Fallout 4 (Bethesda Game Studies, 2015) involves the game tourist in a post-apocalyptic dystopian gameworld and in a multifarious experience of play and video game photography. It is a venture that is both terrifying and intriguing, perilous yet pleasurable. And confronts players with the utopian beauty of the environment and the regenerative appeal of a fresh start.
Many years have passed since the atomic bombs have fallen, and several factions now divide the Commonwealth. Each of them pursue their own ideas and philosophy about how a potential future should look life. But what unites them is their attempt to restore order in a state of anarchic chaos.
The game tourist of Fallout 4 steps into this world and the occurring events. She witnesses its many wonders, dangers and thrills, and comes to know the people and factions who try to survive the post apocalypse. Such an intriguing venture into the Commonwealth naturally cries out for photographic documentation. As well as the artistic arrangements and editing of these creations.
The game tourist may thereby perform many roles and playing styles. Thereby, the implied player of Fallout 4 includes nearly every player type one can imagine, such as gamist and achiever, wanderer and socialiser, ethical and killer, narrativist and emancipated player. These interact with each other and inform the act of photography (the creative potential and possibilities the game offers us .
Consequently, this longer episode not only scrutinises the different player types suitable to the game tourist playing style. It also honors a game that is quite remarkable and multifaceted in its artistic pleasures.
The most important playing styles of the game tourist include:
- The lone wanderer of the wasteland
- The detective and solver of mysteries
- The connoisseur of people, factions, and ideologies
- The creative builder and strategist of Utopia (or Anti-Utopia)
- The bon vivant of bodily pleasures
- Gallery of the wasteland