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End Night (Video Game)

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End NightDeveloped and Distributed by SKS Games

Rated 12+ (Intense Realistic Violence, Mild Alcohol, Tobacco, or Drug Use or References, Intense Cartoon or Fantasy Violence, Intense Horror/Fear Themes)

Available on iPad and iPad2 (reviewed)


If you love the zombie apocalypse but get tired of the same old zombie games where you blast through hordes of the undead with a seemingly unlimited supply of ammunition with no real point, End Night might be the game you’ve been longing for. SKS’s newest game presents a unique twist on the survival horror genre and many unparalleled gameplay mechanics that are sure to set a foundation for what a zombie game should play like.

End Night doesn’t offer up an epic storyline, but it’s one that is easy to understand and jump into right away. You play as a marine who is trying to save a town that has been overrun by a virus that is turning its citizens into bloodthirsty, walking corpses. The town’s only hope is that the protagonist and his lab partner can come up with a vaccination for the virus by the end of the night. It won’t be an easy task however, as the ingredients needed to complete the vaccine are scattered throughout the undead town.

The game offers up a plethora of nostalgia-inducing classic survival horror gameplay mechanics. There is a strong emphasis on both item management, such as learning when to fight or conserve ammo, and salvaging and looting to find precious in-game items. You are also, for the most part, alone with the lab serving as the only real safe haven in between your search for more parts of the vaccine. This gives you the feeling of isolation that works well with the nighttime setting to create an overall frightening atmosphere. One controversial aspect of the game is in its camerawork. Rather than opting for a standard third or first-person view, End Night presents a more limited view like you’d see in older survival horror games. Some people will view this as a nice touch that provides more startling moments, while others will see is as simply sloppy and lazy game design.

End Night also features some RPG elements. When you begin the game, you’ll choose from one of three starting weapons: pistol, shotgun or fireaxe. This really feels more like the choosing of an initial class for your character, and once you’ve attained enough experience points, you can level up and unlock new upgrades and abilities that will eventually turn you into a zombie killing machine.

One interesting new feature in the game is your need to stay clean throughout the game. Obviously, you are not immune to the virus, and running around covered in zombie blood cannot be good for your health. The virus will slowly seep into your system if you leave open wounds and scrapes untreated, so you’ll have to find a safe bathroom in order to clean the toxic blood from your body. Just make sure there are no infected nearby while doing this; bathrooms are not saferooms!

The other cool aspect of the game is how your character actually feels remorse for having to kill zombies. The infected townsfolk were once human, and going on such a killing spree would obviously weigh heavy on your character’s mind. You could try not to kill any infected, but it is unavoidable in certain situations. You are presented with two options when the guilt starts becoming too much: either take to religion and repent with bibles or wash away all of your feelings with booze. It’s your call.

The town in End Night allows for open-world, sandbox type gameplay. The missions in the game will change somewhat which each playthrough, so you’re never experiencing the exact same game twice. Once you’ve completed the game, you unlock the nightmare difficulty mode. These things, along with the ability to retain your experience points when playing a new game, will keep you coming back for more time with the game again and again.

End Night does try to pump out the prettiest graphics or push the systems’ hardware to it’s limits. Instead, it presents a fun story with lots of heart-stopping gameplay and some innovative gameplay mechanics that are sure to be used in many other games in the future. Essentially, End Night is a must play for any true survival horror fan.

End Night was released on February 9, 2012 for iPad and iPad 2. For more information, check out the official End Night website.

Gameplay Features

  • Decide how you survive the night by deciding which resources you need and where you need to go to find them.
  • Dynamic missions that change depending on your choices.
  • Loot weapons, ammo, healthpacks and more to stay alive and survive.
  • Collect infected samples to discover a cure for the disease.
  • Find bathtubs to wash infected blood off you.
  • Feel remorse after killing – find booze and bibles to wash away the pain.
  • Keep your lab assistant happy so he can keep working on finding a cure.
  • Wash blood and gore off your body to avoid getting infected.
  • Doubt your actions as the infected leave you messages scrawled on walls pleading with you to stop killing them.

  • 4 out of 5

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    Who Goes There Podcast: Ep 148 – Inside (2017 Remake)

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    We’ve all heard the old saying, “in this world nothing can be said to be certain, except death and taxes.” Well, I’m here to tell you that’s only partially true. It seems there is a third certainty that had been omitted from the original quote, “It is certain, if you enjoy a movie, at some point someone will remake that movie.” Now is the time when one of my favorite movies gets reimagined, “for an American audience”.

    In the late 2000’s an explosion of “French extreme” horror films was released. Martyrs and or High Tension can often be found on any number of lists of the “most fucked up horror movies ever”. Unfortunately, the vastly superior Inside is often forgotten (as well as Frontier(s), but that’s a whole ‘nother rant). Now, ten years after it’s initial release, Inside has been Americanized. Don’t worry, we watched it so you don’t have to. You’re welcome.

    Mommy says you’re not dead. Is that true? It’s the Who Goes There Podcast episode 148!

    If you like what you hear, please consider joining our Patreon subscribers. For less than the cost of a beer, you get bonus content, exclusive merchandise, special giveaways, and you get to help us continue doing what we love.

    The Who Goes There Podcast is available to subscribe to on iTunes right here. Not an iTunes user? You can listen on our Dread Central page. Can’t get enough? We also do that social media shit. You’ll find us on FacebookTwitterInstagramTwitch, and YouTube.

