Phil Harrison is a big man, and he's got a big job to do. Before he became president, parent firm Infogrames were in something of a muddle, with the financial wolves reportedly baying at the door. The ex-Sony exec seems to have settled investor nerves and got some cash in the bank, baling out the ailing division of Atari in the process, but now the real work has to begin. First and perhaps foremost, the new Alone in the Dark must succeed.

The game has been in the works at Eden for several years, and has cost millions of dollars in costs; confusingly, this is also the type of game Harrison doesn't want the revitalised firm to be making - the big cheese seeing the firm's future both and casual. Conversely, Infogrames/Atari need this game to be a success to fund such diversification, and provide some much-need good PR.

It is with these various thoughts bouncing around my cranium that I enter a rather quant cinema in the leafy London suburb of Hampstead, where Phil will be joined by producer Nour Polloni, introducing us to Alone in the Dark before letting us loose in its dark corridors.

Nour is keen to highlight the game's "cinematographic" credentials, and we're taken through the game's opening alongside commentary from the producer. Just as game's are beginning to influences and movies, Nour explains, so Alone in the Dark takes on aspects from these other mediums. Eden are billing Alone in the Dark as a "widescreen experience", and we see how interactivity is blended with cut-sequences to heighten drama, while leaving the player in control even during scripted moments that must play-out.

Likewise, the game is based on an episodic format, with each episode containing various scenes. At the beginning of each new episode, a lavishly produced flash-back will play, highlighting key instances in the plot that has already unfurled. It all looks very Lost, or perhaps Heroes, Eden working to give everything a high quality, immersive and cinematic feel using techniques borrowed from elsewhere.

Perhaps the most controversial aspect of this is the ability to skip scenes and even whole episodes, Eden aiming to create an experience that is accessible and that everyone will complete. Needless to say this is a gamble that may or may not pay-off. Will the game just be too disincentived by this bold step, or will it allow stuck and frustrated player to jump tricky parts, alleviating repeat-rage. Either way, we're assured the ending won't be revealed to those that don't play enough of the main story mode, although clearly Eden have an eye on potential sequels and downloadable content with this move; given their desire to see everyone move through to the game's finale.

Along with this radical approach to narrative arc and game structure, comes a desire to break with the conventions of the long-running game series itself. Nour speaks of wanting to dispatch with the cliches of past iterations, taking the player (through hero Edward Carnby) out of the 1930's and thrusting him into the present day. Quite what plot device makes this possible remains unclear, but it seems to be one of the key mysteries of the title's plot, from what we can gather.

In the game's opening sequence, Carnby awakes to find himself held hostage in a 1930's building. As he is led to the roof, where he's told he will be killed, some form of monster or spirit tears through the building setting Carnby free; and with the building shaking, collapsing and screams all around, he sets off to discover what has befallen him. The is expertly blended with the narrative necessary to keep you moving, and what struck me during play was how nicely 'framed' every scene is, and the way dramatic orchestral music, sound effects, and environmental detail is blended to deliver a very convincing - sometimes scary - world.

Even at the game's outset there is a feeling of constant drama, and the player is compelled to unearth the mysteries of the game's intriguing opening. Of course, all this fancy art direction and subtle prevarication would be nonsense if the combat and the puzzles were naff. Lucky then that the exploration side of the game looks rock solid and well-integrated, while the combat too has received a lot of care and attention. When you're in the old building on the edge of central park (where 20-30% of the game is set, before you head into the park itself), fire will play a key role. The use of technology to improve the gameplay here is impressive. Fire spreads and you can pick-up objects and set them ablaze to create new weapons and overcome certain scenarios. Likewise, water works in a similarly well-integrated manner, and also looks quite beautiful.

Indeed, you can pick up and use much of the scenery that litters the game world, combining objects to various cunning ends, and even set ablaze more taxing foes. The inventory also works well. Carnby can only carry what he can fit in his overcoat, and he can now use both hands - combining inventory objects - or, for example, moving an item while carrying a flashlight or gun at the same time. The producer tells us that Eden have been working hard to craft a universe that players can interact with in an intuitive way, and this is evident from the outset.

Unlike a lot of action games (but quite a lot like upcoming action-RPG 3, interestingly), Alone in the Dark lets you switch between first and third-person perspectives much of the time. First person mode appears better for fire-fights, while the external view looks more apt for character interaction and exploration. No doubt gamers will choose, but we hope this doesn't mean the exterior camera is going to be a pain.

One of the off-shoots from this realistic, sandbox-style environment is being able to complete tasks in your own way. Nour took us through one scenario, in central park, where you can opt to battle some nasties hand-to-hand, with a gun, or by launching an exploding hot dog stand at them. Its all about using the environment to your advantage, we're told, and the manner in which the two analogue sticks are used to control both Carny's hands should help open up further potential for creative-killing.

The producer talks of a singleplayer experience lasting at least 15 hours, and more if you explore all the side-diversions Eden are putting in. Likewise, the building and park segments of the game will be quite different, the park offering more of an open world experience, to the tight, channeled role of the building, where players will learn the controls, and get to grips with the premise. Artificial intelligence is also receiving plenty of attention. You'll face both human and "possessed" enemies apparently, and there's a few interesting touches like foes being able to see you through glass and follow trails of blood that should make the game more interesting.

Polloni also mentions the possibility of downloadable content, and given her stance at the press briefing we attended it seems likely this is almost definitely part of Atari's plans, the producer talking-up how well the episodic structure lends itself to additional content, et al.

All in all, Eden look to have struck an enticing balance between narrative and gameplay with Alone in the Dark, and if the game's as wildly successful as it perhaps needs to be perhaps even big Phil will be convinced that a singleplayer sequel is the order of the day.

By Luke Guttridge