EA doesn't want your money anymore. Well, it does, but mostly for its newer and shinier selections. Starting today, the publisher will choose one older game from its library and offer it On the House, a new Origin category for games available free of charge. First up: Visceral's disturb-tastic Dead Space.

EA hasn't specifically said how long an On the House promotion will run for a given game, but judging from the expiration date displayed for Dead Space (May 8), we could add a free title to our libraries once every month or so. Otherwise, the promotion looks pretty string-less. It's also a rather strong display of EA's apparent intent to park itself with other online markets running similar costless campaigns such as GOG. "Who doesn't want free stuff?" reads the diminutive FAQ. Who, indeed?

On the House is on Origin, and you can grab Dead Space either through the client or via the website.

EA getting a Humble Bundle sounds like a thing that should raise eyebrows, but considering how much money is being raised for charity right now - and how many normally-quite-expensive games can be had for pocket money - I'm finding that my cynicism chip is just not activating. The explosion-studded bundle has raised nearly $8.5 million already, with EA's entire share going to charities the Human Rights Campaign, watsi, the American Cancer Society, the American Red Cross, and the San Francisco AIDS Foundation. In addition to the likes of Dead Space 3, Mirror's Edge and Battlefield 3, you can now get C&C: Red Alert 3 - Uprising and Populous if you pay over the average of $4.84.

Here's the full list. Pay what you want to get Dead Space, Dead Space 3, Burnout Paradise Ultimate, Crysis 2, Mirror's Edge and Medal of Honor, or pay over the average to get C&C: Red Alert 3 Uprising, Populous, Battlefield 3 and The Sims 3 thrown in too. You'll get Steam keys for some of the games, plus the soundtracks to BF3 and The Sims 3. It's quite a good deal, and it's quite a good deal that ends in five days.

The Humble Origin Bundle is live, allowing you to pay what you want for Dead Space, Dead Space 3, Burnout Paradise, Crysis 2, Mirror's Edge, and Medal of Honor. Paying more than the average (roughly $5 at the time of this post) unlocks Battlefield 3 and The Sims 3 with some DLC.And all of EA's share goes to charity.

I know, right?

The offer runs for two weeks, and benefits the Human Rights Campaign, watsi, the American Cancer Society, the American Red Cross, and the San Francisco AIDS Foundation. Bought separately, the bundle would cost over $200 U.S. While Origin keys are provided for all of the games, you'll also get Steam keys for each of the games that are available on Valve's platform. Origin is also throwing in the soundtracks for Battlefield 3 and The Sims 3.

Check out the whole bundle at HumbleBundle.com. It's a heck of a deal.

Are mute heroes better than verbose heroes? Does a voice-acted player character infringe on your ability to put yourself into the story? In this week's debate, Logan says "Yes," while his character says nothing. He wants to be the character he’s playing, not merely control him, and that’s easier to do when the character is silent. T.J. had a professional voice actor say "No." He thinks giving verbalized emotions and mannerisms to your in-universe avatar makes him or her feel more real.

Read the debate below, continue it in the comments, and jump to the next page for opinions from the community. Logan, you have the floor:

Logan: BioShock’s Jack. Isaac Clarke from Dead Space. The little boy from Limbo. Portal’s Chell. Gordon Freeman. These are some of the most unforgettable characters I’ve ever played, and they all made their indelible impressions on me without speaking a single word. In fact, they made such an impression because they didn’t say a word. By remaining silent throughout, they gave me room to take over the role, to project myself into the game.

T.J.: All of the games you mentioned were unforgettable narratives. But everything memorable about them came from the environments, situations, and supporting casts. Gordon Freeman is a great example. What can you really say about him, as a person? I find Shepard’s inspirational speeches to the crew in the Mass Effect games far more stirring and memorable than almost anything I’ve experienced in a silent protagonist game. I was Shepard, just as much as I was Gordon. But I didn’t have the alienating element of not having a voice making me feel less like a grounded part of the setting.



Logan: Ooh, Shepard. That was cold. I’ll happily agree that some games are better off with fully written and voiced protagonists—and Shepard’s a perfect example. But it’s a different matter, I think, with first-person games in particular, where your thought processes animate the narrative: “OK, if I jump into a portal here, I’ll shoot out of the wall there and land over yonder.” In this way I’m woven into the story, as a product of my own imagination. If the character is talking, I’m listening to his or her thoughts—and they sort of overwrite my own. It can be great fun, but it’s a more passive experience.

