The Art of Video Game Screenshots

Have you ever watched a movie or TV show and wanted to pause and marvel at a scene? It may be beautiful, showing off an artful mix of colour and design. It may be complex, requiring time to appreciate the detail. It may capture a moment that creates strong feelings or thoughts.

I love taking screenshots in video games. Not all video game graphics are lifelike or realistic, but even retro or pixel graphics have their beauty, such as the screenshot from Cloudpunk below. The definition of “realistic” also decays as each new generation of hardware increases fidelity.

Even Cloudpunk‘s voxel-based graphics are beautiful

Why take screenshots? I enjoy it. Arranging a good scene and admiring it as a screenshot is fun. This admiration is called “sense-pleasure”, a term coined in the original Mechanics-Dynamics-Aesthetics game design framework. Some game developers have screenshot competitions and communities. Winning is fun, as is sharing a common interest. Trying to take good screenshots also allows me to appreciate the effort developers put into games, looking at games and visual media through different eyes.

Taking good screenshots is simple: play games, take lots of screenshots, review them, decide which ones are the best, try to get more of those, and repeat.

That leaves two questions. The first is “Which games should I take screenshots from?” The second is “What makes a screenshot good?”

The answer to the first question is also simple: play whatever games you enjoy. That said, some platforms, such as PCs, and game types, like 3D open-world games, are more conducive to taking beautiful screenshots. High-end PCs have higher resolutions and are capable of better graphics. The developers of 3D open-world or similarly expansive games often create visually appealing worlds. 

Some graphics capabilities require special attention. Virtual Reality (VR) and Augmented Reality (AR) are more of an experience, something a static screenshot cannot capture. Screenshots from High Dynamic Range (HDR) displays are often too bright, at least in non-HDR file formats.

Screenshots of glitches, memes or schadenfreude are often spontaneous. These can be fun. They have their place. However, these tend to be unpredictable and their popularity fleeting.

Answering the second question, “What makes a screenshot good,” is more difficult. Someone with art training could write volumes on what makes a good painting or scene. However, some general advice I found helpful follows.

The human eye is usually drawn to specific places when playing a game. Players have fractions of a second to decode a busy scene and determine what to do next. The game designer wants to emphasize where to go next or the boss’s weak points.

An underground cave from Greedfall

The above screenshot from Greedfall shows how the developer can unsubtly force the eye to focus somewhere. The light filtering from above among the dangling roots directs the player while hinting at this place’s history and significance.

However, the human eye can take its time to appreciate a screenshot. Treat each screenshot as a diorama. People view a screenshot holistically, like a painting. Arrange interesting things around the image or, if there is a single focus, ensure it is unique or intriguing enough to hold attention.

An Asp Explorer (spaceship) from Elite Dangerous

This screenshot shows a beautiful fusion of elements. The blue exhaust from the Asp Explorer (spaceship) heading towards the ringed planet matches the light of the eclipsed blue-white star. The edge of the Milky Way galaxy shows behind. This fills the image, meaning there is something interesting to look at everywhere.

Night City from Cyperpunk 2077

This screenshot shows the busy Night City skyline from Cyperpunk 2077. There is so much detail that it takes time to parse. What initially could pass for any modern metropolis is quickly dashed by the ascending holograms and unfamiliar advertising.

A Krait Phantom (spaceship) flying between a planet and its moon in Elite Dangerous

Another example from Elite Dangerous is above. Elite Dangerous‘ planet generation is fantastically detailed, and the colour contrast reflecting off the Krait Phantom’s mirrored hull looks wonderful. The distortion from the engine exhaust gives it that extra touch of realism and adds momentum.

Looking at the planet’s star through its rings in Elite Dangerous

While stark and beautiful, the lack of something interesting in the foreground in the above image gives the feeling something is missing or incomplete.

The best screenshots are not always from the most action-filled or detailed scenes. Screenshots omit many elements of game interaction, reminding us of what the screenshot lacks. There is no movement or action. There is no music, sound effects or story. The hardware sometimes limits the graphical fidelity. A screenshot can expose low polygon models and blurred textures.

An alien machine from Elite Dangerous

If you have a central focus, viewing it from a slight angle gives it a more natural appearance. It shows more detail from the side or top. The above screenshot shows the misty, creepy, organic, Gieger-esque internals of a thargoid base from Elite Dangerous. The details of the back pillar would otherwise be obscured if the shot was front-on.

The best screenshots tell a story or evoke emotion without context.

A Scorpion (buggy) exploring a thargoid spire site in Elite Dangerous

For example, zooming back from the Scorpion (buggy) and placing it below the camera’s centre in the screenshot above draws the eye towards the towering thargoid spire above it. The contrasting light between the green cloud to the right and the blue star to the left pleases the eye. This screenshot evokes a sense of alienness, wonder and being alone.

A rain scene from Cyberpunk 2077

Plenty of games have rain. However, the mist, almost monochromatic palette and subtle reflection in the puddles above capture a dreary oppression better than any other I had seen. The dirty footpath and cluttered scene emphasize the worst parts of urban life.

Avoid busy or unclear scenes. The dozens of spell effects hurled at a boss in an MMORPG raid can be impressive. However, parsing the scene can be difficult. 3D scenes rendered in wide aspect ratios, such as 16:9 or 16:10, distort around the edges. Avoid putting essential details there.

Lighting and colours pose unique challenges and opportunities. Overly dark or light scenes can be hard to discern. Contrasting light can be beautiful, as shown in the dull red of the star against the alien structure’s yellow below. Monochromatic scenes can be stark.

A thargoid titan from Elite Dangerous
A dark HDR screenshot from Elite Dangerous

While the scene above has a lot of detail, it is too dark. This is a good example of an HDR scene losing too much contrast when rendered in standard displays.

Disable or remove any “heads-up display”, voice chat overlays or similar UI elements. They often distract from the scene unless they are the focus (“I survived at 1% health!”).

Modern games may have photo modes that temporarily use more screenshot-friendly graphics settings and give more camera control. Use these when you can. Controlling the camera angle or adding effects, such as vignettes or filters, can add a lot.

An alien world from No Man’s Sky

Tilting the camera turns the already alien world from No Man’s Sky, above, into something disorienting. The slight vignette helps focus the attention on the centre and adds depth.

An Imperial Cutter (spaceship) amongst a gas giant’s ring in Elite Dangerous
Looking through asteroids toward a faint, distant star in Elite Dangerous
A thargoid interceptor at a barnacle site in Elite Dangerous

Effects like bloom, light rays, reflection or lens flare turn a scene into something magical, as shown above. If I ever want new backgrounds for my computer’s desktop, Elite Dangerous is a wonderful way of generating them. Unfortunately, players may have to turn effects off to improve frame rates or to run games on low-end graphics hardware.

