![]() And nowhere is this more clear than in the game’s standout setpiece: the HALO jump.ĭead Space 2 takes place across a massive space station called “The Sprawl,” essentially a donut-shaped city in space. It could add bombast while maintaining a clear connection to the horror it’s built on. It’s easy to paint the series as one that let commercial success get in the way of its minimalist roots.īut Dead Space 2 proved that it could straddle the restraint of the first entry and the excess of the third. However, by Dead Space 3, much of that subtlety was replaced with co-op, microtransactions, and boss fights against giant drills. Its atmosphere comes from quietly wandering the creaking halls of an abandoned spaceship as much as gruesome combat. And it’s easy to identify this pattern within the Dead Space series.įor a game in which you dismember monsters with a mining tool, the original Dead Space is surprisingly restrained. Resident Evil has been around long enough to experience and reset this pattern several times. It happened with Nightmare on Elm Street, Halloween, and Saw. This cycle repeats until later entries in the series barely resemble the first. If that first entry succeeds, the franchise comes back with a sequel that has a larger scope, wider target audience, and higher budget. The first entry in a series will tend to have a relatively small scale, focusing on an intimate scenario and only a few characters. Horror media often follows a predictable pattern. This essay on Dead Space 2 was written as a companion piece to the video above, also created by Jacob Geller.
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