There are plenty of hidden places to find, where some of the juiciest equipment or most profitable commodities are to be had. Unfortunately there are no accents to speak of, so a Britannica pilot will sound the same as any other, which just doesn’t sit right. So much effort went into defining the look of the game, making each system distinct that I find it incredible that more time wasn’t spent in varying the words that come out of all these mouths. Have a look at the screenshots, the character models for the people that populate planet surfaces and bases are amazing. Seeing them move I began to think that more time was actually spent on these models and their animation than for the stuff in space! They really are that special, and if Digital Anvil are after some easy money they would license out their work, it would be great for an adventure game. I haven’t been this turned on by pixilated ladies since I was ten years old, hunched over my C64 playing strip poker. But they all sound the bloody same! And to make it worse, each conversation is pieced together from a database of words and phrases. Admittedly a good job is done joining these audio segments together but it took me less than an hour to be thoroughly cheesed off with this effort, and even less time for my flatmates to start complaining. If you play this game you to will fume each time you hear the phrase “I don’t know you, are you new here?” It might seem like a small point but for me it really spoiled my sense of immersion, which for a game of this nature, is the equivalent of having only four moves in a beat-em-up. If disc space was a concern then they should have splashed out on an extra CD, two-discs isn’t a lot. No, I reckon it was more to do with money, the publishers probably wanted to cut costs on what must be a very expensive title, and not being gamers, made the insane decision to cut money from the sound bank. While the voice acting, which comes with a very impressive lineup including the likes of Gimli and Sulu, is superb, I would have preferred to experience the rich variety of sounds that the visuals deserve as a complement.

The trading side of things is just fine. There are plenty of different commodities and some very profitable runs to be made if one is willing to take some risk or take some time. The freighters that are available, while sluggish, are good in a fight, and the inclusion of some meaty turreted weapons, missiles, mines and decoys goes some way to keeping up the pressure during battles. The very handy map system works smoothly, making a long journey is simple to set up, and the info on each object in space gets updated after you pay it a visit. Details can also be purchased on various stations. The prices of commodities is tracked by the computer which will show you the best and worst prices for goods, but the presentation of this info could be better. Traveling around isn’t boring thanks to the great spectacles that the Freelancer universe has to offer, but as is true with so much of the game the lasting depth that true lovers of the genre strive for just isn’t there.

Now look at me, I’m really getting into a grump. I haven’t even mentioned the non-existent ship upgrades, the hassle of improving your ship’s class, the total, indefensible lack of a radar, and a flat economy in the trading. But then I haven’t mentioned the amazing lighting effects, the superb autopilot AI, the great sense of three dimensions, the very short loading times nor the fact that the game doesn’t come to a grinding halt when the story missions are complete. This is a huge game which definitely rewards extra time put into it with surprising story elements and special ships, although I don’t think anyone has found a Thargon yet. As I cannot state enough it really is a sight to behold, the increasing beauty of your weapons as they become more powerful was enough to keep me playing that little bit longer. And the sound effects, as long as the cutscene-independent speech is ignored, are great.

But it is missing something. There is an unmistakably hollow feel to the game which only increases as you play. It feels like its soul has been quenched. This game feels shallow where it should be a rich, deep and varied pool in which the spacer in you can wallow for weeks. Whether this was due to the departure of Roberts and other key instigators of Freelancer, or just constraints of time, but the title which for years was anticipated like the second coming of Elite has turned out to be nothing more than the equivalent of a flashy televangelist. One who is goods enough to separate you from your money and leave you feeling happy, but just cannot provide you with the answers you were searching for.

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By Sam Gibson