The first of the two expansions included in the Obsidian RPG Season Pass covers familiar ground, albeit without poor results.
The announcement that Tim Cain and Leonard Boyarsky were co-directing an RPG after years of working at different companies put the kind of expectations on The Outer Worlds that would intimidate any game. Bringing together the original creators of Fallout under the roof of Obsidian (studio responsible for New Vegas, for many the best installment of the FPS stage started by Bethesda) was like the return of a classic rock band to the stage. Of course, the analogy is twisted when said band does not have the rights to their greatest hits, so they must compose others that sound familiar, appeal to fans who know old songs by heart, but who also find their own identity so as not to leave with the sensation of listening to a tribute band that bases its career on imitation.
The result garnered rave reviews, sales, and even abundant Game of the Year nominations, though for some it didn’t quite outpace previous studio efforts. In a generation where Fallout 4 simplified role-playing and Fallout 76 suffered from a legendary concatenation of problems, The Outer Worlds excelled by emphasizing sarcastic script and meaningfully branching dialogue trees, but also evidenced that Obsidian’s independence – prior to its acquisition by Microsoft— imposed certain limitations. The license was built from scratch on a narrative, artistic, playable and technical level, getting rid of many of the bugs that plagued the legacy engine in New Vegas, but requiring concentrating or in some cases splitting ideas in an almost surgical way to maintain scale and scale. budget under control. This resulted in a fairly moldable RPG, but also brief, something that Danger in Gorgona tries to remedy a bit.
New link in the chain
The first and most important feature of Danger in Gorgona is that, unlike most expansions released months after the game they supplement, it is not intended as a direct continuation or adventure outside of the core narrative. While optional for obvious reasons, the studio has implemented it as a new succession of intermediate missions that are unlocked automatically during the course of the main story. Specifically, after completing the part related to the planet Monarch, which has no specific order given the semi-open structure that the game adopts shortly after obtaining the Fallible (ship to travel through the system), although it does require some preparation given its greater difficulty with respect to other regions accessible at the same time.
Once the «Radio Monarca Libre» mission has been completed, the next trip to any destination is interrupted by a messenger who leaves a very peculiar correspondence on our ship: a box with a severed arm and a recording that urges us to travel to Gorgona, again Large asteroid that appears on the map after installing the DLC. In the mansion located in one of the fragments that orbit around it, Wilhelmina Ambrose welcomes us, a lonely and saddened young woman who takes advantage of our arrival to commission the search for her mother’s diary in a facility abandoned by Space Ganga (a company with severe influences and effects). throughout the entire campaign). A simple starting point that, of course, gets complicated as soon as we enter the Gorgona itself.