The characters, items and holographic user interface are beautifully rendered and float superbly over richly detailed environments that are clearly labours of love but are dead spaces themselves, reminding me of Jon Toogood's La La Land, with everything and nothing at all.Īll would be lost right there if not for the sound design. Mobile gamers used to authorising pay-to-play transactions may enjoy it. There's some controversy around the microtransaction facility that lets players buy the bits they want, within reason, but purists can easily ignore it.

It's here, hopping aboard the as-you-like-it bandwagon, that Dead Space 3 truly shines.

Using the in-game workbenches, you can use space junk to craft your own weapons. You can play a 25th century MacGyver thanks to the game's ingenious use of Clarke's engineering talents. Character movements aren't as fluid as they could be, and it's a fine line between comedy and tragedy when your character is trying to stomp Necromorphs but hits only empty space, looking less like a beatdown and more like a hoedown.ĭead Space 3 could easily have gone the same way as Raccoon City Chronicles in its quest for relevance - but the thrill of shooting apart wave after wave of Necromorphs with surgical precision and stomping their bloodied remains for items adds some gloss to the experience, even if it doesn't raise it above the pack. The first full chapter is reminiscent of last year's Gear of War wannabe from the Resident Evil series, Raccoon City Chronicles, which was more laughable than lethal, and takes some patience to complete.

Dead space 3: limited edition review