Outcast: A New Beginning review: an open world dead end
Cast your eye over the original Outcast from 1999 today, and you'll find a world that's more abstract than alien. Hazy, almost block colour textures are stretched to breaking point over terrain that looks like it's been pulled and poked by a child sculpting in putty slime, while its cast of beige, three-fingered Talans are so rigid that they'd all be reigning champions at the local robot dance-off. Understandable, given the era in which is was made, but even so - what a difference 25 years make. Even after 2017's remake glow-up with Outcast: Second Contact, A New Beginning's version of Adelpha is a lush and verdant paradise, with treetops soaring over your head, and mountains requiring several triple or quadruple jetpack jumps to traverse. It's no Avatar: Frontiers Of Pandora, admittedly, but it leans in very much the same direction, punching your eyeballs with such bright, primary colours that you'll feel enticed to explore every inch of it.
A shame, then, that all its visual splendour amounts to is little more than an empty husk filled with open world busy work that already felt tired and done ten years ago. Its non-linear approach to storytelling remains intact, letting you tackle the quests and problems of its numerous village settlements in any order you wish, but even this has been boiled down to tedious checklists of fetch quests, escort missions and shooting up the same identikit facility one after another. Topping off this fatal combo is returning protagonist Cutter Slade, whose macho army dude dial is still set firmly to cringey wise-cracking and patronising stereotypes. A new beginning this ain't.