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Prototype (Video Game)




Prototype game reviewReviewed by Ryan “Plagiarize” Acheson

Available for the Xbox 360 (reviewed), PlayStation 3, PC

Rated M for Mature

Published by Activision

Time Square is lost. The military are doing their best to regain it, but truthfully told it is a last final sortie, probably by design. The infection has spread to most of the city by now … converting the animate and inanimate alike with no respect for what some of its prey calls “the miracle of life”. The infection is life and death at once. Taking the two and forever binding them together.

An infected water tank erupts and Hunters pour out. Fast and mobile. Agile and vicious.

An infected building spews forth further infection from great big bloated pustules embedded in the brickwork.

On the street some human civilians remain, but they are dying at the hands of the shambling hordes of infected ones flowing through the streets into the square like revelers getting ready for new years eve.

The tanks and the helicopters and the trained soldiers are bravely trying to hold the infected back, but they are dying none the less. They are running out of shells. Running out of bullets. Running out of men.

The infection has taken the city in seventeen days and the soldiers are scared. Not scared of the threat facing them down. Not scared of the threat slowly turning the tide man by man. Scared of something they have heard whispers about. Scared of something that is about to walk out of Central Park. Scared of something that has been killing, not slowly like the infection. Not man by man. But squadron by squadron. They’re not scared of the infection. Though strong, that can be killed. They’re scared of you.

You only bring death. Death by the thousands.

Thus begins your time with Prototype. In a short tutorial style level, you walk into Times Square and get an inkling of just how powerful … how evil … Alex Mercer is. It’s a taste of things to come, and then in true video game fashion you get all those powers taken away from you as the game flashes back seventeen days earlier, before the infection.

Prototype game reviewThe surprising thing though is just how powerful you still are. Within moments of waking up in the morgue, with only fragments of your memories left, you’ll be running up the side of buildings, then ripping up air conditioning units and hurling them at helicopters.

Alex Mercer, at his base level, is more powerful than the vast majority of video game characters … and the upgrades come thick and fast. Soon you’ll be performing mind blowing acrobatics, and unleashing devastating attacks with all manner of crazy powers.

The story? Alex is trying to figure out who he is basically. Trying to figure out WHAT he is other than the biggest bad ass to ever walk the Earth. Prototype is pretty familiarly structured. Since Spider-Man 2 kind of defined the superhero genre, inspiring Prototype’s spiritual predecessor Hulk: Ultimate Destruction these games have played out pretty much the same way.

After a few initial intro missions, you have the whole city to explore. You’ll have the next story mission available that will progress the overall plot (and the timeline, with the city becoming more and more infected as time goes on). There are also a number of side missions that take a variety of different forms and a number of collectible items to find. Most of these take the form of a glowing ball of energy high on top of a building or hidden in a crevice somewhere, but some are a little different.

You see, whatever has happened to Alex, he has the ability to shoot black and red tendrils out of himself. He has the ability to shape those tendrils into a number of different weaponised forms. He can use them to help him glide, or run up buildings as the tendrils latch onto the masonry. He can also use them to consume people, to literally absorb living matter into himself.

On doing so a few things can happen. First of all, he can change his entire appearance clothes and all to match the person he just consumed. Secondly it heals him. Thirdly he gains access to the persons abilities and memories.

On freely roaming the city you will come across ‘web of intrigue’ targets. These are people with specific memories relating to the situation in New York, and on consuming them you will see fragments of their memories. Throughout the game these fragments fill up a web that gives you an overview of the city. You can follow different threads to see how different groups or characters progressed by accessing the memories of others.

The side missions take on a few different forms. There are checkpoint races in which you have to hit all the checkpoints within a certain time limit. There are gliding events in which you have to try to land as close as possible to a central target after leaping off a tall building. There are consume events where you have to consume either a set number of a given type of person, or one very specific but well defended person. There are a few others of the general kill a certain number of people within a given time limit but my favorite were the war events.

In these you are placed on one side or the other of a conflict in New York. Either fighting with the infected or the army you have to tip the balance of the battle so that your side wins. It’s a good showcase for the kind of large scale chaos that the game does so well.