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    Totem Review – It’s Not Always A Bad Thing To Look Up From The Bottom Level, If You Like That View

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    Starring Kerris Dorsey, James Tupper, Ahna O’Reilly

    Directed by Marcel Sarmiento


    Following the untimely death of a family’s matriarchal figure, a young woman finds out that managing to hold all of the pieces in place becomes increasingly more difficult when otherworldly infiltrators make their presence felt. We’re going to have to work our way up this Totem, as

    17 year old Kellie is the leading lady of the home following the passing of her mother Lexy, and with a needy father and tiny tot of a baby sister, she still keeps things in working order, regardless of the rather large hole that’s been left in the dynamic due to the death. Kellie’s dad after a while decides to ask his lady-friend to move in with the family, so that everyone can move onto a more peaceful existence…yeah, because those types of instances always seem to work seamlessly. As fate would have it, Kellie’s sense of pride is now taking a beating with the new woman in the mix, and her little sister’s new “visitor” is even more disturbed by this intruder – only question is, exactly who is this supernatural pal of sorts? Is it the spirit of their dead mother standing by to keep watch over the family, or is it something that’s found its way to this group, and has much more evil intentions at hand?

    What works here is the context of something innately malicious that has found its way into the home – there are only a couple moments that come off as unsettling, but the notion of having to weave through more than half the film acting as a sullen-teen drama is rather painful. The presentation of the “broken family” is one that’s been done to death, and with better results overall, and that’s not to say that the movie is a complete loss, it just takes far too much weeding through at times stale performances and even more stagnant pacing to get to a moderately decent late-stage conclusion to the film. Under the direction of Marcel Sarmiento (Deadgirl), I’d truly hoped for something a bit more along the lines of a disturbing project such as that one, but the only thing disturbing was the time I’d invested in checking this one out. My best advice is to tune into the Lifetime channel if you want a sulky teen-melodrama with a tinge of horror, or you could simply jump into this one and work your way up…but it’s a LONG way to the top.

    • Film
    2.0

    Summary

    Sulky, moody, and ridden with teen-angst buried in the middle of a supernatural mystery – SOUNDS like a decent premise, doesn’t it?

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    IAMX’s Alive in New Light Review – A Dark, Hypnotic, and Stunning Musical Endeavor

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    Recording eight albums is an achievement no matter the artist, group, or band. This is especially true for Chris Corner’s IAMX, his solo project after the trip hop group Sneaker Pimps, which has enchanted listeners since 2004’s Kiss + Swallow with its dark electronic aesthetic. There’s something fascinating about the music Corner puts out as IAMX. Perhaps it’s the underlying melancholy that seems to pervade the music, almost certainly a result of the musician’s battle with depression and chronic insomnia [Source]. Perhaps it’s the unexpected melodies that reveal themselves with each new measure. Whatever it is, IAMX’s music is a constant delight.

    On Alive in New Light, Corner reveals that his eighth album was a product he created as a way of “…breaking free from demons that have long plagued him,” per an official press release. Strangely enough, this uplifting attitude may easily be overlooked but repeat listens unveil a sense of hope and wonder that are simply breathtaking. The title track echoes with almost angelic choir pads that positively shine as Corner exultingly cries in a shimmering falsetto, “I’m alive in new light!” This comes after the Depeche Mode-esque “Stardust”, which offers the first collaboration with Kat Von D, whose pure voice is a beautiful addition to the pulsating track.

    The third track, “Break The Chains”, has an opening that immediately called to mind Birds of Tokyo’s “Discoloured”, which is meant as a compliment. It’s followed by the Nine Inch Nails influenced “Body Politics”, which meshes Corner’s crooning vocals with a 90’s industrial backdrop. “Exit” has an almost sinister progression lurking in the background that builds to an aggressive, in-your-face third act. The cinematic Middle Eastern flairs of “Stalker” mutate effortlessly into a heartbeat pulse that features back-and-forth vocals between Corner and Von D. The haunted circus vibe that permeates through “Big Man” is mirrored by its playful gothic aura, ghostly “oohs” and “aahs” sprinkled carefully here and there.

    While the album has been a delight up to this point, it’s the final two tracks that took my breath away and left me stunned. “Mile Deep Hollow” builds layer after layer while Corner passionately cries out, “So thank you/you need to know/that you dragged me out/of a mile deep hollow/and I love you/you brought me home/because you dragged me out/of a mile deep hollow.” The way the song’s melodies back these wonderfully uplifting lyrics feels grand and epic, as though a journey is coming to an end, which is where “The Power and the Glory” comes in. Far more subdued, it’s a beautiful song that feels almost like a religious experience, a hymn of a soul that is desperate to claw its way to salvation and escape a life of pain and darkness.

    What makes Alive in New Light so wonderful is how much there is to experience. I got the album and listened to it no less than five times in a row without pause. I simply couldn’t turn it off because each return revealed something new in the music. Corner also makes fantastic use of Von D’s vocals, carefully placing them so as to make them a treat and not a commonplace certainty.

    While some may be disappointed that there are only nine tracks, each of the songs is carefully and meticulously crafted to be as powerful and meaningful as possible. It really is a stunning accomplishment and I’m nothing short of blown away by how masterfully Alive in New Light plays out.

    • Alive in New Light
    5.0

    Summary

    IAMX’s Alive in New Light is a triumph of music. Full of beauty and confidence, it doesn’t forget the foundation that fans have come to know and love for over a decade but instead embraces that comfortable darkness with open arms. Corner states that this album was a way to break free from his demons. It certainly feels like he’s made peace with them.

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    User Rating 5 (2 votes)
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