It's nearly three years late, but Kerbal Space Program 2 is almost here, provided you don't mind a few rough edges. Private Division has revealed that the sequel to its rocket construction game will be available on February 24th as an Early Access release through Steam, the Epic Games Store and other online shops. The new title includes a raft of content and feature updates, but its biggest improvement may be ease of use — this could be worth a look if you were put off by the learning curve of the original.

KSP2 includes "fully revamped" vehicle assembly and flight interfaces that, according to the developers, are more accommodating for rookies without taking away the challenge. Newcomers also see tutorial animations. Add a new maneuver planner and a more usable time warp (it's now an option while accelerating) and the game should be less intimidating, not to mention less monotonous during long journeys.

Whatever your skill level, the scope will be much larger. The initial release will include new environments with more detailed atmospheres and terrain, as well as new spaceflight tech with customizable parts. Later on, you'll see much more. KSP2 will finally add interstellar travel, and you can build colonies with habitats and space stations. Multiplayer is also on the roadmap for friends who want to either cooperate on space exploration or one-up each other's achievements.

The new game will only be available on PCs during Early Access, and it's not certain just when the finished release will be ready. The first Kerbal Space Program took four years to exit its pre-release phase, so you might be in for a long(er) wait if you're a console fan or just want a polished product.

Over the course of Pokémon’s first eight generations, the number of catchable monsters is nearing 1,000. And yet in that same time, the basic formula for the series’ gameplay has largely stayed the same (aside from some small tweaks or offshoots like Legends: Arceus). But after getting the chance to preview Pokémon Scarlet ahead of its official release in November, it feels like GameFreak has remixed a ton of longstanding tropes in a way that brings a new spark to its next release.

Starting off with the Paldea region (which draws inspiration from the real-world Iberian peninsula), Pokémon Scarlet and Violet expands on previous games (most notably Legends Arceus and the Wild Area in Sword and Shield) by offering a fully open-world design. This means there’s no set path when it comes to taking down gyms, which gives you much more freedom to choose where you want to go and in what order. On top of that, to help traverse the world, you get access to the game’s legendary Pokémon (either Koraidon or Miraidon, depending on which version of the game you choose) very early on, instead of having to wait until endgame to catch them like in previous titles.

Nintendo

Even the gyms themselves have gotten an update, with the trials that you need to pass in order to battle Brassius (the leader of the Artazon gym) taking place around town instead in a single room or building. The impact of this is that the world of Pokémon Scarlet and Violet just feels more vibrant and lived in, which adds a new dimension to how you experience the game.

Of course, there’s much more to Pokémon than just gym battles, as riding your legendary Pokémon lets you literally run, jump and fly across the landscape. As you explore Paldea, you’ll encounter wild monsters roaming the region, which you can choose to battle or avoid as you see fit, though you’ll run into some random battles as well. There are even rare Titan Pokémon that you need to battle multiple times to best as you try to complete your Path of Legends, which is a separate story branch from your gym battles and run-ins with Team Star. And while you’re out exploring the world, if you don’t feel like directing combat yourself, you can bring out your lead Pokémon to find items or auto-battle other nearby monsters (with the fight taking place off-screen).

Nintendo

Scarlet and Violet’s open-world design also means there are more places to run into Team Star (this generation’s Team Rocket equivalent). During one event, I had to break my way into a barricaded compound while using the new auto-battle system to take down 30 different monsters before my team ran out of HP. After that, I had to battle one of Team Star’s leaders while she rode a huge vehicle, which had a massive health bar to match. Meanwhile, standard combat still consists of turn-based battles with each monster having access to four different moves. And when it comes to catching wild Pokémon, your best bet is still to whittle down their health with attacks and status ailments before tossing a Pokéball at them. There’s no need to aim your throw like in Legends: Arceus.

