Dustborn Review (Xbox Series X|S, PlayStation 5 & PC)

Red Thread Games’ Dustborn has gone above and beyond to generate a smelting pool of ingredients that, quite frankly, I’d have an easier time jotting down over the course of an entire anthology than on the back of a bulletin board. Why? Well, to put it simply, I don’t think it belongs to just the one genre; it’s a hybrid genre, if anything, as it oozes the social camaraderie of Life Is Strange 2, the punk-infused beats and brawls of Hi-Fi Rush, and the political drama of Road 96. And that’s barely scratching the surface of what this product actually is. It’s a lot more than that, and I honestly don’t think it would be worth trying to list its each and every component in a single order, for it has no order, and, rather rebelliously, it doesn’t necessarily abide by any rules, either. Touché.

Alright, so I will say this: Dustborn is, more or less, a comic book—an interactive adventure that, although a little unorthodox, invites its readers to explore a rich and vibrant politically diverse society that not only revolves around the social sciences of America, but its band of outcasts and misfits—talented folk who have the power to use their vocal cords to misguide their oppressor’s emotions and their respective motives, too. And if you think that sounds like a lot to onboard, then wait till you get a mouthful of its remaining fat. As I said before, Dustborn is a lot of things—ordinary, and a vessel without an established identity, being the polar opposites of what it truly aims to encapsulate.

To put you in the picture, Red Thread Games’ latest hybrid action-adventure…thingamajig, has just launched on consoles and PC. Care to hear more? Then let’s get stuck in, kid.

We Are The Dust Born, Kid

Dustborn tells the tale of a group of power-intoxicated youths—Anomals, if you will, who each bear the cross of a burden, one that sees them emotionally bound to a world where political correctness, robotic manipulation, and divided states have become all too commonplace. The game, which predominantly plays into the hands of a girl named Pax, depicts the events that follow in the aftermath of her wayward band’s efforts to flee the nation in search of a better life far beyond the border. But, there’s a problem: Vox—a vocally independent link that allows Pax’s vocabulary to transform into manipulative words that have the power to cause confusion, anger, or even death, under certain circumstances, for that matter. And it’s because of these unruly powers that willingly shackle themselves to their respective vessels that, due to the world’s oppressive nature, America has become the grounds for a nationwide manhunt.

Aside from Pax, the game also focuses on several other characters, all of whom share the ideology of a particular mission: to flee the confines of the state and, whilst acting under the guise of a punk rock band, transport a peculiar piece of information to the far corners of the severed nations in exchange for immeasurable wealth and the promise of a fresh start. And that, really, is where you begin your journey: aboard a tour bus as a souped-up collective, armed to the teeth with the immense power of vocabulary, interconnecting abilities, and an upgradable baseball bat, to boot. With countless pit stops, gigs, and campsites to chomp through, it’s up to you to navigate the world, build lasting friendships with your troupe, and bring a bit of attitude to an otherwise deeply infused political party.

Jack of All Trades, Master of None

Dustborn is split into numerous gameplay categories—semi-open-world exploration, dialogue-centric gigs, rhythm-based mini-games, and even a smidgen of comic book-like combat, funnily enough. For the most part, the game sees you interacting with your fellow bandmates and making vital decisions that have the potential to shape the overarching narrative—actions that, over the course of ten drawn-our chapters, culminate in the creation of various important story beats. Aside from having the power to carve fresh conclusions from your decisions, you also have the responsibility of elevating your friendship levels, sourcing spare parts for your weapon, and locating spiritual fragments—Echoes of the past, if you will—for the sake of unlocking more words for your arsenal.

Of course, given the sheer volume of genres there are to chew through here, it’s hard to label the game as anything that’s even remotely transparent. In fact, the game often strays from one genre to the next without giving you any form of forewarning or context — and that’s fine, I suppose, as it pretty much keeps you on your toes as you daisy chain your way from one anchor point to the next. For example, in one case, you find yourself curled up by the campfire, generally talking about past events and other non-important topics, and then you more or less transition to another area—a stage, where you perform a short gig to a small crowd, and then round it all off by smashing the brains out of a few inanimate objects and hurling hurtful words at various troopers. So, like I said — it always moves.

A Road Trip to Remember, Kid

I’m not going to say that the combat is great, because it certainly lacks the basic functionality of a smooth melee-based action game. But that isn’t a major issue, to be fair, as it isn’t really a combat-focused game; it’s a passing thought, if anything, and it doesn’t spoil the experience in any way, shape, or form. No, the combat is but a small passage of an otherwise bottomless verse, and it doesn’t take much to realize that the beating heart of Dustborn is essentially within the dialogue and the character development arcs. As it turns out, there are plenty of relatable moments, all of which aid the overall experience and the characters’ sense of purpose in the story. It helps, too, that there are certain romancing options—side quests that allow you to deepen your bonds with specific characters and unlock additional lore, abilities, and dialogue choices.

There’s a tremendous amount to love about Dustborn, I’ll say that much. Sure, it isn’t in receipt of any sort of mesmerizing combat encounters, but the fact that it utilizes the power of vocabulary to flesh out its core gameplay mechanics is reason enough for us to give credit where it’s due. Add the fact that it also hits hard with a lot of genuinely intriguing talking points and a deep sense of familiarity, and you’ve got yourself all the right trappings of a fantastic indie game that’s both unique and entertaining in all the right places.

Verdict

I’ll admit, I wasn’t quite sure what to expect when it came to rolling out the red carpet for Pax and The Dust Born troupe. Heck, I wasn’t even sure what sort of game it was that I was subjecting myself to, and it took me a solid hour or two to finally come to grips with what it was I was doing, or even what the purpose of the journey was. But, thankfully, a few harsh words and a bat to the face later, I was able to figure out what it was: an absolute rollercoaster of a journey that had no formal destination, only a slew of pit stops and other fleeting moments that I could only hope to unravel as the tour bus groveled into its next docking point. It was like that, and for a handful of hours, weirdly enough.

I’m not going to mince words here, so I’ll just come out and say it: if you enjoy games like Road 96 or Thirsty Suitors, then there’s a good chance that Dustborn will be more than capable of scratching that itch of yours. Granted, it doesn’t bring the same level of attitude as, say, Bulletstorm or High on Life, to the table, but where it falls short in terms of surpassing its anarchic expectations, it most certainly makes up for in several other avenues of success—its storytelling, characters, and dynamic gameplay elements, being three of its leading factors, for sure. It’s a wild ride, clear as day, and so, if you’re dying to get behind the wheel and tour the nation as an aspiring punk band, then you might want to consider vocalizing your thoughts. Take it from me, kid — you’ll want to ride shotgun on this one.