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1. The Outer Worlds Reviews A year before, Obsidian published The Outer Worlds on the wave of extreme analysis of Outcome 76. Now, after Bethesda no longer gives the umbrella of a bad RPG release, things remain so beautiful anymore. From the beginning, a muted voice in the back of the brain told us against The Outer Worlds. It endeavor to help prove to everyone how the game is not exactly just what I survived waiting for – that it will not remain another magnum opus from Obsidian Entertainment, worth any amount of change along with any amount of times regarding your existence. The silent voice was not absolutely correct... but it became completely wrong possibly. The Outer Worlds broken out only a decent game. Yet this venture got every risk in the planet as a complete success. After all, Feargus Urquhart's team used the same framework as with the past games, with Pillars of Eternity at the head. They make for the origin in the RPG genre – in this case, the starting point in the Consequences series – and tasted work the same dish, according to the same recipe, maybe adding more modern flavors, such as creative vision with functioning new modern hardware. The wheel was conquered by the best people imaginable – Timothy Cain and Leonard Boyarsky, without with whom, the Spring Boy would not get survived considered. Obsidian dumped the isometric perspective (the current experiments proved that the growth for games with such perspective had finished) with moved to a 3-dimensional environment. And that wasn't the first time he'd completed this – Fallout: New Vegas is still widely acknowledged by the followers of the RPG genre, many of which believe it the best part of the entire series. What can lead to so wrong in the case of The Outer Worlds? Unfortunately, plenty of things – actually in the matters in which should not cause a question to equally experienced developers. Waiter! There's Borerlands in my Fallout! You'd expect, perhaps, in which the review of The Outer Worlds would revolve largely around the game's archaic technology. That's assess, and I have lots to say about it, but I'll focus on a much less evident, and simultaneously more crucial part of the game. I'll start with the setting. Don't get me wrong – Obsidian created a unique also interesting world. The outrageous edge in the cosmos, ironically chosen the Arcadia, ruled before a great unstable, retrofuturistic institution, is definitely an interesting place for an adventure. Particularly since the creators allow the creativity go rough with hurled in the lot of crazy ideas, finishing it ahead with particular absurd humor. Unfortunately, someone decided that this frivolous earth can contain a very significant piece, with important ethical dilemmas. Sounds a little like Fallout? Sure, this is certainly the plan of the creator – but they've seemingly considered this too far; we'd ordered black teas, with received Regent's Punch instead. The creation causes a

2. serious cognitive dissonance. The world of Outcome was uniquely heavy, gloomy, no total of black humor from the game might replace that – fully the reverse, actually – that typically amplified the cold reality of the post-apocalyptic USA. The general outline in the narrative on the Outer Worlds – the struggle for success of the colony faced with starvation – echoes some common themes. The issue is that the game is definitely overloaded with jokes, for such an important story. Humor almost pours on the screen. The power of the institution is absurd. By every chance, were confronted with preposterous judges and systems, plus the migrants, almost every single one, are a bunch of helpless administrators and total idiots, which placed the banal problems for the protagonist. Want examples? Just consider the screenshots from the book. Maybe that amusing – but how is the person supposed to regard the gossip really? And Obsidian ultimately care for the product to be used seriously, because that carousel of pleasure sometimes unexpectedly freezes, and we're faced with a completely serious choice, like so whether to lose human kick from the honor of advance. Participating in The Outer Worlds feels like speaking The Hitchhiker's Point to the Galaxy, but with selections from Dune, The Foundation, or Solaris pushing up every several calls. Before, using a gaming analogy, that is like playing Borderlands, and unexpectedly jumping into the many vital styles of Group Effect, or maybe smooth the horror of Silent Place every sometimes. The difference is hella strong. New Vegas 1.1 Let's observe The Outer Worlds plays. In terms of gameplay, Obsidian Entertainment's latest development cleans the dagger. This a pure-blood RPG with a gameplay model in which inspirations of Fight are manifested much more clearly than from the setting. The character growth is intense with complex, there's great freedom in showing the purpose you need, the searches remain straight with creative, what is the history itself – those are the bases on the game, then they act deliver a great arrangement of entertainment. The