Video Preview: Dead Space 2 Severed

Posted on February 27, 2011

VIDEO: Play as an all new character in a parallel storyline intersecting Isaac Clarke’s as you navigate the infected sprawl of Dead Space 2 Severed.


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The Horror Continues In Dead Space 2: Severed [Video]

Posted on February 27, 2011


I think gamers are still trying to figure out whether to fully embrace new DLC for a video game shortly after a game is released, but I think we can all agree that more of a good thing is never bad; even if it costs $6.99.  After scaring the crap out of us last month, Dead Space 2 is kicking off its first major wave of DLC with the release of Dead Space 2: Severed.

read more (Shogun Gamer)


Socially Acceptable

Posted on February 12, 2011

There’s more to social gaming than Facebook and developers are seizing the opportunity to mix the old with the new.

Get the full article at GameSpot

Socially Acceptable” was posted by Giancarlo Varanini on Fri, 11 Feb 2011 19:09:15 -0800

Reviews: Dead Space 2 Review Supplement

Posted on February 08, 2011

Susan Arendt reviews Dead Space 2.


Go to Source (The Escapist –

Review: Dead Space 2

Posted on February 08, 2011

The first Dead Space was just a warm-up getting you ready for this.


View Article (The Escapist –

UK Chart: Dead Space 2 claims number one

Posted on January 31, 2011

EA’s sci-fi horror sequel enters the chart at number one, with launch sales up 70 percent on the original.

Get the full article at GameSpot

UK Chart: Dead Space 2 claims number one” was posted by Jane Douglas on Mon, 31 Jan 2011 04:14:55 -0800

TalkRadar 136 – NextGenPodcast (Dead Space 2)

Posted on January 30, 2011

Dead Space 2, PSP2 news, horrible tales of poorly researched horseshit from the mainstream media, Marcus Fenix, and a community infused glitch-tacular!

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Dead Space 2 Review

Posted on January 29, 2011

Dead Space 2’s thrilling campaign and intense multiplayer make it an excellent game and a worthy follow-up to its superb predecessor.

Score: 8.5 / great

Get the full article at GameSpot

Dead Space 2 Review” was posted by Carolyn Petit on Thu, 27 Jan 2011 18:21:28 -0800

Dead Space 2 Necromorph Guide — Slashers, Infectors, Pukers, Crawlers And More

Posted on January 29, 2011

Your Face And Melee Attack Could Appear In Dead Space 2

The main baddies in Dead Space 2 are an alien recombinant virus called Necromorphs. For the necro-newbs out there, Necromorphs reproduce by reanimating dead flesh, acting as a virus by mutating bodies into different types of Necromorphs. They are definitely a narcissistic bunch of aliens as their only goal is to simply make more of themselves, but they’ll scare the poop out of you while they do it.

While playing Dead Space 2 you’ll encounter many of the same enemies you met on the Ishimura in the original Dead Space, but DS2 wouldn’t be a very good sequel if there weren’t a plethora of new Necromorphs hell-bent on killing you. The best thing about Necromorphs is that while they’re like snowflakes, unique in their own special way, they have weaknesses as well. Like heat. You know, because heat melts snowflakes. Luckily, there’s also a flamethrower in DS2.


Infectors are winged Necromorphs, they use their wings to hover and to hold down their victims. As their name suggests they enjoy spreading the necromorph virus and infecting dead bodies. The good news is that they tend to avoid living flesh unless they detect that a threat, but the bad news is that they make more Necromorphs out of dead tissue. Word to the wise: shoot off the mosquito-like proboscis to kill them.

In order to survive you’re going to want to become familiar with all the Necromorphs, so read on for our guide to the creepy, virus-borne baddies that are these walking dead mutations.

Dead Space 2 Necromorphs Guide -- Infecetors, Pukers, And CrawlersSlashers

Slashers might be the first Necromorph you come across. They have razor sharp scyth-like arms that come in handy when ripping through human flesh, or any kind of flesh for that matter. With the kinesis module I highly suggest sending a few metal rods through their chests. With the stasis module, put them in pause and take off their limbs shot by shot. Slashers are fast; no matter your weapon of choice make sure to take out their arms first, because even without the legs they’ll keep crawling after you. The good news: you can uses those arms as powerful weapons via kinesis.