Nintendo

But for Scarlet and Violet Gamefreak has added a new twist called Terastallizing, which allows a Pokémon to change their normal type to its hidden Tera Type. Take for example Tyranitar, which is normally a rock/dark type but changes to ghost type when Terastallized. This unlocks new ways to punish your enemy’s weaknesses while also giving you access to the new Tera Blast TM so you can take full advantage of your Pokémon’s more powerful altered state.

Alternatively, for people who like more cooperative fights, there are four-player Tera raid battles that allow you to team up with friends to catch Pokémon with rare Tera types. And unlike traditional combat, there’s no turn order to follow. You can spam moves to your heart’s content and if you get knocked out, you can cheer on your fellow trainers while you wait to be automatically revived. As someone who has long thought Pokémon’s core combat system has needed an update, raid battles are a lot of fun as a break from the main story, even if they do feel a little button mashy.

Nintendo

And these are just some of the bigger changes. Gamefreak has tweaked a lot of other mechanics in a way that makes the whole franchise feel fresh again. So let me list a bunch here rapid-fire style. Instead of the standard eight gym badges to collect, now there are 18. Character customization is way deeper and can be changed at any time from the standard menu screen. Also, other trainers won’t initiate a battle on sight as they have in the past, you actually have to walk up and engage them on purpose. There’s even a new auto-heal feature that uses potions from your inventory to recover HP after battle, which saves you time sifting through menus over and over again. And what could have the biggest impact on Pokémon battles in Scarlet and Violet is that now you can now craft your own TMs.

Nintendo

So while I only had a little more than an hour to play Pokémon Scarlet during my preview, I’m really happy to see Gamefreak mess around with its traditional format. The world is big and beautiful, there are now three main storylines that you can complete as you choose and there are a lot of other remixes and quality-of-life changes that make the series feel like it’s gotten a reno and a fresh coat of paint. And we haven’t even talked about all the new Pokémon yet.

I normally always go with the plant-type starter, but this time around I already know I’m choosing Fuecoco. There’s something about his goofy toothy grin I just can’t ignore. Then there’s Lechonk, which is a masterful play on words, and one of your rival’s main Pokémon Pawni is so cute and fluffy that I almost can’t handle it.

Nintendo

Honestly, I can’t remember the last time I was this excited for a new mainline Pokémon game. My only small concern is that I did notice a bit of frame-rate choppiness in some areas, which could indicate that Scarlet and Violet’s new open-world design is really taxing the Switch’s horsepower. However, since my time with the game was in a development build created for this preview and not a full retail version, it’s difficult to say if we should expect similar performance upon release. Regardless, I can’t wait to play more when Pokémon Scarlet and Violet officially go on sale for the Nintendo Switch on November 18th.

On November 2nd, the original Mario Party game and its sequel will be available on Nintendo's Switch Online service. The games were first released in the late 90's for the N64 and feature board games with various themes that you can play together with up to four friends. Like with every board game, you roll a dice to advance. At the end of each turn, you play a mini-game — some of them are are solo games, but others make you cooperate with or play against friends. Or CPU-powered bots... in case you don't have anybody to play with. The first Mario Party has 56 different mini-games you can play, while the second one has 65, including duel mini-games that weren't available in the debut title. 

Although these two will be available on the service within a couple of weeks, Nintendo has lined up several more N64 games for addition. In 2023, the gaming giant will add Mario Party 3 to Switch Online's selection, along with Pokémon Stadium and Pokémon Stadium 2, which are strategy games that don't have storylines. Since all the titles we've mentioned so far were originally released for N64, that means you'll need a Switch Online + Expansion Pack subscription to be able to access them. The tier will set you back $50 for an individual membership. That's just a bit more than $4 a month, which is also what the basic subscription costs, except you'll have to pay for a year-long membership at once. 

GM's goal to sell nothing but EVs by 2035 is well on its way with massive demand already for the GMC Hummer EV and the Chevy Silverado. The automaker took to social media on Thursday to unveil its third electrified offering and the burly-looking Sierra Denali EV that the company revealed does not disappoint.

