The first Rage was released back in 2011, when it seemed like every game was painted in washed-out browns and grays—a visual shorthand for a world in ruin. Weirder and wilder out of the gate, Rage 2 is certainly more varied in that regard, with lush vegetation and advancements in Wasteland technology bringing modern and bracing fluorescent green and yellow glows to its environment, making for a much more colorful reality, with a striking pink visual motif cutting through almost every scene like a knife.
It’s two decades after the events of the first game, and there’s been enough peace in the post-asteroid-collision world of tomorrow for the Wasteland to develop something resembling an ecosystem capable of supporting life in the long term. And then General Cross makes his grand, violent return, wiping out the Wasteland’s seat of military power and quickly revealing that things haven’t changed as much in this world as its people would like to imagine.
There’s quite a bit of interesting world-building going on here, with the gruff warlords, scrappy survivors, and crackpot scientists of the first game joined by a motley transhumanist population that’s evolved into a slapdash DIY iteration of our modern life. Transgender bartenders and store owners are commonplace. Every human with missing limbs or other body parts seems to have their own personal, customized replacements.
The larger-than-life characters of the upper-classes range from Desdemonia, a Norma Desmond-esque vamp producing a daily televised deathmatch, to simpering scumbags like Klegg Clayton, who’s like the unholy cross between Kenny Powers and Guy Fieri. The critical NPCs who hand out the missions that advance the story are simple archetypes—save for one horrifying, Kuato-like living prosthesis—but people under their leadership are anything but.
The world of Rage 2 is a grand place to shoot things, but an even better place to simply people-watch for a spell. Strolling into new settlements and meeting these people is the most engaging part of the game, as the post-apocalyptic society feels very well conceptualized and lived-in. That said, it doesn’t take long after actually getting involved with missions and side quests to realize little has changed about Rage’s overall gameplay loop. As wonderfully realized as the world is, you only meaningfully interact with it when NPCs have missions to dole out. And those missions almost unilaterally involve driving to a specific place on the map, killing everything that moves, looting the place blind, and moving on.
The killing and looting in and of itself isn’t necessarily a detriment. There’s a lot of the same ethos going on here that fueled Id’s Doom reboot from 2016—a game that, for what it’s worth, I’ve come around to since my initial review. Every gun has a visceral heft and punch to it, bolstered here by a surprisingly vast collection of superpowers and nanomachine-aided combat enhancements. Mechanically, Rage 2 feels more like Crackdown than, well, the Crackdown game we got this year. Missions are rewarding enough where every couple of skirmishes nets you a much-needed upgrade or the materials/currency to purchase or trade for it. It’s become pretty clear in recent years how much we all need to treasure games operating at this level that aren’t abhorrently stingy with immediate gratification.
Doom, however, is a game content to just let the player plow through hordes of nameless cannon fodder for hours, and little else. It starts with the protagonist literally pushing character motivation and backstory aside so he can get some killing done. The setup is far more involved in Rage 2, and the world so much bigger, but it’s one that’s littered with distractions from the main quest, and characters whose motivations and problems beg for more nuance than Rage 2 is willing to provide. Roaming from place to place looking for either more things to kill or better, more efficient ways to do it is a huge waste of an interesting world, and if there was any lesson this type of game should have taken from the Fallout series—or, more broadly, from the Mad Max films it’s drawing so much inspiration from—it was telling dozens of tiny interpersonal tales using the deep pool of well-drawn characters at its disposal without sacrificing being a gory shootout in a desolate environment.
The actual, spatial waste just compounds the problem. Rage 2 is another in a sad class of open-world games that has trouble filling up that open world, and that’s a bigger problem when gameplay doesn’t meaningfully vary from “kill everything in sight.” There’s plenty of driving to be done, and there are races, just like in the first Rage. There’s also a tidy collection of armored vehicles to try out beyond the APC you get at the game’s start. These are the only activities that significantly stray from the one thing Rage demands from its players.
Still, it cannot be understated how good Rage 2 is at that one thing. It’s a game that works wonders in small, appreciable bursts of neon violence, engaging enough to see its comparatively brief story through to its conclusion. When it’s all over, however, it’s hard not to be disappointed in how little use the Wasteland has for you when you’re not dealing in lead.
The game was reviewed using a download code provided by fortyseven communications.
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