Redout is set on Earth, though to look at it, you might be convinced most of the population has long since fled. Cities and natural landscapes alike play host to the winding, self-contained tracks you’ll spend your time flying down at mach speeds. Several of the environments follow some sort of loose theme; from sandy deserts to icy tundras, for example. Eventually, though, the game gets… abstract. One environment in particular had me wondering if their art department designed it while under the influence of a substance that might pair well with a Pink Floyd deep cut. While the art style is a bit all over the place, the technical aspect of Redout’s visuals is solid throughout. There’s very little slowdown on the part of the engine; considering the nature of this game, that’s massively important. At its best, the sense of speed is absolutely breathtaking; you know that if you wanted to, you could slow down and appreciate the imagery. But let’s be real here: you won’t want to. The low point of the visuals is the animation for collisions that result in destruction: it’s thoroughly lame. But this is a small blemish on an otherwise excellent-looking game.
Most futuristic racing games rely on their soundtracks above all other auditory components. Such is the case with Redout. Vehicular technology has progressed far beyond the internal combustion engine, and as a result, the crafts themselves don’t sound very intimidating. In fact, you might have to listen very carefully to hear them at all. But to be fair, if you’re doing that, you’re probably doing it wrong. Redout’s sound design largely begins and ends with its pulsing soundtrack, which is comprised of mainly trance and electronica. We’ve seen games like these use heavy metal and synth pop soundtracks, primarily in F-Zero games, but Redout’s comparative lack of personality is a natural fit for the rigid structure and form that comes with the steady beats of trance. The announcer is a bit on the strange side; her lilting intonation is often incongruous with her lines to the point where she doesn’t sound natural.
