The Callisto Protocol review: Overcomplicated horror action

The Callisto Protocol uses horror fundamentals to fantastic effect, but eventually slides too far into action with overcomplicated combat.

As a large mechanized platform whirrs into life and sends me hurtling toward my next near-death experience, a horrifying two-headed monster pops up and attempts to make me its breakfast. How do I – the protagonist of this review – react? Do I let out a frightened cry, or lean forward for an adrenaline-fuelled battle?

Nope. I just sigh. I’m sad to say that by that point in The Callisto Protocol’s latter half, I was thoroughly over it.

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The Callisto Protocol Jacob Lee

It’s a shame because the first half of The Callisto Protocol is a brilliant game. As you start making your way through the bowels of this massive prison on one of Jupiter’s moons, it’s a thrilling experience.

Such simple horror techniques are employed to great effect. Corridors are dark and claustrophobic, enemies leap out with little anticipation, and you slowly watch as this pristine institution becomes warped and corrupted by this horrific infection.

The soundscape is fantastic, and one of the game’s strongest points. Bumps in the distance will keep you on edge as you slowly wander, giving you an intense feeling that you’re always on the brink of being attacked. When the creatures finally do come after you, their feral growls and cries are grating on the ears in just the right way, fitting their mutated appearance as their bodies slowly rot away.

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It knows when silence is just as terrifying too. It creates the perfect pace as those bumps fade, leaving you with just the sound of your own footsteps. Then, as enemies come into view, you hear their growls, and you have to make yourself quiet, letting the tension ramp up until it finally bursts as you get spotted and have to fight. Then, later on, you’ll be thrown out into a blizzard and the situation will flip, with the environmental noises obscuring the sounds of the creatures that threaten you.

The combat is a lot of fun in these early hours too. The combination of the melee weapon, ranged weapon, and grav gun gives everything a really nice flow as you rapidly switch between all three to defend yourself. It mimics the panic of suddenly being attacked as you frantically use every tool at your disposal.

It’s a lot to think about, but dodging and blocking are simple enough, with you needing to move the analog stick from side to side to avoid a strike. When I was facing these early enemies, I was having so much fun with it.

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That isn’t entirely a good thing, though. I found that I was so capable of defending myself, with so many effective tools at my disposal, that the horror started to fade away. I wasn’t limited in any meaningful way, and so it started to feel more like an action game, with the long dark corridors just serving as a waiting time before the next combat encounter.

The longer the game went on, the further it slid into action territory, and this is where the problems start to show. As the enemies got stronger and harder to deal with, things got frustrating.

As much as I liked the combat system initially, it has some pretty major flaws. Firstly, it only really works in a one-on-one situation. If you’ve got a horde of enemies around you, then there’s very little you can do about it because you can’t see what they’re doing, and thus can’t dodge. Enemies off-screen seem to only attack you very rarely, which helps, but eventually there’s just too much to focus on and you can’t deal with it all.

The Callisto Protocol has a podcast to tell the horror game’s prologue: A man wearing a spacecuit with a bronze visor looks at the screen while a giant human with an unhinged jaw stands behind him

There are stealth mechanics, so you might think you can pick off some enemies to avoid overwhelming situations. It’s a nice thought, but it very rarely works. One reason is the fact that it’s a coin flip whether the enemies around you will remain painfully oblivious to the lengthy and noisy stealth-kill animation, or if they’ll be instantly alerted and start attacking you before the animation is even finished.

The other reason is that the game loves spawning more enemies to charge at you mid-fight, so even if you do carefully start eliminating them, the room will suddenly fill up out of nowhere, and there’s nothing you can do about it.

The other major problem with the combat system is that, in the late game, it is seemingly at odds with the enemy designs. You start getting enemies that can kill you in one hit and are virtually impervious to melee attacks. The solution, you might think, would be to switch to ranged attacks, but surprise, they can one-shot kill you at range as well, and those attacks are even harder to avoid.

You’re not given much recourse at that point, you can use the grav gun to buy you a few seconds or throw them into the abyss if you happen to be near a large drop, but that’s not an exciting way to solve the problem. Then you have to worry about your ammo and hurriedly switching between guns – which is unnecessarily fiddly – and suddenly the dodging and blocking that I described as “simple” earlier require a third hand to execute effectively.