Cysts look like gigantic, infected pimples, and are activated when you’re close to them. Once you’re within proximity a sack will open and send out short tentacles, and if you get much closer it will shoot an explosive pod out at you. If the sack is on the floor, shoot it from a distance (or kinesis an object at it) or get close enough to activate it and then haul ass out of there, as the pod it shoots up in the air will plummet down and kill it. But if it’s on a wall or ceiling, you may have to take it out with ammunition as the explosion might not reach wherever it’s anchored.

Dead Space 2 Necromorphs Guide -- Infecetors, Pukers, And CrawlersLeapers

Instead of legs Leapers have a long tail with a stinger at the end. They can crawl up walls and across ceilings, which means you could come across one at the most inopportune times. Plus, they move very quickly so you’ll have to nail them with stasis quickly to keep them from slithering. Leapers and Infectors are both vulnerable to stomps when they’re on the ground, so keep your boots handy. Watch out for these guys in zero gravity, because their wall-crawling abilities make it possible to drop in from anywhere.


As you may have guessed. the Pregnants have a sack belly. Don’t shoot it in the belly unless you want to release the Swarm (Hint: you don’t) because then you’ll have to deal with the Swarm as well as a crawling Pregnant. It’s probably best to just shop off their head, which is best done by putting them in stasis and removing their blades first.


If you’re only dealing with a two or three Packs a few melee attacks should take care of them. But if there are a lot of them, or If they begin surrounding you, kill them, kill them fast. A good tactic for this is to run away in a straight line so they’ll follow you, then quickly stasis the lead Pack, then hit him with a Javelin shot. Switch to alt-fire immediately, and you should chain-fry them with lightning. The Line Gun also works well here, chopping them up like weeds, or even fire. Yeah, fire is definitely good in this situation. You don’t want these little guys swarming you.

Dead Space 2 Necromorphs Guide -- Infecetors, Pukers, And CrawlersPuker

If you see a Puker, keep your distance. This is generally a good rule for anything or anyone who fancies projectile vomiting. Pukers have two attacks, the standard puke attack works from a few a feet away and does damage to you, while the second is sticky will slow you down tremendously. Luckily, they telegraph this attack with a big inhale, so if you’re keeping watch you’re probably notice it. Be careful though, the liquid it spurts out upon death can hurt you too. Lovely. So keep a close enough distance to keep it from launching the slow attack, put it in stasis and then kill it while making sure you aren’t too close.


The Swam are very diminutive in size, so one or two might not be a problem. But as the name suggests there tend to be many of them. To defeat them use area attacks with weapons like the flamethrower, or the alt-attacks provided by the Pulse Rifle, Line Gun, Contact Beam, or Javelin Gun. If there’s only a couple of these little things around, just let them crawl up your body and then pound the action button to squash them.

Dead Space 2 Necromorphs Guide -- Infecetors, Pukers, And CrawlersSpitters

The Spitter is a type of Slasher and can be killed using the same methods. Unlike Slashers they also have a projectile attack that you can send hurtling back at their faces with kinesis. Otherwise, treat them like standard Slashers and chop off those sharp limbs.


Lurkers are infected babies who has three tentacles that emerge from their backs which are used for hurling barbs at you. Their bodies can handle a lot of damage so don’t waste your bullets shooting them. Instead, focus on dismembering it, tentacle by tentacle. Line guns and plasma cutters work best for this, and keep a sharp eye out for them in zero-g as they can adhere to any surface. They’ll also reposition themselves to get a better shot at you, so take them out early.


These are humanoids which look like they’ve been glued onto walls, and have multiple tentacles emerging from their middles. Guardians can kill you with one hit, which means you can’t simply run past them. Plus it will shoot pods out of its stomach which will skitter across the ground and launch projectiles at you from a single tentacle. Ignore the pods if you can and take out all of the tentacles to kill it. Explosive canisters work well with kinesis, or stasis them and blast the tentacles one by one so they can’t retract.