A traveler admiring the nighttime bioluminescent display from No Man’s Sky
A traveler admiring an eclipse on No Man’s Sky

Sometimes, careful timing and placement are key. This can be as simple as waiting until night in the first screenshot above or finding a lens-flared eclipse’s exact moment and angle in the second.

Be careful of symbolism and logos in games. While these can be meaningful and emotive in games, they often lose context outside that game. Worse, games sometimes use real-world symbols that can offend.

Avoid modifying screenshots after taking them. Highlight the game developers’ artistry, not Adobe Photoshop skills. Modifications are often prohibited if you want to enter screenshots in competitions. However, each game and community will have its own rules.

Many games have “vista moments”, where the player leaves a cramped, narrow area and enters a broader, almost agoraphobia-inducing wider world. If you are looking to start taking screenshots, finding these is a great place to start. The developers often make these look stunning.

Your first view of the Erdtree in Elden Ring

Your first view of the Erdtree in Elden Ring is a wonderful example of a panoramic “vista moment”, as shown above.

Looking over the water at dusk in Deliver Us Mars

The above scene showing the sun reflecting off the water is a wonderful change from the cramped corridors preceding it. In a setting where the Earth’s environment is collapsing, this reminds you what you are trying to save.

Graphics are arguably the most essential part of video games. While it is possible not to have any significant graphics, e.g. The Vale, video game developers spend much time and resources getting things right that players may only see for a few moments. Taking screenshots both helps share these moments and appreciate the effort and artistry that goes into video game development.

Does the 31 January Stream Change Elite’s Outlook?

Mockup of the Python Mk II

Frontier’s stream on 31 January changed the landscape for Elite Dangerous players. Accustomed to Frontier drip-feeding content, no credible roadmap, and poor financial results, Elite‘s players had resigned themselves to being comfortable with table scraps. Did this stream signal a change?

Frontier has traditionally been famously vague, uncommitted and underwhelming. For example, a “new feature overhaul” was first discussed in 2022 for 2023 and is still undelivered. The content Frontier did release, such as the thargoid titans and spire sites, was visually spectacular. However, it lacked the long-term game loops required from a live service game. 

By contrast, the pleasantly succinct 31 January stream announced four things: a culmination of the thargoid war, a revamp to PowerPlay, an undisclosed major new feature and new ships. The new partnership with Dead Good Media for PR is producing good results.

This announcement exceeded reasonable expectations. It surpassed mine. However, that was not the biggest surprise.

While players have enjoyed the Thargoid War, Elite has always interweaved multiple game loops. Culminating the war allows people to get back to other things. 

Galnet, Elite‘s in-game newsfeed, has strongly hinted at a PowerPlay revamp. PowerPlay, Elite’s macro-political simulation, has devolved into passive-aggressive cargo healing. A rework is welcome.

Delivering four new ships was terrific news. New ships allow players to customize and experiment, re-experiencing existing content through a different lens. Frontier last released new ships in 2018. Five years without new ships is a long time when Elite is essentially a spaceflight simulator. 

The mockup of the Python Mk II, shown above, looks cool. It engages players’ imagination. The new canards, short tail fins and wing tips make it look sleek and modern. Frontier has taken a page from Star Citizen‘s playbook.  

However, the biggest surprise is Frontier’s implied renewed focus on Elite. As my previous post said, most expected Frontier to put Elite into maintenance mode. 

It is essential not to get too excited, though. For example, the PowerPlay revamp and the new feature are not new; Frontier just reannounced them. They have been years in the making. They may get pushed back again or, when delivered, be underwhelming.

From a business model perspective, the promise of new ships is the most lucrative. ARX sales for cosmetics will help the bottom line. Many ex-Elite players are interested in returning to play new ships. Whether it or any of the other announced features brings in new players is yet to be seen.

As my previous post said, games sell on potential and goodwill. Elite has lacked both for some time. Frontier has created an opportunity to hint at a vision or dream. However, it now has to deliver engaging content in a reasonable time frame. If so, Elite may return to the glory days of old. If not, this opportunity was Frontier’s to lose.

“Starfield” Review: Vast, Exciting and Fun but Shallow

Starfield movie-like poster

Starfield is the latest action role playing game (RPG) from Bethesda, the developers of Skyrim and Fallout

Starfield, the first new RPG setting from Bethesda in a long time, is set in 2330. The Earth’s magnetosphere dissipated over a century earlier, rendering it lifeless. Thankfully, humanity mastered faster-than-light travel via the gravity drive. They rapidly evacuated to the star systems near Earth, deserting old nations and building new institutions. 

You start Starfield as a lowly asteroid miner, listening to your coworker’s banter. You unearth a seemingly alien artifact that gives you strange visions. After an attack by space pirates, you are inducted into a quaint, exploration-focused organization called Constellation and whisked off onto an adventure.

Structurally, Starfield has a similar “in media res” style introduction to Skyrim. It quickly teaches you the basic mechanics, gives you a short fight to get the blood pumping, establishes you as the “chosen one”, sets you on the main quest, and then gets out of the way. Much of the exposition happens later.

Starfield‘s strength is the breadth, if not depth, of game loops. Its gameplay is fun, but only exploration is remarkable. The combat is standard first person shooter fare, although melee could be more varied. The stealth mechanics are good but not up to Deus Ex or Cyberpunk 2077. Bethesda nailed the sci-fi feel of lock picking, but once you understand it, less player skill is required than in Skyrim. Your scanner is helpful for exploration, identifying enemies, or satiating hoarding instincts by finding things to pick up. 

The gameplay is repetitive but not grindy. You do not need to repeat boring activities to enable more enjoyable gameplay. Sufficient variety in the quests and randomly generated or placed content prevents boredom. Once you exhaust the scripted quests, Starfield offers randomly generated versions to pass the time or continue adventuring. Alternatively, land on a planet and start exploring.

Starfield‘s main quest line is suitably epic and galaxy-spanning, providing mystery and motivation. It draws you above the drama occurring elsewhere in the settled systems. However, this distance means the main quest line loses some emotional grounding and gravitas. Starfield‘s setting and side quests provide the most content, variety and potential like most RPGs.

Starfield contains many visually and thematically diverse places. After leaving the dusty, decrepit asteroid mine and a short detour, you first visit the city of New Atlantis. It is the capital of the United Colonies. Visually, it resembles the citadel from the Mass Effect series: clean, bright, organic curves, open spaces with water and greenery integrated seamlessly with technology.

