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[You Should Play This] Travel the ‘Death Road to Canada’

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“You Should Play This” focuses on modern horror games worth your time and attention.

The zombie apocalypse is overdone in much the same way saying that the zombie apocalypse is overdone is. It takes something truly novel to escape from the rancid horde of me too half-hearted undead fodder.

In the realm of video games, this is as true as anywhere else. The use of zombies and the aforementioned zombie apocalypse are rarely done well. The indie scene has plenty of the fodder, but it also houses most of the good takes as well.

Take Death Road to Canada. A beautiful hybrid of text-based adventure and roguelike dungeon crawler with a deliriously silly sense of humor, this procedurally-generated indie gem both embraces and pokes fun at the zombie genre with plenty of knowing nods to other media and the tropes they often employ.

The title is somewhat explanatory. You must guide survivors of a zombie apocalypse in the US on a road trip to the supposed safe haven that is Canada. Simple enough on the surface, but there’s plenty to be worried about on the journey there.

Your party of up to four survivors must scrape together fuel for the car they’re using for the road trip. Then there’s the small matter of weapons, ammo, food, and medical supplies as well. You can acquire these whenever the game offers up a location to raid. Then your intrepid little posse must smack, batter, and generally destroy the shambling undead as you search gas stations, hotels, sewers and more to get some goodies.

During these 2D top-down action-oriented segments, you wield whatever you can find. That can be anything from shopping carts to pistols to lump hammers and all sorts in between. They can break, of course, meaning you have to time your shots (one hit might knock a zombie down, but not end it outright) and try to keep ahead of the hordes rather than take the fight to them every time (especially as you’ll knacker your poor survivors out).

It helps that the undead are the slow and shuffling type. You plan right and you can avoid large swathes of them on your way to gathering supplies. Yet in true old-fashioned zombie tradition, it’s very easy to let a group of them surround you, and that is almost always going to end badly for you.

Lucky for you that as long as one of your party is alive, you’re still in the game. With the procedural nature of what Death Road to Canada throws at you, however, a rather relatively inane moment can see it all fall apart in morbidly amusing fashion. Then it’s time to have another crack, with new survivors, slightly different places, and more oddball moments.

The oddball moments mostly come during the text-based side of Death Road to Canada. As the group travel on the road, they’ll have conversations and be faced with choice-based scenarios. The outcome of these vary depending on a) what the character’s traits are, and b) if they’re human or otherwise. Yes, your party can consist of more than just human survivors. There are dogs and cats (who can drive, because why not?) and even a very grumpy gnome to be found on the way to the Great White North. The replay value in Death Road to Canada is found in these ever-changing mixes of apocalyptic cliches and off the wall oddities.

You may only get a small amount of time in the company of certain characters, and you may not make it to Canada (it’s not as easy as it sounds), but it’s easy to get attached sometime, and maybe have a brief regret when Hank the gentle giant who can punch a broken car into a working state is swallowed by the horde in the dank depths of a dilapidated cannery.

Death Road to Canada takes the grey grimness of the post-apocalypse and splatters it with goofy 16-bit-styled charm. It trades a darker, nastier side for its comedy edge, but it remembers what surviving a zombie apocalypse is supposed to be about, traveling to a faraway place with a surly gnome, a belligerent canine companion, and an anime-obsessed, katana-wielding young lady. All in the hope of a better life.

Death Road to Canada is available now on PC, PlayStation 4, Nintendo Switch, and Xbox One.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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