector was so annoyed by Ellen’s concern that he attacked her.  In the comic adaptation, he even goes so far as to kick Ellen in the stomach while she’s already down.

Gorrister’s psychodrama is by far my favorite scenario in the video game. Whereas the other psychodramas rely on riddles and interesting gameplay mechanics, Gorrister’s story is almost entirely metaphorical from beginning to end. From its odd humor to it’s almost steampunk-noire atmosphere this is (in my opinion) one of the best adventure game levels ever made.

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Starting the level, Gorrister cannot determine where he is or what he’s riding due to extreme cloud coverage. This is a clear metaphor for Gorrister’s understanding of the situation; as he uncovers the mystery of the dining room, the airship sinks below the clouds, making everything clear. Further, Gorrister’s heart is literally ripped out of his chest by order of his mother-in-law, a clear allusion to Edna’s effect on the trucker’s marriage. This is just scratching the surface of the excellent metaphorical storytelling present in Gorrister’s psychodrama. Like Nimdok, the events relate to the character’s past, but in Gorrister’s story, they are told in a manner that relates to the situation at hand and gives you a tingly “ah-ha” moment when you realize the connection.

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From a gameplay perspective, Gorrister’s story has far more choices (and dead ends) than the others. One wrong step can trap the player in an unwinnable situation, especially when dealing with Edna. However, in many ways this only adds to the charm and replayability of a simple roadside honkey-tonk in the middle of the desert.

Although he began as an apathetic husk in the original story, Dreamer’s Guild really knocked it out of the park with Gorrister’s psychodrama. Like Nimdok, Gorrister was greatly expanded upon, allowing him to shift into a three dimensional character. The character’s quest to find death unexpectedly becomes a strongly metaphorical journey of self-discovery and inner peace.

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What other metaphors did you see in Gorrister’s psychodrama? Tell us in the comments!

The Underground Man: Smoke and Mirrors

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I’ve played a lot of AAA games and I’ve played a lot of indie games, but I’ve never played a game quite like The Underground Man. The game is tagged as a “story rich RPG.” Although the character creation screen is reminiscent of old pen and paper sheets, this is most certainly not an RPG. The Underground Man relies on an old school vibe, similar to Kung Fury or Far Cry: Blood Dragon. Don’t be fooled, this game is a far cry from those it tries to imitate.

The best way to explain my frustration with The Underground Man is to describe my experience. The game’s store description reads:
Moscow: Sometime in the near future. The city and perhaps the Earth’s surface has turned into a radioactive ash. Those who decided that they could not exist in such conditions began to live under the ground.
The unusual wording of this description should have been an early warning, but I initially assumed that since the developers are independent and from Russia, that the game might have some other merit.

As the game boots up, you see the logo “Mehsoft”. That turned out to be a fairly appropriate name.  The music is an oddly good throwback to early SNES games and reminiscent of Kung Fury.

Moving on to character creation, the player is treated to a whopping 36 skills including “sexuality”, “sence of humor”, “mental complexity”, and “kindness”.  The player is given an enormous number of points to distribute, but all this is an exercise in futility.  None of these skills do anything, they have no effect on the game. Finally, the player cannot proceed until they write a character bio at least 140 characters long.

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Don’t be fooled. This character creation screen is a waste of time.

If you manage to make it past the character creation screen, you are treated to a picture of an atomic explosion that has been distorted to look authentically 80s. Without any further introduction, you are then dropped into an underground cave opposite a robed figure. Now begins a lengthy unskippable dialogue establishing your goal.

The player is told that the people of the underground have been harvesting potatoes for years, but that the crops are starting to go bad. Therefore, the titular Underground Man must go to the surface and find corndogs as they are “food wrapped in food” and therefore safe from radiation.  Should the Underground Man recover the corndogs, his people will scientifically analyze them to produce their own potato corndogs.
I actually don’t have a problem with this quirky and memetic dialogue. Not every post-apocalyptic setting has to be dark and gritty. Humor can serve as contrast to a setting’s gloom and despair.

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Notice that the first line spoken to the player is “Hello there, shithead.”

