I don’t think it’s particularly scarier than other action-leaning survival horror games. These moments, of interactivity and reactivity, are the heart of Dead Space for me. Well, that origin point was now attached to an angry necromorph’s head, and the laser now emitting from his dome was whipping around the room, like I had startled Cyclops from the X-Men. Now, normally, the laser would act as a wire, running from its origin point to an endpoint directly across, slicing enemies in half as they tried to walk through it. Rather than shutting off, the laser activated.
It would’ve been brilliant had I planned it, but was even better in the way I hadn’t. I dodged to the side, still holding onto the container with my Kinesis ability, and watched as it slammed face-first into the barrel and blew itself up. In one zero-G section, I was trying to line up an explosive container, to blast towards a pesky wall-clinging necromorph, when it lunged at me. And everything in its world is reactive and tumbling into each other. Dead Space rarely wrests the controller away from me. There’s something about this era of game design that still shines through, and still hasn’t been lost in the update. Blowing off a necromorph’s claw, grabbing it with Kinesis and sending it flying back still feels great. The Plasma Cutter rips through limbs, the Ripper slices through bodies, and the Force Gun lets out a deafening boom with each discharge. Isaac is an engineer, trying to survive on a mining ship, so his implements and arsenal are all improvised from tools not normally meant for such violence. Still, so much of what drew me to Dead Space is still here. It works really well, and builds up the big dramatic swings very well. Isaac even speaks and removes the helmet a few times, with his Dead Space 2 and 3 voice actor Gunner Wright lending his voice. A few moments have some massive added drama and tension, characters from the original shine in new ways, and the remade versions of them look fantastic. When the narrative takes drastically different turns, though, it really works. Some are gated by security level too, something you might not realize until you get there and find out you can’t open the right door yet. While I enjoyed the drive and some of the content itself, actually back-tracking for these objectives felt a bit hollow, as it usually just meant walking back through old corridors, following my basketball-dribble waypoint line to its next target. Motive has introduced a few side quests that expand the narrative of the game, diving deeper into certain characters or different sides of the Ishimura crew. Something that I didn’t gel quite as well with were the side quests.
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