Officially, it's named the GMC Sierra EV Denali Edition 1 and it'll start shipping in early 2024 with an MSRP of $107,000 plus dealer fees. The Sierra is built on the same Ultium battery technology as the Hummer and Silverado so GM estimates the Sierra will have 400-plus miles of range on a full charge (80 miles more than the 2024 Blazer EV announced in July), offer 574 HP/785 lb-ft torque, 22-inch rims and the ability to tow up to 9,500 pounds. 

On a DC fast charge, the Sierra should be able to tack on 100 miles of range with every ten minutes of station time — assuming you spring for the 800W electrical architecture, which is looking to be an optional feature along with four-wheel steering and crab walking capabilities. Like other Ultium vehicles, the Sierra will offer bidirectional charging, enabling it to power household appliances for up to 21 days, GM's product site reads. A subscription for GM's SuperCruise hands-free ADAS system will be included for three years as well.

The Denali is the first of three Sierra EV variants slated for release in the next few years. The standard edition Sierra EV Elevation will arrive in early 2025 with 18-inch rims. The off-road ready AT4 will arrive a year earlier in 2024 and offer two additional inches of ground clearance from the base Elevation.

Konami's Silent Hill 2 remake for PC and PlayStation 5 isn't the only reimagining of the classic 2001 game on the horizon: The company just announced that the story is also being adapted into a new major motion picture. Return to Silent Hill will apparently serve as a direct sequel to the original 2006 adaptation, and will be helmed by the very same director, Christophe Gans.

The project seems to still be in the development phase. There's no teaser trailer, just a handful storyboard images and pieces of conceptual artwork. Gans spent most of the announcement talking about the plot of the game itself. "We decided to go back to the best of these stories," he said during Konami's Silent Hill Transmission live stream. "The film tells the story of a young guy coming back to Silent Hill, where he has known a great love — and what he's going to find is a pure nightmare." 

Victor Hadida, who also worked on the 2006 film, is also returning to produce, and says that while the project is planning to give the franchise a modern twist, staying true to the spirit of the original game is a key focus. Gans seems to agree, calling the original Silent Hill games "great artistic achievements."

Hearing Christophe Gans talk about the project is genuinely interesting, as the director ponders the unique challenge of translating the immersive narrative that only a video game can deliver into a shorter 90-to-100-minute experience. We won't see how well he manages it for quite some time, however. Return to Silent Hill does not yet have a release date. 

Silent Hill fans, hold onto your butts. Konami today dropped a ton of news about the future of its iconic horror franchise, and aside from confirming a long-rumored remake of Silent Hill 2, the studio revealed three new games in the same universe: Silent Hill Townfall, Ascension and f. They all sound like incredibly different experiences.

Townfall comes from Annapurna Interactive and No Code, a Glasgow studio known for strong narrative skills and horror world-building in titles like Observation and Stories Untold. The short teaser for Townfall features an old-school pocket television clipping through tense conversations and disturbing scenes, and it looks to be the most traditional Silent Hill game of the trio.

Ascension is the least game-like installment here, but it comes with a big name attached: JJ Abrams. It's an interactive streaming series where "the entire community shapes the canon of Silent Hill," and its tagline is "Face Your Trauma Together." Ascension comes from Abrams' studio, Bad Robot, and Genvid, a company that produces interactive live shows. It's described as "a new form of entertainment that blends community, live storytelling and interactivity." Ascension is due out in 2023.

And then there's Silent Hill f, a game that sounds like an exciting departure for the series. It's coming from Ryūkishi07, a creator known for crafting acclaimed visual novels with psychological horror and supernatural mysteries at their core. The teaser for f is gorgeous and gruesome, featuring a young woman as she's consumed from the inside-out by the tentacles of a flesh-eating plant. A YouTube description for the teaser says the game is "set in 1960s Japan featuring a beautiful, yet horrifying world." The video only gets bloodier as it goes, so dip out early if it's making you squirm — or lean in and get a good look, you lovely freak. There's no word yet on a release date or platforms for f.