The dialogue system here is somewhat interesting. There are no dialogue options, you have to type out your answers. If you have no idea what to type, you’re allowed 3 hints that will show you the possible responses for the conversation. In the tutorial this amounts to “Yes”, “No” and “____”.

Over the next five minutes, the player is told that the last person sent to the surface went crazy from the radiation sickness and returned wearing women’s underwear. The tutorial NPC goes on to say that after trying to kiss another man, the previous explorer was beaten to death with shovel before the tribe urinated on his corpse. This is real. This is actually in the game.

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After 10 minutes, the player is finally given a sense of control. They’re told to move to the right side of the room by holding “D”. If you fail to do this or if you press any button other than “D” the tutorial NPC will call you a failure and you’ll be sent back to the main menu.  There’s no save system (though you do periodically receive checkpoints if you pass the tutorial), so although you can ignore the useless skills, you still have to write 140 character bio before starting again. Once you start over, you’ll have to wait through another 10 minutes of scrolling text before you can reattempt the tutorial. If you manage to pass the movement challenge, you’ll be asked to jump. You’ll be asked to jump over a dozen times. If you just mash the spacebar, you’ll be sent back to the main menu.

Should you pass the movement section, you’ll be allowed to fight a radroach. If you lasted this long, you’ll realize that the game is merely a 2D beat ‘em up. Your health bar is represented by three hearts in the top left corner of the screen. After the fighting tutorial, you’ll learn how to pick up items. Again, if you don’t perform perfectly, you’ll be sent back to the main menu.

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Empty screens just provide filler, rather than enhance the setting.

In the unlikely event that you pass the tutorial, you’ll find yourself walking across a few dozen empty wasteland screens before meeting the game’s only companion. Trap is the female(ish) sidekick whose dialogue consists almost entirely of rumors about what’s between her legs. So long as Trap accompanies the player, she will shoot at enemies with an energy weapon.2016-12-01_2324

The further you get into the “story”, the more reminiscent the gameplay is of NES shovelware. Everything that touches you removes one of your three hit points. Getting pooped on by a bird does the same damage as being punched by a zombie. Toward the end of the game, the player must engage in precision platforming across a lake of instant-killing green slime (filled with leaping piranhas). Additionally, there’s a short 2.5D driving section in a hovercraft (with holographic legs).

Despite its large number of locations, The Underground Man is horrifically padded. Much of the game is simply walking across multiple empty screen. Although this makes the wasteland feel big and empty, it doesn’t accomplish anything. The original Fallout didn’t make you walk across a dozen screens of wasteland, but it still gave players a sense of scale. The Underground Man could have relied on in-game cutscenes to transition between zones. Instead, they made the game longer. This is especially horrendous near the previously mentioned platforming section which requires the player not only to get across the acid lake, but then travel back in a single attempt. As it stands, the game is about 5 hours long (mistakes included). If you could skip the tutorial, fast forward through dialogue, and never made a mistake the game would probably be about an hour long.

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There’s nothing wrong with a joke game (even one that relies on memetic humor), so long as it has some redeeming quality. Even silly nonsensical games can be fun. Adult Swim’s Jazzpunk is an incredibly simple game, but it knows how to entertain. Steam reviews suggest that this game was made for the purpose of trolling and that an understanding of Russian humor is required to understand the dialogue.
I just don’t understand why The Underground Man was made, especially since most players will immediately request a refund. I’m reminded of Penn and Teller’s: Smoke and Mirrors (you may know it as the infamous Desert Bus), a fake game that only exists to frustrate. The difference is that Smoke and Mirrors was a multiplayer game meant to annoy and confuse your friends. The Underground Man is a punchline without a joke.

If you’re still interested in The Underground Man, you can get it here.

Wasteland Angel: The Mad Max Arcade

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Wasteland Angel is a post-nuclear themed vehicular arcade shooter from indie developers Octane Games. I like to pick up any post-apocalyptic games I can find, especially indie games, just to see how they use the setting. With that in mind, Wasteland Angel is a serviceable top-down arcade shooter, though not an especially great post-apocalyptic arcade shooter.