T.J.: First-person shooters are probably one of the best venues for silent protagonists, but lets look at BioShock and BioShock Infinite. I definitely felt more engaged by Booker, who responded verbally to the action, the story twists, and the potent emotions expressed by Elizabeth... than I did by Jack, who didn’t so much as cough at the chaos and insanity around him.

Logan: But was the result that BioShock Infinite was a better game, or just that it delivered a traditional main character?

T.J.: Booker? Traditional? Did we play the same game? I mean, it’s a tough call to say which was out-and-out better, as there are a lot of factors to consider. But zooming in on the protagonist’s vocals (or lack thereof) as an added brushstroke on a complex canvas, Infinite displays a more vibrant palette.

Logan: Do you think that Half-Life 2, in retrospect, is an inferior game as a result of its silent protagonist?



T.J.: Half-Life 2 was great. Great enough that we gave it a 98. But imagine what it could have been like if Gordon had been given the opportunity to project himself onto his surroundings, with reactive astrophysics quips and emotional back-and-forth to play off of the memorable cast around him? We relate to characters in fiction that behave like people we know in the real world. So yeah, I’ll take that plunge: I think I would have bonded with Freeman more, and therefore had a superior experience, if he hadn't kept his lips sewn shut the whole way.

Logan: A scripted and voiced Gordon Freeman may or may not have been a memorable character, just like a scripted and voiced Chell from Portal might have been. But in a sense, that’s the problem! Because some of my best memories from games with silent protagonists are the memories of my own thoughts and actions. I remember staring at the foot of a splicer in BioShock and realizing that the flesh of her foot was molded into a heel. I was so grossed out that I made this unmanly noise, partway between a squeal and a scream. I remember getting orders shouted at me in FEAR and thinking, "No, why don’t you take point.” I’m glad these moments weren't preempted by scripted elements.

T.J.: You were staring at the Splicers’ feet? Man, in a real underwater, objectivist dystopia ruined by rampant genetic modification, you’d totally be “that one guy” who just stands there dumbfounded and gets sliced into 14 pieces.

Logan: No, I’d be the guy at Pinkberry with his mouth under the chocolate hazelnut nozzle going “Would you kindly pull the lever?” But my point is, I remember what I did and thought at moments throughout all of my favorite games, and those are experiences that are totally unique to me. And that’s at least part of why I love games so much—because of unique experiences like that.



T.J.: I see what you’re getting at. Likewise, a lot of my love for games is driven by their ability to tell the kinds of stories other media just aren’t equipped for. Silent protagonists take us further beyond the bounds of traditional narratives, accentuating the uniqueness of interactive storytelling. That being said, really good voiced protagonists—your Shepards, your Bookers, your Lee Everetts—never feel like a distraction from the mutated flesh pumps you come across. When the execution is right, they serve to enhance all of those things, and lend them insight and believability.

There’s nothing like being pulled out of the moment in Dragon Age: Origins when the flow of an intense conversation stops so the camera can cut to the speechless, distant expression of your seemingly-oblivious Grey Warden.

Logan: Oh yeah, there’s no question that voiced protagonists have their moments. But they’re not my moments, and those are the ones I enjoy the most in games. Valve seems to understand this intuitively, and that’s why it’s given us two of the most memorable characters in videogame history: because I think the developers deliberately build into their games moments that they all understand will be uniquely owned by the players; “a-ha!” moments when the solution to a puzzle suddenly snaps into focus, or narrative revelations like watching horseplay between Alyx and Dog that instantly tell you a lot about how she grew up. Voiced protagonists can give us wonderful characters; silent ones let me build my own.