New Atlantis contrasts with other places like Akila City, the capital of the Freestar Collective. Its mud roads and stone buildings make it feel like the Wild West in space, complete with a bank robbery. As its name suggests, Neon is a cyberpunk (the genre) style metropolis on a rain-drenched water world. It is where to indulge in less savoury activities, like gang warfare, corporate espionage, or elicit substances.

Neon in all its multicoloured glory.
Neon’s exterior in all its multicoloured glory.

Exploration is integral to Starfield, being the primary mission of Constellation. Mechanically, it is similar to No Mans Sky or Elite Dangerous. However, Starfield does it better. Starfield supports multiple biomes per planet, adding variety. Starfield is about exploring a known, finite universe, not the near-infinite set of random ones no one else will ever visit. Planet surfaces intersperse improbably frequent natural phenomena and enemy-filled bases to break up the gameplay. You can improve your exploration skills, like increasing scanner range, sprinting further, or learning more about scanned species.

A misty sunset with trees in the foreground and mountains in the background.
A misty sunset with trees in the foreground and mountains in the background.

Starfield is visually better than games like No Mans Sky and Elite Dangerous, and “sense pleasure” is integral to exploration. Not just because Starfield is newer. While all generate terrain procedurally, most of everything else in Starfield is hand-crafted. Starfield‘s alien flora and fauna are more plausible, not just a random assortment of limbs. Think Star Wars, where humanity is not at the top of the food chain. Starfield‘s designers often placed moons and planets to create picturesque views, like ringed planets filling the sky. Starfield also has weather, like dreamy mist-filled sunrises, savage dust storms, or dreary rain. 

A beautiful ringed planet viewed from a moon.
A beautiful ringed planet viewed from a moon.

You need a starship to explore. Your starting ship, the Frontier, is a masterful example of worldbuilding. From the venting gas from its landing thrusters, whose exhaust is ignited by sparks like modern rockets, to its white, vaguely aerodynamic shape reminiscent of the space shuttle, it anchors the setting to a believable near future.

Unfortunately, you pilot your ship rarely. It is either in space, docked or landed. Docking and landing are automated. Flying between planets or systems is “fast travel”, using a short cutscene.

Your ship approaching the starstation "The Eye".
Approaching the starstation “The Eye”.

Starfield has ship combat, but it is arcade-like and closer to No Mans Sky than Elite Dangerous. It devolves into building ships with better shields and weapons. Manoeuvring is all but useless. The camera views block too much with either the cockpit or your ship’s back. Power management is awkward, particularly in the heat of battle. Macros would be helpful. The targeting mode loses any situational awareness. 

However, once you master the clunky interface, the shipbuilder is a beautiful avenue for self-expression. Like the Galactic Civilization franchise, you customize and assemble ships using modular components. In a clever touch of worldbuilding, different vendors’ modules have different styles, such as the blocky, angular Deimos or Taiyo’s almost organic curves. 

You can also walk around your ship, board enemy ships and add crafting stations and containers. However, to prevent punishing those with large ships, you can board into or leave directly from the cockpit. Elite Dangerous‘s designers should take note.

A Stroud-Ekland cockpit.
The back of a Stroud-Ekland cockpit.

Starfield allows building outposts on different planets to store excess equipment, gather resources, craft materials, and refuel ships flying past. You can also create trade links to automate the transfer of materials between them. Starfield almost rivals factory games like Satisfactory with its web of materials and resources. 

However, the capacity of even the largest storage buildings needs to increase. A lot. No Mans Sky offers more variety, including positioning individual walls, roof and floor tiles. 

In terms of companions, there are dozens that you can hire or find around the galaxy. Of these, four companions have unique quest lines. Each quest line companion follows roughly the same moral compass: generally good and favouring exploration. Although not my thing, this limits the potential for less noble playstyles.

Some want Vasco, your robot companion, to have a quest line and opportunity for growth or change. However, with the world currently enraptured by the potential and danger of AI, seeing a robot follow its programming is a welcome piece of sanity.

Thankfully, Starfield does not take itself too seriously. Catching up with your parents in an alien petting zoo or watching them pretend they did not try illicit substances is touching and amusing. Various “inspirational” posters line the walls of shady secret research labs. Chunks, the ubiquitous cubic fast food of the 24th century, “meet all minimal nutritional requirements”. Vasco has some innocent but cuttingly insightful wit. Your adoring fan’s flattery never gets old.

An in-game advertising poster for "Chunks". No with "Sauce".
Hmmm. Appetizing.

Starfield‘s music is orchestral, reminiscent of Star Wars or Star Trek. Most tracks are slow and use periodic gradual crescendos to emphasize the wonder and grandeur of Starfield‘s universe. The soundtrack is composed to support a game with lots of voice dialog and critical sound queues, such as in combat. It does not call attention to itself. For example, the restrained, almost mournful menu theme is the opposite of Skyrim‘s rousing call to action. Rather than assaulting the player with aggressive emotion, Starfield‘s version hints that the player has to come to the game (or music), not vice versa. 

My main criticism of Starfield is not that it is too easy, at least on “normal” difficulty. I may have played many Bethesda RPGs, but even “hard” provided little challenge. Assuming you do not intentionally engage in challenging content, there is little pressure to specialize your character’s skills, ship, outposts or use consumables for temporary buffs. These become more role playing opportunities.

My main criticism is also not that Starfield is the usual Bethesda RPG oxymoron. Starfield empowers you, creating a feel-good power fantasy where you are important and can make galaxy-affecting changes. However, as the conveniences in your favour accumulate, like free ship fuel or unkillable companions, immersion and suspension of disbelief get harder. Starfields‘ roots in points-based mechanics mean large level differences between you and your target can create unrealistic bullet sponges.

I do not mind that, despite Starfield having the best facial and hair animation of any Bethesda RPG, it still falls into that uncanny valley. NPCs wander aimlessly and still get stuck in walls occasionally. 

My main criticism of Starfield is an absent central or recurring theme. For example, in a world where AIs are more intelligent and capable than humans, and the powerful are unshackled from laws and ethics, Cyberpunk 2077 examines humanity. The Fallout series deals with the difficulties of survival and that the best choices are often hard or impossible. The Witcher series shows that, when monsters walk among humans, humans are sometimes the most monstrous of all. The Nier series deals with loss.

In fairness, a game does not need to be profound to be good. Making action movies or games requires skill. Bethesda more than demonstrated it with careful level design, regular mixing of gameplay modes, managing tension, and catering to familiar sci-fi tropes and fantasies. The usual meme-worthy glitches are thankfully absent. The greater attention to quality after Cyberpunk 2077‘s problematic launch is apparent.