And that isn't where Konami's renewed interest in Silent Hill ends — alongside Bloober Team's remake of Silent Hill 2, a new movie called Return to Silent Hill is in the works from Christophe Gans, the director of the 2006 film adaptation.

Ikea has teamed up with Kodiak Robotics, a company that's working on self-driving technology for long-haul trucking, to test driverless deliveries from its warehouses. Since August this year, an autonomous heavy-duty Kodiak truck has been delivering furniture from an Ikea distribution center near Houston to a retail store near Dallas every single day. While the truck has a backup driver behind the wheel who's in charge of picking up the loaded trailer and of overseeing the delivery, the truck runs autonomously over long stretches of highway during its 300-mile, one-way journey.

With this partnership, Ikea is hoping to have a better grasp of how autonomous deliveries can make long-haul trips safer and could lead to better working conditions for truck drivers. While Kodiak's trucks aren't electric, it's worth noting that a previous study by the UC San Diego (PDF) using another company's vehicles show that autonomous trucks are around 10 percent more efficient than their traditional counterparts. According to Forbes, the two companies agreed to a three-month pilot program, but if it all goes well, they could sign a multi-year deal that would cater to a number of Ikea stores and warehouses. 

The Swedish home furniture brand also embraced other types of technological advances over the past few months. In June, it launched a new AI-powered app that can scan rooms using LIDAR so that it can create 3D replicas you can design with Ikea furniture. It also made EV owners feel more welcome by signing a deal to install Electrify America's fast chargers in more than 25 of its stores in the US.

After announcing it nearly a year ago, Mercedes-Benz is finally rolling out Apple Music's Spatial Audio in select electric and luxury vehicles. The Dolby Atmos-powered surround sound audio already works on multiple Apple devices including the HomePod speaker, Apple TV and AirPods headphones, but it's the first implementation in vehicles.

"Mercedes-Benz drivers who are already subscribed to Apple Music gain immediate access to an ever-growing selection of songs and albums available in Spatial Audio," the companies said in a press release. And if you're not an Apple Music subscriber, select Dolby Atmos content will be available from Universal Music as well. 

The feature will be available in the select EQS and EQE sedans and SUVs (including the new EQE SUV), along with Mayback and S-Class vehicles. To use it, you'll need to own a vehicle with the MBUX interface and optional 31-speaker Burmester 3D or 4D sound systems, an option that starts at $4,550 on top of the price of the vehicle (the 2023 EQE 350 sedan is expected to start at $70,000 or so). The technology will come to other models "soon," according to Mercedes.

Apple Music's Dolby Atmos implementation creates a 3D soundstage by spreading sounds across different channels, though the level of the effect depends on a song's mix. In the Mercedes implementation, the spatial audio effect will come from six of the 31 speakers located above the driver. Other speakers include four near-ear speakers in the front seats, eight sound transducers (two per seat) and two amplifiers that pump out 1,750 watts of power. 

When you think of esports, Tetris likely doesn’t come to mind. Let alone NES Tetris played on original hardware. Yet, this weekend at the Portland Retro Gaming Expo a new Classic Tetris World Champion (CTWC) will be crowned, and it’ll likely be the most hotly contested, highest-viewed tournament in the game’s almost 35-year history.

Classic Tetris has seen an explosion of interest in the last few years but it’s fast approaching a crossroads. It needs to either professionalize or accept its destiny as a curious, if cozy, corner of the gaming world.

The trouble is, even the top players aren’t sure a professional league is realistic. “Do I think this could become a viable esport? Absolutely not.” Fractal161, a competitor with a very real chance of winning this weekend’s World Championships, told Engadget.

The annual event in Portland remains the game’s most prestigious tournament, but for the rest of the year, Classic Tetris fans can be found at CTM – Classic Tetris Monthly – a more informal, but arguably more important competition for the game.

