The Outer Worlds nails the wacky, tongue-in-cheek tone from the get-go, with the laugh-out-loud dark humour a perfect fit for this slapstick satire. Within a few hours of play, I had the spaceship AI bluff a self destruction sequence in an attempt to scare me off, while a commander expressed concerns about the work ethic of a soldier who died during their work shift. It’s arguably underwhelming that the end result of all of these story threads are summarised via a narrated slideshow akin to something you’d see at the end of coming-of-age graduation film, but it certainly sticks to the same tongue-in-cheek tone Obsidian was going for. I always felt like my choices had a massive impact on the universe, and by the end credits I was eager to start a new game and take different routes to see how the story would develop differently. There are blatant play-choice crossroads, but each possible route is as morally ambiguous as the next. Abandoning the typical “good” and “bad” morality meters in favour of these murky ethics makes for far more engaging and memorable storylines. The narrative always adapts to your decisions too, providing the illusion you’re not simply following a pre-written script but carving out your own story. You’re able to have your main ally arrested right at the start of the game, while one of the main antagonists can be disposed of well before the final scripted showdown. Rarely have I experienced a game world that feels so immersive and malleable, increasing the gravity of every one of my decisions while making planet revisits a far more fascinating prospect. Your actions will also influence your reputation among several factions, influencing vendor prices and the hostility towards you. Most (if not every) NPC can be murdered, and doing so can close off select missions. Going for the violent option too frequently can also have severe consequences on the game world. Such a system ensured The Outer Worlds never felt like a mindless shooter, rewarding my tactics just as much as my my trigger fingers. For example, plasma weapons are capable of disintegrating fleshy foes, but aren’t so effective against the steel-clad machines and the reptilian Mantisaur monsters – corrosive bullets prove far more useful here. The implementation of a rock-paper-scissors combat system encourages experimentation with its diverse arsenal of weaponry, preventing you from relying on one over-powered rifle. You don’t have quite the same levels of gun kickback as a dedicated first-person-shooter, while melee combat feels too floaty, but its still all perfectly adequate. The Outer Worlds is brimming with a variety of weapons, including your traditional sci-fi plasma blasters to more quirky additions such as the shrink ray and a flame-powered scythe. That’s not to say gunning down enemies isn’t fun though. It’s a lot of work, but the payoff from diplomatically defusing a situation feels absolutely incredible. I had to gather intel from computers, gossip with NPCs and make Sherlock-esque deductions from the environment in order to unlock the desired dialogue option. Persuading a character wasn’t simply a case of upgrading my Dialogue skill and choosing the most complimentary speech options. My favourite skill of all though was the dark art of persuasion, as I sweet talked others into doing the dirty work for me and convinced trigger happy characters to set aside their guns. Or instead, you could become a computer wizard, hacking computer terminals to open sealed doors and configure the artificial intelligence of guard ‘bots so they fire at their mechanical mates. With enough stealth skill points applied, you’re able to sneak and lockpick your way through enemy-riddled buildings without detection. The Outer Worlds can’t be accused of the same sin, with the opportunity to avoid combat altogether persistently present. While the likes of Fallout 4 promised players the opportunity to adopt any playstyle they fancy, it still felt very much like a classic run-and-gun shooter with extra features tacked on top. Put simply, Obsidian is beating Betesda at its own game.

What’s more of a shock is The Outer Worlds isn’t merely a New Vegas sci-fi clone, but a vastly improved RPG venture that feels like a significant but natural evolution nine years later. That’s no surprise given the game’s creator, Obsidian Entertainment, was responsible for the hugely popular Fallout: New Vegas. From the Dungeons & Dragons style character sheet to the branching create-your-own-adventure mission structure, the influence Bethesda’s RPGs have had on The Outer Worlds is unmistakable.

The outer worlds esrb rating