That’s the debate! As always, these debates are exercises meant to reveal alternate viewpoints—sometimes including perspectives we wouldn’t normally explore—and cultivate discussion, so continue it in the comments, and jump to the next page for more opinions from the community.





https://twitter.com/hawkinson88/status/325060938120183808

@pcgamer it really depends on the writing. Some voiced characters are amazing, and some are whiny and annoying.— Ryan H (@kancer) April 19, 2013


@pcgamer In many cases, yes. I am forced to substitute the absence of a developed personality with my own words and thoughts. I like that.— Rocko (@Rockoman100) April 19, 2013


@pcgamer The volume of the protag doesn't matter, only the skill of the writer: hero voice is just one tool of many in a master writer's box— Jacob Dieffenbach (@dieffenbachj) April 19, 2013


@pcgamer The most interesting characters are the ones with a history, with regrets. Blank characters don't have that.— Devin White (@D_A_White) April 19, 2013


@pcgamer Most voiced characters seem to disappoint. I think silent ones express the storyline better through visuals which I prefer.— Casey Bavier (@clbavier) April 19, 2013


@pcgamer Definitely voiced. Having an NPC talk to you directly, then act as if your lack of response is totally normal feels eerily wrong.— Kirt Goodfellow (@_Kenomica) April 19, 2013


@pcgamer Silent! #YOLO— Michael Nader (@MNader92) April 19, 2013

It isn't often we see the words "Origin" and "sale" next to each other, but this week is the exception: EA is running a week-long Player Appreciation Sale which discounts some pretty hefty games in the publisher's lineup—titans such as Mass Effect 3, Crysis 3, and Battlefield 3.

Here's the full list of games on sale and their prices:

Battlefield 3 Premium—$25
Battlefield 3—$12
Battlefield 3 Premium Edition—$30
Crysis 3—$30
Crysis 3 Digital Deluxe Edition—$40
Crysis 3 Digital Deluxe Upgrade—$10
The Sims 3 Seasons—$20
The Sims 3 University Life—$28
The Sims 3 Supernatural—$15
Dead Space—$6
Dead Space 2—$6
Dead Space 3—$30
Resident Evil 5—$10
Mass Effect 3—$10
The Walking Dead—$10
Batman: Arkham City GOTY Edition—$12
FIFA Soccer 13—$20
Command & Conquer Ultimate Collection—$15
Hitman: Absolution—$15
Saints Row: The Third Full Package—$25
Assassin's Creed 3—$35
Assassin's Creed 3 Deluxe Edition—$56
Darksiders 2—$18
Dead Island GOTY Edition—$10
Resident Evil: Operation Raccoon City—$25


Normal and special editions on sale? And they're big games? I don't want to spoil this rare opportunity to enjoy a good Origin sale with cynicism, but it's hard not to chortle lightly at the convenient devaluing of nearly half the games EA offered SimCity players for free earlier this week.

When EA spoke of a future business strategy where "all of our games" include the dreaded m-word, reactions weren't exactly positive. CFO Blake Jorgensen shared that original statement during the Morgan Stanley Technology conference last week, but he's now used another conference—the Wedbush Transformational Technology conference—to redact that statement. As Gamasutra reports, Jorgensen says he meant microtransactions will figure into all mobile games instead of EA's entire lineup.

"I made a statement in the conference along the lines of, 'We'll have microtransactions in our games,' and the community read that to be 'all games,' and that's really not true," he explains. "All of our mobile games will have microtransactions in them, because almost all of our mobile games are going to a world where its play-for-free."

Jorgensen uses a different term for paid content on the PC and console platforms: extensions. "You're going to see extensions off of products like Battlefield Premium which are simply not microtransactions," he says. "They are premium services, or additional add-on products or downloads that we're doing. It's essentially an extension of the gameplay that allows someone to take a game that they might have played for a thousand hours and play it for two thousand hours. We want to ensure that consumers are getting value."

Though there is some difference between types of paid content, it seems like Jorgensen is mostly just side-stepping the phrase "microtransactions." Whether calling them microtransactions, extensions, or micro-extend-actions, EA (and, arguably, most other big publishers) will continue using whatever works to leverage the popularity of its games and sell additional content.

But enough of my yakking. What do you think?

Review by Nathan Ditum

On a city street at the start of Dead Space 3, there’s a poster for a film called Tools Of Terror. It features a man in a tuxedo pulling a James Bond pose, but instead of a pistol he’s holding a wrench. He is, it’s fairly obvious, both an action hero and a blue-collar guy, and despite the fact this film is a spoof – or perhaps because of it – he’s also an accurate symbolic representation of Dead Space hero Isaac Clarke as he appears in this latest game.

