Travis' List of Headcanons [Part I]

Headcanon #1: Why is Fallout "stuck" in the 50s?

Fallout's distinctive 1950s aesthetic isn't a technological freeze but rather a conscious choice stemming from a divergent timeline, specifically diverging around the mid-century Cold War period, such as 1969 when the 13 Commonwealths formed. In this alternate history, the Fallout universe doubled down on atomic technology and miniaturization within the design sensibilities of the mid-20th century, leading to fusion power, advanced robotics, and energy weapons that still retained a bulky, analog feel. This technological path was largely driven by a global energy crisis and an optimistic, albeit naive, view of nuclear power. Culturally, the constant threat of nuclear war, coupled with a nationalistic and paranoid American stance, seems to have largely halted social evolution, leaving the consumerism, McCarthyism paranoia, and idealized suburban life of the 1950s as the dominant cultural bedrock. This retro-futuristic blend is also a deliberate artistic choice by the developers, creating Fallout's unique and immediately recognizable atmosphere, though this commitment sometimes leads to silly or anachronistic design choices that clash with modern game aesthetics. For instance, the original Fallout games largely featured a dark, desolate, and heavily irradiated wasteland, while later installments like Fallout 4 present a world with brightly colored, often intact buildings and surprisingly clear skies, creating a visual dissonance with the established severity of the nuclear apocalypse and the classic retro-futuristic design.

Headcanon #2: Does anything from the "modern" world exist? (Technology, politics, warfare)

While Fallout's broader aesthetic is firmly rooted in a divergent mid-century Cold War, some specific technological elements from our "modern" world (post-1950s) do surprisingly exist within the game's arsenal, suggesting a more complex and selective technological divergence than a complete stagnation. For instance, the IMI Desert Eagle chambered in .44 Magnum, a firearm not conceived until the 1980s in our timeline, appears in Fallout. Similarly, the Pancor Jackhammer, an experimental combat shotgun from the 1980s, is also present. Other examples include the H&K G11 (from the 1990s), the FN P90 (from the late 1980s/early 1990s), and the Glock 86 Plasma Pistol (a clear nod to modern polymer-framed pistols). This seemingly anachronistic inclusion of later real-world firearm designs, alongside the dominant retro-futuristic technology, positions Fallout as a virtual "Land of the Lost." Just as the classic TV show stranded its characters in a primeval world coexisting with dinosaurs and advanced alien technology, Fallout drops the player into a wasteland where the cultural and architectural remnants scream 1950s, but the weaponry often transcends that era, pulling from a broader, more unpredictable technological pool that feels plucked from different points in our own history. This creates a fascinating blend of historical epochs and experimental designs, blurring the lines of what "should" exist within its established timeline. Beyond these specific weapon designs, however, the broader political and warfare landscapes remain unique to Fallout's divergent history, dominated by extreme nationalism, resource wars, and atomic weaponry, rather than reflecting our 21st-century political dynamics or military doctrines. However, it should be noted that, much like in our real world, China became the primary antagonist as the USSR began to falter. But while the USSR did not collapse in Fallout, it became more of a frenemy to the U.S., which is ironic given that in the 1970s, after Nixon visited China, China became more of a frenemy to the U.S. while the USSR pursued its aggression. Perhaps Fallout's universe happened similarly, but as the Resource Wars began to occur circa 2050s, China made a full 180-degree turn and became the aggressor while the Stalinistic USSR continued to falter as resources dwindled.