Instead, Starfield is pure, fun sci-fi escapism. It is a series of concurrent action movies. RPGs are defined by how well they let you play out fantasies. Starfield delivers on that.

For example, the Vanguard quest line plays like a rerun of Starship Troopers. The Ryujin quest line is a sci-fi James Bond or Mission Impossible coupled with corporate espionage and intrigue. Completing the Mantis quest allows you to play as a space Batman. The Sysdef/Crimson Fleet quest line has palpable tension as you play a double agent, playing criminals and the law against each other. Join the Rangers and play as a space cowboy. 

Standing on the surface of Luna, the moon, looking toward the bright sun.
A “Neil Armstrong moment” standing on the surface of Luna, the moon, looking toward the Sun.

Starfield is unoriginal. Almost everything in the game is “heavily inspired” by something else. That is OK. Successful RPGs help players fulfil fantasies by immersing players in familiar tropes. Where Skyrim opened the fantasy genre to a broader audience, Starfield attempts to do the same with science fiction. 

That said, I was disappointed there were not more overt references to other movies, shows or games. Many will pick the few references to Skyrim‘s sweet rolls and Meridia quests. Yes, there was some well-known voice talent from Star Trek: Deep Space 9 and a subtle reference to the 1986 Transformers movie. Cyberpunk 2077 did this comparatively better.

Without strong themes and notwithstanding a few minor nods to modern sensibilities like same-sex relationships, there is little to offend or demand too much of its players. Perhaps Bethesda wanted to play it safe and avoid controversy.

However, Bethesda missed the opportunity to do something more. So many quests touch on real-world themes. For example, the war between the United Colonies and the Freestar Collective that ended 20 years before the game’s start still has lasting social and economic impacts. The United Colonies has to deal with the compromises and the demands strict order creates. The Freestar Collective juggles freedom with the criminal behaviour it facilitates. The Rangers’ quest line deals with the place of veterans in a postwar society. Meanwhile, the wealthy flatter themselves on luxury space cruises.

DLC or the modding community may fill the gap. Like Skyrim and Fallout, Starfield is as much a gaming platform as a game. Much of the work establishes content for future expansion or use. Outposts and shipbuilding, for example, go far beyond what Starfield currently needs. The Va’ruun, relegated to mysterious bogeymen, have much potential. 

If you enjoyed Fallout or Skyrim or like science fiction games, you have probably already played or plan to play Starfield. You can race through key quests in 30 hours, but the complete experience takes at least 100 more. Starfield is fun, emphasizes exploration and knows its target audience well. However, the lack of anything original, introspective or thought-provoking may limit its long-term impact on the gaming landscape. Playing Starfield is like eating Chunks. It tastes good and you want more but the nutrition is questionable.

“Deliver Us Mars” Review: Grim but Emotional

Deliver Us Mars poster, showing a space suited Kathy Johanssen climbing a precarious Martian cliff using pickaxes.

Deliver Us Mars is an interactive fiction game developed by KeokeN Interactive. While some consider it an adventure puzzle game, Deliver Us Mars focuses on story over puzzles and mechanics.  

Deliver Us Mars follows on from the prequel, Deliver Us the Moon. Earth’s resources are exhausted and its environment is rapidly degrading. You play the teenage Kathy Johannson as she travels to Mars with her crew. They want to find the three ARK ships that fled the moon in the prequel, then use the ARKs’ technology to fix Earth.

Mechanically, Deliver Us Mars shifts between three modes. The first is engine-rendered cut scenes, where the game tells much of its story. Deliver Us Mars shows off the facial animation features of the Unreal engine, not to mention the animators’ skills.

The second is exploration, walking or travelling around near linear maps. You often find objects to scan or read that flesh out the world. This is natural to those familiar with RPGs and adventure games. However, finding them all will likely require multiple playthroughs.

The third is mini-games. Some mini-games require traversal, including climbing or driving a rover across the Martian surface. The climbing mechanics are designed well, requiring coordination to survive palm-sweating moments. Some mini-games are puzzles, like using energy beams to power doors or machinery. 

The mini-games are mostly easy, although their controls or intended results are sometimes unclear. Most have an additional achievement for fast or exceptional completion, yet another reason for subsequent playthroughs.

Mini-games and exploration are also not the game’s central focus. They supplement and reinforce the story. Instead, the success of a game like Deliver Us Mars relies on the quality of the storytelling and the characters. Thankfully, the game delivers.

For example, Deliver Us Mars periodically revisits Kathy’s youth. These flashbacks are initially tutorials, such as swimming teaching how to manoeuvre in zero gravity. They momentarily break the tension, reminding the player of less stressful times in Kathy’s life. 

However, later flashbacks exacerbate the tension and add context. For example, the game hints at the death of Isaac’s wife and Kathy’s mother early. However, the game delays the event to maximize the emotional impact. 

Deliver Us Mars also uses subtle analogies, such as Kathy’s home on Earth. It represents the family dynamic and Earth’s perilous state. Initially, it is inviting with a warm sun and a loving, successful family, albeit with subtle hints of external unrest. As flashbacks recur, disagreements boil over, and dust storms darken the sky. Eventually, a storm destroys the house while Isaac, the father, must leave Kathy in the hands of Claire, her sister. It then gets worse.

Deliver Us Mars is pessimistic. Superficially, it is about how humanity’s talent for internal conflict often sabotages our best efforts. It examines how decision-makers can lose context and grounding, succumbing to revenge, narcissism or paranoia. It highlights the unreconcilable sacrifices some make. Even the worst climate prediction models do not show the Earth becoming inhospitable in the game’s timeframe. 

The character of Kathy Johannson is one exception. The first flashback shows her irresponsible playfulness as she swims with her new and not waterproof moonbear toy. She grows over the game, watching the mantle of responsibility pass from her father to her sister and finally to herself. When Isaac first sees Kathy on Mars, he remarks how she has grown, and this is not just physically. Players presume and impose a default heroism on her, and she does not disappoint.

Delver Us Mars hinges on the emotional connection between Kathy and Isaac. Like in Deliver Us the Moon, Kathy and Isaac show how family and close relationships often motivate us the most. A single word from Isaac, “moonbear”, is enough to spur Kathy onward. The love of his daughter also inspires Isaac when all seems lost.

Isaac Johannson is initially sympathetic, torn between duties as a father and saving Earth. However, unlike Kathy, Isaac plays a tragic role. Time will tell whether Kathy or Isaac represent modern-day governments trying to appease their citizens while protecting the environment. 