"Isaac was a high-functioning spanner in a space suit."
Isaac is an engineer. It’s the thing that made him such an unusual protagonist in the original game – he didn’t talk, he fixed things and had weapons that could conceivably have been used to fix things, if they weren’t busy dismembering the reanimated dead. He was a high-functioning spanner in a space suit, but he returned the John McClane of religious hysteria and viral outbreaks in Dead Space 2.

How could the same shit happen to the same guy twice? And how could he suddenly be so good at it?

The question was raised: is Isaac best as the handyman-in-a-tight-spot or as the stomping shooter frontman? Dead Space 3 fixes on the elegant solution of pushing him in both directions at once. Progression is dependent on a series of hardware fix-ups – this shuttle, that tram system, this alien genocide machine.



But at the same time, Isaac fights wave after wave of monsters while saying things like, “I turned my back on the world because I couldn’t face what had to be done,” – and he’s not talking about an oil change or repairing a carburettor.

"Should it be a     lean horror or an explosive shooter? The game opts to be both."
The debate over Isaac-as-engineer versus Isaac-as-action-hero feeds into Dead Space’s genre identity crisis. Should it be a cold, lean horror, or an explosive shooter? The game opts to be both. This is possible because it consists of big, distinct sections: a breathless high-stakes opener (in the James Bond tradition, appropriately enough), a claustrophobic few hours in a debris field of broken ships orbiting a planet, a lengthy action push on the planet’s icy surface, and a climactic section in an ancient city.

The segments feel episodic, as though they were built by different teams and bolted together to create a varied, lengthy whole. The first major stop is a floating scrapheap, with Isaac exploring a series of derelicts looking for a way to reach the planet below. It’s an expanded echo of the original Dead Space – not just repeating the haunted ship routine, but bringing the quiet, tense and considered approach to a frozen flotilla of craft with Isaac shuttling between them.



Dusty airlocks and the grand, muffled spectacle of Isaac drifting through space are the foreground to the game’s hard sci-fi style, and it fruitfully resurrects the old, effective mix of mundane tasks performed amid calamity. The first moment of dread I’ve experienced since crawling through the guts of the Ishimura – “but I don’t want to find out what’s blocking the tram system” – confirms that this is partly the faithful sequel to Dead Space that people who still resent Isaac for learning to talk or daring to display his human face – have been waiting for.

"The game fruitfully resurrects the old, effective mix of mundane tasks performed amid calamity."
A change of pace on the surface of the planet moves Dead Space 3 into more conventional action territory. The snowstorms and wind-battered outposts are a nod to the influence of The Thing on Dead Space, just as surely as the Ishimura paid tribute to the devastation of the Nostromo in Alien, but the combat here introduces elements of cover-based shooting. There are still encounters with skittering necromorphs in corridors and vent-heavy rooms, but there are also more clearings and open spaces, and action set-pieces in the form of cliff-face rappelling (both up and down), boss encounters (tiresome), and an industrial drill that’s transformed into a giant rusty flesh-whisk (loud).

It feels as though Dead Space 3 has settled on volume and value as part of a big-fisted approach to appealing to everybody. The game feels laudably substantial, although sometimes the pacing suffers. The inclusion of any level that requires players to double back through a now-repopulated section justifies a call of shenanigans; Dead Space 3 does it more than once. And while the inclusion of optional side-missions is definitely a good thing, not just for the added content but also the opportunity for resource gathering, they can feel at odds with the urgency of the larger objective at hand. Near the close, I was offered the chance to explore one such cul-de-sac, and declined in order to continue my in-progress race against a religious fanatic to reach a control panel in time to prevent the extinction of mankind.




Fighting religious fanatics is a staple of Dead Space 3. The intriguing Unitologist sect, which worships the monolith-like Markers, emerges from shadow and conspiracy to offer all-out war. The result is combat against humans for the first time, and an extension of the split that runs down the centre of the game.

"Dead Space 3 manages what the hapless Aliens: Colonial Marines could not - abundant monsters that are also individually deadly."
Combat against the necromorphs is refined and dangerous. It manages what the hapless Aliens: Colonial Marines could not: abundant monsters that are also individually deadly, thanks to Isaac’s accumulated skill set which includes the ability to slow enemies in time, to move and fire small objects with telekinesis, and the need to slice enemies limb by limb in order to despatch them most effectively. It’s a layered, satisfying set of systems.