These guys look like they’re lugging a gigantic, glowing, yellow sack, which will explode if you shoot it. Unfortunately, they are often at close quarters, and the resulting explosion will result in immense injuries for you. If it’s far away, pop that sack with a projectile weapon. But if it’s nearby, stasis it and run, or just run. Shooting that sack at close range is a very, very bad idea.

Dead Space 2 Necromorphs Guide -- Infecetors, Pukers, And CrawlersCrawlers

These are mutated dead babies who walk upside down on their hands and feet with swollen bellies full of explosive goo. Just about every part of the Crawler’s body can trigger an explosion so keep a safe distance. If you can, lure it close to other enemies before blowing it up, or grab it with kinesis then toss it into another enemy. Two Necromorphs with one stone.


When attacked Dividers break into smaller parts, and then each of those parts will attack you. Use stasis while these parts are close together to kill them. If they manage to separate, get your back up against a wall as fast as possible so you can see where they are coming from. You’ll often hear these things before you see them, so keep your ears open for their eerie groans and then don’t let them divide.


Nests are immense Necromorphs with three waving arms that have yellow vulnerable spots on them, but they will also hurl projectiles out at you. Nests can be killed with a single shot from the Line Gun’s alt-fire, but if you aren’t carrying one or are out of ammo for it, then you’ll have to take it down arm by arm while avoiding the projectiles. It will stop moving for a bit after releasing projectiles, so take your time and watch your air meter as you encounter these guys in space where breathing air is in extremely short supply.

Dead Space 2 Necromorphs Guide -- Infecetors, Pukers, And CrawlersBrutes

Brutes might be intimidating but as long as you remember their shoulders and knees are their weak spots you’ll be okay. You’ll also want plenty of stasis with these guys, and they’ll track you pretty well so don’t think you can just walk up to them and fire away while they’re frozen. They have a nasty projectile attack that shoots out of its belly, and with practice you catch that via kinesis and lob it back at them. Handy if you’re low on ammo.

You’ll encounter other types of Necromorphs throughout the game, and as a general rule any glowing body parts are indicators of weakness. Stasis won’t work against all of them, but it’s always worth trying against the larger and more powerful Necromorphs, since you won’t last against most of their attacks for more than a couple of hits.



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Dead Space 2: Best Deaths

Posted on January 27, 2011

VIDEO: From being puked on, cut in half, or succumbing to the vacuum of space, Isaac Clarke has a million ways to die in Dead Space 2, these are some of the best.


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Dead Space 2 Review

Posted on January 26, 2011

The “Previously, on Dead Space” video is a nice touch, though it reminds me how similar Dead Space 2’s premise and gameplay are to the last one. This time Isaac Clarke awakens on a facility on Saturn’s moon Titan, three years after the rescue-mission-gone-awry on the mining ship Ishimura, and finds a very familiar situation: Titan is overrun with space zombies called Necromorphs that have set about the meticulous dismemberment of everyone in sight—and he’s still having hallucinations of his dead girlfriend.

It also highlights that DS2 is a better sci-fi horror game, in a lot of subtle but important ways. While the plot is similar, the storytelling technique has changed for the better—Isaac has recovered from a bout of Gordon Freeman Syndrome (inexplicable muteness), and the voice performances are excellent. But the real star is the environment: for the entirety of the eight-hour campaign, Visceral does an expert job of making you feel in constant peril, alternating between tingling your spine with unsettling scenery and audio and trying to rip it out of your body by way of horrific monsters.

This is what happens if you play Twister during the space-zombie apocalypse.

New blood

Fighting a Necro is different from other videogame enemies, in that shooting its head is like shooting a grizzly in the foot—it barely slows it down, and just makes it angrier. Picking off limbs takes them down quicker, requiring multiple accurate shots per target—which makes the smooth controls greatly appreciated.

DS2 has a zoo’s worth of different varieties of spitting, charging, wall-crawling nasties (including evil space-babies), and each puts up a hell of a fight. The first time I was hunted by the new Stalkers was one of the most frightening moments of the game—I caught a shadowy movement behind some crates out of the corner of my eye, but I found nothing there. I heard a chirping noise, and spun around to see a velociraptor-like creature charging toward me. With a scream it smashed me to the floor, then nimbly darted away, intelligently using cover to escape before I could hit its legs. Then, more chirping—and I realized I was surrounded. Clever girl.

