Thursday, May 25, 2017

Friday the 13th: The Game Review

Friday the 13th The Game images

Friday the 13th: The Game is the official game based on the popular Jason Voorhees franchise that is part of the story written in 1980 by American screenwriter Victor Miller and takes up the old debate on violence in video game. The game was a success since before its birth. Not surprisingly, it came from a successful Kickstarter, among the 120 projects with the best results on the platform.

Friday the 13th was born under the name Slasher Vol. 1: Summer Camp. It is, meant to be a tribute to a specific genre, the slasher, and all those tapes that were born in the late 70s and early 80s. Sean S. Cunningham as game producer, saw its true potential. Harry Manfredini, author of the soundtrack of the original film, has composed the OST of the game itself.

The physical copy will be distributed with some notes on the famous Pamela Tapes, while the creature's parents, Tom Savini and Ronnie Hobbs, are really proud of what they have achieved. In short, behind this project there is enthusiasm, love for the original material and well taken ideas.

For example, the multiplayer mode will be asymmetrical as a player will embody the famous killer and use his strength and extrasensory abilities to slaughter the rest, and that rest are the poor teenagers trying to escape, calling the police or crossing the lake.

From the nth Call of Duty to the popular Rockstar Manhunt 2 slasher, which was not even rated in the UK, under the old Aeschylus motto Violence Usually Breeds Violence, developers have faced censorship and special measures, most often applied to the Australian and German markets. Whenever a controversy about video games and violence appears, it is worth remembering the old gag that the violence inherent in the system of The Knights of the Square Table (Monty Python) is violence is in the eyes of the beholder.

Should there be any containment plan, a moral limit? Of course there is an ethical code, an international law. In Europe we have the PEGI code, marked in five age ranges, with eight annexes to describe specific content and applied in 26 countries. And this code marks a differential debate. It's not a tell me what you play and I'll tell you what you can complain about. Let's take a historical example. In 1993, US Senator Joe Lieberman led a committee of the US Senate, which asked to regulate the video game industry.

A year earlier, Midway had released a game designed by Ed Boon and John Tobias, a quirk that wanted to be their own Street Fighter. It was called Mortal Kombat and proved to be a success. Do you know why Lieberman made that decision? Because Lieberman's former chief of staff, Bill Andresen's youngest son, Sen asked his father to buy the game. And he accepted without understanding the content. When the images arrived to the senator, he took immediate action. But let us not forget this a child, however playful and intellectually prepared it may seem, is still a child.

The ultimate responsibility lies only with the parents or legal guardians. They are the ones who choose to avoid doctrines, legal controls, discovering works as you meet them, or establishing dynamic barriers. In any case, knowing what a child plays or stops playing does indeed comprise a number of moral responsibilities. But, returning to the original question, no, videogames do not trigger violence within a natural frame of action.

Without going any further, researcher Christopher J. Ferguson, of the University of Stetson (Florida) published in his Does media violence predict societal violence? It depends on what you look at when a pretty interesting chart. Taking as a framework of study from 1920 to 2005, he found that, as time goes on, there are more productions with violent crimes, in movies, comics, and video games. Following the same methodology studied the index of adolescent criminology in the USA. And the graph was reversed.

Similarly, nearly a decade ago, after several years of studying behavior and questioning more than 1,200 children in the final years of Primary School, Harvard University researchers Lawrence Kutner and Cheryl Olson turned their research into the book Grand Theft Childhood. In it they determined that violent games do not make people into killers. Not even remotely.

On the contrary, artificial violence is a catalyst and an object to unite tastes, whatever age you have, coinciding with the opinion of editor Matthew S. Eastin in his Encyclopedia of Media Violence, Music provides a place in which adolescents may have a sense of belonging.

It is impossible to determine what is amoral within the framework of video games. A rape yes and no murder? In both cases, it assaults the health and integrity of the other character. The important thing is to determine under what terms, in the framework where it is found: is it simply propaganda, as in the politicized case of 'Hatred' and its alleged linkage with the Polish ultra-right or does it not send any message within its range of action? We could go even deeper: to what extent can the message of a work, if any, be deformed or disguised?

The media have done a disservice to the general image of the video game through defamation or convenient yellowing. In Spain we have a great history, popularized there in 2000 from the multiple homicide carried out by José Rabadán Pardo, when he was still 16 years old. The katana killer changed everything. The blame was then on a role play, in that particular of the JRPG Final Fantasy VIII, although it can be of Dead Rising 2 of Counter Strike, or undetermined, simply under the wedge of violence.

Friday the 13th was born in a time where video games are much more realistic than when Mortal Kombat or Manhunt were published. And thanks to these graphic standards can evoke a much more intense emotional turmoil. To censure him would be quite capricious, since his censorship would be commercial, not intellectual. Should we, then, as would Hassan-i Sabbah, the legendary leader of the ancient sect of the Murderers that inspired the Assassin's Creed, everything is permitted? These were his prophetic last words. In art there is no canon, but liberated dreams.

There is no perfect association, since we depend on many environmental factors, how we see ourselves inside the nucleus of the home and within the different social institutions with which we interact. In addition, we would add our biological and genetic inheritance . And yet, we would only have a partial approach: it is impossible to determine the percentage of crime. Much less its influence on the end user/customer.

At this point you can barely sketch a conclusion that never fails: if you do not like it, do not buy it. Jason Voorhees has become over the years an icon of horror films since its premiere on Friday the 13th, the film by Sean S. Cunningham now converted to the video game with Friday the 13th: The Game.

In essence, the story of Friday 13 is that of a supernatural being who, after drowning in the lake of the camp of Crystal Lake by negligence of its tutors, returns of the beyond with the promise of revenge of all the young campers. How does the mind of the troubled Jason have to be twisted? That is precisely what this video game tries to adapt allowing us to embody the well-known masked.

