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How do you add intricacy to a genre as fearsomely intricate, as batty with systems, variables and knock-on effects as the so-called "immersive simulation"? One of Prey's answers to that question - and I promise this isn't me feeling around for a headline - is to add a bit of Minecraft. Folded in amongst the game's roster of Jedi uppercuts, fire pillars, remote hack attacks and prototype beam weapons is the ghostly suggestion of an in-game map editor. Consider the Recycler Charge - it looks like just another grenade, and can indeed be treated as such, but rather than blowing loose objects and enemies apart it sucks them in, stripping and compressing them to pleasing, Duplo-sized blocks and balls of generic raw material.
Pop the latter into a Fabricator - the clunk of a resource cube sliding home is immediately addictive, like the cartoon pop of a bullet impact in Call of Duty - and you can 3D print a new weapon, item or object, providing you've unearthed the right blueprint during your forays. You can also drop random junk into a full-sized Recycler to whip up a batch of resources without wasting your precious Charges. In either case, the resulting items don't just materialise in your inventory but cascade from the output hopper - a show of pure delight in the illusion of physical matter undergoing magical reassembly.
There's also a touch of freeform level construction to the Gloo Gun, one of the first tools you'll acquire, which can be used either to swaddle agile enemies in quick-setting cement, or create walkways along surfaces, "cheating" the level design much as you'd plant blocks along a cliff face in Minecraft. It's all representative of a game that is significantly weirder than the presence of shotguns, door codes and med-packs may suggest.
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