“CTM was created by a streamer called Friday Witch in December 2017, and it was more just a casual kind of community thing.” Keith “vandweller” Didion, CTM’s current organizer and perennial host told Engadget. He took over the tournament organization in October 2018.

Since then, CTM has gone from barely scraping together enough players for a bracket, to hundreds of players competing in multiple skill levels every single month. The original concept was one 16-player tournament, but that meant anyone that wasn’t good enough would never get to play. “When I took it over my kind of pledge to the community was everybody who submitted a qualifier will get to play” Didion said.

Both CTWC and CTM offer prize pools but they are modest in comparison to the seven-figure worlds of something like Fortnite. If you win CTWC outright, you’ll take home $3,000 with the rest of the $10,000 purse being divided between the next 15 placements. CTM, on the other hand, typically rewards the top eight placements, but the purse is entirely user contributed, so it varies month to month. Typically the pool reaches around $3,500 with half that going to the overall winner.

“I think for a lot of top players, since we're all kids, we see this as a lot of money. Regardless of whatever it ends up being.” Fractal added. This may be so, but once these players are old enough to start having to pay their own rent or insurance premiums, that perspective is likely to change.

The fact that CTM’s purse relies on donations might present a problem longer term: “We have someone called ShallBeSatisfied that contributes $1,000 - $2,000 in the month. So you have this other person dogwatchingtetris, the same thing there. This individual ScottGray76, he contributes a good amount on a monthly basis.” Didion said. In short, the financial incentive of playing in CTM lies broadly in the hands of a few individuals.

Right now, CTM effectively runs at a loss. Didion certainly doesn’t pay himself. There is some income from Twitch and YouTube but that’s used to pay community members for restreaming games and other contributions they make. “We are starting to explore sponsorships and things like that. But I'm not very good at it. So I'm trying to bring in people that know more than I do, or are just better at that kind of stuff than me,” he added.

Classic Monthly Tetris

As Didion explains, so far there’s only been one from an enthusiastic fan who reached out asking if they could sponsor last month’s tournament for $100. “Sure. Let's do it. I'm excited by that just because that's how I want the sponsorships to be, like something I care about, or people in our community.”

Didion obviously cares deeply about the community he’s built and competitive NES Tetris generally. Even his players think he should be more open to making it profitable. “He says that he runs this at a loss and that's just ridiculous to me.” Fractal said. “I think that he is entitled to a share of the prize pool, if he desired, this is standard for lots of tournaments.”

This is where the next, slightly more delicate issue comes in. CTWC aims for absolute authenticity: All games are played in person (bar the pandemic years) on original NES consoles plugged into CRT televisions. The game is played exactly how it was the day it launched.

With CTM, Didion’s unwavering commitment to making the game accessible means he doesn’t have the luxury of making sure everyone has their own NES and CRT and copy of the game. The tournament happens exclusively online, so he has to allow competitors to play with what they have. Standardizing would be a massive expense.

What’s more, In 1989, when NES Tetris was released, level 29 was most likely designed to be the end of the game. The speed increases so much it’s unplayable earning it the name “killscreen.” Today’s players have mastered techniques to carry on well past level 29 and that requires light modifications to the game for the score to display correctly as the original never expected anyone to accumulate more than 999,999 and thus it cannot display a number higher than that.

Likewise, CTM is where many world records are broken. With players now able to go on almost indefinitely, and new records harder to achieve, not all spectators are enjoying the marathon matches according to Fractal. “I've heard a lot of testimonials about how they don't really watch the killscreen anymore because it's just not fun. I think it's different when you catch it live personally.” Didion agrees. “I think for this esport to grow I don't think that we can continue to have endless chase downs, post killscreen.”

With the game effectively playable forever, matches have gone from a place where records are broken to sometimes, feeling like a broken record. To address this, and make matches more exciting, CTM has modified the game for its highest bracket so that at level 49 it doubles in speed – something known as “double killscreen.”

