**Walton Goggins: A Unique Perspective on the ‘Fallout’ Franchise**

Walton Goggins, a notable personality in Hollywood, is currently attracting interest for his performance in the Amazon adaptation of the well-known video game series, *Fallout*. As he gears up for the premiere of season 2, it’s noteworthy that Goggins has never played the *Fallout* video games, nor does he intend to in the future. His choice arises from a wish to preserve the authenticity of his character and the immersive universe he is assigned to represent.

In a conversation with *PC Gamer*, Goggins firmly expressed, “No, I haven’t sat down to play the games… And I won’t. I won’t. I won’t play the games. I’m not interested.” This decisive position highlights his dedication to embodying his character, Cooper Howard—previously a pre-nuclear holocaust film star who transforms into a post-apocalyptic Ghoul—without the influence of the games’ mechanics or storyline.

Goggins’ rendition of Cooper Howard enables him to develop a distinct identity within the *Fallout* universe. Importantly, the character of The Ghoul is a creation unique to the Amazon series, granting him additional creative liberty and separation from the original game lore. The realm of *Fallout*, recognized for its intricate lore, interactive gameplay, and expansive narratives, has witnessed Goggins’ character resonate in related media; an update to *Fallout 76* brought forth a new character voiced by Goggins himself, linking his TV characterization with the gaming world.

The actor’s reasoning for steering clear of gaming—aiming to avoid perceiving himself merely as an avatar in a digital realm—reflects a broader trend in Hollywood where many actors, writers, and directors wrestle with their connections to video game franchises. While some, like Brie Larson and Alex Garland, dive deep into the source material, others echo Goggins’ lack of interest in gaming as a means of relating to their characters.

As filmmakers and studios increasingly look to video games as a source for new stories, the inquiry into whether those involved in adaptations have interacted with the original games becomes ever more pertinent. For some, such as God of War showrunner Ronald D. Moore, the challenge of gameplay may dissuade them from involvement.

Goggins’ dedication to comprehending his character beyond the limits of conventional video game experiences underscores a larger dialogue about artistic integrity and the creative process in adaptations. His method may set an example for upcoming actors navigating the crossroads of gaming and mainstream media—a testament to how authenticity can thrive, even separate from the source material.