There are many complex philosophical questions raised within The Talos Principle, but arguably the most important of these questions is whether or not AI can be designed to possess the proper attributes needed to be human. In what could be considered the most frustrating part of this game, I'd say that The Talos Principle doesn't really offer us a definite answer to that question. In that regards, it’s very similar to classical literature where conflict is often met with no immediate resolution. The choices that the player makes in-game can be thought of as arguments that are either met with approval or reprehension by the characters known as Milton and Elohim. The game closely follows this antagonistic relationship that exists between these two vastly different characters. In many ways, their existing polarity offers a rich, comprehensive outlook on both the misanthropic and romantic qualities of our existence.

Though the game heavily relies on philosophy as the main medium that the player uses to learn more about their immediate surroundings, I found it refreshing to see that the developers also included other fields of study within the in-game archive. For example, the DLC Road to Gehenna provides the player a unique opportunity to engage in the paradox that is the prisoner's dilemma when speaking to one of Elohim's prisoners named MrMulciber via the terminals. For me, it’s always about the smaller details, and I was really fascinated by this specific encounter and how well the developers were able to incorporate the economic principles behind Game Theory. Players familiar with the Nash equilibrium were rewarded by refusing to cooperate with the other AI beings trapped inside Gehenna. Conversely, if the player strays away from the dominant strategy and chooses to cooperate with the other AI characters, the player will actually lose the first round. In a very unique way, this experiment unironically captures how every AI character within The Talos Principle either implements their own ideologies in order to ascend, or simply falls victim to divine subjugation.

The music composed by Damjan Mravunac is also a major plus for me. The subtle, yet melodic tunes that fill the various worlds that the player visits helps create a very serene environment. There is never a sense of urgency to complete the puzzles, nor is there a rush for the player to venture onward during their search for the truth. Rather, the music stimulates and promotes critical thinking through its formal, meditative qualities. This is a bit off topic—as is much of this review—but I’ve pretty much downloaded the entire album on to my phone for moments where I need to catch up on some odd, office work. My favorite songs are When in Rome, Trials, and Virgo Serena. The soundtrack not only accentuates the theistic properties of The Talos Principle through its hymn like rhythms, but also as an audible reminder of the beauty and wonder that humanity can offer us.

For those of you interested in checking this game out, just remember, “In the beginning were the words and the words made the world. I am the words. The words are everything. Where the words end the world ends.” Pay close attention to what the words are telling you around the Gardens of Elohim, as even the QR codes scattered across the various worlds can offer rich advice that you’d be ill-advised to overlook.