Stalkers are swift, agile pack hunters. Also, they’re jerks.

Most of the 15 stages have a unique look to them (as unique as possible given that they’re mostly metal corridors), from the wrecked residential areas to the Necro-worshiping Unitologist temple to the EarthGov zone, and they’re punctuated by floaty zero-G areas. You have all the same tools as before—the upgradable Rig suit is equipped with time-slowing and telekinesis powers—but the levels are designed well and don’t overuse any one gimmick. That includes enemies that must be defeated by blasting their glowing yellow bits.

The new multiplayer owes a lot to Left 4 Dead’s example: four human players fight their way through a gauntlet of objectives while four class-based Necro players and AI-controlled backup zombies assail them from all sides. It’s fun, and produces some nail-biting finishes, but aside from making you unlock equipment with experience (which I don’t personally care for), it doesn’t do anything we haven’t seen before.

No you idiot, don’t shoot it in the head!

Overall, besides retaining the irritation of having to seek out a save station to avoid losing progress when I want to quit, DS2 is a smartly improved version of the original. It’s not a new experience, but it’s a hair-raiser nonetheless.


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Dead Space 2 DLC ‘Severed’ adds two single-player chapters, brings back DSG

Posted on January 25, 2011
Dead Space 2 DLC

While Dead Space 2 has only been on retail shelves for about … oh, a couple hours, that hasn’t stopped EA from announcing more Dead Space 2 in the form of “an all-new digital download pack that extends the Dead Space 2 story with the addition of two standalone chapters in the single-player game.” Most notably, Dead Space 2: Severed features the return of some nobody named Gabe Weller and … Lexine “Dead Space Girl” Murdoch. Some of you may recall a certain blog’s fondness for DSG … we still remember seeing her for the first time (and haven’t gotten her out of our heads since).

The only other details we have on Severed include a release window of “soon” for both the Xbox 360 and PS3. And yes, PC gamers, we realize that means your platform of choice isn’t included and, since we wouldn’t want anyone to miss out on an opportunity to be reunited with Ms. Murdoch, we’ve asked the publisher to clarify what’s going on.

JoystiqDead Space 2 DLC ‘Severed’ adds two single-player chapters, brings back DSG originally appeared on Joystiq on Tue, 25 Jan 2011 10:05:00 EST. Please see our terms for use of feeds.

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GameSpot LIVE: Blood, Bullets, Blades

Posted on January 25, 2011

GameSpot AU invited 400+ of its readers to the Oxford Art Factory in Sydney to get hands on with Dead Space 2, Crysis 2, Dragon Age 2 and Bulletstorm, as well as have a live Q&A with Dead Space 2 producer Shereif Fattouh! Check out the highlights!

Read and Post Comments | Get the full article at GameSpot

GameSpot LIVE: Blood, Bullets, Blades” was posted by edmondt on Mon, 24 Jan 2011 21:34:07 -0800

Sound Byte: Meet the Composer Behind Dead Space 2 – Jason Graves

Posted on January 25, 2011

Find out what it takes to create a bone-chilling soundtrack for a horror game.

Get the full article at GameSpot

Sound Byte: Meet the Composer Behind Dead Space 2 – Jason Graves” was posted by Sophia Tong on Mon, 24 Jan 2011 15:54:36 -0800

Dead Space Composer Jason Graves Explains The Unsettling Score

Posted on January 24, 2011

Award-winning composer Jason Graves has provided his musical talents to the gaming industry for the past eight years, and has successfully caused gamers to jump out of their seats with his work on the scores for the Dead Space franchise. The classically-trained composer explains what it takes to craft “the scariest music anyone has ever heard.”

Composing for the video game industry

Originally I had my sights set on film and television music, and this was in 1995. Nobody knew who I was. I didn’t know anyone or have any connections. All the jobs I got were “Copy this score, we want it to sound like Star Wars. We want it to sound like Rambo.” Creatively it just wasn’t a lot of fun. I did that for a while, but I decided out of it. I was really busy and working a lot, but it wasn’t fun.