The story missions are the kind of multi-part missions you might expect, and while they might follow a similar formula, and while they occasionally present a large step up in challenge, you have such a diverse series of ways to approach them that its difficult to get bored even when you’re failing one over and over.

Usually you’ll come across an approach for each mission that is a lot more effective, and if you don’t, and Alex isn’t as upgraded as he can be at that point, you can always go and earn some XP or new skills before trying again.

New skills unlock as you play through the story missions, but there’s so many, and they come so fast that Prototype seems to be giving them away like candy. There’s two ways you get abilities. You either spend XP in the upgrade menu (and you get XP for lots of things like collectibles, side missions, escaping strike teams, and more) and these are normally new attacks or movement abilities, or you gain them by absorbing someone with a skill you want, like say the ability to drive a tank, fly a helicopter or pose as a military commander and call in an air strike.

To enter into the various military bases (where the people with such skills generally hang out) you’re usually going to want to disguise yourself as the appropriate military official to get inside. Then you can either try to stealthily absorb the people with the skills you want, or of course, you can just murder every last son of a bitch in your way.

Prototype can be difficult. For all of Alex’s powers even he will start to find difficulty in taking on an entire army, but it’s a pretty fair reaction to the kind of absolute death you can cause. Whether you’ll hit a brick wall is kind of hard to know. It’ll depend on how long you’ve spent leveling up Alex. It’ll depend on whether or not you’ve found a good approach to a given mission.

The open-endedness of the game means that some people, through no real fault of their own, will hit difficulty spikes, but for me the freedom is worth the risk.

After all this relatively glowing praise this isn’t the only issue the game has. The city is pretty bland and only contains a handful of the more famous New York landmarks. You’ll be using your map to figure out where you are as much as you can rely on landmarks, which is a shame.

Prototype game reviewOpen world games rarely look that great, but comparing the New York in Prototype to the one in Grand Theft Auto 4 say, shows what could be achieved.

It’s not all bad news graphically. Alex’s animations either while as himself or in disguise are all top grade stuff. Everything he does looks phenomenally badass. Some of the moves he can pull off aren’t nearly as useful as others, but it doesn’t really matter because they all look so cool and fluid.

Even little touches like the tumbles and flips he’ll do in the air when you adjust yourself on a jump make up for some of the short comings in the city and of some of the pedestrian models.

The transformations and gore have obviously also had a lot of attention, and I know Dread Central readers will be happy to hear that. Alex can turn his arms and fists into blades and bludgeons and whips. All do what you would expect, whether it is shattering or slices, with a healthy amount of well animated blood and gore.

One of my favorite things is that when consuming someone you can start moving again before the process is finished, dragging their body with you and it is slowly drawn in, it reacting as you jump city blocks, run up the side of buildings with destroyed tanks, and glide through the air.

I saw someone describe Prototype as Be a Dick: The Game and in many ways it’s an apt label. Alex Mercer is a dick. He’s got great power and as far as he’s concerned, responsibility only to himself. He’s a psychopath with hundreds of ways to kill people and little threat of anyone stopping him or holding him accountable for his actions.

Just walking down the street he’ll automatically slap and punch at people strolling by you minding their own business. The carnage is so satisfying, so fun, so large scale, that unless you have any moral hang-ups you’ll find yourself being as creatively evil as possible. If you’re questioning just why exactly Alex Mercer would pose as an old lady and then grab another person by the throat and them hurl them into the wall so hard that their head explodes, or why he’d grab a van as a battering ram and charge through the crowds sending them tumbling over in his wake like bowling pins, if you’re asking those questions, maybe Prototype isn’t for you.

It may be an uneven experience at times. The sound may be forgettable (see, I almost forgot to even mention it). The missions may at times be taxing. Ultimately though, Prototype allows you to tear through New York like the Anti-Christ bringing death to everything that stands in your way, or that hey, it just might be really funny to kill.

Prototype’s flaws are real, but you won’t care once you leap off a skyscraper and flying kick a helicopter hundreds of stories in air just because you can.