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Even then, there are great things that make me want to overlook these problems. The level design is just varied enough to keep me engaged, and the pacing is masterful, knowing exactly when to put its foot down and slowly let off the gas.

If these problems with the combat had only presented themselves a couple of hours before the end of an overall solid experience, I would’ve forgiven them. They don’t, though; they start to show up about halfway through a 14-hour experience that left me in such a bad mood by the end.

While we’re on the topic, 14 hours is too long. Even if you rush a bit, the game will be about 12 hours which feels like it goes well past the peak of excitement. I’m glad they gave the story room to breathe, but it isn’t interesting enough to carry the last few hours, where I was just waiting for it to be over. I can’t help but feel I would’ve been far kinder about the game’s flaws if it was a tight 8-10 hours instead.

If you’ve been craving a survival horror experience like Dead Space, then there’s a lot you’ll like about The Callisto Protocol, but it’s not the glorious savior you might have been hoping for. With the Dead Space remake a little over a month away, it’ll be interesting to see these two games side-by-side. I had originally thought The Callisto Protocol would win out, but now I’m not so sure.

Written by Ryan Woodrow on behalf of GLHF.

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December 2022 game releases: Upcoming titles being released this month

Plenty of new games to be excited about despite the shorter release window.

The last month of 2022 is here and we’re getting a solid lineup of video games, even though the release window will close earlier – a few days before the holidays.

Survival horror fans are getting a long-awaited new game from one of the co-creators of the Dead Space series, and a long-running racing game franchise will see a new entry. 

Also coming is a new tactical RPG set in the Marvel universe, while Square Enix will treat us to a remaster of a PSP Final Fantasy title on modern platforms, and a very different new entry in the Dragon Quest series.

Lots of games to be excited about, despite the short release period, so let’s have a look at the best games releasing in December 2022.

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The Callisto Protocol interview: investigating the game’s many layers of gore

The Callisto Protocol’s gore system is a key part of what makes the game so horrifying. We spoke the game’s character designer about it.

Horror comes in a lot of different flavors. Perhaps you like psychological horror or quiet menacing villains that chill you to the bone. However, no matter how much tension you build up, it has to burst eventually, and when it bursts, it should be an explosion of blood and guts. As we saw in our The Callisto Protocol preview, this game has a firm grip on how to make horror, but it knows that when it comes to gore, more is more.

To dive into the specifics of it all, we spoke to Striking Distance Studio’s character director, Glauco Longhi, who was more than happy to talk about all the horrifying details. Longhi’s had a great career, working on both movies and video games over the years, most recently working on God of War Ragnarok before moving to Striking Distance and coming back to horror.

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The Callisto Protocol feels like an evolution of the original Dead Space – the game that Glen Schofield is most famous for. Anyone who played it will remember the joy of being able to lop off the limbs of enemies, turning them into nothing but powerless torsos for you to stomp into the ground. This new game won’t have you chopping enemies to bits quite like that, but you’ll find that these creatures do start to fall apart as you attack them.

As you journey around the prison colony on Jupiter’s Moon, you’ll be faced will all sorts of twisted creatures that attack you from all sides such as rushers, flankers, and fodder.

“The way we designed these creatures was mainly based on different needs,” Longhi explains. “So for example, we may need to have a character that runs around on walls. So then we gotta come up with a cool design that allows the creature to climb up the walls and run faster. Some creatures came from the art perspective, though, like, ‘Hey, let’s just do something that is very crazy looking.’ And then we put that in the game and find a way of making it work.”

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Unsurprisingly, many of the inspirations for creatures in this came from horror icons like Event Horizon and Alien, but there were a few shocking sources too.

“Even some cartoons, like Spongebob,” Longhi says. “We look at cartoons on the stylization and movement because, although it’s super real and immersive, we stylized a lot of things to make them more appealing. So some of the movements, and in the case of the gore, the blood, and how we remove the limbs, there’s a push of style to emphasize some of these actions. Cartoons do that very well. Disney, Pixar, or whatever – they give you the message right away. If there’s a fast character, you get it right away [from the] strong silhouettes.”

The research for these creatures wasn’t about secretly slicing meat to get realism, instead, video games, movies, and artwork were used to work out how the limbs and flesh of these aliens should react when shot with a gun or clobbered with a steel pipe. Interestingly, it’s more about making your actions feel meaningful and responsive, rather than making you want to hurl.

