![]() Once you understand the script, it ceases to be scary. That intricate system could solve one of the biggest challenges that horror games face. Sometimes there’s gonna be fights, sometimes it’s going to be pitch black with whispers, sometimes all the lights are going to turn on and a lurker is going to spawn, and sometimes nothing is going to happen.” That walk between the elevator from the morgue to the tram … the intensity director is playing 100%. “When you kill the captain and you come back through the elevator, now you need to reach the hangar to go to Chapter 3. “Take the example of Chapter 2,” Campos-Oriola explains. That adds a new layer of unpredictability to the experience that’ll keep players on their toes both during their initial playthrough and on repeat visits. It can change what enemies spawn, where they spawn, the amount of fog present, how the lights function, and much more. The tool is a behind-the-scenes conductor that can dynamically change several elements of the game, potentially making a room feel completely different the second time you cross through it. ![]() What’s most impressive, however, is something that’s entirely invisible to the player: the intensity director. There’s a propaganda kind of feel to it, the 1960’s era vibe.” “We actually imagined, like what if we lived there? What if we worked there? What would it feel like? Not a very happy place! We wanted to capture that feeling … You’re going to see all these posters that talk about the culture, the way they’re living, their values, and so on. And yet in the game, it felt a bit bare,” Mike Yazijian tells Digital Trends. “You look at the ship and you go, this is a place where people are living, they’re working, they’re there for extended periods of time. Rooms have significantly more set dressing, with some aspects even adding some environmental storytelling that gave me flashbacks to Prey (2017). For instance, the team has gone to much greater lengths to make the Ishimura feel like a lived-in space rather than a series of corridors. There are a lot of smaller details that caught my eye too. The Ishimura is now walkable end to end, as the game unfolds in one continuous camera shot like God of War (2018). There’s no loading period according to EA. The grandest change is that chapters are no longer broken up by tram rides and long loading screens. The tech boost isn’t just a matter of bumping visual fidelity - in fact, that’s the part of the demo I was least intrigued by. A layer of haze billows above the floor, some lights eerily flicker, and sparks rain out from a frayed wire on a wall. The new version is significantly more atmospheric. In the 2008 version, it’s a big square room filled with blood-stained beds in a well-lit room with a few extra highlights created by some lamps. I especially noticed a difference when watching my footage back and comparing specific rooms on the Ishimura to the original. After a too-close encounter with a necromorph, I noticed that Clarke’s suit was drenched in blood with detailed splatters and dribbles glistening on metal and darkly caked into mesh fabric. This version of Dead Space looks undoubtedly better with more dynamic lighting, impressive particle effects, and detailed textures - 2008 Clarke looks like a rubbery Stretch Armstrong action figure next to the new model. “It’s not like changing or remaking it for the sake of doing that, but it feels like there are elements that we can take from the original and actually push them even further while keeping the essence and philosophy of the original.”įrom an immediate technical standpoint, the difference is clear. “It’s been like 15 years since that game has been done, and there’s been a lot of things that have changed in terms of engines, rendering, technology,” Roman tells Digital Trends. With that respect, the team wanted to make sure it was using technology to enhance the original, not redo it. Even the moments that aren’t one-to-one recreations still feel the same.Ĭreative Director Roman Campos-Oriola notes that the EA Motive has a lot of reverence for the original, which is why it jumped at the chance to tackle the project. During my demo, I watched a scientist get maimed by a lurker, got dragged down a hall by a giant tentacle, and found myself locked in that damn decontamination chamber (you know the one). From the moment Isaac Clarke made his fateful walk down the Ishimura’s ship dock, I could tell EA Motive was sticking to the script rather than going after a radical reboot. ![]() ![]() If you’ve played Dead Space before, the remake will feel instantly familiar. ![]()
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