Game Features

  • Single player
  • Achievement and Trophy support


    4 1/2 out of 5

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    Mom & Dad Review – When Parental Protection Goes Horribly Awry



    Starring Nicolas Cage, Selma Blair, Anne Winters

    Written and directed by Brian Taylor

    The love of one’s parents is something that can propel an individual to not only personal, but professional heights as well, and that’s not to say that the aforementioned love should be taken for granted, either. The reason why I’m making this statement is that you never know when that love could turn to blind, unrestrained rage, and you as the child could be forced to save your own life from those very people who raised you – enter Brian Taylor’s ultra-black comedy, Mom & Dad.

    Josh (Zachary Arthur) and his sister, Carly (Winters), are your typical American children: generally oblivious to the life around them provided by their progenitors, and when a mysterious and unexplained virus causes all parents to turn violently towards their kids, it’s the youngins that are the ones being stalked, sometimes with horrific results. What gives this film a tremendous sense of “oomph” is the fact that there really isn’t a whole lot of time spend on useless build-up. Taylor’s style of balls-out direction is no truer on display here as the parental duo of Nicolas Cage and Selma Blair as Brent and Kendall Ryan is one of cinematic gold. Cage, who on the normal is an actor that harnesses his bat-shit nuts style of character portrayal until it’s time to fully unleash the beast – well, consider this performance off of the friggin’ chain! It’s clear from the get-go that the relationship between the folks and the kids isn’t entirely the most drama-free and devoid of subtle hostility.

    Some of the scenes of various attacks are a bit tough to take at times, and although the film was created in jest, it’s still the shock factor that carries this one to the finish line with the audience kicking and screaming all the way. One scene inside a newborn delivery room had me shifting in my seat, and for that to happen is pretty damned impressive, and I’ve seen some rather demented shit over the course of my years. The film does get a bit disjointed at times, but order is restored when the mayhem returns in full-force, and Taylor’s action-film resume shows through with psychotic camera-angles and dizzying arrays of brute force from some characters. Blair and Cage didn’t exactly come off doubtless as a couple, and maybe they would have been better set as a separate-working tandem, but the two nevertheless provided some real entertainment once their switches got flipped (well, Cage’s switch never really has an “off” position in this movie).

    In the end of it all, Mom & Dad is the textbook definition of a “mindless movie,” and that’s not meant to be a negative in any fashion – I absolutely loved it from beginning to end, and this one is meant for a viewing with the kiddies to gently remind them what could happen if they ever get out of line (wink, wink).


    • Film


    Ferocious, frenzied and ultimately fun, these parents certainly aren’t to be f**ked with!

    User Rating 3 (2 votes)


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    Drag Me to Hell Blu-ray Review – Scream Factory Tops This Double Dip With Tasty New Extras



    Starring Alison Lohman, Justin Long, Lorna Raver, Dileep Rao

    Directed by Sam Raimi

    Distributed by Scream Factory

    After jump-starting his career in horror, Sam Raimi branched off into different genres – western, drama, thriller – before getting called up to the big leagues for Sony’s Spider-Man (2002-2007) trilogy. Fans who had hoped for a return to the ol’ splatter days had a 17-year wait until that moment finally arrived with Drag Me to Hell (2009). Raimi had been kicking that script around for close to a decade, even offering it to Edgar Wright at one point after realizing he didn’t have the time to see it through. Once the dust settled from a public spat-of-sorts between Raimi and Sony over the direction of a proposed “Spider-Man 4”, however, suddenly Sam found himself with a whole lotta free time and the desire to work on something “smaller”. The script he and his brother, Ivan, had written all those years back now fit perfectly within the wheelhouse of Ghost House Pictures, a production company Raimi launched with longtime producer Robert Tapert in 2002. Armed with a bigger budget (~$30 million) than he had for any previous horror film, Raimi still kept the scale small and (surprisingly) lightened up on the gore, making a more accessible film that still retained his trademark style.

