![]() ![]() The first major stop is a floating scrapheap, with Isaac exploring a series of derelicts looking for a way to reach the planet below. The segments feel episodic, as though they were built by different teams and bolted together to create a varied, lengthy whole. 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. Should it be a cold, 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 lean horror or an explosive shooter? The game opts to be both." ![]() 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. ![]()
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