Good stuff fellas; personally I think I’m about 2/3 of the way through Disco Elysium (hard to say for sure, but it feels that way based on quest completions and story beats) and… it’s definitely unique. Major points for worldbuilding, and the way the history and culture of the place unfold through your conversations (without being just insanely disorienting like that Numenera game that came out a couple years ago). As Jason mentions, it’s an astonishingly small map that you’ll get to know every nook and cranny of - but it feels huge thanks to the weight of its history, and has a tangible sense of place.
And the writing in general is very strong, when it’s not full of itself or attempting to be… I dunno, “juvenile” isn’t quite the right word, but there’s a few points where it felt pretty self-indulgent.
That said, the characters are uniformly strong, memorable, and absolutely worth the time you spend in conversation with them, not least of which are your partner from a neighboring precinct and your own brain. Jason nailed it with his “cop as Hunter S. Thompson” analogy, and its important to keep in mind that it’s an RPG in the sense that you’re directing this specific character, not a personal avatar.
My biggest complaint is that philosophically (and the game goes out of its way to be philosophical with regards to politics, sex, religion, and nationality) it feels like it gives you the freedom to choose up sides, but doesn’t seem to have a point of view of its own, which feels a bit like pulling punches (and is the biggest difference between this and, say, Planescape: Torment); that said, I’m not at the ending yet, so it’s possible I’ll feel differently once all the mysteries have been solved and the plot finished. If nothing else, it certainly does not lack for ambition. It’s remarkably absorbing and incredibly atmospheric, and a great spin on traditional RPGs.