Fallout je v těchto dnech v módě, zejména díky úspěchu nedávného televizního seriálu společnosti Amazon. Ačkoli starší tituly jako Fallout 76 a Fallout 4 zaznamenaly působivé nárůsty počtu hráčů, přičemž druhý jmenovaný slaví vydání aktualizace pro novou generaci, nebylo by překvapením, kdyby Microsoft přemýšlel, jak využít úspěchu seriálu.

Mezi ně údajně patří i vydání dalšího titulu v sérii „raději dříve než později“. Tvrdí to Jez Corden z Windows Central, který v podcastu The Xbox Two s Randem al Thor 19 řekl: „V současné době formulují plány, jak dostat další Fallout, který tu pro nás bude spíše dříve než později.“

Na otázku, kdo bude titul vyvíjet, dodal: „O tom se právě mluví, pokud vím.“ Teoreticky se hovořilo o Obsidian Entertainment, které stojí za Fallout: New Vegas, nebo dokonce o samostatném týmu od hlavního Bethesda Game Studios, které v současnosti pracuje na Starfieldu a The Elder Scrolls 6. Samozřejmě, jak bylo uvedeno, nic není oficiální a plány se mohou snadno změnit.

Nicméně to přispívá k diskusi o tom, zda neměla Bethesda místo Starfieldu pracovat na Falloutu 5. Režisér Todd Howard sice potvrdil, že k pokračování někdy dojde, ale až po uvedení The Elder Scrolls 6 na trh. Jako vždy zůstaňte naladěni na další aktualizace.

Článek Fallout 5 – Microsoft údajně „formuluje plány“ na jeho uvedení „spíše dříve než později“ se nejdříve objevil na GAME PRESS.

As the dust settles on Fallout's first TV season, which appears to have been as universally beloved as any piece of media can be in today's world, the line that sticks with me most radiates from early in the show. As Ella Purnell's Vault Dweller Lucy sleeps beside her Scout badge-perfect campfire, she awakes to find Michael Emerson's fugitive scientist sitting nearby. All-too familiar with the perils of the Wasteland, Emerson's character urges her to return to the Vault from whence she came. This goes down with Lucy about as well as two litres of irradiated water, so instead the scientist posits a question. "Will you still want the same things, when you become a different animal altogether?"

It's an interesting question to ask in the context of Fallout itself, a series which is at once so recognisable and yet so different from its original form. On the one hand, you can trace Fallout's aesthetic all the way back to the opening cinematic of the first game, which juxtaposes a kitsch 1950s-style commercial with the blasted moonscape of post-nuclear America, all to the lilting vocals of the Ink Spots' "Maybe". It's interesting to return to now. Rare is it that a series' audiovisual identity emerges so fully formed, yet it's there in Fallout from Defcon one.

Yet the games beneath the Vault Boy iconography have changed dramatically in the last quarter-century, to the point where it remains a bone of contention within the Fallout community. There is something, the argument goes, that Interplay's isometric RPGs have which Bethesda's 3D, real-time open world games lack. Certainly, the more recent games have had their flaws. Fallout 3 arguably dialled back the colour of Fallout too much, while Fallout 4 leans heavily toward being a shooter at the cost of broader role-playing options. But these remain distinctly Fallout games in other ways, replete with that familiar visual identity, and in quests like the Gary-filled Vault 108 - as perfectly strange as the wasteland demands.

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As the dust settles on Fallout's first TV season, which appears to have been as universally beloved as any piece of media can be in today's world, the line that sticks with me most radiates from early in the show. As Ella Purnell's Vault Dweller Lucy sleeps beside her Scout badge-perfect campfire, she awakes to find Michael Emerson's fugitive scientist sitting nearby. All-too familiar with the perils of the Wasteland, Emerson's character urges her to return to the Vault from whence she came. This goes down with Lucy about as well as two litres of irradiated water, so instead the scientist posits a question. "Will you still want the same things, when you become a different animal altogether?"

It's an interesting question to ask in the context of Fallout itself, a series which is at once so recognisable and yet so different from its original form. On the one hand, you can trace Fallout's aesthetic all the way back to the opening cinematic of the first game, which juxtaposes a kitsch 1950s-style commercial with the blasted moonscape of post-nuclear America, all to the lilting vocals of the Ink Spots' "Maybe". It's interesting to return to now. Rare is it that a series' audiovisual identity emerges so fully formed, yet it's there in Fallout from Defcon one.

Yet the games beneath the Vault Boy iconography have changed dramatically in the last quarter-century, to the point where it remains a bone of contention within the Fallout community. There is something, the argument goes, that Interplay's isometric RPGs have which Bethesda's 3D, real-time open world games lack. Certainly, the more recent games have had their flaws. Fallout 3 arguably dialled back the colour of Fallout too much, while Fallout 4 leans heavily toward being a shooter at the cost of broader role-playing options. But these remain distinctly Fallout games in other ways, replete with that familiar visual identity, and in quests like the Gary-filled Vault 108 - as perfectly strange as the wasteland demands.

Read more

Jonathan Nolan, executive producer of Amazon’s upcoming Fallout TV show, is pretty hopeful that the series will live up to the games. More than that, he seems to think that the series is a continuation of the games, if not an outright sequel. In a recent interview with Total Film, Nolan says it’s “almost like we’re Fal…

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