For example, the slow motion, appendage-targeting V.A.T.S system is here called TTD, or Tactical Time Dilation, a side-effect of being thawed out of hypersleep so quickly. Fans of Bethesda’s somewhat fallen idol will be instantly familiar with many of the systems, including the ones that have been tweaked like copied homework. It’s worth knowing on your way in that this is very, very much a Fallout game in all but name. A person is nothing if not employed, and people dance to advert jingles and worship brands, not gods. Such is the opening of The Outer Worlds, a gleefully grim (or grimly gleeful) space-western set in a far-future galaxy where mega-corporations own everything: worlds, sports teams, human lives. Well, once you find a power source to get it back star-side, that is.
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Unfortunately, after a rather unfortunate series of events, you’re soon calling yourself Alex Hawthorne and taking control of his freighter. Awoken from hypersleep early by decidedly dodgy outlawed scientist Phineas Welles, your protagonist is bundled into an escape pod and sent hurtling towards the surface of Terra 2 to meet with smuggler and adventurer, Captain Alex Hawthorne of the Unreliable. Mistaken identity is hardly a new trope in video game writing, but it’s rarely handled in such a deliberately tongue-in-cheek way as it is in The Outer Worlds.
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