Other small changes have been added too. Early matches were really just two people playing Tetris at the same time, with the victor being whoever recorded the highest score. More recently, CTM has added the ability for games to use the same random number “seed.” This ensures both players get the exact same pieces in the same order making it a true like-for-like showdown.

It’s these modifications that could pose the real issue for CTM’s growth as an esport. The use of emulators generally has always been something of a legal gray area when using copyrighted games. Modifying and distributing ROMs is a slightly darker shade of gray (no money is changing hands for the ROMs in CTM). Nintendo is famously aggressive against any fan versions of its games being made available online, but ironically, the bigger barrier might be The Tetris Company itself.

Formed by Alexey Pajitnov, the creator of Tetris, in 1996, the Tetris Company holds the worldwide rights to both the game and the brand. Didion described the company’s relationship with the community as “mostly benign neglect,” while Fractal is said it had a history of “somewhat aggressive takedowns.” The Tetris Company, for its part, is a major sponsor of CTWC and is actively encouraging new ways to play the game via Tetris Effect Connected on modern consoles.

Ironically, a lot of the challenges competitive NES Tetris faces – clunky old hardware, glitches in the game and a true online multiplayer mode are theoretically solved by Tetris Effect Connected’s Classic Score Attack mode. It’s essentially a modern yet faithful reproduction of NES Tetris playable on Xbox and PC. It supports native two-player battle modes and was even developed with a legendary player from the Classic Tetris scene - Greentea.

I asked Fractal why players don’t migrate over to the “official” version that could still be used for CTM competitions. “mainly we're all comfortable with the status quo, so there's no big incentive to change,” he told me over Discord. “and the negative feedback loop of nobody wanting to play because there's nobody to play against.”

In many ways, this sums up the paradox neatly. Authenticity appears to be crucial to the lure of the game. Despite some practical concessions from CTM to make NES Tetris more accessible and interesting to watch, the original game with all its hidden quirks and secrets is as much a part of it as the scoring and gameplay is.

But this need for authenticity is also what’s preventing Classic NES Tetris from being able to grow into itself as an evolving esport. CTM’s loyal host does see some ways around this. “There could be a team element to it in the future. If we were to continue, and this would allow the teams to market themselves or their franchises as owners of these teams, I don't know.”

He had toyed with building “characters” around the players, similar to other sports. “One of the problems is everybody's so young, so they haven't been around long enough to have stories you're just like, ‘Oh, I was born in Michigan and now I'm 16.’ Okay, all right, great.” But it’s clear that whatever happens next and however it evolves, Didion will likely be the person making it happen.

Right now, the community CTM has created appears to be far more special and interesting to everyone involved than any financial incentive. It’s hard not to get the feeling that it’s less about preserving the integrity of NES Tetris, as it is about keeping this collaborative, genuinely connected community as it is, without letting the pressures of professional play or the looming specter of Mountain Dew-style sponsorships from taking that away.

Or in Fractal’s case, good friends and questionable fried chicken is all you need. “I'm not going to CTWC to win the prize pool. I'm going to hang out with a bunch of people that I only know online. And go to Raising Cane’s with like a bunch of people who really love Raising Cane’s for some reason.”

The Dead Space remake has to be better than Dead Space. The original came out 14 years ago and imploded common ideas of what a horror game should be: It decreased the power of the headshot and stripped away all on-screen icons to immerse us in the ravaged corridors of the Ishimura, where we were stalked by half-human monsters with freakishly elongated limbs. Dead Space was terrifying and thrilling and surprising, and these emotions have only made the game shine brighter in our memories. This is the version of Dead Space that the remake has to compete with — the one that lives only in our heads, filtered by nostalgia. It seems like an impossible standard to reach. But I think the Dead Space remake nails it — mostly.

