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Have You Played? is an endless stream of game recommendations. One a day, every day of the year, perhaps for all time.>
Nostalgia is supposed to be about the things of our early years, but recently I’ve been feeling nostalgic about games released much more recently than my usual rose-tinted diet of Ultima and Daggerfall. I’ve only gone and started missing Dead Space like it was a childhood friend. … [visit site to read more]
With 2013's Injustice: Gods Among Us, NetherRealm Studios showed it was more than capable of putting together a solid fighting game featuring the DC Comics pantheon. More than that, the developer capably made it stand out from sister franchise Mortal Kombat with its own distinct features and mechanics. For an encore, Injustice 2 further builds on the foundation set by its predecessor and steps forward as a truly superheroic effort.
The original Injustice featured a grand DC Elseworlds narrative of a world ruled by a totalitarian Superman and while that plot featured several twists and turns, Injustice 2's Story Mode seamlessly continues this tale with an easy-to-follow recap. Injustice 2 takes place in a post-Regime world with Superman safely imprisoned and Batman desperately trying to pick up the pieces of a world still shaken to its core. His efforts are quickly stalled by a supervillain gathering, the Injustice world's take on the classic Society, which would herald the arrival of extraterrestrial threat and perennial Superman baddie, Brainiac.
With Batman's team overwhelmed, there's a certain pattern the narrative starts to follow. The heroes have had their differences and it looks like now it's time to come together to take on the real villains. Then everyone hugs it out and everything's okay again? In actuality, much like the rest of NetherRealm's Injustice narrative, things aren't that simple. The story that unfolds surrounds the increasing complexity of the classic good vs. evil conflict, as well as what it means to truly deliver justice. It's an eye into Batman's perfectionist (and somewhat naive) view of what justice should be. It's a continuing look at why Superman has pursued the path that he has (albeit one that does Wonder Woman's character a disservice by making her into a Lady MacBeth type). But more than anything, it's the desire from all sides for things to be the way they were and the heartbreaking realization that there is no going back. Fixing things isn't as easy as remembering that everyone's mother happens to be named Martha.
Of course, between all the deeper themes, there's an outstanding, action-filled superhero story that culminates in epic battles unfolding through cutscenes and through standard gameplay.
One big improvement from the first Injustice game is that the quick-time events of the original story are gone. Instead, they're replaced with chapters that center around two characters. Whenever a fight is cued up, the player selects between one of the two heroes, with some of the story's dialogue unfolding differently depending on the character chosen. The choices take a much more extreme turn towards the end of the game, but the story remains cohesive throughout.
Besides the Story Mode, Injustice 2 also offers the standard single-player mode, but this one comes with a bit of a twist. Playing off the Brother Eye satellite used in the game's story, Multiverse mode offers up contains the standard Arcade mode, where players take on one opponent at a time. However, there are also other Earths that open up with different scenarios and different opponents. Beyond having their own versions of the game's fighters with their own distinct looks, Multiverse mixes things up by occasionally tossing in game-altering conditions, like hazards, boosts, or souped-up opponents.
Multiverse is a great example of using an online connection for something positive, adding in new worlds every day with a finite time to complete their missions and collect their rewards. Some of those worlds have rarer rewards that are worth pursuing. The game even offers a social element to help make Multiverse hopping a little more fun with the Guild system, where groups of friends can earn rewards by completing specific Multiverse tasks. The whole Multiverse package is a robust expansion of the Arcade Mode concept that gives it a much longer life, though anyone with an offline connection can still play the normal Battle Simulator.
Let's discuss those Multiverse rewards. They come in the form of Mother Boxes, as Injustice 2 is the latest game to get into the mystery loot craze. With a full comic book universe to play with, the Mother Box rewards dig into the rich DC Comics lore and give each character a dapper new look. The most interesting element, however, is that each piece of gear offers RPG-style boosts. Some of them offer advantages specifically for Multiverse Mode, while others can help give a little boost during multiplayer. What makes the gear system particularly cool is that it gives the sense that a player's fighter is progressing and growing over the course of invested hours. There's a sense of something to aim for, in addition to the usual character ending and the like.
