The Outer Worlds is a corporate space-opera of witty proportions. Obsidian Entertainment introduces fans to a brand-new universe across several strange planets and vibrant characters. The first-person role-playing game aims to be much like prior efforts, yet with Private Division under the publishing helm. Leonard Boyarsky and Tim Cain are both onboard and players are dying to taste their unmatchable game design. While this is another Sci-Fi RPG with many concerns, the brand is loyal to remarkable characters and story.

As tradition, the story follows a ‘chosen one’, awoken from cryosleep by mad-scientist Phineas Welles. In this alternate timeline, society is governed by extreme capitalism and organisations. Product endorsement, town sponsorship, and scarce necessities dictate how everyone thinks, behaves, and lives. Welles is quite sick of this life and aims to awaken the entire colony without approval from overarching watchdogs, The Board. The player’s job is to help get the colony vessel Hope to the Halcyon system and shake up the state of the universe.

The Outer Worlds falls fearsomely with controls and clumsiness. Full disclosure, these experiences on consoles may be non-existent with a mouse and keyboard. Melee combat is weak and unsatisfying with stiff control­­s and a hopeless dodge mechanic. Swinging weapons left and right with no rhyme or reason, blocking occasionally without real timing, is terribly monotonous. At least range weaponry is serviceable, each critical headshot impactful despite foible aiming. Time Dilation is basically Fallout’s VATS system without being too intrusive to combat. Unsurprisingly, the controls mimic the design of Creation and Gamebryo engine of Bethesda’s janky classics.

Salvaging, selling, and taking groups of items ask for a hold-down button press. An action wholly obsolete when tapping the same button is usually much faster. Similarly, lockpicking doors and crates require a tedious hold-down like a dull mechanic of yesteryear. In fact, thirteen-year-old The Elder Scrolls: Oblivion, among many other immersive-sims, at least ask for meaningful lockpicking. This is purely vexing and damaging to overall gameplay flow.

Companions serve as inspiring motivators to complete intricate storylines. For instance, Pavarti’s sundry backstory deepens her naive surface. The usually bubbly mechanic opens up about asexuality and a tragic past of discrimination and confusion, a sombre tone that stands out against the cynical and comedic tone. Helping with relationship advice is undeniably heart-warming and praise to the writers for their respectful representation of sexuality and diversity. Players will certainly bond with companions and find favourites, like the nostalgic stories of Knights of the Old Republic and Dragon Age.

The questing system and freedom of choice provide brilliant tales. Murdering a supposedly main character or simply ignoring certain companions won’t break the adventure. Killing off Glady’s early in the game means players won’t be able to buy their way into Byzantium, though alternate routes with new challenges will arise. It’s a testament to dynamic quest and story design of The Outer Worlds, setting it apart from other FPS RPGs.

Environments of the Halcyon system are pretty but can feel empty. Visually, everything is above expectation with vivid alien grasslands, gloomy industrial areas, and bustling space stations of varied faces. Searching inside buildings and chatting around the central hubs are great and part of The Outer World’s appeal. Unfortunately, the world outside of the main towns are lifeless shooting galleries with scattered basic enemies. Despite the abundance of fauna, these zones feel soulless. Sure, deriving a story from legless corpses and trashed campsites is exciting, though after the fifth or sixth time the shallowness is apparent.

Often sound effects are tinny or muddy when they shouldn’t be. Footsteps across the planes of Emerald Vale sound flat and the impact of bullets against different surfaces don’t hit right. Tests using high-quality headphones and television speakers output no different. Luckily, the music is orchestic and rousing, not suffering from any problems. Scenes are set with matching scores and levelling up is grandiose.