Headcanon #3: Did the modern world exist in Fallout? (Culture, music, societal norms)

Fallout's in-universe culture is indeed meant to be a spoof, a silly world where the 1950s undertones never truly vanished, yet society did evolve, albeit with distinct differences. The 50s remained a cultural staple, but there was a recognizable counter-culture, mirroring our own timeline's response to conflicts like Vietnam. In Fallout, this is predominantly evidenced by the abundant graffiti found across bunkers in locations like Hidden Valley, Hopeville, and Ashton in New Vegas. This counter-culture, however, became distinctly nuclear-focused as the United States (and the U.S. alone) shifted its atomic program from creating massive bombs to smaller, "dirtier" warheads, as noted in the Fallout 1 guide. Conversely, the USSR and China's nuclear arsenals seemingly retained their megaton-sized destructive power, evidenced by the comically and ridiculously enormous craters seen in Fallout 1, 2, and Tactics. While this might be a design oversight or a visual aid, it logically suggests that Fallout 1's guidebook likely refers only to the U.S. military's nuclear programs, given the games' focus on the American wasteland. Culturally, the Fallout universe may have seen the rise of bands like The Clash (formed 1976), Judas Priest (formed 1969), Black Sabbath (formed 1968), and singers such as Elvis Presley (began singing 1945/first commercial recordings 1954), Elton John (first break 1969), and John Denver (began career 1963), given that their songs either appear in-game or are referenced across multiple titles. The band COPILOT even appears in Fallout 76 with a cover of John Denver's "Country Roads," implying the existence of modern bands to some extent. However, it's widely believed that the devastating Nuclear Apocalypse eradicated most modern music, leaving only the 1950s and 60s tunes as a stark testament to mankind's failure, yet also its enduring resolve. Societal norms, including gender roles, racial attitudes, and consumerist ideals, largely reflected an idealized, often prejudiced, vision of the 1950s American dream, characterized by extreme patriotism and suppression of dissent, contrasting sharply with the social evolutions of our "modern" world.

Extra Details:

In Fallout, while the culture often presented a humorous clash with our own, society did indeed evolve with some surprising similarities to our 1970s and 1980s, which were truly a golden era of technology. Fallout's terminals, for example, function on a system much like a predecessor to our modern internet, called the ARPANET. This kind of networked computer system was widely used throughout our 70s and 80s. Ironically, the terminals seen in classic Fallout games aren't as "1950s" as some might assume. True 1950s computers typically lacked screens, were incredibly bulky, and often filled entire rooms. Fallout's RobCo terminals, however, more closely resemble our own Macintosh Computer designs, and even appear to have some form of webcam or camera mounted on top, hinting at a technological progression that, in some ways, mirrored our own's journey into the personal computer era.

Macintosh II - Wikipedia

https://fallout.fandom.com/wiki/Computer

https://fallout-archive.fandom.com/wiki/Computer

Link to RadKing's Video on "DOES THE INTERNET EXIST IN FALLOUT?"

https://fallout-archive.fandom.com/wiki/Gaston_Glock

Outro Video: (Sadly can't embed due to Amino taking a massive dump)

The Clash - London Calling

The potential inclusion of a band like The Clash in Fallout's culture gains significant weight with their 1979 song, "London Calling." This iconic track, famously referencing World War II radio broadcasts, goes far beyond a simple wartime allusion. Its lyrics directly address the nuclear threat and societal collapse, explicitly uttering the phrase "nuclear error" and forecasting catastrophe. Lines like "London calling to the faraway towns / Now war is declared and battle come down / London calling to the underworld / Come out of the cupboard, you boys and girls" paint a picture of global conflict. The grim outlook continues with "London calling to the imitation zone / Forget it, brother, you can go it alone / London calling to the zombies of death / Quit holdin' out and draw another breath." The song's most chilling predictions appear with "The ice age is coming, the sun's zoomin' in / Meltdown expected, the wheat is growin' thin / Engines stop running, but I got no fear / 'Cause London is drowning, and I, I live by the river," directly alluding to the Three Mile Island nuclear accident and the broader environmental fallout. This stark portrayal of an impending nuclear catastrophe, economic collapse, and societal decay resonates uncannily with the pre-war anxieties and the eventual post-apocalyptic reality of the Fallout universe, making its existence within that timeline profoundly fitting.