It may be my inherent optimism, but Deliver Us Mars is more about not running away from problems. Like the sacrifices people make. Like the relationship between Kathy and Isaac. Like the environmental problems on Earth.

Even when things seem grim, there is always time and more opportunities. This is a pre-apocalyptic setting, not a post-apocalyptic one, and there is still a chance to prevent it. Deliver Us Mars believes that human ingenuity and hard work can solve significant issues.

Aesthetically, Delver Us Mars is influenced by near-future science fiction like Gravity, Interstellar, Ad Astra or 2001: A Space Odyssey. Most technology is slightly ahead of our own, making the game relatable. Some models are superb, particularly the detail in the crashed ARK Lados. The blue Mars sunset is also realistic.

However, Deliver Us Mars skims over many dangers of living on Mars. Its dust is abrasive and toxic. It receives more radiation than Earth. However, I suspect the game designers wanted space or the hostile, desolate Martian environment for spectacle and impact. A game set in safe but sterile metal corridors would quickly feel dull and mundane.

Playing Deliver Us The Moon first is recommended. Like the flashbacks, the prequel adds gravitas and emotional context. For example, Deliver Us Mars almost ignores Sarah Baker, the expedition leader. Appreciating Sarah’s importance and perspective from her small part in Deliver Us Mars is difficult.

While the realistic graphics are gorgeous, they are sometimes inconsistent. It is a minor criticism, but little things can break immersion, like a buggy not leaving tire tracks or the sprite-based thrust from a manoeuvring spacecraft. Higher resolutions are unkind to some of the models and textures. Stylized graphics like cell-shading may have been a better choice. It would have simplified the art and given better cohesion.

Deliver Us Mars is about the right length at about ten hours to complete, more if you want to get all the achievements. It is darker than its prequel but worth it for science fiction or interactive fiction game fans. Hopefully, KeokeN has a sequel planned to continue or conclude the story.

“Rebel Galaxy Outlaw” Review: A Homage to Privateer

Rebel Galaxy Outlaw Game Poster

Rebel Galaxy Outlaw is a single-player, space sandbox game developed by Double Damage Games. It was initially an Epic Store exclusive in 2019 and released on Steam and other platforms a year later.

Rebel Galaxy Outlaw is infamous for being the first Epic store exclusive. This decision led to review-bombing and bad press. However, this is unfair. The poor early reviews had little to do with the game itself.

Rebel Galaxy Outlaw is also not the best space sandbox game available. Elite Dangerous and its peers do just about every game loop better. However, Rebel Galaxy Outlaw never intends to compete at that level. Instead, it is cheap and developed by a small studio that lacks the resources of a AAA behemoth. It packs a lot into a small package.

You play as Juno Markev, an out-of-luck ex-space pirate. The opening cell-shaded cinematic shows her crashing on a planet after unsuccessfully confronting her husband’s killer. Juno calls in a favour to get a modest replacement. She then must juggle repaying her debts, upgrading her ship and unravelling her past.

Rebel Galaxy Outlaw‘s gameplay consists mainly of combat with some trading, piracy and asteroid mining. These earn credits to afford better ships and equipment. Experimenting and exploring are helpful but optional. They can reveal poorly explained mechanics, side quests, rare weapons, lucrative mining spots or beautiful nebulae. 

Unlike Elite Dangerous and similar games, Rebel Galaxy Outlaw has a light, grungy, blue collar, “space trucker” style. The default radio station plays heartland rock and advertises discount ammunition and cheap beer. All technology looks retro-futuristic, old and second-hand. Many star systems are named after working-class southern or central US states. The region of space is called Dodge, like the famous lawless US frontier town. You can play eight-ball pool or dice poker to unwind, the genre equivalent of fishing. 

Rebel Galaxy Outlaw is the prequel to Rebel Galaxy, Double Damage Game’s previous game. They share the setting and style. However, the games are different. Rebel Galaxy is about flying capital ships on a 2D plane fighting with broadside cannons. Rebel Galaxy Outlaw is about 3D fighter combat.

Instead, Rebel Galaxy Outlaw is a homage to Wing Commander: Privateer and Freelancer. While there is a central campaign and side missions, you can ignore them to explore, fight or trade as you see fit. You can unlock buddies to fight with you temporarily. You can side with the law, against it or both. 

Even the graphics look like upscaled MCGA, used in Wing Commander: Privateer. The cockpit and HUDs are blocky and favour the old EGA colours. The stars are square. The game renders debris as sprites. Ships have distinct silhouettes and blocks of bright colours. 

Rebel Galaxy Outlaw plays best on a controller. While not as precise as a keyboard and mouse, the vibration makes you feel every shudder of acceleration and weapon recoil. The game’s aim-assist helps, too.

To be fair, Rebel Galaxy Outlaw is not flawless. Encounter difficulty can vary considerably. Auto-saves are regular and reloads quick, but unexpected deaths can still be frustrating. One mission requires non-lethal takedown of enemies, but you must manually remove any turrets beforehand. It is easy to miss some side missions, like those in Eureka.

However, Rebel Galaxy Outlaw surprised me. I had a fun 40 hours or so. You can complete the campaign faster if you do the minimum. However, getting distracted and blazing your own trail is part of the point. Fans of space sandboxes, Wing Commander: Privateer or something light and stylized will enjoy themselves. Do not let the poor early reviews fool you. 

“The Artful Escape” Review: A Rock Fairytale

The Artful Escape is a rock opera masquerading as a musical platforming game from the Australian development studio Beethoven & Dinosaur. 

The Artful Escape follows Francis Vendetti, a teenage guitar prodigy bristling under others’ expectations. An improbable encounter catapults him into a universe-spanning, mind-expanding adventure. Francis sheds his past and discovers who he wants to be.

The gameplay shifts between three loops. The first is exploration and conversations with NPCs. The second is light platforming. The third is playing music by copying button presses, emulating playing different notes.

However, the gameplay is almost unimportant. It is more something to do while gawking at the supersaturated visuals and basking in the music. Holding “X” on the controller allows Francis to improvise on the guitar (“shred”) as he runs, leaps and slides through alien landscapes. I could not wipe the grin off my face from the sheer joy and spectacle. 

The Artful Escape‘s universe has a Douglas Adams-like absurdity and comedy. For example, Francis Vendetti flies a warp turtle through the cosmic extraordinary to a starship called The Galactic Lung. He visits the Hyperion Wailzone, where the danger level is “dolphin”. 