I got my first game about eight years ago and it was King Arthur. They wanted it to sound like Hans Zimmer, obviously, because he was going to score the film. That was the only musical direction I had. I got to write 40 minutes of music, whatever I wanted, as long as it more or less sounded like Hans Zimmer. No corrections, tons of fun, and it was like “This is what I’ve been looking for.” I’m getting paid to write music and I get to write what I want to write.

Landing the Dead Space gig
I believe there was a general demo call out from EA and they were just looking for stuff. They knew they wanted scary music. I’m actually a classically trained composer and my background is in 20th-century music (that’s what I originally studied in school) so I had some stuff I could submit that was kind of out there in terms of horror music. They had a couple of suggestions from film so I put together one custom piece and that’s how they ended up hiring me. The original audio director called and was just raving about how on point everything was that was sent. It was exactly what they were looking for. It was kind of the easiest job I’d ever gotten. Even when I was submitting stuff it was like, “Is this really what they want? I’ll put it in and we’ll see.”

Preparing for the job
I definitely wanted to avoid any kind of influence from previous games, film, or television stuff. The idea was, no small task, but EA wanted me to write the scariest music anyone had ever heard. Period. With my background in 20th-century classical music I just kind of dove into all these really modern chaotic experimental scores. Nothing electronic or musique concrete, all with the orchestra. It’s kind of where I come from anyway so it was a real natural transition for me.

Composing “the scariest music anyone has ever heard”
Essentially 20th-century music is my bible. There’s all these techniques and effects that players can do. I had a shorthand list of experimental ideas that I then went and put in front of the orchestra. The nice thing was, as with all Dead Space stuff, is we have more than one recording session. The ironic thing is the recording sessions always come before the music’s written. I have to get all these effects and things just so that EA can hear what it sounds like. I can say I’m going to have all the string players tap the wood on their instruments with their fingernails when there’s no pre-recorded sound for that. The idea was get the palette of sounds down first and then write the music with those sound palettes. Then we would go halfway through the music production cycle and have another recording session and build on what we got the first time.

The idea was all the crazy stuff is what we got the orchestra to do and then I would come back and analyze everything. We’d have hours of recording, literally we’d record 50 minutes every hour and I would then have 50 minutes of material when we left. There’s no wrong notes. It takes longer for me to explain [to the orchestra], “Yes, yes that’s what I want you to do.” After the first hour the musicians understand that there are no chords. There are no unisons. That everything is just barely controlled chaos. So I would take all these things back, 10, 12 hours of material just after one of these sessions then analyze it, cut it all up, figure out how to incorporate it into pieces of music, and then write pieces of music around or with these textures, which is why the score has such an unusual yet horrific sound.

Creating an infected sound
I wanted to try to do something as original as I could without having it sound too derivative, and obviously with horror music there’s going to be some “been there heard that” kind of stuff. There are things that work and are used all the time, but I try to put a new slant on them to make everything different. In a way, the Necromorphs in Dead Space are these humans that have been infected and mutated as monsters, and I thought that was the perfect thrust for me as a composer to take the music, which is being performed by humans, but just mutate it, infect it, and twist it around into this completely unrecognizable sound. It’s the fact that you don’t recognize what it is that scares you.

A cacophony of chaos
I’d have 60 string players in the room by themselves, or 12 or 16 brass players in the room by themselves, and I would just have everyone play a random note. Of course everyone had questions [laughs]. I would say, “Play any note you want” and everyone has got a question. “Really play anything!” and that’s where a lot of the ambient stuff that you don’t even realize is music actually comes from. Especially with the strings because it’s just this texture, a sound effect like the tone of a room, but it’s off somehow and it doesn’t necessarily sound like strings or brass or woodwinds when they play it because traditionally that’s not how you have them play. If you’ve got 60 string players you maybe have five or eight notes that are being played, I’ve got 60 different notes that are all being played at the same time. That was one of those ideas of the unknown making you uncertain, unsettled, and then building up anxiety.

