Dead Space: Initial Impressions
So.
Thirty minutes of Dead Space under my belt, and thus far? Good.
Interface is excellent, and–despite my typical trepidation when it comes to console games–intuitive. It was a breeze to navigate the variety of menus offered, and it was with a start that I noticed that the auto-map displays several floors at once. Nice and smooth.
Ironic, though, that a game called Dead Space has such a strong atmosphere. First of all, the inventory space looks like it could be a bitch to manage (flashing back to the early portions of Resident Evil 4, here), which is bound to have me carefully stocking, using, and dropping supplies as needs must. Secondly, the fact that game-play is not interrupted by accessing said inventory (or map) is bound to lead to some hair-raising moments. Already, I’ve been backing myself into a corner before even daring to glimpse at it, which isn’t like me (smug sonuvabitch that I am) at all. To continue, the scattering of save points throughout the levels ensures minimal save/load bullshit on the part of the player, insisting that a certain distance or objective be completed from save to save. This, obviously, ramps up the tension considerably–you’ve been playing through ten minutes of hell, and aren’t eager to re-do it–don’t fuck up. Finally, the ambient score is terrific. Mood, already evoked by lighting and immediate environment, is heightened through the almost-tangible score built into the guts of the Ishimura: half-voiced murmurings, pounding percussion, hisses, drones, and disembodied shrieks. Sense of urgency? Established. Sense of place? Established. As I said, going’s good so far; methinks the game’s got me by the gonads.
Ah, but what of the enemies, you ask? Well. It’s rare that a game is able to get the jump on me, but to do so twice within a frantic sixty second span? Piss off! Unheard of. Impossible. But lo, there I was–squealing like a stuck pig while running deeper into the darkened, bloodied passages of the Ishimura–away from the nice people with protective firearms–whilst being chased by a half-seen, shambling monstrosity (an excellent use of the third-person perspective, which I’ve otherwise found irritatingly obstructive). Couple that with the elevator (those in the know know what I’m talking about), and I’d swear my bowels had prolapsed in an effort to frighten my disfigured foe through sheer stench. I mean, seriously? I’m backed into a corner, I’m defenseless, and this is inflicted on me within the game’s first ten minutes? Message clear: be on guard, ’cause next time you ain’t gettin’ off so easily.
Other tropes followed shortly thereafter. We have Strong Female playing off of Bold Black Man (or vice versa), both of whom I’m certain shall meet their end immediately prior to my reconvening with them (and shall have to, doubtless, put out of their newly found misery), we have Corpse on Floor that Ain’t Dead (something I’m pleased the designers got out of the way early–it’s guaranteed that I’m going to be suspicious of everything I encounter, ambulatory or otherwise), and exposition-heavy audio logs scattered throughout (and hey, no complaints; long-standing fan of these, particularly if they remain as brief as the few I’ve found have been).
Random predictions?
Plot
The ship that got me to the Ishimura blows up, or is made otherwise inaccessible. Someone’s an asshole–I’m thinking of the Weyland-Yutani Corp. from the Alien movies, here. How much does humanity have to do with what’s going down?
Setting
I end up in something big, nasty, and biological.
Theme
Nicole was pregnant. I’ve a few embryonic thoughts as to what this game is about beyond its gore and gameplay, but I want to see a bit more before committing anything to the web.