Today’s Summer Game Fest kickoff shared an extended look at The Callisto Protocol’s cinematic, in-engine trailer from last week’s State of Play. In the original Callisto Protocol trailer, gory bouts of head-to-head combat with sickly biophages were demonstrated with terrifying jump-scares and a dense science-fiction atmosphere.

The extended look offered only a few new shots, but was fortunately followed up by a couple of minutes of raw gameplay debuted by Striking Distance Studios’ Glen Schofield. The gameplay demo highlighted two different sections from the first half of the game: one in a med bay, and the other in a power station. The Callisto Protocol’s comparisons to Dead Space have already been rampant, but The Callisto Protocol looks unapologetic in these comparisons as protagonist Jacob Lee can also be seen stomping corpses and being gruesomely brutalized in death animations.

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The Callisto Protocol Doesn’t Shy Away from Gratuitous Gore

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Dead Space is known for how visceral and grisly its enemies and combat are. Encounters against necromorphs of any kind are not for the faint of heart; dismemberment, decapitation, and impalement are all strategies that players consider when they see a particular enemy, and result in gory animations that can befall both the player and necromorphs.

In The Callisto Protocol, it does not seem as if dismemberment is a critical technique that players must apply to each enemy. However, combat does appear similar, and appendages can be cleaved and blown to a pulp with armaments that perform similarly to Dead Space’s Plasma Cutter.

The Callisto Protocol does not shy away from these inspirations, and it may be to its benefit since it comes from Dead Space’s co-creator. The Callisto Protocol on next-gen hardware will be able to showcase a reimagined vision for science-fiction body horror, and just in time before the highly anticipated remake of Dead Space releases only a month later.

Biophages are already immaculately designed, and their dismemberment looks as polished as fans could expect them to on next-gen as well. That said, enemies are not the only thing that can be demolished and vanquished in bloody style. Dead Space’s Isaac Clarke is also subjected to extensive bodily horrors in creative death animations.

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Jacob Lee’s Creative Death Animations Echo Those of Isaac Clarke

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Isaac’s death animations from Dead Space are incredibly graphic, yet satisfying and immersively horrific. In zero-gravity, Isaac’s character model will float with his limbs and head instantaneously dismembered by a Lurker, leaving a floating torso in its wake.

Just like in Dead Space, players will be able to exploit The Callisto Protocol’s use of environmental hazards to make quick work of enemies. However, these environmental hazards are also perilous to the player. In the extended Callisto Protocol gameplay footage that also revealed the Grip gravity gun, Jacob is backed into a corner where some sort of turbine is active, and close contact with it results in a grisly death animation that is amplified further on next-gen hardware.

Jacob’s arm is stuck in the mechanism and, as he is gradually pulled in further, players can see Josh Duhamel’s facial animations wince and panic in a close-up shot before his head erupts and his body is churned into spurts of blood and flesh before the footage fades to black. There are sure to be many more instances of environmental hazards or other pitfalls that players need to avoid, lest they suffer some tragic and horrific death animation.

Of course, with all the attention and detail put into these incredible death animations, fans who are particularly excited about The Callisto Protocol’s gratuitous gore may actually want to die to these hazards once or twice to fully appreciate it. This one instance of Jacob being pulverized is a great demonstration for how other deaths may be reflected and how facial animations can be used to further sell the animations with terror in his expressions.

The Callisto Protocol releases on December 2 for PC, PS4, PS5, Xbox One, and Xbox Series X/S.

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