This thread came up in another discussion, and I hope nobody minds if I resurrect it. It may be too late to be useful, but I have reasonably strong feelings about the topic as my players ended up spending a lot of time in the Akashan realm in my old game, and I liked the reality quite a bit. As I recall the Space Gods sourcebook had come out by the time the group had finished the Relics of Power trilogy; I gave it a bit of time, then had the player characters race agents of the High Lords to meet the Akashans as they arrived in Peru (without the players knowing what they'd find, only that their long quest to light the signal fire was about to pay off in *something*). And then, as I described the arrival of the Akashan ship, and the Akashans descending in their cosmic grandeur … one of my (straight, male) players asked "Are there any women among them?" I thought of Sarila, said "sure," and — he slapped down a Romance subplot. As I recall, I looked at the card and said "Y'know, you're not really allowed to target NPCs with these things. But in this case … sure, what the heck, I'll allow it." I showed him the picture of Sarila in the book, and he was happy enough. For a while.
Anyway: the only thing I didn't care for was the ancient-aliens aspect. I'm not wild about ascribing the triumphs of antiquity to aliens, more so since it's often non-white civilisations having their great buildings written off as being built by aliens (I tend to agree with utsukushi's post about this a couple pages back). I think what I did was reverse it — the Akashans showed up, said "whoah, nice pyramids, guys," and had their civilization affected by the Incas instead of the other way around. Other than that, the power-creep factor actually helped my campaign — since I had three players who'd been building their characters through play for well over a year, the Space Gods and Tharkold sourcebooks actually gave new players a way to grab a starting template and face the kinds of dangers that the older characters could deal with. (Not really a concern for the new game, but it was convenient then.) I will also be honest and say I don't remember the alignments at all, other than a vague recollection everybody (in my campaign) seemed to be Coar anyway.
What I really liked:
— the setting bringing some large-scale science fiction into Torg. The Cyberpapacy was and is fun, but cyberpunk's different from Space Opera, which was what the Akashans had — a real Star Trek feel.
— the biotech spin, which made it feel different from Trek. The imagery was really interesting, and felt like some of the more bleeding-edge SF of the time (as I remember, anyway).
— the reality trees, because I love being easily able to have multiple realities active in a small geographic area (there are of course ways to do it otherwise, but the trees make it much easier).
— the fact that there were non–High Lords who understood reality and how it worked and how to go from world to world; it made the idea of multiple realities a little less inherently hostile, showing that relations between cosms didn't have to be about war.
— The general imagery and visual approach
— the idea of multiple alien races. Although they mainly turned up as NPCs.
— I remember I liked the South American setting, too, though I don't remember specifically why, other than having a lot of adventures with the characters based in an Akashan complex on Earth dealing with attempts by the High Lords (especially Malreaux) to infiltrate, corrupt, or undermine the powerful newcomers.
— The Comaghaz worked fine (see above note with the Romance subplot), but I did find it difficult to come up with multiple plot points involving the psychic nature of the plague before the big reveal hit. Foreshadowing the mystery of who was behind them, yes, but actual story beats were surprisingly tricky for me to develop.
Just my 2 cents Canadian.
Humankind cannot bear very much reality
— T.S. Eliot, who didn't know the half of it
My Torg Eternity review, part one
and part two