The one problem with the gear system is that oftentimes, a cool Epic or Legendary item will get opened up, but won't be accessible until that particular figher levels up. And sadly, the characters level up about as slowly as the Batmobile with a flat tire. Getting to actually play with that awesome piece of gear will mean hours of grinding and that's when the Multiverse can start to feel tedious.
There's a sense of accomplishment once that gear is finally available, especially for those that want to take it online or assign it to an AI squad that can fight other players' AI squads in simulated combat. The latter is a particularly nifty feature that adds a fantasy element and a cheap way to earn extra experience or loot.
Of course, those that are looking for a more even playing field can also play multiplayer without gear benefits. After all, some people just want to see who's the better player without fancy toys.
Speaking of Injustice 2's fighting system, it feels like a further evolution of NetherRealm's distinct fighting style. A friendly tutorial explains everything in great detail, gently explaining how to perform combos, overheads, throws, specials, and anything else required of a NetherRealm fighter. Dashes and slides can cover much more ground, with environmental cues also helping cover a full screen's worth of ground in a moment, helping quell the rise of trigger-happy projectile spammers.
Given that combos are often the bane of the novice's existence, Injustice 2's eloquent explanation of the overhead and other moves that bounce opponents off walls is a godsend. The game encourages players to experiment with juggles, whether it's a simple light attack combo or a cool special move that catches an opponent in mid-air. This complements the rest of the game's mechanics smoothly, including the theatrical Super Moves and the returning Clash system. The latter goes a long way towards giving the game its identity, even if they start to feel old upon repeated viewings.
Injustice 2 feels like a step up from Gods Among Us in every way imaginable. It's a far deeper experience, follows up wonderfully on the last game's story, and also gives reasons to keep coming back for repeat visits. The rich cast of fighters all have their own distinct styles, but they're all wrapped up in an easy-to-learn fighting system that's just plain fun to play. NetherRealm has a true grasp of what makes the DC Universe special and this game is as much of a love letter to that world as it gets.
Resident Evil 4’s influence has become immeasurable since its release in 2005. Games like Gears of War and Uncharted owe much to the game that revolutionized third-person action controls. However, one popular sci-fi horror game would look a lot like an entirely different sci-fi horror game if not for Capcom’s reinvention of its seminal series. I got the opportunity to sit down with Dead Space designers Ben Wanat and Wright Bagwell to talk about the early days of development and how Resident Evil 4 helped them shape their own horror series out of another.
"When Resident Evil 4 came out, we were just awestruck by it," Wanat told me. "We were all playing it and we were like, 'Holy shit, this is a really awesome game. They're actually trying to tell a story; they've got some cool cinematics; the gameplay systems are fixing a lot of problems, bringing it into this action realm but keeping this intense horror feel to it. It was this amazing combination and—oh, the enemies were so freakin' cool."
Wanat didn't shy away from admitting that Resident Evil 4 is one of his favourite games of all time. And it's clear looking at Dead Space that he wasn't alone at EA Redwood Shores (now Visceral Games).
"It's pretty obvious when you play Dead Space, to look at it and go, 'Yeah, it's almost like they decided to make Resident Evil 4 in space,' which is exactly what we were doing."
But it wasn't always that way. Early on in its development, before Resident Evil 4 had even been released, Dead Space was a completely different game. Rumours have circled around the sci-fi horror game's early days, reinforced by similarities found within Dead Space. During our discussions, Wanat confirmed them to me.
"Originally, we were pushing around this idea of maybe we could make System Shock 3. And you can look at the Dead Space blueprint and be like, 'Oh, this is kind of like System Shock,'" Wanat said, smiling.
"To do a System Shock 3, you're really tackling a monumental task, to make people happy with a sequel that wasn't made by the same team as the original," he explained. And while the game didn't make it out the door and live on as the third System Shock, Wanat said that a new entry in that series was the goal they shot for early on.
"It was like, 'Everybody, get your System Shock 2 copy, play it start to finish, and let's figure out what we're going to do,'" Wanat said, recalling the early days of development. "Then Resident Evil 4 came out and we were like, 'Oh. No, this is the shit.'"