“We want the player to be able to hit the enemy and have the proper reaction to those hits,” Longhi says. “And also at the same time, if the enemy hits you, we also want the player to feel that the same will happen to them. So it’s more like enhancing real life in a way. It’s not real life because we’re not fighting, but if someone hits you in the head, we expect you to feel the same type of reaction. Maybe he can rip your head off too. Maybe he can rip your arms off the same way you can to the enemy.”

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It’s not just the aliens that can be bashed about and sliced to bits either. Your squishy human body is just as susceptible to horrible bludgeoning and dismemberment as your foes’.

“That system was built in a way that gives animators the freedom to dismember the limbs and give designers the ability to dismember the limbs, it gave environment artists the ability to dismember characters,” Longhi explains. “So for example, you might face areas where you have these environmental hazards, and you could step on them, and you die. We can add things very easily now. So it’s basically if you have an idea – yes, we can do it. There are no limitations anymore.”

How and where you strike your enemies matters too. If you repeatedly shoot the same spot, the bullet wound will grow as the alien’s innards begin to spill out, letting you see all the detail underneath. It goes one step further too, as you might find some tentacles bursting out of the wound you made, ready to mutate the creature into something much stronger.

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Then, of course, there’s the blood – dark and sticky, glistening in the prison’s emergency lighting. “If you shoot an enemy, you would expect that blood to hit walls, you expect that blood to hit other enemies,” Longhi says.

It’s no pre-set visual effect either, the blood that spills out acts with disturbing realism. Splattering onto anything nearby, running down walls, getting scraped along by your boots as you trudge through it. Push an enemy into a spinning fan blade and it will do exactly what you’d expect it to. It’s a mercy that the prison’s janitors won’t live to see the mess you’ll make.

“It’s very directed,” Longhi says. ”Whatever happens on screen, we wanted to get a proper visual response to it.”

The Callisto Protocol is out on PS4, PS5, Xbox One, Xbox Series S|X, and PC on December 2.

Written by Ryan Woodrow on behalf of GLHF.

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The Callisto Protocol has a podcast to tell the horror game’s prologue

Striking Distance made a Callisto Protocol podcast to tell of the first encounter with the horror game’s alien monsters and the dark history behind them

If you can’t wait to dive into The Callisto Protocol’s story, you’re in luck, as the horror game has an official prologue podcast now, The Callisto Protocol: Helix Station (first spotted by PCGamesN). The game’s developer, Striking Distance, also created The Callisto Protocol podcast, which has two episodes currently and will see a new episode debut each week until the end of November.

“In the year 2320, a skip tracer hunts down a dangerous escaped criminal on a derelict space station,” the podcast description reads. “In the process, she must confront murderous alien life forms, as well as unspeakable horrors from her past.”

The skip tracer – bounty hunter, in Callisto speak – in question is Percy, played by Gwendoline Christie (Game of Thrones, Sandman), who knows something of the dark secret hidden aboard Helix Station, the same station she and her tracer partner Kane have no choice but to investigate after crew from the Black Iron Prison board their ship and demand their assistance. 

Episode two sees the tracers board the derelict Helix Station, abandoned for 20 years and overrun with deadly robots and mutated bioforms. Aboard the station is something much worse than that, though. 

The Callisto Protocol itself takes place on the Black Iron Prison ship, so while you can probably guess how things turn out in the prologue, it still sounds like a gripping setup.

You can check the podcast out for yourself on Simplecast or anywhere you normally download your favorite podcasts.

The Callisto Protocol releases on Dec. 2, 2022, for PC, Xbox One and Series X|S, and PS4 and PS5, and while it might share some similarities with Dead Space, the creators say it’s a much deeper experience.

Written by Josh Broadwell on behalf of GLHF

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The Callisto Protocol is everything I wanted it to be

The Callisto Procotol is the best survival horror game in a long time, giving even the legendary Dead Space series and run for its money.

One thought ran through my head as a nightmare creature separated it from the rest of my body: “I’ve missed this”.

Whether you’re a big fan of Dead Space or not, the fact remains that ever since the third installment in 2013, there hasn’t been anything like it. Sci-fi horror is woefully under-utilized in gaming, which is weird because almost every attempt has been excellent. Dead Space is great, and Alien Isolation is one of the scariest games ever made.

