Wow...this is a great conversation! I can't figure out where to respond, so I'm picking this one simply because it feels more like it addresses the source if the issue. (I've snipped to keep the length of the post down.)
I did study a lot of mythology (mythologies, actually), and it is a very academic discussion in the end. (Which is kind of the biggest hurdle to overcome.) It's actually an interesting interpretation to think about Fallout 4 as a mythology in and of itself, but it's a hard argument to make as a valid interpretation of the game. A "myth" is a story that was once part of a real-world, actively practiced religion: one that has since fallen out of practice and is now dead. We call the literature that survives from these religions a "mythology". To refer to the games of Fallout 4 as a myth is cool...considering the potential literary perspective of them being stories told to far future generations within the game world, perhaps a culture that develops untold years after the world recovers from the nuclear holocaust. (Similar to the way the Mad Max films are portrayed.) It's just that the game never introduces this perspective, so the interpretation is left as being very cool conjecture.
To call the sci-fi world portrayed at the beginning of the game mythological is an error. It's not the 40's or 50's; it's 2077. This is established. We now have to willingly suspend our disbelief and accept this "alternate-reality" of our own recorded history to accept the premise of the game. Which is fine! And it works! It also creates impossible barriers to those looking for a "down-to-earth" level of immersion, though. Fact of the matter is -- we didn't discover the secrets of harnessing fusion as a power source, creating safe fission power sources, went along the digital path instead of the anolog path with technology, and never developed power armor or fought wars in space. (We have so many logistical problems keeping 20 people supplied on the ISS as it is -- putting a single regiment into space, let alone with the added weight of friggin' POWER ARMOR, would bankrupt every single UN nation on the planet. And they wouldn't be coming back.)
The game is neither mythological, realistic, nor a simulation. It is neither 2001: A Space Odyssey nor Gravity. It is Stranger in a Strange Land or Animal Farm. It doesn't attempt to scientifically explain how and why Michael is able to wave things into non-existence, nor why it's pigs and horses can talk, it just uses these elements to heighten the effect of its allegory and social commentary. Fallout is 100% satirical anolysis of the human condition, represented by a ham-fisted, fantastical view of nuclear technology-gone-wild. I simply have to accept that there is power armor, and plasma weapons, and giant chameleon deathclaw monsters, and radiation won't kill me slowly if I eat mirelurk cakes -- or I'll miss the point of the game: societal satire.
This misses the point of using "nuclear fallout" as the premise and focal point of the game. Nuclear material degrades by half-life. This means that it never stops being radioactive. Once you introduce it, 300,000 years later -- it's still radioactive. Napolean created mechanical chaos. He upset society in his misguided attempt to "make the world France". It caused pain that lasted for at least a few generations. But then it healed.
Fallout 1-4 explore the question: "How many times can we do this before we finally do something to ourselves we can't recover from?" And it answers this with a simplified (and rather conservative) view of global nuclear devastation. Imagining we don't annihilate the surface of the planet with thousands of simultaneous nuclear blasts, kill all organic life on the crust, create a nuclear winter that rains real-life fallout across the globe for hundreds of years (not 80), and eventually destroy the food chain resulting in complete organic desertification of the crust and the oceans, ending in a permanent ice age with irradiated permafrost as a foundation...what would life be like?
Here, we see the game use "radiation" as a symbolic representation and constant reminder of humans finally doing something that we can't take back or rebuild...and according to the game..."nothing changes". Dark stuff.
Plus, we do have organizations set up to safeguard food supplies and water -- we call them "governments". Raiders do enjoy alternative lifestyles. Many of those Kenyan pirates hitting international cargo ships are driving Mercedes and Bentleys. Many ISIS members are extremely wealthy individuals with numerous homes and properties. We, as Americans, live in this sheltered understanding of the world being civilized here, but chaotic there. I can safely say (first-hand experience living abroad for nearly 10 years), that while "standards of living" in America are generally very high -- society in America is a hot mess. Of all the places I've lived (including a few areas very close to war zones), there is corruption, greed, and ignorance everywhere -- but I have never come across a society as readily violent and dangerous as America. (You don't run the risk of getting shot by a teenager during a gang fight in a shopping mall anywhere else on the planet. South Africa is not too far behind, though.)
This hits on a true issue with the game, but has nothing to do the the premise. It is something Beth needs to work on in the future. Their titles (since Oblivion) tend to aggressively railroad players down pre-determined paths. Then sort of cram the consequences down players' throats. It can leave you feeling like: "But if I had just been able to do 'XYZ' -- I could have resolved this!" It's just so hard to script a branching storyline.
This section is supporting what I said point-for-point, unless one of us is misunderstanding the other. My argument is the mechanics of gameplay are "whatevers". It does not matter if they make scientifically explainable sense -- they're in place to paint a picture and set a mood, heightening the social commentary. They also worry about gameplay balance and providing variety. Can you actually make a nuclear grenade from a tin can and some soda? No. But who cares!? These things are so cool!
I can forgive Beth these particular details. You have a valid point. But the time and resources involved in going back to retexture all of these pieces again, simply to add "clean-er" looking versions would have resulted in diminishing returns (both financially and for the gameplay). It's a nice accent, but it doesn't really add a mechanic or help the player complete the game. Plus, the expense of paying texture artists to handle this would have been a quite high for no real additional sales. (Plus, modders are going to do this anyway. [PLUS, the modders will do this as part of higher-fidelity texture packs, so people that care will wind up just overwriting the Beth textures in the end, anyhow.]) It's still a business, in the end.