However, Redwood Shores couldn’t just change the name of its project and work on something completely new.
"It was at a time at EA when there was no appetite for original IP. It seemed like everybody else was doing it except for us," Wanat lamented. While Redwood Shores created games based on James Bond, Lord of the Rings, and The Godfather, Wanat said the desire to make something original was fervent within the studio. And Resident Evil 4 was the catapult they needed.
"We were so hyped about Resident Evil 4 and we got obsessed with improving the mechanics," Wanat said. The team truly wanted to develop a first-rate survival-horror game. However, convincing EA to bet on an original idea wasn't going to be easy, and it was something that co-director Glen Schofield, now the GM of Sledgehammer Games, would work on for a long time. Schofield would break the ice on the idea, show some promising progress, and over time, slowly build the confidence EA needed to give the project a thumbs up.
"Eventually everybody accepted it, they saw how cool the things coming out of it were. That confidence continued to grow," Wanat told me. "Having that group there from the get-go and building this stuff without a greenlight was a little weird, but it's probably what got that whole thing working because we could all put our expertise into a pool and make something tangible.
"And once people saw that it was a real thing, they got it much easier than if you were trying to say, 'I want to make this totally scary-ass thing,' to which they'd look at their portfolio and say 'Nope, scary-ass thing is not in our language.'"
The executives weren't the only people impressed by the Dead Space demos. Wright Bagwell, who was working on another game at the time, played through one of these demo levels and was so enamoured with the experience that he absolutely had to work on the game.
"One of the level designers came over and said 'Hey Wright, we're testing this out. I want you to come into this dark room, I'm going to turn the lights off and turn the sound up really loud.' And we played through this demo level, and I remember feeling like I was going to shit my pants," Bagwell said, laughing."I was working on another game that got cancelled, and EA was trying to get me to work on something I didn't want to work on, and I was like, 'No, I want to work on Dead Space or I'm going to quit.'"
So Bagwell joined the Dead Space team, and at this point, it was starting to come together. Controlling Isaac was becoming a smooth experience, thanks to some of the big improvements to Resident Evil’s formula that the team was working on. Wanat specifically pointed out the ability to move while shooting. Despite the relatively simple-sounding nature of this change, it wasn't as straightforward as flipping a switch and letting someone walk around.
"I love in Resident Evil 4, the tension of not being able to move. But it caused a lot of problems for us to put movement in because we were making a new game," Wanat explained. "The enemies couldn't follow the same formula. It breaks a lot of the mechanics. We didn't know it was going to happen until we did it and were like, 'Oh, I think we broke something fundamental about the tension,' so we had to get it in other ways.
"It was like, 'It's a game changer. Let's embrace it and make this the best, polished survival shooter. Let's try to be the gold standard.'"
The move from System Shock 3's first-person view to the over-the-shoulder perspective that we know from Dead Space was something else that Wanat was increasingly happy about, as it allowed players to more easily care about Isaac.
"Even though Isaac didn't have a voice in the first game, seeing him and seeing him get grappled and eviscerated, I felt like there was a better chance to make a connection with the character. And that kinda gives the player a sense of who he is and the place he's in that we could have missed out on if we went the first-person shooter route and—man, we ripped off so much stuff from Resident Evil 4," Wanat stopped himself mid-sentence, laughing.
"But in a way, the modifications we made to the formula gave it its own style. Things like the outer space setting gave us a way to include new mechanics that weren't really available for the time and setting that Resident Evil took place in."
Dismemberment by way of plasma cutter, perhaps Dead Space's defining feature, was one such mechanic that joined the movement system to set itself apart from its Earth-based counterpart.
"It was very interesting to get those two things together and see that something special was taking shape," Wanat said. "But we do owe tremendously to Resident Evil 4. We were really big fans. We had so many of those water-cooler moments after that game came out."