Since EA seemingly has no interest in making another new Dead Space game (although there is a remake of the first game coming), it was only a matter of time until someone else came along and did the job properly. Enter Glen Schofield, executive producer of the original Dead Space, and his new game studio, Striking Distance. The Callisto Protocol looks more promising with every bit of information we get on it, and now I’ve had some hands-on time with the game, I can confidently say it doesn’t disappoint.

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The first thing I noticed when I started playing is how intensely you feel the world around you, both in terms of the oppressive atmosphere and an intuitive sense of space. You’re an inmate in an orbital prison that has become infected with something that transforms people into monsters. It can be difficult for an environment as sterile as a prison to stand out – everything’s made of colorless metal plating and pipes, after all – but The Callisto Protocol takes great care to make sure you always have a good lay of the land, except for when it doesn’t want you to.

The puzzle and exploration areas are wide, letting you see across the whole room easily and plan your route across. However, when the game wants to surprise you or put you on edge it will massively restrict your visibility with narrow corridors, sharp turns, and by turning off the lights.

This works alongside the fantastic soundscape, which never lets up for a second. In moments where you’re perfectly safe, you’ll hear the echoed screeches of a monster or a loud thump from the other side of a wall. The music is great but used sparingly – typically only when you’re in combat. The game knows just how terrifying silence can be, keeping your mind worrying about every little bump while it lines up a proper scare. You feel like you’re always about to be attacked, which is great at masking the moments when something is going to jump out at you.

In one such moment, I come across a health dispenser that’s placed right in front of a steam-filled corridor. I know I’ll obviously be attacked the moment I approach, yet when the creature launches itself out of the fog, I still almost fall out of my chair. When even the simplest tricks are effective, that’s the mark of a great atmosphere.

Of course, building tension is one thing, but the game really shines when that tension bursts into a combat encounter. You have three main forms of weaponry: a melee baton, a heavy pistol, and a grav gun that lets you pick up and throw enemies. Each one is fairly simple by itself, but they’re all limited in just the right way, which makes you constantly switch between them and use all three in every encounter.

The way each attack flows into the next is very satisfying, and the panicky adrenaline from being attacked lends greatly to the fast-paced thinking you’ll need to switch up your tactics on the fly. The controls are smooth, too. R2 is always the attack button, but pressing other buttons changes the weapon you use. R2 on its own is melee attack, L2 then R2 is ranged attack, and L2 + Square grabs an enemy with the grav gun before R2 is used to launch it – preferably into a fan blade that splits it open like a meat pinata. You can do so much with so few button presses and switching between them all quickly becomes muscle memory.

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On top of that, there is an upgrade tree that lets you improve your weapons and learn new combat abilities. While I only got to try the early-game skills, what stuck out to me is how well they fit the character’s situation. You’re not some combat master, you’re sloppy and heavy with your strikes, but each technique you learn – like sweeping the legs to stomp on a creature’s head – feels like protagonist Jacob Lee is slowly learning and improvising to cope with this, ahem, alien situation.

I don’t know if more weapons will unlock as you go along (some suspiciously locked sections of the upgrade tree suggest there will be) but even if it’s just the basic three from start to finish, I’d be happy with that.

Given that The Callisto Protocol launches so close to the Dead Space remake, there’s a lot of pressure on it to perform, but if what I played is any indication, it will clear that bar with ease. It’s not a revolution for the sci-fi horror genre, but it may be the best iteration of it to date.

Written by Ryan Woodrow on behalf of GLHF.

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The Callisto Protocol team didn’t study ‘dead bodies’ during development

Director Glen Schofield sheds some light on how The Callisto Protocol is shaping up and teases a sequel.

As video games continue to look more lifelike, many studios are pulling from real-world sources for inspiration. Thankfully, Striking Distance Studios isn’t doing that with The Callisto Protocol‘s gore.

In an interview with GLHF, director Glen Schofield explains that the animation team made plenty of gnarly sequences without researching actual human anatomy.

“We didn’t spend a lot of time looking at dead bodies. That’s not cool. So out of respect, we spent a lot of time looking at prosthetics, which is all over the internet,” Schofield said. “Sometimes you can’t tell that it’s not real. Right? So we let them do that horrible research. And then we will never deal with it.”

That might seem like a no-brainer, but whispers have been circulating for years that certain major studios encourage its staff to examine actual human mutilation. Mostly infamously Naughty Dog during The Last of Us Part 2‘s development, though character concept artist Alexandria Neonakis shot this rumor down on Twitter.

