My hope is that Motive has smartly weaved backtracking into the main missions and the newly-added side quests to allow for organic revisits of prior areas, rather than making backtracking a segregated chore. It’s an admirable direction, but I’ve yet to see exactly how well it’s used across the full campaign. This interconnected design and backtracking turns the Ishimura into something closer to the Talos-1 station from Prey a huge structure that feels like a genuine place rather than a series of video game levels. As the story progresses you’re granted increasing levels of clearance, and so you can then backtrack through the now-seamless spaceship to open doors that were once forbidden. But thanks to a new Security Clearance system, you’re initially locked out of many side locations you discover. Such modifications are found hidden around the ship, and so they act as encouragement to explore every room and store cupboard. I found the new secondary abilities to be much more useful than those in the original game. The Ripper, meanwhile, can fire blades that ricochet around the room, allowing for trick shots. The Plasma Cutter, for instance, can be modded with an extended magazine and the ability to set foes alight for damage-over-time. The 2011 sequel’s influence can be found in your weapons, too, which can now be fitted with a variety of special upgrades that alter their function. The centrifuge generator puzzle in chapter three is now a genuine spectacle, while the ADS cannon repair job has been completely changed to be a dangerous space walk that amps up the tension. This obviously allows for a better sense of freedom, but segments redesigned around this ability are notably more interesting than their original counterpart. The zero gravity sequences now allow you to move freely in all directions, rather than hop from surface to surface. Many of these changes are gameplay improvements, several of which are drawn directly from Dead Space 2.
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