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The Outer Worlds 2 is shaping up to be everything its satirical predecessor hinted at. Obsidian Entertainment’s return to the Halcyon system, this time orbiting a new corporate scarred planet, feels more confident, more responsive, and far more ambitious than before. However, due to the massive scale of this long-awaited sequel and the extremely release-heavy period, there was simply no way of giving it the time it rightfully warrants for a full-length review. This is, in essence, a review in progress; an early glimpse at a game that already looks poised to refine the studio’s signature brand of witty science fiction storytelling.

It would be easy to describe The Outer Worlds 2 as more of the same, but that would undersell what Obsidian has achieved. Beneath the surface the game feels rebuilt rather than recycled. Combat is faster, systems are deeper, and the underlying philosophy of player agency is more assertive.

From the very first moment, The Outer Worlds 2 feels bigger, and not in the bloated sense of modern open worlds, but in its scope and density. Character creation now reads like an obsessive manifesto of choice with dozens of backgrounds, over ninety perks, and a rich system of flaws and traits that actively shape who the player is and how they play. The familiar levity remains. This is still a universe where corporations regulate morality, yet there is a tangible sense that Obsidian wants every decision to ripple more deeply through the game.

What stands out most in the early hours is how much freedom the player truly has. Even within a single mission there are multiple ways to succeed. A locked door can be bypassed through stealth and timing, brute forced with raw strength, or quietly hacked with the right dialogue and charm. Each route feels authored but not forced. Obsidian’s long standing philosophy of “many paths, same outcome” is finally maturing into something far more reactive than its predecessor have rightfully managed to deliver. 

Movement has also been completely reworked. Sliding, double jumping, and climbing feel natural and purposeful, closing the gap between the deliberate pacing of a role-playing game and the immediacy of a shooter. Weapons snap and recoil with newfound confidence, each shot betraying hours of obsessive tuning. The Outer Worlds 2 no longer feels like an RPG that only happens to include combat. It now embraces it as part of its identity — it feels almost as snappy as Call of Duty, in a sense.

The game’s tone remains as sharp as ever. The writing cuts with the same sardonic wit that defined the original but now threads that humour through scenes with more emotional depth. Conversations feel richer and choices more nuanced. Corporate satire still forms the backbone of the narrative, yet it is balanced by an undercurrent of humanity. Beneath the absurdity of capitalism’s cosmic sprawl, people are still people. Fallible, funny, and sometimes frighteningly relatable.

Companions also appear more thoughtfully realised. Their interjections flow naturally during missions, their worldviews shape how quests unfold, and their personalities clash in believable and often endearing ways. There is an unmistakable rhythm to the dialogue. It is less overtly comedic than before but more confident, as though the series has finally found its voice.

The perks and flaw mechanics have evolved into something far more compelling. Taking a flaw is no longer a novelty but a genuine trade off. You might accept a lasting fear of plasma weapons for a few extra skill points or suffer a penalty to melee accuracy in exchange for enhanced social prowess. It is a system that forces reflection and makes character building feel less like optimisation and more like authorship.

Performance seems remarkably stable for a game of this scale. There are occasional frame drops but the overall presentation is striking. Lighting is cinematic, particle effects are richer, and environments feel alive. While not entirely sterile, the first game’s backdrops were not something to look at in awe. In The Outer Worlds 2, however, the [very same, in some cases] backdrops have given way to landscapes that breathe. Lush jungles are pierced by industrial decay, and glass domed cities glitter with artificial promise.

With all of the above in mind, this is still only a review in progress. It represents only the first fifteen or so hours of what is said to be a 100+ hour experience. The depth of the narrative, the weight of long-term choice, and the scale of planetary exploration will determine whether this sequel truly transcends its predecessor or simply refines it.

There is also the question of balance. The improved combat is undeniably satisfying, and the way to circumvent said combat has most definitely been a breath of fresh air. The rest of the experience, however, still lies untested. Obsidian’s finest work has always thrived on choice and consequence, and it remains to be seen whether The Outer Worlds 2 can sustain that identity across its full runtime… but if it is anything like its predecessor, it is safe to say that the game will be a winner. 

What The Outer Worlds 2 evokes most strongly is confidence. It feels like the work of a studio that understands its audience and its own strengths. It is colourful, witty, and wonderfully self-aware, yet now backed by mechanical polish and ambition worthy of a true next generation sequel. The first game was a surprise hit, beloved for its charm despite its modest scale. This sequel aims higher with more reactive worlds, deeper systems, faster gameplay, and richer writing. Whether it achieves all of that remains to be seen, but it already feels like the kind of sequel that knows exactly what it wants to be.

For now, this much is clear. The Outer Worlds 2 feels like a confident step forward for both franchise and studio. If the full experience delivers on what these first hours suggest, we may be looking at one of the most distinctive role-playing games of the year.

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Verdict:

GOOD [4/5]

PROS	CONS
Top Tier performance	TBD

Title reviewed on Xbox Series X with code supplied by Publisher.

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