    Pasadena, 1959. A Hispanic family brings their son to see Shaun San Dena (Flor de Maria Chahua), a medium who specializes in demons and malevolent spirits, claiming the boy has been hearing voices after stealing a gypsy’s necklace. Before anything can be done the ground opens up and the child is literally dragged down into the fiery depths. Cut to present day, where we meet Christine Brown (Alison Lohman), an ambitious loan officer hoping to score that big promotion to assistant manager. She just has to impress her boss, Jim (David Paymer), and prove her abilities over Stu (Reggie Lee), a new co-worker gunning for the same position. Christine gets a chance to show she can “make the hard decisions” when elderly gypsy Sylvia Ganush (Lorna Raver) pays her a visit, looking for a loan extension on her about-to-be-foreclosed-upon home. Christine defers to Jim for advice, but he lobs the ball back into her court for the final decision. Thinking about that coveted promotion, Christine refuses the extension. Despite Mrs. Ganush’s on-her-knees pleading, Christine stands firm.

    Later that night, while leaving work Christine is attacked by Ganush and the two women have a knock-down drag-out brawl that ends with the haggard old liver spot snatching a button off Christine’s coat and imbuing it with a curse. Christine is able to make out the word “Lamia” before passing out. The next day Christine and her boyfriend, Clay (Justin Long), have a chance encounter with Rham Jas (Dileep Rao), a soothsayer who warns Christine that she has been beset upon by an evil spirit. Clay is skeptical but Christine hears his words and all but confirms them after seeing bizarre hallucinations and being attacked by the demon in her home. An attempt to appeal to Mrs. Ganush and have the curse lifted fails when Christine learns the old woman recently died. Rham Jas offers to have Shaun San Dena (Adriana Barraza) perform a séance to trap and kill the Lamia but, really, the only sure way to be rid of the curse is for Christine to “gift” the accursed object (her button) to another – and that person will befall the same horrific fate.

    When I first caught this in theaters I remember my only real disappointment was not Raimi’s lack of excessive gore but that so much of it was done using CGI. While there are several visceral, completely disgusting gross-out gags that were achieved with practical effects other moments, such as when the anvil drops on Ganush’s head, look like SyFy-level computer work. The kind of ingenuity that would have been used to pull of these effects is a large part of why Raimi’s early work is so beloved. Maybe the lure and ease of CGI is just too great? A similar thing happened to Peter Jackson, too. At least the tangible moments here are uncomfortably nasty, like Ganush’s frequent “gumming” of Christine’s chin… and all the gross crap she spits into her mouth. There is a lot to love; enough to outweigh the few moments of mediocrity. It’s just slightly frustrating as a fan because it’s clear where improvements could have been made. Still, bad CGI isn’t the film’s biggest problem…

    …it’s the acting. Alison Lohman seems like a very nice young woman and I have no desire to criticize her to death, but she doesn’t have any range. Her entire performance as Christine is monotonous and generally flat. Emotions come across as directions read off a page; nothing feels true. She isn’t bad enough to sink the entire film but it was glaring during this, my fourth or fifth time watching the film, where it became very apparent. Also, I usually like Long but he’s just kinda phoning it in here. The climax when he’s yelling out “Oh god!” on the train station platform is bad on a level only Ryan O’Neal could understand.

    Christopher Young kills it, though. The man behind one of the greatest horror scores of all time, Hellraiser (1987), delivers with the goods. His main theme is reminiscent of “Danse Macabre” and the entire soundtrack vacillates between devilish strings and powerful, overwhelming compositions. The sound design was a highlight of this film (how often is that noticed enough to garner praise?) and Young’s score propels it to the fiery depths with glorious results.

    Raimi has only done one picture since Drag Me to Hell, 2013’s Oz the Great and Powerful, and although much talk has occurred about potential vehicles nothing is set in stone as of yet. Hopefully, once he does jump back into the fold it’s with something akin to this fiendish little gem and not another bloated CGI epic.

    Universal’s previously issued Drag Me to Hell on Blu-ray, with both cuts of the film occupying a single BD-50 disc and sporting an outdated encode. Scream Factory’s release spreads those versions out onto two discs, with each getting its own BD-50. The 2.40:1 1080p image isn’t a major leap in picture quality over the last edition, but videophiles will pick up on the improved black levels, tighter contrast, and lack of obvious compression issues. The picture is clean, blemish-free, and nicely detailed with strong color saturation and a proficient reproduction of the theatrical experience.