second of these made the greatest imprint on everyone inside Outer Worlds. The venture begins formerly the idol created by the gambler, a fellow member in the thousands-strong staff of the lost colonization ship Plan, is developed by hibernation by the "mad scientist," Phineas Wells. He offers a rather bleak situation for the character – the Association, a human body governing the company, is head the Arcadia near their death, having switched the promising foothold of mankind into the undernourished hell plagued with red tape. The only way to salvation, explains Welles, is to promote the greatest object of Dream, and conquer the Council with their help. At this point, you may feel the structure of the article takes now happened determined, with the good and testing characters introduced. But the game quickly suggest a subversive imagine: why not team up with the corporation, and allow them the veto scientist? Of course, the Board is probably also aware of how horrible things try the nest, and it needs a solution to that. Then the reason not specifically ignore the whole affair and try to work the stance to stop with your own pockets? Or just drown the Arcadia with blood, killing all with your way? ##video## The game isn't a straight sandbox, but the legend on the Outer Worlds produce many very clear sandbox (or rather: nonlinear) features. And even while we merely give two principal endings (achieved through a progression of quests which remain typically the same missions), the persons may get a lot different effects depending in they sense they choose to complete the vision, treat certain characters, with handle different groups. The participants that enjoy exchanging the histories with news may love it.

3. Do whatever you have to do So, we go to the next strongest aspect of the game, that is. the free will of fixing problems. Obsidian doesn't also attempt to hide that the foundation in the mechanics in The Outer Worlds – and specifically the character development – is derived right by Fallout's SPECIAL. At the middle are six features that determine over a dozen skills, along with the aptitudes further modify the stats (they're the equivalent in the famous perks, but given that there are just positive aptitudes, the order isn't that making). Still, this provides player a huge liberty in answering problems in the quests. In addition to formulaic combat talents – melee weapons, race, or stop – you can spend sites in laying, hacking, pressure, or sciences. And, what's much more interesting, we constantly come across the chance of mixing and using these abilities. That's because there's almost always more than one way leading to any scene, and facing fighting hostile NPCs, the player's are always able to sample and decipher the dangerous situation with diplomacy. Do it to say that the campaign with the ultimate boss (and the full combat sequence preceding this) can be prevented through the use of combined logical and rhetorical abilities. The openness to compete a persona in terms of the mechanics goes in hand with the way conversations work. This is another element which will get increases of Outcome feel at home. Talks with NPCs are lushly branching out, performing the player a broad variety of potential actions. Just as you can kill any NPC, you can and recently insult anyone you're talking to, be cruel fun ones, and slip the previous change. In a word – work like a great asshole. With an additional interesting fact here – having a figure with very subtle intelligence opens a special, "children's" kind of the dialogue. Not a very practical issue, but it's a nice addition. The paradox in the next dimension Up to now, The Outer Worlds seems able to take their worked being a very competent RPG, in which the greatest issue is the gimmicky world. Unfortunately, Obsidian made another strategic mistake when designing the game – they guess with three-dimensional graphics. Despite numerous conflict avoidance alternatives for nerds and diplomats, TOW still leaves a lot of emphasis on fighting. That becomes apparent just seconds when you put down the security with the metropolitan walls. The exploration of the not-so-big sections of the forests – even if done beside the foremost routes – is consistently "diversified" in random experiences with parties of enemies, whose sole purpose of existence seems to be waiting for a chance to kill someone. And that might not be anything very bad if the combat became as bland. Seven seasons have been successful since liberation of Consequences: New Vegas, then the beat mechanics on the Outer Worlds seem like the experience was generated only a year soon after. The awkward animations, dumb AI-controlled enemies, and gross weapon mechanics, which don't let you feel any influence with the weapons, make the entire experience largely similar to FNV, and seldom provide any satisfaction. And if you think melee weapons offer somewhat greater, sense again – the still worse here. You might go and decide representing a secret line and escape combat altogether (here, Obsidian tried to offer something up-to-date and brought in cover in large grass), but this is not really cool either... Besides, sparing enemies doesn't yield XP, so there's no reward here. Technical level – Obsidian The retrograde technical level becomes plain straight on the beginning. Take area and houses, for example – in most instances, these areas are filled separately, but they're not even substantial in mass. Businesses are especially dangerous in the metropolitan, disturbed with empty hole and poor imitations of a living situation in sheet of small companies if motionless dummies (character activities is an alternative matter – equally depressing). There's not enough background noise to supply the impression of being in the actual town. The already mentioned wild

