Level Completed: Bob Odenkirk on Why Saul Goodman's Story Isn't Getting a Free DLC
AI Gaming News Author · IGN South Africa ·
Bob Odenkirk's recent comments suggest that any future *Better Call Saul* content would be confined to a prison setting, effectively closing the book on Saul Goodman's free-roaming shenanigans and highlighting the power of a definitive narrative conclusion, much like a well-executed game ending. The article delves into the creative freedom of creators to move onto new projects rather than endlessly expand established franchises.
Right, so you know that feeling when you've finally sunk a hundred hours into an epic RPG, made all the tough choices, watched your character evolve (or devolve, depending on your moral compass), and then the credits roll? You're a bit sad it's over, but also, there's that satisfying click in your brain where you go, "Yeah, that was the *ending*." You wouldn't want some dodgy, half-baked DLC trying to undo everything just because it sold well, would you?
Well, that's kind of where we're at with the whole *Breaking Bad* and *Better Call Saul* saga, according to the legendary Bob Odenkirk himself. Our man, who somehow managed to make a morally bankrupt, ethically elastic lawyer named Jimmy McGill (or Saul Goodman, or Gene Takovic, depending on which save file you’re loading) utterly compelling for over a decade, has been chatting about the possibility of more from that universe. And mate, he reckons if Saul ever pops up again, it'll be in a rather… confined setting.
"He's not getting out (of prison)," Odenkirk flat-out told *Today*. "If there's another Saul show, it takes place inside prison." Bloody hell. Talk about a definitive narrative choice, eh? It's like reaching the 'bad ending' in a choose-your-own-adventure game, but the game is still, technically, continuing. Just behind bars. No quick-saves, no do-overs. The consequences of all those ethically dubious side-quests and main story choices finally caught up with him. And honestly, for a character as slippery as Saul, that feels less like a tragic end and more like the only truly satisfying conclusion to his particular character arc. A full-circle moment, if you will, but the circle's got bars on it.
Now, as gamers, we're pretty familiar with character progression. We spend hours building up our avatars, assigning skill points, making decisions that shape their journey. But sometimes, a story just needs to land. You can't just keep adding new expansion packs to a character's life indefinitely without diluting the core narrative. *Better Call Saul* spent six seasons meticulously deconstructing Jimmy McGill, showing us how a genuinely good guy (deep down, perhaps?) slipped into the neon-suited abyss of Saul Goodman, then finally faced the music. It was a masterclass in slow-burn character development, the kind of nuanced storytelling you wish every triple-A title would aim for.
Odenkirk himself touched on the toll of playing such complex characters, mentioning not just Saul, but also Hutch Mansell from *Nobody*. He told *THR* that both characters carry "a lot of impacted frustration inside them" and have "pretty big chips on their shoulders." Playing that kind of internalised chaos, he admits, "is hard to play after a while." You can almost hear the digital wizard in me wondering if our player characters feel the same after we've dragged them through the emotional wringer for hundreds of hours. Imagine having to live with your *Red Dead Redemption 2* Arthur Morgan's existential dread, or *Cyberpunk 2077*'s V's ticking clock, day in, day out. It makes you appreciate the craft even more, doesn't it?
The big question, of course, is whether the creators, Vince Gilligan and Peter Gould, would even *want* to revisit that world. Odenkirk seems pretty clear that it's entirely up to them, though he's poured a bit of cold water on the chances. "But I don't think so," he mused. "I think they've all moved on to some more amazing projects that you'll soon see."
And honestly, as much as I adore the *Breaking Bad* universe – its lore runs deeper than most game franchises – I reckon that's a good thing. In an industry (both TV and gaming) increasingly obsessed with endless reboots, prequels, sequels, and cinematic universes that just keep expanding until they burst, there's something genuinely refreshing about creative minds knowing when to call it quits on a masterpiece and pivot to something entirely new. It's like your favourite indie dev, after nailing a genre-defining game, doesn't just churn out *Sequel 2: The Re-Sequeling* but announces a completely different, intriguing new IP. That takes guts, and it usually leads to more innovation.
Case in point: Gilligan's got a new Apple TV+ series called *Pluribus* coming, starring Rhea Seehorn (our beloved Kim Wexler!), set for a 2025 premiere. And Gould's working on an FX series, *Disinherited*. This isn't just a pivot; it's an exciting leap into new narrative territory. It’s like when the developers of *Mass Effect* moved onto *Andromeda* (okay, maybe not the *best* example for 'new IP' success, but you get my drift about new ventures!) or when a beloved studio branches out from their comfort zone. It's how new classics are born.
So, while the idea of a 'Saul Goodman Prison Simulator' definitely has a certain darkly comedic appeal, and I'd probably still tune in just to see how they'd pull it off, I'm genuinely excited to see what these brilliant storytellers conjure up next. Sometimes, the most satisfying ending isn't a never-ending loop, but a definitive, poignant conclusion that leaves you wanting more – but in a good way, because you know the creators are off brewing new magic. It’s a bit like when you finish a truly great game and rather than obsessing over New Game+, you’re hyped for the studio's next venture, knowing they’ll probably blow your mind all over again.
This news was originally reported by IGN South Africa (URL).
Tags: Gaming Narratives, Character Development, Franchise Management, Creative Freedom, TV Show Adaptation
Original article: IGN South Africa