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Although an arcade shooter, Wasteland Angel boasts a story, told in comic book form, about the titular Angel (essentially a female Mad Max) driving across post-nuclear America to find an old acquaintance. In her quest, she will pass through a number of villages, each of which is being attacked by slavers with either a generic raider, Russian militant, or super mutant theme.

There are six chapters in Wasteland Angel, each of which is split into four levels. The first two levels always consist of slaughtering wave after wave of enemies as they try to abduct settlers from the local village. The third level is a boss battle in which you must “trick” a super vehicle into running over a napalm trail or land mines. The fourth level is a bonus round in first person, either a rampage mission or a race (against time, not AI cars).

Unfortunately, this formula gets old very quickly. There’s just not enough variety, either in enemies or gameplay. Once you’ve played the first two chapters, there’s really no reason to continue unless you want to finish the story.
The first two missions of every chapter are incredibly tedious as you must fight off hundreds of vehicles across 20+ waves. Worse is that there’s little variety in enemies. Even the boss battles are recycled.

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Same boss fight. New coat of paint.

There are three enemies in Wasteland Angel with a different coat of paint for each faction:

  1. Vehicle that only attacks you
  2. Vehicle that either attacks you or collects slaves
  3. Vehicle that only collects slaves

Occasionally, enemies will use your own items against you (some will leave a trail of napalm behind them), but between monotonous waves and little enemy variation, there’s not a lot to see here.

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It’s fun to make enemies SPLAT!

All this isn’t to say that Wasteland Angel isn’t fun. Although fleeting, there is some fun to be had with the vehicular aspect as well as the wasteland motif. Being that you’re in a car, your car makes wide, realistic turns. Guns only point toward the front of the car, meaning that players who adopt naval strategy will find themselves with more health and more time. Interestingly, cars react somewhat realistically to bullets. If bullets only graze your target, no damage is done and the player is treated to a metallic ping.  When a car is satisfyingly destroyed, it will often leave a driver in its place who will either shoot at the player or run away. Bonus points are granted for splattering raiders with your car. There’s great combat feedback and the car controls feel like Mad Max, albeit with more bullets, rockets, and mini-nukes.

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Challenge me! Show me your high score!

                Wasteland Angel’s tone and art style lies somewhere between Mad Max and Fallout. Small details, such as kneecappers, were added to enemy cars to make them look more wastelandish. The bandit character models are surprisingly detailed in a classic Road Warrior style. However, the Fallout art style shines through in the titular Angel, who wears a pink skirt and a pink bow-tie in her hair.  The opening menu and the post-mission score card both take on a 1960s pinup motif, adding to that Fallout feel. Additionally, Wasteland Angel includes super mutant rip-offs for its final act. Unfortunately, because the game chose a middle of the road approach to its art style, it inevitably comes off as generic. There are hundreds of pictures of post-apocalyptic cars on Deviantart, but many of them are drawn in the same style, a style which Wasteland Angel followed as well.

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You only see enemies up close in bonus missions, but they’re surprisingly detailed!

Finally, I’m not sure that the post-nuclear atmosphere was the best choice for this game.
I enjoyed it, but there’s a dissonance between the setting and the action. The post-apocalyptic genre is always about scarcity in one form or another, but Wasteland Angel has the player firing hundreds of bullets per second while facing off against hundreds of enemies in a single battle. Infinite ammo and near infinite enemies don’t really reflect the setting Octane Games has chosen.
This game would have worked better as the story of a sci-fi bounty hunter saving planetary settlers from space pirates. Such a narrative would have better connected with the gameplay and could have improved review scores.

As it stands, Wasteland Angel is fun for maybe an hour. There are some fun aspects with the car controls, bonus missions, and weapons, but they don’t make up for the long and tedious missions or the copy/pasted boss battles. Although I always try to recommend a piece of media to some specific person, I can only recommend Wasteland Angel for 30-45 minutes. It’s forgettable

If you’re interested in Wasteland Angel you can get it here.

 

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 that 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 who is mining for cans of food. Vic would eventually take 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 show that 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.