The other very common one in traditional 20th-century stuff is just have them play a bunch of notes really, really fast. So if you have a monster right on top of you, you’ve got 60 players playing 60 different notes all at the same time super fast. It’s just this cacophony of chaos that’s barely controlled. What’s nice is the antithesis of each other because one is calm and spooky, and the other one’s completely in your face, bubbling and nerve-wracking.

Building tension that can make bunnies seem terrifying
My role is to build up the tension, building up the anticipation and anxiety before something actually jumps out at you. Once you’re fighting, sure I’m doing combat music that puts you on edge, but the key to the score working really well in the game was all the ambient stuff before you get attacked. That way you’re really unsettled, you’ve got this really creepy feeling, and you’re not exactly sure why. Sure where you’re walking looks kind of creepy, but nothing is happening yet. I figured if I did my job right you could have a giant floppy bunny rabbit hop from around the corner and you’d still jump out of your seat because the tension was just so intense you could hardly stand it. You take the music away and that just doesn’t work. That’s the power of music in the games. It’s the unheard, unknown aspect that you could just subconsciously get the player and unhinge them a little bit. They don’t know why they just know they don’t like it.

Effectively syncing music to onscreen action
A lot of the interactive aspect of the music is owed to the original implementation of the first game, and we just kind of doubled up on the second game, so all the music I deliver is anywhere between four and eight streaming stems. The idea is the closer the player approaches a physical marker that is marked as being scary (like the corner of a really long hallway) the more frenetic and crazy the music gets the closer you get to the corner. Or it [the marker] could be on a Necromorph that could be moving around, so even if you’re standing still, the closer he gets to you, the music starts building up. Say you’re walking toward the corner, and it’s got implementation into it that the closer you get the scarier the music gets, and you’re like, “Um, I’m not going to do that” and you stop, the idea with the music is it’s still moving, but not increasing anymore. Then you can walk away and go back toward the other end of the hall and the music goes back down. It’s really an interactive system that allows seamless integration. I think it works great.

So what I end up doing, I have a two-tiered approach. The first one is the creepy music and do that in a couple of layers and compose them knowing that they’re going to be stacked on top of each other in an additive way. The more layers get added on, the more creepy and suspenseful it gets. Eventually somewhere in there I’ll start some combat layers as well. Everything depends on different events in the game, but the combat music kicks in when something is actually attacking you and that also has varying degrees. If there are guys down the hall running toward you, it’s a moderate pause, but once they’re giving you a hug and chomping on your neck, the whole orchestra is going crazy.

Go to Source (Game Informer)

Game Scoop! Podcast: Dead Space 2 Review

Posted on January 23, 2011

Plus: 3DS, Final Fantasy XIII-2, and Gears of War: Exile.

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Today on the Spot – Dead Space 2, Spare Parts

Posted on January 23, 2011

Today on the Spot, we get caught up on the new wares coming This Week on PSN and go On Location for the multiplayer reveal for Homefront. We get double demos for Dead Space 2 and Spare Parts, and stay tuned to the end of the show for a Trivia Bonanza!

Read and Post Comments | Get the full article at GameSpot

Today on the Spot – Dead Space 2, Spare Parts” was posted by DanM on Sat, 22 Jan 2011 16:00:00 -0800

Daily Filter: January 21, 2011

Posted on January 22, 2011

Shacknews receives a slew of new screenshots and trailers for upcoming games everyday. The most anticipated titles receive their own post, because we know you’re eager to see that content. For the rest, we have the Daily Filter, a place to feature all of the media we add to our enormous database on a daily basis.

Today’s Filter features Dead Space 2, Shift 2 Unleashed, Anomaly: Warzone Earth, Two…


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IGN Girlfight Episode 35: Your Mom Will Love This Podcast

Posted on January 21, 2011

Dead Space 2 (X360)
The ad campaign for Dead Space 2 makes us cringe.

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Your Mom Hates Dead Space 2

Posted on January 20, 2011

Behind the scenes: Your Mom Hates Dead Space 2!

Read and Post Comments | Get the full article at GameSpot

Your Mom Hates Dead Space 2” was posted by DanM on Wed, 19 Jan 2011 12:34:15 -0800

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