They’re really dark and draining experiences. You can’t watch too many in one sitting, or you can’t watch too many in a week.

“It’s like when you watch really hardcore horror films.

Wanat definitely talks about horror, a lot.

I need a little bit of breathing space before the next big thing hits me, so that I can feel a tiny sense of control before I lose it all again. I think a lot of people loved how it ended up – that it was just constant tension from beginning to end – but personally, when I’m watching a horror film, I like to have highs and lows. In the first game, we were like, ‘Yeah, of course we’re going to have a safe room where you can catch your breath and you feel like you can still keep playing because you’re not so freaked out you want to shut the game off.’ “Unfortunately, we kind of lost sight of that at some point. “It’s something that I don’t think we nailed until the third game. “From the first game we’ve always been trying to perfect a sense of pacing” says Wanat. Then, when you see a different version of it, like when we did our first trailer, where we did a lot of elements people hadn’t seen in a Dead Space game, people said, ‘Oh my God, Dead Space is just about shooting guys with guns.’ “In retrospect, I was like, ‘Of course that’s what they think.’ That’s what we showed when we built that trailer.” But even leaving aside the trailer, the third game does have its differences from central character Isaac’s Clarke’s two previous Necromorph entanglements. The elements of the franchise, you come to love them. “I completely understand why people are asking. “You’re always trying to elicit fear,” he says. Creative director Ben Wanat says horror is a personal and a company obsession. We’ll have to wait for the reviews to drop to find out if Dead Space 3 is a crap-your-pants-athon, but Visceral Games’ view is uncompromising. New art released yesterday, from the book The Art of Dead Space, show the grand vistas that Visceral conceptualized early in the game’s life.

Dead space 3 art book