Dead Space released in October of 2008 and was met with an overwhelmingly positive critical reception, in addition to sales of over two million copies. When Dead Space 2 was announced less than two years later, it was no surprise that EA wanted to push the series into a more action-focused direction to appeal to a wider audience. Bagwell moved into the creative director's chair, charged with a delicate balancing act of making sure there were moments of adrenaline-surging panic, but also time for the player to relax among the nameless horrors and dismembered limbs.
Despite its obvious inspirations, Dead Space had become its own thing. The studio was no longer praying at the altar of Resident Evil 4, but Wanat says there were some leftover influences that didn't make it into the first game.
"We didn't really have the ability to do any elaborate cutscenes," he explained. "I mean, we looked at Resident Evil 4, and we thought those were elaborate at the time. I love the intro. They're in the jeep, a guy goes to pee in the bushes, it's this really cool moment. And we couldn't really do those things, but we all wished we could. So in Dead Space 2, you get a lot more character moments and those over-the-top moments."
Like its predecessor, Dead Space 2 garnered high praise from critics and, according to EA, sold nearly two million copies in its first week of release. However, that success wouldn't carry over to the third game. With less positive reviews and significantly less sales, Wanat, the creative director of Dead Space 3, expressed disappointment with how it closed out the series.
"I think in Dead Space 3 we kinda destroyed what we had because we pushed too far on it, but it was a deliberate decision in each of those instalments to make it faster, more relevant to a broader audience," he said. "It's a hard thing to do, to make a horror game have mass appeal. They're two diametrically opposed things."
Wanat and Bagwell went on to co-found Outpost Games, a developer that's currently working on a multiplayer survival game. Not much is known about their upcoming game, but the two designers wouldn't be surprised if Dead Space fans found some pieces of the sci-fi horror series woven throughout it. However, speaking to Wanat, it sounds like he's not quite done with survival-horror.
"Personally, I've got so much of that stuff in my system, that one way or another I will make another survival-horror game because I can't stay away from that kind of creative expression. That's just part of my DNA now."
Oh boy, am I conflicted. Fallout 4 s main plotline requires that I do this thing> and as far as things> go, it s a pretty major thing> and a major thing> that you d expect someone with the maternal instinct of my character Halle to crack on with straight away. The trouble is, rather than doing this major thing>, for at least an hour now, she, and when I say she , I mean I , have been poking around Sanctuary, scrapping anything that glows yellow so I can salvage enough materials to build a house big enough for me and my Minutemen companions. I had largely avoided Bethesda s drip-feed of Fallout 4 pre-publicity but when I somehow found out that the game had settlement building, I think I might have involuntarily passed a little wind in joyous anticipation.
That’s because I ve felt a similar rosy inner glow while hanging around other hubs and houses in many other games I ve played. I think it s easy to underestimate the value of having a home base option, especially in open world games where there is a free-roaming element, but it’s a part of why I love certain games.
Below you will find the 25 best horror games ever released on PC. To ensure the list was as accurate as possible, the compiler was locked in a dark cellar with a copy of every game in existence and a computer capable of running them all. Two weeks later, the following article was found written on the walls in blood (the postscript was recorded on an audiolog). The writer was nowhere to be seen.
Dead Space is a game so unsettling it took me years to finish it. Soon after its original 2008 release, I abandoned my first attempt. I d played and enjoyed horror games before, but something felt different about what Dead Space had to offer. I couldn t take it. Years later I would end up completing the game, but I ve never forgotten the initial anxiety that it stirred up in me. Setting aside the missteps the series would end up taking in its second and third entries, what the original Dead Space accomplishes is simple in its frightening elegance: You re trapped on a ghost ship in the midst of its own industrial/organic nightmare and you have to escape.
Much of the anxiety that I find simultaneously attractive and repulsive in Dead Space is tied to the worn-down, blue-collar approach of its story and setting aboard the massive Ishimura mining vessel. As a kid growing up around the deep, dark waters of Puget Sound, WA, I would watch big tankers roll into Commencement Bay and anchor in the shadow of the giant copper smelting tower that used to overlook the area there. It was a filthy place and I d wonder what part those mysterious rusty ships had to play in that toxic wasteland. Where in all the world had they been and what had they brought back with them?
