Omikron tries to be different by restricting not only when but also the number of times you can save your game it also demands that you get used to using an exotic inventory system that limits how much you can carry for no discernible reason. Consequently, Omikron is like three mediocre games rolled into one: The fighting and shooting sequences drew the designers' attention from the rest of the game, and as a result, even the primary adventure elements are lacking. It's as if the designers combined these genres for no other reason than that someone up top happened to like all three. Whether or not it's admirable for a game to combine several genres is beside the point Omikron's implementation of three totally unrelated types of gameplay is ineffective and completely arbitrary. As such, these shooter scenes seem much like the fighting sequences, in that they not only feel clumsy but are also entirely inappropriate within what's essentially a slow-paced adventure game. In addition, your character moves sluggishly, and it's hard to aim your weapons. They're tedious, too long, and generally anticlimactic. While the game's graphics engine doesn't do a bad job of rendering the enemies, weapon effects, and architecture of these sequences, they nonetheless feel amateurish and utterly disjointed. Omikron will occasionally switch to a first-person view and invite you to gun down dozens of weak but annoyingly precise enemies as you navigate some mazelike environment. Its sound effects are either over-sampled, as with the main character's too-loud footsteps, or far too subdued, as with the game's irritating first-person shooter sequences.Unfortunately, that they sound bad isn't the biggest problem with these obligatory action scenes. Regrettably, Omikron doesn't sound good at all notwithstanding its high-profile soundtrack. A few new Bowie songs are also part of Omikron's score and are effective if extraneous as Bowie's in-game alter ego performs them in concert, in-game. It lacks variety and matches the city's nondescript futuristic appearance with similarly forgettable techno. However, the game's much-ballyhooed soundtrack provided by legendary musician David Bowie and collaborator Reeves Gabrels isn't as good as you might expect. Good voice acting also helps bring Omikron's key characters to life. They emote realistically and actually seem to act their parts, while their unblinking eyes and shifting facial features lend an unusual puppetlike appearance that isn't unattractive. These conversation sequences, which cut from the game's standard third-person perspective to first-person close-up shots, feature detailed 3D characters that look really good. In addition, the character animation is mostly stilted and unrealistic, and the game's hand-to-hand combat sequences look silly, especially compared with the 3D fighting games Omikron attempts to emulate.įortunately, there isn't too much fighting in Omikron more often, you'll be investigating the city and talking to its denizens. Omikron's just lots of big buildings, shiny cars, droning civilians, and flying ships, and all these things quickly start to look alike and do nothing more than reduce your frame rate to a crawl whenever you're outside. Most of the city looks like your usual postindustrial science-fiction cityscape - it has nothing you haven't seen before in some other science-fiction game or movie. Its colorful 3D graphics are fairly detailed, and its populace looks distinct, but Omikron's lofty vision warrants a much better treatment. It's a 3D third-person adventure game with one-on-one fighting and shooting sequences, and because none of its three play elements are central, each seems shallow and serves only to provide a break from the other two at any given moment.Īlthough Omikron is a good-looking game by most standards, its attempt to convey a seamless alternate reality falls flat. Omikron combines several types of gameplay with limited success.
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