The Callisto Protocol‘s sci-fi backdrop made it so that was never a factor, since more of the violence is perpetrated against monstrous alien lifeforms.

“We’ll have a monster that doesn’t have human anatomy. So I mean, we had to make a lot of it up,” Schofield continues. “We do concept art, we have a big concept art team.”

Most people will recognize Schofield as one of the creator of Dead Space (though he has no involvement with EA Motive’s remake), which began strictly as a horror series that slowly shifted into action territory. Being a spiritual sequel of sorts, The Callisto Protocol might follow a similar path.

“There is action. I didn’t want to go too action-y, but I didn’t want to leave the action people behind,” Schofield explains. “I wish that fans would embrace the action horror game a little bit more, and I’d like to do that with the sequel, actually. I’d like to go for that a little bit more because I think that would be pretty damn cool. You have to think about that. In September, I’m going to Krafton to sell a couple of ideas. So I gotta be ready.”

The Callisto Protocol is coming out on Dec. 2, 2022, for PS4, PS5, Xbox One, Xbox Series X|S, and PC.

Written by Kyle Campbell on behalf of GLHF.

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The Callisto Protocol interview – ‘It’s deeper than what we did on Dead Space’

We chat to Glen Schofield, one of the minds behind The Callisto Protocol.

One of the surprise highlights of PlayStation’s recent State of Play showcase was The Callisto Protocol, a new horror game from the minds behind the original Dead Space. In the trailer, a humanoid creature is fused with a rock. It detaches itself with force, its skin stretching and snapping like melted cheese, pulling itself from its anchor point like an emergency room patient escaping from monitoring equipment. A hulking robot crushes heads like overripe pumpkins. Bodies and viscera cover the walls and floors. Tormented and demented creatures trundle towards the camera. 

There’s something about the way the monsters move that makes them terrifying. It’s a kind of staccato, stop-motion effect. They lumber about, twitching, contorting, and twisting unnaturally as if puppeteered by some unseen force — a stylistic choice inspired by creative director and studio CEO Glen Schofield’s love for Korean horror movies. 

It’s harrowing but completely enrapturing – twisted and gorgeous, featuring near-photoreal characters that could have easily gone to sleep in a Rockstar game and slipped into a nightmare. 

In Philip K. Dick’s VALIS novels, he talks about the concept of the Black Iron Prison, an all-pervasive system of social control that we’re all unwittingly trapped inside. It’s a bizarre temporal loop, a purgatory of sorts where we’re doomed to repeat the mistakes of our past because the powers in control are eternal. In The Callisto Protocol, you take control of Jacob Lee, an inmate in a maximum-security jail called, you guessed it, Black Iron Prison. It’s located on Jupiter’s second-largest moon, Callisto, which is also known as the ‘Dead Moon’ – a strange monicker considering how devoid of life our own bit of space rock is, but fitting for a sci-fi horror setting. 

“Perfect, right?” Schofield says. “It’s also a moon that scientists have said could be colonized someday because it has water. And although it’s cold, 200 degrees below zero, it felt relatable in that way. But it also felt desolate, scary, dangerous. What a great place to put a prison.” 

According to Schofield, Black Iron Prison features “the worst of the worst”. For those who want to escape, if the robot sentries and guards armed with serrated stun batons don’t get you, the cold will. Of course, you don’t see much of the prison functioning because things go to hell not long after you pick up the controller. With the protagonist being an inmate himself, he’s probably seen some things, but even killers might balk at alien horrors peeling themselves away from the walls. 

“He’s complicated,” Schofield says of the protagonist, giving little away. “We went pretty deep on this story. You’ve got to really pay attention because we’re telling you what happened to create what’s going on. But at the same time, there’s a deeper story about the characters and so there’s a lot of nuance to it.”

One thing that has changed about the story is its connection to the PUBG universe. Originally, the game was planned to have explicit ties to the battle royale game, taking place in the not-too-distant future in the same canon. Those plans have since been scaled back, which is a good call because that eyebrow-raising connection became the focal point of conversations around the game – a game which, judging by the footage we’ve seen so far, deserves to be discussed as its own thing. 

