A darkened room, central London. Ambient swirls, occasional cries can be heard, rumbles in the deep. This isn't Saturday night in Soho, its actually a crisp Wednesday lunchtime in December. Such are the contradictions of games 'journalism'. I'm not here for the beer, either (although the atmosphere does lend itself to secretive gulping from chilled bottles of Becks), but rather I've turned out in order for and to let me play their new title, Project Origin, due out worldwide in February.

The original F.E.A.R. game, a novel horror-themed take on the first-person genre, went down well (we awarded it an impressive 89% a couple of years ago), our review describing it as a "game that fashions primal fear and mixes it with always-compulsive if a little generic shooter that can only be a positive thing for gaming." Since then, however, original publisher VU Games have sullied the IP with a couple of largely uninspiring non-Monolith created spin-offs, and it is these that the developer are only too happy to cast aside in creating this true sequel.

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It could have been even more confusing of course, as Monolith were purchased by Bros., and set about creating an unofficial F.E.A.R. under the fan-chosen moniker 'Project Origin'. Fortunately, VU must have admitted to themselves they weren't doing anything noteworthy with the franchise, and merrily sold the IP back to Warner, facilitating the now imminent, and official, F.EA.R. 2.

We're in the game now, playing beta code on the 360; and ignoring the faux haunted house rumbling around me, I take on the new game's opening level - set 30 minutes before the dramatic climax of the first game. Point Man is gone, and instead we're placed in the gun-toting boots of Michael Becket, a Delta Force operative hunting for Genevieve Aristade. Visually, things have inevitably come on in leaps and bounds, and we're pleased to see an emphasis on the more cerebral and intriguing elements from the original game. Becket has a touch of the psychic about him you see; and every once in a while I'm shocked by horrific Alma-induced images from the physic child's alternative universe, red skies; the eerie music box and that swing will all play their part - you can be assured.

The landscape is of course noticeably richer, and far more detailed, while Monolith make a conscious effort to introduce more story-telling, more richness, which they hope will elevate proceedings beyond your standard faire. Alma's still imposing her unsightly visions upon the real world and since Point Man's explosion has now set her free, the Alma that was a distant plot device in the first game it now looks much more tangible. Indeed, it looks as if you're going to be getting uncomfortably close to the heart of her psyche. The city is in the midst of a veritable apocalypse following the conclusion of the first game, and the environments themselves are far more interactive, the Replica foes back and more intelligent than ever (the first game you may recall, was no slouch).

Playing further through the early snippet I'm afforded, the emphasis appears to be firmly on improving the best aspects of the first F.E.A.R., while tightening the gameplay fundamentals to compete in an FPS genre jam-packed with quality. The plot looks like it'll be more important, told through non-intrusive snippets, breaks in the action, that are also used at times to make the title's characters seem more than one-dimensional. The Japanese-inspire horror motif has also been expanded, Monolith's Dave Matthews tells us that the horror can be used to add pacing to the game, ensuring that players don't get tired after endless gunplay. Even in my brief preview session, the mix of gameplay between tense, quiet, suspense-filled exploration, and adrenaline pumping fire-fights with multiple foes is noteworthy.

Of course, as with all creations purporting to include elements of the horrific, the risks of cliche or just a lack of substance are great, and Monolith seem to determined that the manner in which they employ Alma will keep matters original, not hackneyed. Another element which we're told will arrive later in F.E.A.R. 2 is the slow-motion 'Bullet Time' mode, employed by Point Man in the first game and now back - albeit via an undisclosed plot device.

Venturing from office block interiors (now, thankfully, beautifully destroyed and infested with nasties) we take in outdoor environments that really do push the boat out with their detail and artistic depictions of horror-led destruction. Everything is so much more detailed, if the original F.E.A.R. occasionally appeared sterile, even bland, the giant eruption that freed Alma has certainly made things more visually arresting, even before you start fighting through the well conceived action instances.

The foes you'll be facing in the game are equally more diverse than before, Spectres and Remnants proving unsettling and unpredictable combatants. I encountered the latter during a sequence set in school; one ex-music teacher hammering at the piano before turning upon the player - prompting a genuinely frightening bout of cat and mouse around the classes and corridors of the crumbling building. Such sequences are more easily compared to than the original F.E.A.R., and this is no bad thing.

A mighty EPA suit will also make an appearance, Monolith acting on feedback from the first game, and this veritable WMD will also show off the newly interactive environments, complete with collapsing buildings and a wonderful - if unhorrifying - sense of freedom. Still, the physic 'flashes' are constant reminders of more sinister undertones, Matthews telling us than not only do his team have more story to tell, hopefully in future games, but would even like to see parent firm Warner Bros make a out of the game.

F.E.A.R. 2 certainly feels cinematic, then, and while the real meat of the experience will live or die on the strength of the combat over the long-haul, we're certainly impressed with the leap forward this sequel represents over the commendable original. Whether this obviously slick and well presented action game can actually lord it over more established competitors is something we'll be looking at in detail come our full review, which should arrive next month.

By Luke Guttridge