    As with the Universal disc, expect to find audio options in English DTS-HD Master Audio with both 2.0 and 5.1 surround sound tracks included. As mentioned, Young’s score soars in lossless, providing a tense, immersive experience for viewers. Rear speakers are used frequently, especially during scenes involving the Lamia, and viewers can expect to hear demonic noises and scattered sound effects from every corner of the room. Dialogue is never lost in all this chaos, though, and voices are always clear and easy to understand. Subtitles are available in English.

    DISC ONE: Theatrical Cut

    “Production Diaries: Behind-the-Scenes Footage and Interviews with Cast and Crew” – Occasionally “hosted” by Justin Long these offer up a glimpse into the production via fly-on-the-wall and on-set video.

    “Vintage Interviews”, featuring additional chat time with Raimi, Lohman, and Long.

    Two TV spots and a theatrical trailer are also included here.

    DISC TWO: Unrated Cut

    “To Hell and Back: An Interview with Actress Alison Lohman” – The actress sits down to look back on the film she made nearly ten years ago.

    “Curses!: An Interview with Actress Lorna Raver” – This old lady is so adorable, talking about how she knew little of the project until she was fully committed and then learned it was such a horrific role.

    “Hitting All the Right Notes: An Interview with Composer Christopher Young” – The man behind the brilliant score has plenty to say about his working relationship with Raimi, as well as how he wrote the outstanding soundtrack.

    A still gallery can also be found here.

    Back to (mostly) basics and dripping with the signature style fans had missed for so long, Raimi came back in a big way with “Drag Me to Hell”. Nearly ten years on the film still holds up just as well, although it is robbed of additional pathos due to wooden acting. Regardless, this is just what fans hoped to see Raimi pull off once again and he does not disappoint.

    Special Features:

    Disc One:

    • NEW HD master of the theatrical cut taken from the 2K digital intermediate
      Production Diaries – with behind-the-scenes footage and interviews with co- writer/director Sam Raimi, actors Allison Lohman, Justin Long, David Paymer, Dileep Rao, Lorna Raver, special effects guru Greg Nicotero, director of photography Peter Deming, and more… (35 minutes)
    • Vintage interviews with director Sam Raimi and actors Alison Lohman and Justin Long (33 minutes)
    • TV Spots
    • Theatrical Trailer

    Disc Two:

    • NEW HD master of the unrated cut taken from the 2K digital intermediate
    • NEW To Hell and Back – an interview with actress Alison Lohman (12 minutes)
    • NEW Curses! – an interview with actress Lorna Raver (16 minutes)
    • NEW Hitting All The Right Notes – an interview with composer Christopher Young (17 minutes)
    • Still Gallery
    • Drag Me to Hell
    • Special Features


    Back to (mostly) basics and dripping with the signature style fans had missed for so long, Raimi came back in a big way with “Drag Me to Hell”. Nearly ten years on the film still holds up just as well, although it is robbed of additional pathos due to wooden acting. Regardless, this is just what fans hoped to see Raimi pull off once again and he does not disappoint.

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    Suspiria U.K. Blu-ray Review – Argento’s Masterpiece In Stunning 4K Clarity



    Starring Jessica Harper, Stefania Casini, Flavio Bucci, Udo Kier

    Directed by Dario Argento

    Distributed by CultFilms

    Although the 40th anniversary of Dario Argento’s seminal giallo masterpiece Suspiria passed only last year, plans for that milestone had been underway for years. Unbeknownst to all but the most diehard fans, restorative work was ongoing for a long while, most notably under the masterful eye of Synapse’s Don May, Jr., leading up to a grand unveiling of the all-new 4K picture that had been perfected and tweaked endlessly. That version of the film toured across the country at select events, giving fans an opportunity to watch Argento’s colorful classic with a picture more vibrant and full of pop than ever before. Even the original English 4.0 audio track from 1977 was restored to its former glory. Between all of the loving care Suspiria received, as well as the wealth of Argento reissues on Blu-ray, this is a good time to be a fan of his early works.