The formula for this is as follows. Friday the 13th: The Game is an asymmetrical 1v7 multiplayer in which a user gets into the skin of the monstrous Jason Voorhees and up to 7 other players try to survive their homicidal thirst. To try to balance the difference in potential, there will be a series of actions that humans can perform and Jason's clumsiness prevents, but generally everything is designed so that each game is a bloodbath as abundant as possible.

So we have two possible scenarios. If we play with Jason our mission will be, of course, to try to hunt and kill all the other characters in the camp. In addition to its size and the fear it inflicts on its pursued, Jason has the ability to know where the rest of the characters are moving, as a visual noise indicator appears that allows us to follow the indicated direction to find a possible new victim For the Crystal Lake camp. Not only will he use his classic ax, but Jason has access to two types of special tools in his inventory: throwing knives and bear traps.

This will be but another of the supernatural abilities that have been implemented to the virtual avatar of the assassin. In addition to this sonic tracking, Jason has a number of skills that are progressively unlocked throughout the game. On the one hand we have "Morph", the ability to mutate along the map and it serves as fast teleportation. Shift allows us to move quickly to hunt down those who want to flee. Sense, spy on the victims with a kind of radar of fear that shows us their location. "Stalk" to stealthily approach without revealing our position by the change of music and finally a "Rage mode" that serves as an increase of the attributes of Jason for the final section of the game.

Friday the 13th: The Game does not try to contribute much at the story level. So, it is better if someone has not seen the series of films know in advance those relevant aspects. In addition to knowing the causes that caused the homicidal anger of Jason, it is necessary to know that the videogame is environment after the end of the first tape, since appears Pamela Voorhees beheaded and in an altar (Spoiler, of a film of 37 years. We are sorry). In addition to this frightening figure will chase us in the form of voice, with constant tutorials for Jason (kill for mom, Jason/kill them all), we will have available as a collectible audio tapes with testimony of Pamela.

As a survivor, it seems clear the goal, to get Jason not finish with you in the time set for each game, although there are certain variables to successfully complete a game as a survivor , repair and drive a car to the exit, call the police and Run safely when they arrive or even attempt to kill Jason through combat, although the latter is almost the least recommendable.

The mechanics in each game are simple, and are manipulated to try to have a balance that in practice is not such . The survivors can put Jason in the way to make it difficult for him to perform certain actions (this is not very delicate considering Jason was mentally handicapped in the source material) and open doors if they are barricaded, so that he has to destroy them with the ax. In addition, potential victims are the only ones who can use the windows of the different cabins as a way of entry and escape.

The fear or panic tries to have some transcendence in the future of the game . Theoretically, it acts as an attacking element for the survivors, which causes greater awkwardness in their movements and that the performance of their avatars is worse than at the beginning of the game. If we find ourselves in the dark or Jason pursues us, the level of panic will increase, while hiding or remaining close to other survivors will reduce the level of fear and this will make us less detectable by the type of mask.

To give us an idea, Jason's resistance is such that in most cases the survivors will only be able to stop it for a moment, because even with a shotgun we can return "to life" crushing a QTE. Again, trying to offset the advantage of Jason 's eternal return driven by his mother's thirst for revenge, the survivors will have a special feature with which to return to one of the fallen . If the radio station is found, one of the users who have been killed will return to the game as the hunter Tommy Jarvis with his shotgun, trying to prevent the dead from leaving the game (and it happens more than we would like).

To try to compensate to a certain extent the fact that we only have a single gameplay (although it is unforgivable), the game shows a deep level of customization and improvement options with which to spend the Customization Points that we are winning according to the performance In our matches on both sides. One of the elements that we will want to unlock in the first place will be the assassination animations of Jason.

These animations of special deaths can only be achieved by grabbing the victim in question and can be as painful as breaking the spine, a punch to the heart, a stomp on the head to American History X, you'll get an idea .
Likewise, with the natural progress to level up we will have available some alternative skins of Jason Voorhees with their looks of Part 2, Part 3, Part 6, Part 7, Part 8 and Part 9. Besides the aesthetic change, they contribute A different configuration of strengths and weaknesses, so to a certain extent they can be better adjusted to our style of play.

As with Jason, the survivors have their own customization. In his case is something simpler, with changes of clothes and perks that modify his statistics . With the level rise in the player profile we can allocate those remaining perks in the slots that are left free and in this way can increase their levels of serenity, luck, repair, speed, energy, stealth and strength.

On a visual level, Friday the 13th will not be the game that takes advantage of the graphics engine Unreal Engine 4 and show some hyperrealistic graphics. Jason's modeling is quite convincing, and his animated moves as well as those of the brutal killings are credible and represent the same level of threat from the films, but instead the designs of the survivors are generic to most not and in Sometimes we'll be embarrassed facial expressions like the image. By the way, the texts are only in English (like the voices).

Much better stopped the sound section. From the initial menu we will have intriguing melodies that will make a chill take over us while we play. Going through each area of ​​the Crystal Lake map will make us shit with fear (we can not think of a better way to define it), because we will not stop listening to sound effects that make us feel that the danger is lurking. If he really stalks, and Jason is at our side, the increase in tempo of the soundtrack as well as the fact that it becomes much louder helps to transfer the feeling of panic of the character to the player himself. A success in this regard.

The main problem with the game, beyond that the ambiance is quite achieved but perhaps it deepens little in the history and the mythology related to Jason, is that it only has a unique way of game, reason why easily in a Single game you could have seen all that the video game has to offer you. The balance system does not hold up and Jason always has to win. We try to compensate for the lack of content with a system of progression that encourages us to play for many games, but will not leave aside the feeling of repetitiveness.