One of Miller’s boldest choices is to avoid voiceover or lengthy dialogue about how the world ended. Instead, he indexes the global economy of the wasteland through three place-names uttered in passing: the Citadel (water), Gastown (gasoline), and the Bullet Farm (ammunition). These are not just locations; they are the foundational industries of a neofeudal system. We see the Bullet Farm only as an explosion of shells and a muddy pit of scavengers. Gastown appears as a belching refinery lit by flares. The Citadel, with its dripping rock face and hydroponic gardens, is a vertical power structure where water falls from the top (Joe’s vault) to the bottom (the diseased masses). Every bullet fired, every drop of water guzzled, every gulp of gasoline burned indexes a specific site of exploitation. This triangular economy—water, fuel, ammunition—replaces money, and Miller maps it entirely through indexical visual cues: a shell casing, a sweat-soaked rag, a leaking hose.
Immortan Joe's physically massive but dim-witted eldest son.
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