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Post-apocalyptic entertainment took off like a rocket in the early 2000s and never slowed down. Decaying cities and nuclear wastelands. This aesthetic has dominated the cultural consciousness and will continue to because apocalypse isn& #39;t just a genre, it& #39;s secretly a fantasy.
Everyone secretly craves an abrupt end to the mundane, purposeless current running through modern life. Today we are driven almost entirely by leisurely concerns. There& #39;s nothing real at stake.
We have to artificially spike our adrenaline with video games and tv shows where we vicariously live through characters that are actually driven by a purpose beyond money and social status.
We& #39;re fucking bored. We construct cultural myths and personal narratives, low level tribal conflicts, artificial arcs of hardship and success to distract ourselves from the bone-deep craving for something real. None of it ever satisfies.
But the lust for apocalypse goes even deeper. The industrial revolution haunts us like a spectre. Ugly, brutal art is the corpse it left behind and as it decomposes the stench is becoming unbearable.
You may have detected an undercurrent running through Gen Z and the late millenials. A desire to return to nature. A looming feeling that maybe the technocratic utopia the silicon overlords have in mind for us is not the way forward. Maybe total collapse is preferable.
There& #39;s a certain shared intuition that has been dormant for a while but is starting to wake. We& #39;ve been thoroughly atomized by corporate interests and subconsciously searching for the cure. New tribes will be formed. Online and offline, in that order.
Fallout understood this.