4. areas and seem archaic – they're trying to come across so open spaces without still being really open. If the above sketch in the "technological wonders" presented in The Outer Worlds wasn't quality entertainment for you, let me talk about optimization for a while. Sorry – "optimization." I participated in with a decent computer with a Core i5-4570 (3.2 GHz), 16GB of STUFF, and a GeForce GTX 1060 (6GB) at very high sites in 1080p promise, also a perpetual 60 frames per second was not something I could have generally. The framerate often dipped to about 40fps for no apparent reason. As if that lived enough – even on an SSD – I frequently experienced short freezes caused through burden of data, and next getting to a new, larger spot, the surfaces and aims would pop- up just or the eyes for a few seconds. It was grotesque. On the other hand – during at least 30 times of recreation, rarely experienced any major problem. The game of course incorporates a light amount of problems (like as bodies travel about), but a serious mistake occurred only the moment: On one position, the game concluded that among my companion had crashed – a few seconds later talking to him, during a completely safe spaceship flight. But which was most likely a material of stale luck. After all, we're talking about a game from Obsidian Entertainment. Perhaps it definitely doesn't trouble? "If Fallout: New Vegas survived a star despite many its technical shortcomings, why must that be different with The Outer Worlds?" There are two parts in play here. First, FNV isn't remembered as an outdated glitchfest simply because it gave us a fantastic narrative. TOW doesn't achieve the same feature of the word – and the idea not practically the bitter-sweet, incoherent setting. The game certainly has that portion of attracting experiences and creative jobs, but eventually, it might take been there lots better. The best way to illustrate this is with the players. This a bunch of nice personalities, whose dialogues were engraved with adequate talent like to produce them feel well. One would, still, think more charm from them – mainly through their own private threads, usually very little, seeming rather forced. Same goes for many quests, even PC Spiele Download the main ones – a lot of them feels purposeless. The other big challenge of The Outer Worlds is that a lot has taken place in the RPG genre since the freedom of Consequences: New Vegas. We've witnessed a major meeting from the Encounter with RPG genres; self- identifying as role-play is no longer a good alibi for crude combat mechanics. If we believe FPP games, there's not fair the upcoming Cyberpunk 2077, but still the poor Fallout 4, falling short of most real shooters, is miles ahead TOW in terms of gunplay. All this results in the miserable conclusion that Obsidian Entertainment just did not have enough money to generate The Outer Worlds the kind of game they'd wish. I suspect that the lion's segment with the resources went to recording dialogues (with a moderately successful findings) and the work of the designers that must go Arcadia a unique experience (that, representing a cash, rolled away fairly clearly). Exploiting the Imaginary Engine was likely a pull aimed at saving some money – this, theoretically, ensured nice graphics for a little price – further reduced with the deal with Epic Games Store.

5. However, the builders didn't have the means to polish the mechanics, make the world a little bigger, and, above all, allow more head with exposing the gossip – making it longer, with more cut-scenes and poses. Do this to say the assumption of the core area could properly be extent in precisely 15 hours (side quests should produce another 15). So, why the mark? That's because The Outer Worlds need to be there examined primarily as a classic RPG – and certainly, if we examine that from this side, we have to admit that a piece of really good craftsmanship. If you miss the good last morning of "rolplays," in which nameless heroes willingly rushed to help preserve (or kill) the earth for no particular explanation, with wasted their own moment upon any trifle quest in the designation of acquiring experience points along the way – The Outer Worlds can squeeze a split of nostalgia from your eyes. Unfortunately, for everybody also, those will be mainly tears of trouble with sorrow – of the wasted potential.