However it’s also one clearly designed for a game pad – even with options to customise controls, the need to have fingers hovering over four triggers at once makes a mouse and keyboard unwieldy. In contrast, battles against the Unitologist army offer little except variety and gunfire in stereo. They don’t subtract from what might be called the purer Dead Space experience, they just bolt a conventional addition to the side.

The nature of combat is largely determined by the weapons at Isaac’s disposal, which in Dead Space 3 come from the bench. The gun crafting is deep and worthwhile, offering a basic choice of weapon type (plasma, laser cutter, military, explosive) before adding variety (modifiers to these types, the ability to combine any two on larger weapon frames) and stat-tweaking and optimisation.



It rewards experimentation and patience, and is paced sensibly enough that the controversial option to buy raw materials through microtransactions never feels imposing – I always had enough to create weapons that felt suitably powerful, and after one run through the game I had the resources to build pretty much anything.

"The effect of co-op is that some sections are a little strung out and lonely in singleplayer."
It’s possible to make the same cutting, tearing, flaming tools that have been the series’ mainstays, but just as effective now are single-shot weapons with high concentrated damage, and forgiving, spray-and-pray automatic rifles. The basis of Dead Space’s combat is a little undermined; de-limbing enemies is a precise, engineer’s way to kill space zombies. It sits uncomfortably with the game’s own rules that, with damage stats boosted, necromorphs can now be killed with a single sniper shot to the chest.

Also impacting on combat is the addition of co-op. Ironically this makes manifest the split in Isaac’s gaming personality – when present, his co-op partner really is a gruff action soldier type, called Carver, the Tyler Durden to Isaac’s jittery narrator. Co-op is drop-in, drop-out, with cutscenes shifting to reflect Carver’s absence during solo play, the only noticeable effect being that some sections are a little strung out and lonely in singleplayer.

Whether it suits a horror game is a moot point: given Dead Space 3’s efforts to provide both scares and thrills, the impact of co-op is negligible. But it does change the combat, in entirely positive ways. Working together is fun: trapping enemies in stasis for your partner, or rescuing them from pinned execution, and planning what complementary set of weapons to use as a pair. As with the others in the series, Dead Space 3 positively encourages post-completion playthroughs on higher difficulties and with tougher restrictions.



In terms of performance, Dead Space 3 ran without a hitch on an i5 processor-equipped rig with 8GB of RAM and an Nvidia Geforce 560 Ti. Before release, Visceral Games spoke about their aim to create a uniform experience across console and PC, which raised legitimate concerns that the PC version would be a horrendous port. It’s not quite that bad; custom render settings are available from the in-game menu to control various effects like bloom, glow, SSAO, depth of field, and it does look prettier than console versions. I played on 1920 x 1080 with no impact on framerate, which was locked at a steady 30fps – something that can be unlocked with some VSync tweaking.

"It delivers an uncompromised, high-quality horror game."
If this ‘uniform’ approach is slightly disappointing, it’s absolutely in keeping with Dead Space 3’s comprehensive, please-all approach. The game tries hard to be all things to all men (ironic, considering it features a religion with the ultimate objective of making all men into one giant thing). It’s accomplished, it looks wonderful, and delivers an uncompromised, high-quality horror game. It’s just that it’s so big that it delivers a less compelling shooter title as well.

This is perhaps the inevitable reality of creating a searing, stylish new IP – that two sequels down the line, the need to maximise appeal has turned everything great about that game into the still-beating heart of a commercial machine augmented with features, an appealing hero, and explosive moments. Dead Space 3 is still good, and it’s still Dead Space. It’s just lots of other things as well.

Antony Johnston, the writer behind the original fright-filled Dead Space, spoke with NowGamer on the more action-heavy tone in the just-released Dead Space 3. Though he prefers fear over firepower, Johnston believes the increased action is "a necessary evil" to ensure growth of the series.

"I’m personally a big fan of old-school survival horror, and that was one of the main reasons I wanted to work on Dead Space," he says. "So the greater emphasis on big action in the sequels means they’re not really for me."

Johnston states that expanding Dead Space 3's fan base through action sequences presents "a very difficult balancing act" for Visceral, and he commends the studio for "an admirable job of maintaining that balance" in the wake of concerns over the diminished fear factor and the inclusion of a co-op mode.