The game’s music is a love letter to the 1980s, particularly psychedelic rock. Much of the inspiration and music come from Johnny Galvatron, one of the developers. He fronted the band “The Galvatrons” in Australia and the UK in the late 2000s. The Artful Escape is part celebration, parody and critique of the music industry.

Unfortunately, The Artful Escape is short, taking about five hours to finish. Those looking for challenges or meaningful choices will be disappointed. Sometimes holding “X” while jumping or moving is awkward.

However, The Artful Escape is bursting with spectacle, absurdity and glee. Its message is hopeful and empowering. It is a fairy tale for the rock era, a monument to the joy of music and self-actualization.

“Cloudpunk” Review: Heart in the Sky

Standing outside the Cloudpunk office in game. The neon "U" is dimmed.
Outside the Cloudpunk office in-game, with the neon “U” dimmed

Cloudpunk, developed by Ion Lands, is a third person, story-based exploration game set in a future, dystopian city. It has a distinctive voxel art style that is both beautiful and distinct.

You control Rania, an out-of-work musician and recent migrant to the city of Nirvalis. Destitute and desperate, she signs up for Cloudpunk, a pseudo-legal company that delivers packages away from law enforcement’s often-corrupt eyes. Like the player, she knows how the world works but is new to Nirvalis, becoming a compelling point-of-view character.

The game takes place over a single long, rainy night shift. Most gameplay involves piloting Rania’s flying car, or “HOVA”, like the Delorean from the Back to the Future series. Occasionally you disembark and walk around the elevated streets, picking up or delivering packages and talking to other inhabitants. 

However, you get the most out of Cloudpunk by taking the time to explore. Nirvalis’s verticality can be disorienting, and the HOVA’s controls can take some getting used to. Wandering reveals NPCs with interesting stories or discarded items you can sell. You can even decorate your flat.

This premise is excellent. It allows Cloudpunk to start on seemingly random deliveries, drip-feeding details about the world and its various strata. Delivering parts to someone doing illegal street racing? Check. Delivering food to the impoverished? Check. Delivering a pizza to an executive? Check. You just need to follow the rules: never miss a delivery or ask what is in the package.

However, Rania quickly gains some agency. Do you deliver a ticking package to the recipient, knowing it could be a bomb? Do you return a replaced HOVA part to the garage or sell it? While no choice branches the story, there are consequences.

This premise also allows for telling longer and broader stories. You visit some characters multiple times, slowly revealing their tales. Can you help a detective solve a case? What about unearthing more about Nirvalis’s history?

Outside the plot, Cloudpunk‘s voxel graphics are disarming but expressive, reminiscent of Minecraft. Volumetric lighting and lens flare render life-like graphics. You only notice the blockiness close to individuals or HOVAs, giving Cloudpunk a unique charm.

The city of Nirvalis is beautiful, even when rendered in voxels. The streams of HOVAs act like the city’s arteries, providing a relaxing, constant buzz and stream of lights. The Bladerunner-like neon signs and periodic audio advertisements for virtual holidays and insurance against computer viruses help make the world consistent and believable.

Cloudpunk‘s synthwave soundtrack is atmospheric, on-point for the genre and sets the mood well, such as the more meditative pieces when driving, the pressure of an urgent delivery or a club’s upbeat, drum-heavy dance track. The track names read like cyberpunk staples, like “Neon Rain”, “Sleepless City”, and “A Million Different Faces”. One important track is different, though.

Cloudpunk keeps the mood in a deliberate balance. Like in many cyberpunk stories, they wanted Nirvalis to be distant enough from the modern day to be disarming but close enough to be relevant.

On the one hand, there is depressing, omnipresent exploitation and inequality. Rapid gentrification means rents can rise by the hour, evicting people instantaneously. The ruthless and efficient debt corps practically enslave without remorse, if needed. It is easy to despair at the environmental damage and the crumbling city.

On the other, there are many lighter moments. Advertisements warn about the unlicensed playing of jazz or retro computer games. Gang members build children’s playgrounds to be subversive. Vendors sell cherry pies with “real” cherries. You could not taste the difference, anyway. 

Canus, your AI canine assistant uploaded into your HOVA, also plays a vital role in setting the mood. Part researcher, part moral compass and isolation-busting companion, Canus’s naivety is endearing. The contrast with Rania’s world-weariness also subtly focuses the player’s attention on the moment’s moral quandary.

While full of cyberpunk tropes, it leverages them to reflect on important questions, not just as a lazy crutch. For example, how do we treat each other in a world where we value humans and intelligent AIs by their wealth? Can we learn to love those with whom we vehemently disagree? At its core, Cloudpunk is a game about heart. Nirvalis has never needed Rania, a Arabic name meaning queen, and her music more.

Cloudpunk takes about ten hours to finish, not outlasting its novelty. It will appeal to fans of the cyberpunk genre or those looking for something unusual, pensive and emotional.

“Deliver Us the Moon” Review

An astronaut and robot standing in front of a lunar landscape.

Deliver Us the Moon is a first-person interactive fiction game similar to Tacoma, Event[0], The Station or Stardrop. You play an astronaut blasting off an environmentally-devastated, near-future Earth to restore the energy transmission from the moon after it mysteriously shuts off. 

Deliver Us the Moon could be called a walking simulator, a genre uncharitably named for its simplicity and monotony. Like many walking simulators, much of Deliver Us the Moon involves the lone player exploring their immediate area, finding notable objects to scan or historical scenes to review then solving simple puzzles to unlock progress to the next area. There is no branching narrative or progression.

However, unlike some walking simulators, Deliver Us the Moon packs variety. It includes multiple mini-games like docking spaceships, driving moon rovers, repairing robots or aiming radar dishes. Its space scenes impart the feeling of weightlessness, potentially disorienting the player with “up” only denoted by the occasional sign, screen or seat. Limited oxygen makes scenes in space or on the lunar surface tense. Sometimes you lose yourself staring at the desolate but beautiful lunar surface. Sometimes you are just desperately surviving. It is more What Remains of Edith Finch than Dear Esther.

Like many interactive fiction games, Deliver Us the Moon is short, taking seven to eight hours to finish. However, given its weighty story, it feels about the right length. Its brevity and economy contrast with unending contemporary live service games. It also becomes more accessible – you complete it in a few gaming sessions.

The success of an interactive fiction game depends on how well it resonates with the player. The key is the adage, “Show, don’t tell”. Rather than telling you how you or some player surrogate acted or felt, it places you in that situation, drip-feeding you background and context. When the game finally asks you to care, it feels natural after surmounting challenges and discovering lore organically.