Motive Studio and EA held a demo event for Dead Space last month, and I got to play the first three chapters of the remake, stopping just after Isaac restarted the centrifuge. This was the full game in pre-beta form and I played on PC with an Xbox controller. It was immediately impressive by modern standards: The metallic rooms of the Ishimura were filled with crisp, horrific details, and the health indicator running up Isaac’s spine was clearer than ever. Tense instrumentals and mechanical humming noises rose and fell as he explored the ship, and sharp audio cues kept the sense of impending doom alive. Some of the sounds tapped directly into my nostalgia neurons, particularly at the save stations and while picking up items.

EA

The Dead Space remake has fresh voice acting, puzzles, storylines and mechanics, and an AI-driven director that maximizes the horror of each scene. This system doesn’t randomize the behavior of enemies, but it sets off environmental features like steaming pipes, harsh whispers and flickering lights. Whatever the horror director was doing during my playthrough, it worked — I was suitably scared in every setting.

In the demo, Dead Space followed a familiar cadence of dark hallways and towering necromorphs, but it also offered a handful of surprises. For one, the pulse rifle had a new alternative fire that threw out a small proximity mine, rather than a 360-degree spray. (Nothing about the plasma cutter was changed because the plasma cutter is and always has been perfect.) And then there was the revamped zero-gravity mechanic — instead of clinging to surfaces and leaping off of them in an extended jump, the Dead Space remake let me swim through the air, opening up new puzzle and exploration opportunities, especially in conjunction with the stasis and kinesis abilities. It all felt entirely natural, as if this was what developers wanted to do with Dead Space the first time around, but our 2008 hardware just couldn’t handle it.

EA

Honestly though, today’s hardware can’t handle this version of Dead Space, at least not in its current preview form. There are no loading screens in the remake and this feature caused critical problems during my playthrough. I encountered significant and persistent framerate issues throughout the demo, particularly after walking through doorways, as background loading kicked in. My game crashed once and I voluntarily restarted it another time, after slogging through multiple scenes of stuttering animations. The framerate issues were extremely frustrating. Isaac also felt sluggish at certain points, causing me to misfire my weapons or waste time stomping on already-dead enemies. I wasn’t the only player in the room to experience these problems, though some demos seemed to run just fine from start to finish. Developers at Motive made it clear they were aware of these issues and promised they'd be resolved before release day, but my preview experience was less than seamless.

Outside of the framerate frustrations, the Dead Space remake was a delicious slice of old-school video game terror. The necromorphs attacked from the shadows and screamed with guttural, humanlike cries, their long blades and bloody intestines lit only by the glow of Isaac’s plasma cutter. The Dead Space rhythm of stasis, shoot, stomp still worked wonders on nearly every enemy, and headshots didn’t do much to stop the onslaught. Resource management was a crucial aspect of play and each monster took multiple hits to die, leaving infected limbs and tentacles strewn across the floor after each encounter. Some elevator rides were also conspicuously long, as was Isaac’s time on the horizontal people mover — developers told me this was all on purpose, not to cheat in extra loading time, but to give players a moment to breathe and think about the horrors ahead.

I screamed within two minutes of playing the new Dead Space. Even in the crowded demo room, surrounded by PR people, developers and other reporters, the remake sucked me in and scared the hell out of me. It didn’t matter that I’d played the original when it came out in 2008; it didn’t matter that I knew what to expect out of the necromorphs and NPCs; the first three chapters of the remake were tense and terrifying.

EA

More impressively though, the new Dead Space made me smile. Even in its pre-beta form, the remake felt familiar but fresh, and I could’ve kept playing all day — well, if the framerate issues had abated. This problem worries me slightly, but there’s time for Motive to address it before the game hits PC, PS5 and Xbox Series consoles on January 27th, 2023. When the remake ran smoothly, its lack of a HUD was still effective as an immersive tool, the necromorphs were horrifying, and the upgraded mechanics slid smoothly into the frantic rhythm of the game. Overall, this was Dead Space, but better than I remembered.