Importantly, the game retains that sense of exploratory mysticism that was so profound in the Homeworld franchise. The cinematics strongly follow the styling of the older Homeworld games
Despite this, and driven by the dim future of their people, an expedition lead by the carrier Kapisi is sent into enemy territory to unravel the mysteries buried within. However, that land is controlled by the Gaalsien, a strongly religious and territorial clan, set on keeping the secrets of the desert out of the hands of others. After a satellite discovers a massive anomaly deep within one of the deserts, the Northern Coalition hopes that this discovery, along with hundreds of smaller anomalies detected throughout the desert, may lead to the planet’s salvation. The deserts grew as the water shrank, pushing many of the clans to clash with each other for dwindling resources.
Long before it was destroyed, the planet Kharak was dying a slow death. The story delves into the Hiigaran history on Kharak after that first deep desert discovery, first detailed in the introduction cinematic of the first Homeworld game, and the revelation as they realized what it truly was, and what it revealed about the history of the Hiigaran people. Much to my relief, by the fourth mission the narrative was walking its own path, albeit still one regarding a desperate quest, and discovery. The narrative comparison is so strong, in fact, that I was rather concerned that it would be a step by step recreation of Homeworld’s plot and missions instead played out in a desert, and that I’d be able to predict exactly what missions I’d be encountering and in what order. The theme and feel is strongly reminiscent, and nearly nostalgic for how strongly it pulls you back into the Homeworld franchise. The majority of the team who worked on the first Homeworld game are present in Black Bird Interactive, the studio which made Deserts of Kharak, and it shows clearly. A prequel to the first Homeworld game, Homeworld: Deserts of Kharak bears its heritage brightly and proudly, both in its mechanics and narrative.
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