Aesthetics in the Age of the Atom

Bethesda Softworks released Fallout 3 in 2008, a decade after the original Fallout developers, Black Isle Studies, released Fallout 2 . In that time, video game technology had come a long way, making the sequel a significantly different experience than its predecessor. It was well received by gamers and critics, but some noticed strong similarities to Bethesda's other recent titles in the Elder Scrolls series, Morrowind (2002) and Oblivion (2006). This raises some interesting philosophical questions. Is Fallout 3 simply another fantasy role-playing game with a thin veneer of post-apocalyptic aesthetic? If so, is the change of aesthetic itself trivial, or does it add something of substance to the gaming experience? These questions can be addressed by viewing Fallout 3 through the aesthetics of philosophers like Aristotle, Francis Hutcheson, and Clive Bell, concluding that although there is some merit to the concern about Fallout 3 's imitation of related fantasy RPGs, its post-apocalyptic aesthetic may offer something different in the themes it can explore, the enjoyment of individual gamers, and the genre presented for its own sake.