"I know the developers always wanted to go bigger, in terms of scope," Johnston says. "And I’ve mentioned before that the universe we created was huge, with lots of elements, which simply didn’t make it into the first game. So to get that story told, to round out the universe, it was inevitable the settings and environments would open out a bit, become a bit more epic in scale. Otherwise, you’d just have the same game on a different ship each time, and that’s pretty dull."

Read the full article at NowGamer, and let us know: does Dead Space 3's action mesh well with its more terrifying moments?

Broken menus, wonky mouse controls, single figure framerates - this is the familiar story of PC gaming prowess held back by consoles. We understand why it happens: console-land was where the majority of sales were, and thus the focus of development. But that reasoning has never seemed, well, reasonable: a trashy console port can knock a chunk off your Metacritic rating, sour a huge potential audience against you forever and lose you loads of sales on a platform that can be extremely lucrative if only you know how to approach it.

It's really not that hard or expensive. After all, a pair of talented modders managed to make Dark Souls' PC version immeasurably better within the space of an evening, and while devs might not want to spend resources making hi-res assets just for PC, there's plenty of really basic stuff that can be done to not totally fuck up a game. Which, given the amount of time, love and money spent on these creations, is surely something that would please the developers and publishers as much as their beleaguered PC audience.

We've thrown together a list of tips, common foibles and fixes - add your own in the comments!

On release, Binary Domain defaulted to gamepad inputs which could only be changed by running a separate settings program. Gnnngggn.

Accessible settings
PC configurations are as many and varied as the gamers that own them. A PC game has to account for this with its range of settings. Have these options accessible in-game, and don't require the player to drop back to the main menu to change them. Definitely don't put them in a separate trainer which forces you to restart the entire damn game. (Hi there, Binary Domain.)

Resolution
For the love of Baal, let us change the resolution. And definitely let us change the resolution before embarking on a lengthy unskippable opening cinematic in enforced default shatto-vision. (I’m looking at you, Max Payne 3 - or trying to, anyway.) Better still, autodetect the native resolution!

Key-bindings
Let us at them. Particularly if, for whatever reason, you've decided to give charge of your keyboard inputs to someone who has never actually seen or used a keyboard before. How do you reach the main menu in Binary Domain? Oh, that’s right, it’s Enter. Of course. Then, when in the menus, you press space to select and F to go back. Obviously, in-game, F is the interact key - except when interact is space. Argh. Incidentally, Enter is not the PC's equivalent of the gamepad's A button - it's the furthest you can get from both hands in normal FPS control mode. So don't make it the compulsory key to dismiss pop-up messages.

Gamepads
Some games are designed for and best suit a gamepad. That's cool. But for games which might easily be controlled by either a gamepad or a traditional PC set-up, please autodetect which system is currently under use. Most games seem pretty good at this now, but there are still some stragglers.

Framerate
Let those framerates soar free into the vast open skies of PC gaming wonderment. Also, let us fiddle with things like V-sync - with the vast array of PC hardware set-ups possible it is unlikely you will have guessed how to best optimise your game's performance for any one PC. Why wreck your hard work with dropped or torn frames when you could just trust players to tweak the game to perfection.

FOV sliders, particularly in singleplayer games, should be a given.

Field of View
PC gamers typically sit closer to their screens than console gamers and this changes the effect of a limited FOV. Unless you are setting out specifically to discomfit and sicken the player, offering the ability to adjust FOV will only make people like you. You do want to be liked, right?

Alt-tab
If your game cannot do this, you are probably going to Hell, where you'll be forced to troubleshoot for irascible Windows ME users for the rest of eternity. Sorry about that.

Menus
PCs typically come equipped with a mouse - the perfect device with which to gaily skip through menus. Please make use of it. Do not make us scroll through a gazillion options when a single click would do. Relatedly, make your menus pay attention to where the cursor actually IS. Console ports, like many carnivorous predators, seem to only sense movement. So you often see the wrong menu option highlighted and have to wiggle the cursor a bit to make it notice where you're actually pointing.

Mouse support
Mice are not thumbsticks. This should be quickly apparent from their different shape. Do not duplicate the analogue stick deadzone with your mouse acceleration. (Got that, Dead Space?) Also do not impose momentum on mouse movements. My world stops spinning when my mouse stops, not a few seconds later, Syndicate. And don't use autotargeting systems based on the assumption that there are 8 degrees in a circle.

