Dustborn

While its combat system leaves much to be desired, Dustborn is filled with a variety of fun elements focused on opening up to the people around you that truly helps the game blossom into a powerful experience. Once your trip is over you will definitely miss those you got to know, but you will be thankful you got on the bus in the first place.

It is rare for a game to be about something, to work its themes into every fiber of its being, to ask us to think about the world around us and reflect on who we are, the world we live in, and the things we’ve done to make it what it is. Dustborn does that, and it's special because of it. It doesn’t always work, but what it gets wrong pales in comparison to what it does right. It is a reminder that what we say and do matters. That, to quote Hemingway, “The world is a fine place, and worth fighting for.” That a better world is possible, if only we have the courage to build it, if we can find the right words to speak it into existence. Let there be light.

If you like strong stories and games where your choices matter, Dustborn is for you. It's a game that's more about the journey and the people you meet along the way than action-packed battles or complex game mechanics. If you're looking for a game with deep and satisfying combat mechanics, there are better alternatives out there.

Haphazard at times and calmly cacophonic at others - Dustborn has much going on, and it's far from harmonious. Nevertheless, the characters and intriguing setting help sustain interest.

Dustborn follows the Telltale Games studio's precepts: no-choice elections, minimal variation, and silly plot twists. The second part of the game looks like it was finished by another team of writers.

While sporting an intriguing alternate timeline, a decent cast, and a variety of gameplay features, most players will find something to dislike in Dustborn, an epic action-adventure that fails to evoke excitement and sentiment over an excessively long playtime.

Dustborn’s rhythm mini-game is just another way the game demonstrates how underdeveloped it all is. Its terribly paced narrative is married to an elementary view of authoritarianism and stars an irritating crew that never stops talking. Combat is woefully simplistic and lacks the necessary smooth controls. None of its systems fit together coherently, either, because they’re all underbaked in one way or another and, in some cases, plagued by glitches. It’s hard for Dustborn to fight the power when it’s too busy fighting with itself at every turn.

An absolute must play mastsrpiece. Good graphics, top acting and very fun gameplay.

I don't understand why this game is so badly recieved in the metacritic. This gem has a great story, characters and artstyle. I enjoyed the experience quite a bit. But I have to admit, combat mechanics aren't great, gets boring and repetetive pretty quickly. I also stumbled upon some performance issues during combat, but it was nothing too serious. If you are not against "woke propaganda" (just some inclusivity and anti government rhetorics) I definetly urge you to play this gem.

(MY SCORE : 7 /10) Story-Driven, Action-Adventure, Point-and-Click Game spiced up by Rhythm Style when our Main Character plays music and Hack 'n' slash during Combat!In this Game we become a Female Anomaly named Pax, who has the ability "Vox" to manipulate sound, by absorbing Echoes energy with a gadget-like tool called "Me-em" and relying on 'Bat' during Combat. After committing a theft, she and several other Anomalies, namely Theo, Noam, and Sai, left Pacifica and headed to Nova Scotia, Canada. To deceive the Justice Officer, they disguised themselves as a Punk Rock Band called "The Dustborn" and used the excuse of being on a "Band Tour" during the trip. In addition to facing the Justice Officer, they also had to face the Biker Gang (Riders) and Puritans who wanted the 'Data Drive' they stole. In its progress, The Dustborn will meet CT, the Robot Driver, and other Anomalies, namely Ziggy (Pax's sister), Eli, Girl, (a mysterious girl who can't talk), Ophelia, Sol, and Nainai who will join them. And interestingly, although Pax was interested and had a homosexual relationship with Noam, at the end of the story it was discovered that she was pregnant. And the child was the fruit of a relationship with Jacob, her old friend. In addition, Sai, who seemed angry at Pax's decision to leave Dustborn, turned out to be a traitor, and secretly worked with Justice by giving a copy of the 'Data Drive' for the safety of herself and her family. Although in the end she admitted and regretted her actions and rejoined Dustborn. Losing CT who sacrificed himself to save the pregnant Pax is one of the touching scenes. And after that, we will be in the battle area between Justice and Puritans Facing both of them, until the leader of the Puritans, The Overseer, appears who we must defeat. And in fact after defeating The Overseer, we will face Axiom again who killed Theo! And we defeated Axiom with the 'Power of Rhythm' from Pax's body that was resurrected by **** total there are #10 Issues to complete this Game.

Wird schnell langweilig........................................................

Representation, equality, love... lofty goals that developers often claim to pursue in their games. Unfortunately, Dustborn falls short of achieving these ideals. Let’s start with the premise. The idea of weaponizing voice, speech, and words is undeniably intriguing and fresh for gaming. But while this mechanic has potential, it isn’t groundbreaking. It echoes earlier works like Preacher (1995–2000) by Vertigo Comics, written by Garth Ennis and illustrated by Steve Dillon. That said, the execution here is overshadowed by a major flaw: the protagonist. The main character comes across as an unlikable bully. From the very beginning, the game thrusts players into morally murky territory as the "heroes" murder police officers who are merely doing their jobs. While one character shows a shred of remorse, the rest of the crew seems disturbingly indifferent. This disregard for human life becomes a pattern, and the main character consistently dominates the narrative, imposing their views on both the group and the player. Then there’s the promise of representation. As a member of the LGBTQ+ community, I should feel seen, celebrated even, in games like this. Instead, Dustborn serves up a diverse cast that feels shallow and disconnected. I couldn’t relate to any of them. Compare this to games like Baldur's Gate 3, Cyberpunk 2077, or Skyrim, where customizable characters allow players to truly inhabit the game world. These titles offer freedom, letting players forge their own identities within the story. In contrast, Dustborn’s approach feels prescriptive, forcing players to engage with a cast that’s diverse on the surface but ultimately hollow. It’s not all bad, though. The art style is phenomenal. The world of Dustborn is visually striking, with bold colors, inventive designs, and a unique aesthetic that’s immediately captivating. The visuals promise a depth and vibrancy that the narrative sadly doesn’t deliver. Ultimately, Dustborn exemplifies the pitfalls of token representation and heavy-handed storytelling. Its compelling concept and breathtaking art are undermined by an unlikable protagonist and a cast that fails to resonate. Representation in games matters, but it needs to be meaningful and relatable, not just a checkbox. To developers: if you're going to tackle these themes, do better. There’s an audience hungry for authentic stories that celebrate diversity without sacrificing player agency or meaningful connection.