In your ship there is a computer at the back (to the right when you enter). That computer contains a digital investigation board - y’know, with the photos connected by string and stuff.
Once you find that, the game really starts to make sense. It’s not a walking simulator, it’s an active crime scene. I won’t say what “crime” (and I’m being somewhat metaphorical here), in case you didn’t play long enough (about 12 minutes after you encounter the statue in the museum) for The Event to happen (The Event will make you think very differently about what this game is, but I can’t talk about that. We don’t talk about The Event). But that’s basically what’s happening. There’s a problem, and you have to solve it, but to do that you’ll have to unearth years of lost history, piecing together the story of an alien civilization that has visited your star system. The gameplay is primarily about exploration, trying to figure out where to find and how to get to the clues you need to put everything together. Slowly, the murder board fills in, the pieces connect, the list of suspects narrows, and you spiral in towards a genuinely shocking and heart wrenching conclusion.
Does it get good? My friend, it gets EPIC. The sheer scale the plot operates on is mind blowing. The ending destroyed me; easily one of the best stories I’ve ever encountered in a video game.
The flight mechanics are intentionally fiddly. You will get used to them eventually. The gameplay is exciting, sometimes terrifying, but don’t expect them to like give you a gun or anything. It’s a puzzle game, but the puzzles are never a fucking Sudoku. If you can handle that, it’s one of the best games ever made.
This is the first game to truly solve the problem of “criminal investigation” as a game mechanic. There’s no detective vision, and the character doesn’t automatically spout off conclusions when you scan enough clues. When you find a fingerprint on the murder weapon, it’s just that; a fingerprint. It’s up to you to figure out how to connect that to a suspect. You have to actually think about what you’re doing, there’s no handholding. You can peruse security cameras footage, canvas for witnesses, follow leads that will dead end sometimes, stake out a person’s home or job, track down the sales records for a murder weapon, identify a suspect by their footprints… The array of tools at your disposal is incredible. And the murder board is just the best thing ever; you even get to scribble your own notes and make connections with different colours of string, and it’s not some game mechanic, it’s literally just a tool for you to assemble the evidence like a real detective would, so that you can figure out your next move.
There are entire genres that I think in many ways have passed younger gamers by.
Point and click adventures were the biggest thing in the world at one point. The classics are the Lucas Arts entries, like Indiana Jones and The Fate of Atlantis, The Dig (both based on unused Spielberg pitches), the Monkey Island games, Full Throttle, Day of The Tentacle and Loom. You’ve also got Myst and Riven (Riven being the far superior of the two), and my personal favourite, The Longest Journey, which has an absolutely stellar story and really compelling protagonist with a lot of depth to her. Also, positive queer representation in a nineties game, holy shit.
The next lost nineties genre is the space sim. The kings of the genre were Wing Commander and X-Wing/Tie Fighter. Then you’ve got Privateer and later Freelancer. For the Wing Commander games read a summary of 1 and 2, then jump in with 3, the first to feature FMV with Mark Hamill as the player character (genuinely an excellent performance too, he took the role really seriously and saw it as every bit as important a scifi property as Star Wars). John Rhys Davies (Gimli) and Malcolm McDowell also make appearances.
And of course, the classic nineties FPS, a genre that feels very, very different from modern FPS games, though there have been some good attempts to recreate it. You know Doom, and Wolfenstein 3D (the latter does not hold up; the former absolutely does), but also check out Heretic, Hexen, Rise of The Triad, and most importantly, IMO, the Marathon games. These were the precedessors of the Halo series, and they combined really solid action with a genuinely amazing story. It’s the kind of big, high concept that you rarely get in movies, TV shows and games, with a world that the writers clearly put a tonne of thought into, and some characters who will stick with you long after the game is over.
Finally, some stuff that doesn’t really fit any of the above. Crusader: No Remorse and Crusader: No Regret are isometric action shooters with some fun storytelling and LOTS of explosions. If you get them on GOG be sure to download and read all the supplementary material, it really fleshes out the world and the characters. System Shock probably doesn’t even need mentioning with the recent remake, but the originals truly hold up, especially with the UI and controls polish Nightdive added. Syndicate and Syndicate Wars are very hard to explain, but they’re really fun (That said, I’ll give an even stronger recommendation to their modern spiritual successor, Satellite Reign, which deepened the gameplay significantly while still retaining all of the spirit).
There’s plenty more, obviously, but that’s what immediately comes to mind as worth checking out.
This game is easily worth full price for the single player alone. You’d be an idiot not to pick it up for $3
The multiplayer is back, like really back, and it slaps just as hard as ever. This is, genuinely, one of my main multiplayer games right now. The fight to the extraction on a loss is one of the most cinematic moments you’ll ever get in a PvP gamemode.
Listen, if AI was replacing executives instead of hardworking creative types, I’d be all for it.
Christ, with how limited the brainpower of your average c-suite is, you wouldn’t need “AI”. I could probably replace most of them with an excel spreadsheet.
What the fuck are you on about? They’re talking about using AI to replace the incredibly talented human labour at studios they own. Y’know, like the people who made Valheim, Deep Rock Galactic, Satisfactory, the new Tomb Raider titles, Metro Exodus…
Embracer are shit, but what makes them shit is that they’re fucking murdering a lot of genuinely talented studios that produce great work.
Embracer, functionally speaking, have zero understanding of how game dev works. The whole thing is just a massive investment fund. Basically a bunch of rich assholes who bought up every small developer they could get their hands on and then tried to MBA all the numbers up by cutting headcounts and doing other useless metrics driven bullshit. Then when this failed to produce meteoric returns on investment they all went surprised pikachu face.