Also absent is any trace of a sick or elderly client whose memories might play host to our intrepid duo. The two physicians, whose job it is to infiltrate and alter the memories of terminal patients in order to fulfill that person’s life’s wish, even if only in their mind, are nowhere to be seen at first. Eva Rosalene and Neil Watts, the main characters from the previous main entries in the series. But as the game opens, it’s surprising to find no sign of Drs. Impostor Factory looks and plays almost identically to its older siblings. To be sure, there are many recurring aspects evident right off the bat. Then the game begins, and the proverbial rug is pulled right out from under your feet.
The RPG pixel art aesthetic remains highly pleasing, the formula tried and true, with the developer’s storytelling style firmly established, and there’s a decided comfort in the familiarity of returning to the same kind of experience once again, certain of what awaits you on the other side of Impostor Factory’s title screen. The tale that started with that game and continued with 2017’s Finding Paradise (and to a lesser extent, 2014’s spin-off bridge episode A Bird Story) is back for its third full-fledged installment, and at first glance it appears that nothing much has changed.
To the Moon is one of those games that by now requires little introduction anyone with an interest in deep, emotionally powerful interactive narratives has at the very least heard of, if not played Freebird Games’ 2011 indie darling themselves.
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