At first, Deliver Us the Moon‘s setting and premise may seem far-fetched. Climate change is a genuine problem. However, Deliver Us the Moon‘s world exhausts natural resources and desertifies sooner than even pessimistic climate projections. Extended stays in space or on the lunar surface require huge, Earth-side teams to support them. Given our understanding of physics, beaming sufficient energy from the moon to power the Earth is impractical.

However, Deliver Us the Moon is not a game about environmentalism, technology or space. Its puzzles are never hard enough to frustrate or block progress.

Deliver Us the Moon is about how personal connections drive us, such as protecting family or camaraderie. It is about how alienating disconnection can be, even when the world is a stake. Amidst space’s vastness, alienness and hostility, the small things matter.

Deliver Us the Moon will appeal to those who enjoy empathising with a good story and can relate to its themes. You will enjoy Deliver Us the Moon if you enjoyed Firewatch or Gone Home but want more interactivity, some tense moments or a science fiction setting. Like other interactive fiction games, those looking for something challenging, action-filled or longer should look elsewhere.

“Sable” Review

Sable is an exploration and light platforming game developed by Shedworks. You play the titular character during her “gliding”, a coming-of-age ritual. Sable leaves her tribe to explore the desolate desert world and its people to determine her future and satiate her wanderlust.

Sable is a game about exploration and curiosity. It is about discovering new areas and finding dusty corners. It is about uncovering the lore and history of the world. It is about Sable finding her future place in society.

Thankfully, Sable‘s world is intriguing and wonderful. Visually, the world’s deserts are beautiful and varied, from sterile flat salt fields to the Utah-like eroded towers of red sandstone. Zipping around on your hoverbike, a technological marvel teasing what you can discover about the world’s history, is fun and relaxing.

Mechanically, Sable relies on familiar game loops like fetch quests and collection challenges with optional fishing. The quests are interesting and unique, like climbing through a gigantic wyrm, collecting precarious lighting crystals or gathering beetle poo. Sable restrains itself, avoiding the blatant exploitation of people’s curiosity and completionist instincts in other games.

Two things make Sable stand out. The first is its distinctive and vibrant cell-shaded, cartoon-like art style. The solid blocks of colour and black outlines simplify the landscape and scenes, immediately drawing attention to points of interest. It also gives the world an unreality, reinforcing Sable and her journey as fable of self-discovery.

The second is that everyone wears masks, signifying their place in society. Sable starts with a child’s mask but earns new ones by completing others’ tasks. She chooses one to wear when she finishes her gliding.

Interestingly, Sable glosses over the depersonalisation that such a practice would bring. Sable can still recognise people and see smiles or other facial expressions beneath the masks. The game ignores possible commentary on Western society’s fixation with employment as identity or portraying fake versions of yourself.

Avoiding such commentary is a good decision. It would have been too heavy. Sable is self-driven and self-paced, placing little pressure on the player. There is no combat, death, failure state or even conflict.

This decision means Sable fits nicely into the “wholesome game” genre. It also means the game has a positive and uplifting vibe. The world is not scary. Something interesting could always be around the next corner.

One minor gripe is the game’s graphics default to thirty frames per second. Unfortunately, some animations, such as Sable’s running, are limited to that rate. This noticeably contrasts with swaying grass and wind effects that are not.

Sable‘s content also gets more obscure as it progresses. The game may be unchallenging, but you need to work hard, be very curious, or both to complete everything.

That said, Sable does not encourage or require you to do anything. There is no main questline or overarching story. Sable’s mask, and her future, is her decision to make. She can return after getting her first mask or take as long as she wants.

Instead, the focus is on how Sable’s meanderings transform her. Her conversations with her tribe mates at the end are very different to those at the start. As the menu theme’s lyrics say, Sable eventually returns to her tribe as someone else.

Sable is a game for those that enjoy self-guided exploration on multiple levels. It does not outlive its novelty at eight to twelve hours to complete. Those wanting something challenging, story-driven or longer may get bored. However, those looking for something introspective, meditative, uplifting, and positive will enjoy it.

Beginner Anti-Xeno (AX) Krait Mk II

An Elite Dangerous ship platform supporting multiple builds aimed at those new to Thargoid combat.

A detailed explanation of Thargoids and Thargoid combat is beyond the scope of this post. The Anti-Xeno Initiative (AXI) wiki has the best documentation about them, tactics, and ship builds.

Goals

Create a ship to:

  1. Perform one or more roles when fighting Thargoid Interceptors, Thargon Swarms and Thargoid Scouts, such as those found in AX Conflict Zones.
  2. Be self-sufficient, including removing the damage over time debuff from caustic missiles and neutralizing Thargoid shutdown fields. This means the ship can be viable solo or in random groups.
  3. Require no unlockable modules, reputation or rank. This makes it easier to build for newer players.
  4. Outrun and outmaneuver most thargoid interceptors, scouts and caustic missiles. This is unlikely to include the Basilisk interceptor, whose maximum speed is 530 m/s, but should include all others.
  5. Land on a medium-sized pad. This ensures it can land at all outposts and stations, including ones under active Thargoid attack. Medium-sized ships’ purchase and rebuy prices are also generally lower than large-sized ships.

Build

Krait Mk II blueprint by CMDR-Arithon (https://swat-portal.com/forum/gallery/image/9624-krait-mk-ii/)

The new large gimballed Enhanced AX Multi-Cannon is the best AX weapon that does not require unlocking. This replaces the turreted version. Unfortunately, the limit of four AX weapons still applies. The Python and Krait Mk II both have three large hardpoints, the most for a medium ship, but the Krait Mk II is faster and more agile, making it the best medium-size AX ship for new commanders.

That said, many ships make viable anti-xeno or anti-thargoid builds. For example, the Alliance Chieftain is also effective but more so against interceptors than scouts. It is more manoeuvrable but has less hull integrity and shields.

These builds are also guidelines. Feel free to experiment but note this build’s goals and motivations.

While you can run AX builds without engineering, Thargoids are intentionally difficult opponents. Unengineered ships are harder to use. Having to repair frequently may leave your team without a needed role. Unlocking engineers and grinding for materials is time-consuming but worth it. You do not need to max out the engineering to be viable, grade 3 or 4 is sufficient, but more engineering means an easier fight.