Sleeping Dogs was a port done right. It also featured a man urinating into a toilet full of sick. A rare game indeed.

Social media integration
No.

Games for Windows Live
Don’t do it. You may think that we PC gamers object to GfwL because we are a prickly bunch who resent having to install yet another wedge of corporate molestation replete with its own superfluous achievements system, fragmentary friends-lists, cross-promotional guff, easily lost log-in details and so on - particularly when we are already so well served by Steam. All that might be true of Origin or uPlay, but it doesn’t come close to describing the genuine horror of GfwL, which remains one of the most ill-conceived and poorly executed pieces of software it is possible to install on your PC. It’s hideously designed, hugely unergonomic, painfully slow, intrusive and prone to complete failure in every single aspect of its operation. It’s just unbelievably terrible.

DRM
Piracy sucks. We know. However, the solution should never be to periodically lose players' saves, punt them to desktop mid-game or prevent them from playing the game altogether.

Hi-res textures
Now, we’re not asking you to create an entirely new assets pipeline for the PC alone, but in many instances textures are created first at high resolution then scaled down to fit onto the itty-bitty consoles. You can make use of those on PC, you know.

Post-release patches
We salute your ongoing commitment to PC gamers by releasing fixes after launch. But don't leave it until then to make your game playable. Don't leave it until launch day, even. There are good business reasons for this: reviewers will be playing your undercooked code; you'll burn your earliest purchasers and most loyal customers; you'll lose momentum building a community among players (particularly key if your game has an online component); people will be more likely to pirate your game if they think it's not worth the risk of an actual purchase.

Any more? Add them in the comments.

This preview originally appeared in issue 248 of PC Gamer UK.

In space, you’ll remember, no one can hear you scream. But don’t worry, because you won’t be doing much screaming in Dead Space 3. The series once traded on slow-burn body horror and things making wet, meaty bumps in the inky black space-night. Now it prefers hurling gruesome beasts of increasing size at the screen, a psychological warfare of attrition rather than subversion.

The change is debated by developer Visceral Games. Studio vice-president Steve Papoutsis has refuted claims that the game was defanged on the fright front, maintaining that it’s just as scary as previous Dead Spaces. Publishers EA, on the other hand, admitted that they wanted to set a lower fear-barrier for entry, inviting those with lillier livers into the game for the first time.

It’s a confused message, and watching someone else play Dead Space 3 reveals a slightly confused game. Co-op play is the major addition to this third outing. Returning protagonist Isaac Clarke is joined by John Carver, a character more grizzle than man. Carver is the soldier to Isaac’s engineer, removing some of the tension of previous games. Isaac – the shtick went – had to adapt to survive, a nonviolent man by trade. Carver is used to blowing limbs off things though, be those things human or grim megamonsters from beyond the stars.

New enemies include human Unitologist soldiers.

The arsenal has copied that trend. Previously, Isaac would make do with welders and bandsaws, the tools of his trade turned into lethal weapons. Dead Space 3 has standard shotguns and assault rifles – the same kind used by the game’s human enemies, the first of which I spot in a valley on the ice planet of Tau Volantis. Carver and Clarke are picking their way through the world’s snowy wastes when they’re jumped by a group of Unitologist soldiers. They have body armour and wield assault rifles, but they’re quickly jumped in turn by a group of Necromorph ‘twitchers’.

The soldiers are eviscerated before Carver and Clarke can bring their weapons to bear, leaving them with the task of cleaning up the twitchers. The aliens can flick forward at a frightening speed, closing the gap before either of the co-op players I’m watching can draw a bead on them. It’s a mechanically tense section, but it’s not directly unsettling.

Psychological tricks make more concessions to the series’ trademark horror. Playing in co-op, Carver starts to see haunting remnants of his past. They don’t appear on Clarke’s screen, promising some panicky conversations over Ventrilo as one player absorbs his character’s forced madness. Another section that details Carver’s loopiness sends him inside his own mind to fight off his inner demons, in the form of Necromorph enemies. It means the game, for better or worse, doesn’t really cultivate the same oppressive menace as previous Dead Spaces.