    There are, however, actually two 4K restorations that were done for Suspiria; one, by Don May Jr., while the other was performed by TLEFilms FRPS in Germany. This is the same master used for home video release in Europe and Australia. Fans have viewed and picked apart both transfers, though you would have to be one of the ultra-purists to enter that debate and engage anyone willing to discredit either image. The job done by Synapse is extraordinary and the same can also be said for the work done by TLEFilms. This release by CultFilms features the TLEFilms restoration, making it either an attractive alternative to Synapse’s (currently OOP) steelbook release or a nice supplement for fans who wish to own both 4K versions.

    Suspiria has been viewed and reviewed and discussed an endless amount of times and there are no undiscussed criticisms or introspective viewpoints I am likely to offer that haven’t been made before. Argento has long been an example of style over substance and Suspiria is his most emblematic work in that regard. American Suzy Bannion (Jessica Harper) arrives in Germany at a prestigious all-girls dance academy late one rainy night. Girls have mysteriously vanished from the compound in recent days, with more to follow. Suzy is coldly greeted and frequently uncomfortable during her stay. Eventually she uncovers a plot involving witchcraft and murder. The story is less thrilling than the ride, which is a kaleidoscope of horror. Argento uses every trick in his bag, from inventive camera movement to ingenious framing, and the use of colored filters to evoke a mood so many have attempted to replicate.

    The real interest many will have with this review is in regard to the picture quality. As I said before, the 2.35:1 1080p image provided by TFEFilms’ exhaustive restoration work is nothing short of astounding. This looks like a film that might have been made last year, never mind over four decades ago. The image is razor sharp, exceedingly clear and completely free of blemishes, dirt, debris, scratches, fluctuations, and jitter. The picture could not appear more stable, with the contrast rock solid and coloration a thing of beauty. Primaries leap off the screen with vibrancy even longtime fans will admit is a shocking surprise. Watching this picture in action is a true treat. Detailing is exquisite, revealing every little nuance in Argento’s framing. Simply put, this is a flawless image that ranks among the upper echelon of reference-quality Blu-ray transfers.

    Similarly, the audio is no slouch with options available in both English and Italian, each receiving both a DTS-HD MA 5.1 surround sound track and an LPCM 2.0 option. The multi-channel track is the clear winner here, proving a deep, immersive audible experience that completely envelops the viewer in both Argento’s world and Goblin’s phenomenal score. Seriously, the soundtrack for Suspiria has never been as unsettling and overpowering as it is here, filling every corner of your home theater room with a palpable sense of dread. Subtitles are, of course, available in English.

    Please note: this release is locked to Region B, meaning you must have a compatible player to watch the disc.

    This release also features different bonus material from the Synapse release, with an emphasis here placed on the restoration process. Completists may want to add this disc to their collection because it not only offers up a different-but-equal a/v presentation but also a new collection of bonus features.

    An audio commentary is included, provided by film critics/authors Alan Jones and Kim Newman.

    “The Restoration Process” is a nearly one-hour piece that examines every step along the way in bringing Suspiria back to such stunning life. Technical talk abounds here; definitely for fans who want a glimpse into the nerdier side of making movies look pretty again.

    “Argento Presents His Suspiria” is a new interview with the director, who surprisingly doesn’t seem sick to death of talking about this film yet.

    “Fear at 400 Degrees: The Cine-Excess of Suspiria” offers up critical appraisal of the film’s visual style, featuring interviews with critics, theorists, and others involved in making the film.

    “Suspiria Perspectives” offers up more in-depth discussion of the film, covering both this feature and similar Italian pictures made during that era.

    A DVD copy of the feature is also included. The two-disc set sits within a slick, shiny embossed slipcover with the film’s logo in metallic silver. It’s kinda sexy.

    Special Features:

    • The Restoration Process
    • Argento Presents His Suspiria
    • Fear at 400 Degrees: The Cine-Excess of Suspiria
    • Suspiria Perspectives
    • Audio Commentary
    • Suspiria
    • Special Features


    Looking better than ever before, Cult Films’ release of this giallo classic is welcomed as both a more affordable (current) alternative to the U.S. release and as a complement to it, since this edition has a slight variation in picture quality and a selection of different and insightful bonus features.

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