Tacoma

Tacoma is a first-person exploration game from Fullbright, the small studio behind Gone Home. You board an apparently empty orbital station in the year 2088, hired to recover an AI designated ODIN. What you actually do is spend two to three hours watching ghostly AR playback recordings of the six crew members who lived here before something went very wrong. That distinction matters: you are not just reading notes and listening to audio logs. You are watching people move through rooms in real time, rewinding and fast-forwarding to catch overlapping conversations happening simultaneously in different parts of the same space. It is a genuinely clever mechanic that rewards the patient and the nosy. The station itself is a character. Fullbright fills every locker, every bunk, every shared kitchen shelf with small handwritten notes, half-finished meals, worn personal photos, and tablet messages between crewmates. Nothing screams "this is a clue." It just exists, the way people's stuff exists. The crew, a maintenance worker, a medic, an engineer, a botanist, and others, feel like they were living specific lives before the story began. When the central crisis unfolds across those AR recordings, the weight of it lands because you already care about these people through their detritus, not through cutscenes. That is the Fullbright house style, and in Tacoma it is more structurally ambitious than in Gone Home. The criticisms are real and worth knowing before you buy. The runtime is short. A thorough first playthrough sits around two and a half to three hours, and there is very little reason to return. The movement is slow and the station, while beautifully dressed, is compact. Players who want puzzles, choices, or any kind of agency beyond observation will find Tacoma frustrating. This is a story you watch, not one you shape. Some reviewers found the central mystery slightly undercooked compared to the emotional groundwork laid earlier. I think the ending is quieter than its setup promises, but the ride through the station earns that quietness. The sound design is something I keep coming back to. The ambient hum of the station, the distant structural creaks, the specific acoustic quality of each module, it all does the work that a larger budget might have handed to visual spectacle. The score is restrained and effective. Paired with the lo-fi future aesthetic of the visual design, chunky UI panels and worn corporate branding, it creates a mood that feels genuinely melancholy rather than performed. This game is for people who read crew manifest entries twice and feel something. It is for players who appreciated the domestic intimacy of Gone Home but wanted a wider cast and a higher-stakes situation. It is absolutely not for anyone expecting a thriller or mechanical depth. At its runtime, Tacoma knows exactly what it is trying to be and mostly achieves it. That is worth something, and in a catalogue full of bloated games that never find their ending, a small game that ends cleanly and on purpose deserves acknowledgment. Kai, Scout Team