11 February 2026

Fallout Worked on TV, but Baldur’s Gate 3 Is a Different Beast

By newsgame

Baldur’s Gate 3 will officially be the next video game phenomenon to make the leap to television, with Craig Mazin attached to shepherd a story set after the events of the game. On paper, that sounds like a prestige slam dunk: one of the most celebrated RPGs of the decade, paired with a showrunner known for sober, serious adaptations. But the more I sit with the idea, the more uneasy I become because Baldur’s Gate 3 is a complete game, with a finished story, with very real constraints.

Baldur’s Gate 3 left no obvious dangling threads that beg for resolution; there are plot points that could be expanded for players at a table, but not on television. For many players, its ending was emotionally satisfying in a way RPGs rarely are, precisely because it respected their choices and let them live with the consequences. Continuing the tale it tells runs the risk of feeling invasive rather than additive.

Player Choice Is Baldur’s Gate 3’s Core Text

It’s not a long shot to say that the defining strength of Baldur’s Gate 3 is not its setting, its production values, or even its characters in isolation, but the way all of those elements bend around player agency. This is a game that ends in dozens of radically different ways, and through the medium of video games, all of them remain valid. Any post-game television narrative would, by necessity, elevate one version of events above all others, transforming a deeply personal experience into an “official” history.

This is where a comparison to Mazin’s take on The Last of Us, his other video game adaptation, would fall apart. That adaptation was critically successful and commercially dominant, and (critically) it was built on a fundamentally linear foundation. Joel and Ellie’s journey, however emotionally contentious, unfolds the same way for everyone who plays the game. While the show added very little for fans who knew the games, translating that story to TV didn’t invalidate player experience. Baldur’s Gate 3, by contrast, is designed to resist a single absolute version of events, and its power lies in the absence of a “correct” ending, not in the promise of one.

Fallout and What a Baldur’s Gate 3 Show Offers

The question, then, is not whether Mazin is capable of writing something compelling. His work on Chernobyl speaks for itself, and even skeptics of The Last of Us would be hard-pressed to deny its craft. The real question is what, beyond money and brand value, does a post-Baldur’s Gate 3 story add to a narrative that already says what it needs to say? Do these characters need further canonical development, or were they powerful precisely because players decided who they became?

The recent success of Amazon’s Fallout series complicates this discussion in an interesting way. That show sidestepped direct adaptation by telling a new, canon, game-adjacent story, allowing longtime fans to engage without feeling overridden. Even so, despite assurances that it wouldn’t make a specific Fallout: New Vegas ending canon, it undeniably made some outcomes impossible. That’s manageable in a franchise built on sprawling timelines and regional stories, but in Baldur’s Gate 3, where the stakes are intensely personal and tightly bound to player choice, that kind of narrowing would be far more pronounced.

The Meeting of Mediums

A huge part of this hesitance (though it’s not an insurmountable problem) is that prestige TV thrives on specificity. By its nature, TV is a medium that allows characters and arcs that move in deliberate, legible ways that benefit from a single authorial intent. Baldur’s Gate 3 and video games like it thrive on flexibility, contradiction, and the freedom to roleplay against expectation. Those values are not inherently incompatible, but they are in tension, and unless great care is taken to curtail the possibility, even a brilliant version of that show would still be telling players, implicitly, that one thing is what really happened over another.

The Dungeons and Dragons Problem

Who’s That Character?

Identify the silhouettes before time runs out.

Who’s That Character?

Identify the silhouettes before time runs out.

Easy (7.5s)Medium (5.0s)Hard (2.5s)Permadeath (2.5s)

There’s also the matter of Dungeons & Dragons itself, which, as a property, finds its greatest strength in the promise of infinite storytelling. Every table, every campaign, every party is meant to matter on its own terms, and a TV adaptation of Baldur’s Gate 3 specifically feels counterintuitive to that ethos, especially when one single creative dominates the setting. If you want to tell more stories in the Forgotten Realms, why not tell new ones? Why return to a well that was already drawn dry in the most satisfying way possible?

Ironically, the best modern example of Dungeons & Dragons working on screen points exactly in that direction. Dungeons & Dragons: Honor Among Thieves was a great (if overlooked) movie, not because it extended existing canon, but because it embraced the spirit of the game. It felt like a campaign came to life, complete with tonal shifts, improvisational energy, and a sense that the characters were discovering the story as they went. It doesn’t need to validate prior experience.

What’s Lost in Translation

Ultimately, none of this is to say that a Baldur’s Gate 3 series is doomed. It may very well be thoughtful and emotionally resonant, but greatness in this context comes with a cost. To make the show work, something essential about the game has to be curtailed, if not entirely left behind.

For a title like Baldur’s Gate 3, one that resonated so deeply because it trusted players to own their stories, that trade-off feels especially steep. Sometimes, the most respectful adaptation choice is knowing when not to continue. Baldur’s Gate 3’s end is what makes it work because of everything that leads to that moment, which is different for everyone. A direct sequel (as opposed to an anthological one, in a completely different medium) flies in the face of that.