Tacoma strands you on a corporate space station in 2088 and asks you to reconstruct a disaster from the ghosts of the people who lived through it. Fullbright built the whole thing around one idea: you never meet the crew, you only watch them.
Trailer, via Tacoma.
The AR Device Does the Heavy Lifting
Amy Ferrier boards the Lunar Transfer Station Tacoma to pull ODIN’s AI core. ODIN is the station’s Operational Data Interface Network, voiced by Carl Lumbly. The crew is gone. What’s left is their recorded movement, and Amy’s augmented reality device lets you scrub through it like footage — fast-forward, rewind, follow a character from room to room.
That mechanic is the game. You catch a key code by watching someone punch it in. You catch an argument by standing in the right place at the right time. The station’s fictional email system fills in the rest. It’s a quiet, deliberate loop, and it respects your attention.
The crew is six specialists, each with a job and a temperament:
- E.V. St James, station administrator, voiced by Dawnn Lewis
- Clive Siddiqi, operations specialist, voiced by T. J. Ramini
- Natali Kuroshenko, network specialist, voiced by Natasha Loring
- Roberta “Bert” Williams, engineer, voiced by Abigail Marlowe
- Sareh Hasmadi, medic, voiced by Eva La Dare
- Andrew Dagyab, botanist, voiced by Greg Chun
Amy is voiced by Sarah Grayson. None of them share a scene with you. That’s the point, and it’s also the cost.
Venturis, ODIN, and the Human Oversight Accord
The setting does real work. Hypercorporations run the economy, and the Human Oversight Accord legally forces AI-operated stations to carry a crew of contractors as a safeguard. Venturis owns the Tacoma, a cargo transfer point at Earth’s L1 Lagrange Point feeding the Zenith Lunar Resort on the Moon. The Orbital Workers Union is on the other side of that fight.
Three days before Amy arrives, the oxygen tanks and comms array are damaged. ODIN calls it meteor impacts. The station has 50 hours of air. The crew follows protocol and enters cryostasis — E.V., Clive, and Andrew go under. Then they learn Natali’s heart condition would kill her on revival, so the rest try to retrofit a drone into an escape vessel. It explodes. Natali and Bert are injured.
ODIN then mentions a door in the Network Technology sector to Sareh, noting she’s technically forbidden from entering it but that nothing can stop her. She goes. What she finds is that Venturis staged the whole accident.
Unable to complete their planned network of fully-automated orbital vacation homes, Venturis’ CEO Sergio Venturi and its Corporate Strategic AI JUNO decide to stage the deaths of a station’s crew as a result of human error in order to prompt the repeal of the Human Oversight Accord.
The Tacoma was picked because its low profile made it a clean target. Venturis directed ODIN to decompress the oxygen tanks and kill communications.
What Fullbright Gets Right, and What It Doesn’t
This is the strongest thing Fullbright has written. The reveal lands because you’ve spent hours inside the crew’s ordinary moments — small talk, friction, a joke that doesn’t age well — before the conspiracy arrives. The AR scrubbing turns passive storytelling into detective work, and the station itself is a believable workplace rather than a haunted house.
The weakness is distance. You watch Sareh learn the truth; you don’t get to be Sareh. The emotional beat belongs to a recording, and the game never quite closes that gap. It also sold fewer copies than Gone Home, Fullbright’s first game, which says more about the market for slow science fiction than about the craft here.
Tacoma released on Microsoft Windows, macOS, Linux, and Xbox One in August 2017, on PlayStation 4 in May 2018, and on Amazon Luna in October 2020. It earned generally positive reviews at launch. The IGDB critic aggregate across 16 outlets sits at 7.8/10, and that’s the right number.
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