General:

  1. Maximize Hull: All thargoid damage is phasing, meaning a portion bypasses shields. All thargoid damage is Caustic, meaning traditional resistances like thermal, kinetic and explosive are useless. The damage over time debuff from caustic missiles directly damages hull irrespective of shields. Therefore, while shields help, maximizing hull integrity is imperative to survivability.
  2. Caustic Debuff: Being hit by caustic missiles or entering a destroyed scout or interceptor’s cloud will put a caustic debuff on the ship. Either use a decontamination limpet or overheat to at least 120% to eliminate it. Use the AFMU during downtime to repair malfunctioning modules.
  3. Thargoid Shutdown Field: Interceptors create a pulse that temporarily shuts down ships when (1) they enter the instance or (2) on their last heart. Use the Shutdown Field Neutralizer to prevent you and nearby allies from being shut down.
  4. Finding Targets: AX Conflict Zones tend to spawn scouts at long ranges. Interceptors can travel far away from the centre of a conflict zone during combat. Therefore, A-rated sensors help find scouts or interceptors at extended ranges. AX builds focusing on Non Human SIgnal Sources can operate well with D-rated.
  5. Lo-Draw Shield: The shield has Lo-Draw rather than Fast Charge. Fast Charge draws too much power if the shields ever drop, meaning there will be no power for the Shutdown Field Neutralizer or Decontamination Limpet Controller. However, Lo-Draw slightly decreases the recharge rate.
  6. Speed and Agility: While not as fast as a Basilisk interceptor, this build can outrun other Thargoids, including caustic missiles.

Anti-Scout

Build: Coriolis (Coriolis does not support the enhanced AX multi-cannons yet, so those slots are shown as turretted) or EDSY. Have your preferred one open as you read the guide for easy reference.

You can purchase the Enhanced AX Multi-Cannons from any Sirius megaship.

  1. Weapons: Three large and one medium Enhanced AX Multi-Cannons form the foundation for scout killing. The enhanced versions have a high shot speed. The gimbal allows limited auto-aiming, minimizing missing due to scouts’ manoeuvrability. The Long Range beam laser helps “tag” scouts and interceptors at long range. The Thermal Vent experimental effect reduces heat when striking a target or increases it when missing, helping to burn off the caustic debuff.
  2. Setup: Assign the multi-cannons and laser to the primary fire button and the decontamination to the secondary fire button in the same fire group. Assign a key to the Shutdown Field Neutralizer. This build’s Power Plant and Power Distributor are more than sufficient, meaning pip micro-management is optional.
  3. Target Selection: Engage regenerators first (because these heal nearby scouts), berserkers (because they buff nearby scouts and cause them to fire caustic missiles), inciters (because they buff nearby scouts) and then marauders last. The Xeno Scanner identifies scouts and their health.
  4. Engaging: Engage scouts at a range of one to two kilometres. This is within the AX multi-cannon minimum range but not close enough for scouts’ agility to make them hard to target.
  5. Swarms and Interceptors: Get a hit or “tag” on an interceptor to share in the bonds for killing it but avoid them if you are dealing with scouts. For interceptors, ensure someone in the wing gets a scan so you can target hearts effectively. Avoid using AX multi-cannons against shields, which may trigger the interceptor’s caustic missiles.

Mixed Anti-Swarm and Anti-Scout

As Anti-Scout, above, but replace two of the Enhanced AX Multi-Cannons with Remote Release Flak Launchers. Put the Remote Release Flak Launchers in side hardpoints to maximize the area covered by exploding flak.

  1. Setup: Put the Remote Release Flak Launchers in one fire button, the Enhanced AX Mutli-Cannons and Laser in another and the Decontamination Limpet Controller in another in a separate fire group.
  2. Scanning: Using the Xeno Scanner identifies the interceptor type and allows targeting of exerted hearts for you and everyone in your team. Once you get used to visually identifying interceptors and their hearts, you can replace the Xeno Scanner with another shield booster.
  3. Target Selection: Thargon swarms are your priority because only Remote Release Flak Launchers can meaningfully damage them. Prioritize swarms attacking other team members or, failing that, larger swarms first. Otherwise, prioritise scouts as mentioned above, particularly those attacking team members.
  4. Interceptors: Get a hit or “tag” on an interceptor to share in the bonds but prioritize other targets. While scouts are a nuisance, a single hit can destroy a needed attached limpet or stop an ammunition synthesis.

Anti-Interceptor

As Anti-Scout, above, but equip four 2B Guardian Gauss Cannons (or the salvation versions) and one 2D Long Range Beam Laser with Thermal Vent. Unfortunately, Guardian Gauss Cannons require unlocking.

Once you get familiar with interceptor combat, experiment with other Guardian weapons. However, Guardian Gauss Cannons are the most effective against Thargoid interceptor hearts.

  1. Setup: Placing all four Guardian Gauss Cannons on a single fire button and the Beam Laser on the other. While Guardian Gauss Cannons can fire frequently, they will spike your heat. Use the Beam Laser liberally to minimize heat but be careful not to exhaust the weapon capacitor. Avoid using gauss and other weapons against Thargoid shields, because it may trigger the firing of caustic missiles.
  2. Alternate Setup: Put two adjacent Guardian Gauss Cannons and the Beam Laser in one fire button and the other two Guardian Gauss Cannons and the Beam Laser in the other fire button. This reduces the heat impact of firing all four gauss cannons at once. Grouping the gauss canons into smaller groups with good convergence can make heart sniping easier. Hold the fire button to keep the laser firing to reduce heat.
  3. Range: Guardian Gass Cannons are most effective at the 1 to 1.5 kilometre range. The cannons still do maximum damage, the angular motion of interceptors is minimized and the slight auto-aim feature of fixed weapons is most effective.
  4. Engaging: Stay at least one kilometre from the interceptor unless you use the Xeno Scanner. This helps your Gauss Cannon accuracy, keeps you out of range of the lighting attack and helps any dedicated tanks keep the interceptor’s focus. Also, avoid using Gauss Cannons on shields. They are not very effective and can trigger an interceptor’s caustic missiles.
  5. Scouts: Leave scouts for those with AX Multi-Cannons. Targeting scouts with fixed weapons is harder than against the larger, slower interceptors and gauss cannon ammunition is limited.

Variants

  1. Unlockable modules: Replace the Module Reinforcement Package with the Guardian version to increase module protection. The double-engineered 5A Frame Shift Drive purchased from a Human Technology broker will slightly increase jump range. Replace the 4E Cargo Rack with the corrosive-resistant version if you want to scoop up hearts.
  2. Shieldless: I do not recommend running this build shield-less unless you focus on interceptors. Cold orbiting does not work against scouts or Thargon swarms. Missiling Thargons will quickly disable or destroy hardpoints without a shield. However, to do so, replace the 6C Bi-Weave Shield Generator with a 5D Module Reinforcement Package and the two 0A Shield Boosters with Heat Sink Launchers with Ammo Capacity, preferably the double-engineered versions.