The Game Boy: It's The End of the World As We Know It, And I'm Feeling... Bored

What happened to you, The Apocalypse? You used to be so fresh and fun. You'd tear everything I knew and loved to pieces and rearrange it into some hideous tapestry of my greatest fears, and I'd be like “Oh, you. You're such a prankster.” Or you'd spew zombies into all kinds of zany places (The mall! The circus! Outer space!), and I'd beat them to death while screaming and crying. We had such good times. Now, though, it's old hat. Your abandoned landscapes – once ripe with the pungent odor of adventure – have grown gray and same-y. I used to mow down your menagerie of mutants, robots, and zombies with all the glee of a Hollywood director at a Beloved (And Infinitely Ruinable) Childhood Memories convention, but now each one is just another bump in the road.
We've grown apart, is what I'm saying. But that doesn't mean we can't have a horrifying, dystopic future together. A couple recent games have given me hope that this whole “fiery end to all normal life” thing isn't just a passing fad.
It all started with a recent oft-repeated quote from id Software's Tim Willits. Addressing the issue of precisely why fans won't mind RAGE's vehicle-heavy shift away from id's typical fare, he said, "I think that they will find that it's a refreshing change from anything we've done in the past, and honestly I think that people have modern combat fatigue." Which is certainly a valid point.
Pay attention to comment threads involving his game, though, and you'll unearth a second ticking time bomb nearly as large as the first. “It looks just like Borderlands!” Commenters clamor. “It's so generic! Why not just say it's a Fallout spin-off and be done with it?” In truth, they're going a bit overboard. From what I've seen, RAGE's world isn't just some crummy carbon copy.
It does, however, adhere to a fairly specific set of tropes, and gamers seem to be suffering from “You've seen one Wasteland, you've seen 'em all” syndrome as a result. Willits, then, can go on about modern combat fatigue all he wants. If he doesn't watch it, though, post-apocalypse fatigue is going to creep up behind him and plant a live grenade in his pocket.
Fortunately, apocalyptic and post-apocalyptic games don't have to go down this road. Developers are poking and prodding the bear trap that is misplaced priorities, but they haven't stepped in it yet. See, if you ask me, apocalypse-focused titles aren't about the setting. I can take or leave your sprawling sea of sand and ill-advised punk hairdoos. Yes, Mad Max was great and all, but there's only so much you can do with flat, nuked-to-nothingness landscapes and towns constructed from rusty sheet metal and some particularly determined pieces of string before players start to seek out greener pastures.
So, if the setting's not the main attraction, then what is? Well, if you ask me, it's a certain vibe – this feeling of separation from a world that once was mixed with a bitter longing for that which you'll never see again. So basically, it's a fantasy of freedom from the daily grind of work and toil – a sweeping and immediate change to the rules of day-to-day life – but with a hint of “you don't know what you've got 'til it's gone” mixed in. Old versus new. Your boring 9-to-5 versus a bitchin' car-battery-powered electro sword that kills between five and nine zombies in a single swing. Old, however, is comfortable and safe. A brave new world full of terrifying new creatures, though? Not so much.