“As we’re writing, as we’re designing, we realized it needed to be its own game,” Schofield explains. “It made sense. We love PUBG and we’re still going to have little things in there to tie back to it, but we wanted to make it its own game, its own universe, its own IP, its own story and characters.”

Schofield says publisher Krafton was completely supportive of this change. The company just wants the studio to make the best game it can. 

So, how does it play and how similar is it to Dead Space? First off, you can expect a diegetic interface, which is nerd-speak for: don’t expect loads of health bars and ammo counters littering up your screen. You’ll be able to tell how damaged your character is from a light display on their back, and ammo counters will hover over guns as a holographic display. Everything is designed to make you forget you’re playing a game at all. 

Then there’s the limb cutting. Dead Space placed you in the gravity boots of an engineer, so the majority of your arsenal was welding tools and industrial cutters, which was lucky considering the alien threats in that game really didn’t like it when you chopped their limbs off. Here you’ll find more conventional weaponry, as well as some high-tech gadgets and a devastating melee weapon. Limb cutting specifically won’t be encouraged, but you’ll be sloughing off the flesh with each shot anyway. 

“We have a gore system that we couldn’t have done back then,” Schofield says when asked if there’s anything similar to Dead Space’s limb lopping. “That’s pretty brutal. You take pieces and chunks out, and parts of the head off. It’s much deeper than what we did on Dead Space.”

There’s also another standout mechanic, but Schofield isn’t ready to talk about it just yet. 

“I apologize for that,” Schofield says, candidly. I can tell he really wants to. “That’s coming out. But yeah, we’ve got pretty brutal melee combat – it’s in-your-face brutality. Then at the same time, you need to use your weapons. You’ve got to upgrade your weapons, you’ve got to try and find as much ammo as you can. Remember, this is survival horror – there’s not a lot of ammo. 

“Then we have another thing called the GRP or ‘grip’, which is like a gravity gun. But the difference is it can pick up the enemies. You can pick them up and you can fling them into giant fans, into lathes, into machinery. We even have walls with spikes on them. You can pick things up in the world and use them.” 

Outside of that, there are the enemy types. That robot in the trailer? Apparently, you don’t want to run into that if you can help it. There are also those horror favorites – stalker enemies who haunt you through the course of the game. Then there’s the fodder, which you can fight and fling around with the GRP, and there’s also an enemy that you have to stealth kill, a bit like the clickers in The Last of Us. Combined with the cutscenes, this variety helps the developers pace the game so you don’t feel burned out by repeating the same encounters in different environments. 

And there will be different environments. In the trailer, we see the protagonist wearing a spacesuit and braving the Dead Moon’s harsh surface. It also sounds like you’re going to be delving into some kind of experimental underground facility, perhaps built to study the Lovecraftian depths of an alien ocean. 

“There’s a lot of inside sections, but the inside parts are very different,” Schofield explains. “Sometimes you do need your helmet in there because you’re sort of in the deep below. I can’t get too deep into it, but there’s not a lot outside, but it’s pretty cool.”

While there are still plenty of unanswered questions, The Callisto Protocol is exciting stuff. It looks and sounds impressive, and it’s arriving towards the end of the year, smack bang in the middle of a survival horror renaissance. Created in the middle of a pandemic while simultaneously building a new studio and recruiting the talent, it’s impressive to turn around a project like this at all, never mind in the space of a few years. Schofield says it’s all down to the team, who he praises throughout our conversation. 

“They’ve taken quality to the next level,” he says. “Man, when Jacob breathes inside his helmet, you see the breath appear on the helmet and then go away, it’s amazing. The 3D audio – you put headphones on with this game, it’s gonna blow you away. The graphics alone are insane. We’re gonna pull you into the world more, the characters are gonna pull you in more. I’m proud of having just been able to get things done like we have through this pandemic.”

The Callisto Protocol launches on December 2 for PlayStation, Xbox, and PC. 

Written by Kirk McKeand on behalf of GLHF.

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The 5 best announcements from Summer Game Fest 2022

Didn’t watch the full presentation? These are the highlights you really need to know about.

Geoff’s Keighley’s E3 replacement, Summer Game Fest, took place last night and we saw brand new trailers for a bunch of video games you can get excited about both this year and next year. Street Fighter 6, Cuphead, and Call of Duty were all present, and those aren’t even the games that we’re highlighting today. 

Here is our list of the best announcements made during Summer Game Fest 2022. Make sure to add these releases to your calendar.

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