This was the image Dead Space had drawn from my memory and that had bothered me so much. And it s one that still fascinates me, even as the game s jumps scares and lighting tricks lose their intended effect on repeated playthroughs.
This edition of If you like deals with big ships and the mysterious, sometimes evil cargo they carry. I ve picked out some novels, comics, and films that deal with what I think is Dead Space s central theme—machines that bring us into contact with new fears as well as show us the ones that travel with us all the time.
Clarke s 1973 novel anticipates and works with many themes that have become a staple of late-20th century science fiction. The development of planet earth in response to catastrophe, the limits of technology, and the difficulties of inter-species communication. But just like Dead Space, Rama also functions as a hard-sci-fi adventure story that puts a host of problems at the feet of some pilots and engineers and asks them to find a solution.
In the novel, a massive celestial object appears in earth s solar system. First thought to be an asteroid, it s actually an interstellar spacecraft. But the destination of the ship is unknown. The drama of the story plays out as the crew of the only ship that s near enough to make contact—a solar survey vessel—begins to explore the alien craft. The novel is a great example of Clarke s tightly controlled characterization and attention to scientific detail and plausibility. While Rama isn t a novel of space horror per se, its sense of urgency, claustrophobia and mystery should appeal to fans of Dead Space.
Beyond the obvious references to the 1982 John Carpenter classic in terms of Dead Space s body horror and gore, the psychological dimension of this film also has a lot to offer. We re confronted fairly early in the film with the horrific implications of an alien being bent on murderous replication. But it s the response of the men to the psychological challenges brought on by their isolation in Antarctica that lends the film its true narrative pulse: Who can they trust? How do they escape this scenario?
Carpenter gathers a superb group of character actors to play out this test of wills, led by Kurt Russell who turns in a sardonic performance as a chess-playing helicopter pilot bent on survival. It s also worth checking out the original novella upon which the film is based—John W. Campbell s Who Goes There?
For a slightly less-serious take from Carpenter on isolation and the horrors of space, you might also be interested in his 1974 movie Dark Star. The movie follows a stressed-out group of men who work as a kind of wrecking crew in deep space, launching bombs to destroy dangerous or problematic planets and moons. Sometimes billed as a comedy, the low-budget Dark Star helped kickstart the career of Alien writer Dan O Bannon who acts in the picture.
A new comic from Image that s only on its third issue, Southern Cross hits all the right notes for dark and ambitious ship-based sci-fi. The narrative so far follows the journey of Alex Braith, a woman traveling from earth to the Titan moon in order to collect the body of her dead sister. A solitary and—perhaps—troubled woman, Braith has to find a way to make it through the voyage to Titan on the giant Southern Cross spaceship, an industrial tanker and personnel carrier that appears to have a few horrors of its own to reveal.
Along the way Braith encounters a variety of strange types all looking to dig some kind of meaning out of a solar system structured around the faceless corporations that keep the fuel flowing. The writing is pithy and authentic, an approach that gels nicely with Belanger s Moebius-influenced art style. Belanger s art not only captures the sharp edges of Braith s emotional landscape, but also works brilliantly at depicting the technological complexity and scale of the comic s grimy industrial universe.
The movie follows a rescue crew on a mission to investigate the sudden reappearance of a ship that had been missing for seven years. That ship, the Event Horizon, was tasked with attempting to make mankind s first interstellar voyage through the use of a new propulsion system that exploits gravity. Now that the Event Horizon s returned, and in a decaying orbit around Neptune, the rescue crew and the ship s designer head out to try and find out what s become of its mission.
It s no secret that horror films like Event Horizon lose a bit of their punch on repeated viewings. But I ll never forget the sheer bizarreness of my first encounter with this movie in the late-1990s. Although it was a critical and box office flop, it was the kind of film you d pick out and watch with friends just to see how they would respond—kind of like The Shining in this way.
The film s look and story owe a lot to earlier movies such as Solaris and Alien, and were an obvious influence on the aesthetics of Dead Space. And from its costuming to its acting and practical special effects, the nearly-20-year-old film holds up remarkably well. If you like Dead Space and haven t seen Event Horizon yet, it s a must-see.