In the 26 years since Revolution Software released Beneath A Steel Sky, the adventure game has come full circle. After the genre struggled to adapt into 3D and was briefly declared dead by pundits, the genre's resurgence occurred on two main fronts--the simplified, story-driven 3D games of Telltale, which focused on choice and consequence over puzzles, and retro-styled 2D games released like Unavowed, Kathy Rain, and Broken Age, which included a lot of the esoteric puzzle-solving the genre used to be known for. Beyond A Steel Sky, the long-awaited sequel to the 1994 original, is an attempt to bridge the gap between those two styles--but unfortunately, it ends up feeling like some of the messier 3D adventure games from 20 years ago rather than another classic like its predecessor.

Beyond A Steel Sky brings back Robert Foster, the protagonist of the first game, and picks up 10 years after his escape from Union City and LINC, the half-mechanical, half-organic being that runs it. Robert has returned to the "gaplands" surrounding the city, where he lives a happy, earnest life within a small society. However, he's soon forced to return to Union City after a young friend, Milo, is kidnapped by a huge robot and taken somewhere in the sprawling metropolis. The game is set in a post-apocalyptic Australia, but references to the country are unfortunately fleeting, despite the game's aesthetic invocation of the British colonization of the country--the gaplanders are largely people of colour, and Union City is predominantly white.

At first, it's great to be back in the world of Steel Sky. The nods to the first game start flowing in from the first moments--like the original game, the opening is made up of comic panels drawn by Watchmen artist Dave Gibbons, whose most famous work receives a few fun nods and Easter eggs throughout the game. Joey, Robert's robotic sidekick, also returns, and seeing these two characters reunited is one of the game's highlights. The city, which is rendered in glorious 3D is lovely, too--the skyline stretches far into the background, and the cel-shaded aesthetic suits it.

In the 26 years since Revolution Software released Beneath A Steel Sky, the adventure game has come full circle. After the genre struggled to adapt into 3D and was briefly declared dead by pundits, the genre's resurgence occurred on two main fronts--the simplified, story-driven 3D games of Telltale, which focused on choice and consequence over puzzles, and retro-styled 2D games released like Unavowed, Kathy Rain, and Broken Age, which included a lot of the esoteric puzzle-solving the genre used to be known for. Beyond A Steel Sky, the long-awaited sequel to the 1994 original, is an attempt to bridge the gap between those two styles--but unfortunately, it ends up feeling like some of the messier 3D adventure games from 20 years ago rather than another classic like its predecessor.

Beyond A Steel Sky brings back Robert Foster, the protagonist of the first game, and picks up 10 years after his escape from Union City and LINC, the half-mechanical, half-organic being that runs it. Robert has returned to the "gaplands" surrounding the city, where he lives a happy, earnest life within a small society. However, he's soon forced to return to Union City after a young friend, Milo, is kidnapped by a huge robot and taken somewhere in the sprawling metropolis. The game is set in a post-apocalyptic Australia, but references to the country are unfortunately fleeting, despite the game's aesthetic invocation of the British colonization of the country--the gaplanders are largely people of colour, and Union City is predominantly white.

At first, it's great to be back in the world of Steel Sky. The nods to the first game start flowing in from the first moments--like the original game, the opening is made up of comic panels drawn by Watchmen artist Dave Gibbons, whose most famous work receives a few fun nods and Easter eggs throughout the game. Joey, Robert's robotic sidekick, also returns, and seeing these two characters reunited is one of the game's highlights. The city, which is rendered in glorious 3D is lovely, too--the skyline stretches far into the background, and the cel-shaded aesthetic suits it.