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‘Contagion’ Review: Undead Delight

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They’ve done it, zombies are everywhere. There’s no escaping them. They’ve permeated every medium of entertainment, from movies to television, books to video games, and we let it happen. We sat back and watched as the undead hordes shuffled and shambled their way into every facet of our lives. Whether or not you’re okay with this, they’re here to stay, it’s best if you just embrace it. Among them is Contagion, a crowdfunded spiritual successor to the popular Zombie Panic: Source! mod for Half-Life 2.

After going through a Steam Early Access phase, the game released in full last month. Find out if it’s worth your time in my review.

For starters, you should know that this is in no way a story-driven game. Contagion doesn’t waste any time trying to shoehorn an explanation for why there are zombies roaming the streets, and I’m thankful for it. I’ve heard so many stories that try to make a zombie epidemic sound something other than completely nonsensical, and it never really works.

Maybe there’s no more room left in hell, or perhaps there was a leak in a secret lab underneath the city that somehow spread to the surface — you can come up with a reason for it if you like, but why the dead have risen is never as important as what you’re going to do about it.

The think I love the most about Contagion is that unlike nearly every other zombie game I’ve played in the last five years, where ammo is bountiful and headshots aren’t required, this game takes the subgenre back to its roots. You can’t blindly shoot into a gaggle of walkers, because that would be a massive waste of precious ammunition and it’d also make you look like an idiot.

In Contagion, the only way to take a zombie down is by swiftly embedding a bullet in its cranium before it embeds its teeth in yours.

I absolutely love that about this game, because it’s the way it should be. And more than that, when you pair it with the borderline ridiculous rarity of healing items and the fact that your character can’t endure many hits before you become another statistic, it makes even a lone zombie a threat. It’s a smart idea, in terms of design, since it makes the game scarier and it forces players to be strategic. Because when life is precious, fleeting, and there’s always something lurking just out of your field of view waiting to take it from you, the “badass” and “hero” approaches are no longer options.

Since Contagion is very much a community-driven game, it’s always changing, evolving and improving. Developer Monochrome has done a splendid job so far supporting it with a steady stream of updates, new content, and special events. They’ve also been both communicative and open to feedback. If they keep that up, I can see Contagion’s community staying strong for years, and that’s obviously very important for a game like this.

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Contagion currently only features three game modes: the co-op centric Escape and Extraction modes — both of which can be played solo or with other players via LAN or online — and the competitive free-for-all Hunted mode.

In Hunted, it’s survival of the fittest, as players are dropped into a map and turned against each other in a fight to see who can survive the longest. You’ll need to either eliminate or outlast your foes, while evading the occasional smattering of walkers. Escape is completely different, in that it forces teamwork by having players locate a group of survivors, defend them from the undead hordes, and lead whoever is left to safety. The third mode, Escape, is a more traditional gametype where a team of four players must make their way through a map and to the extraction point (i.e. Left 4 Dead).

The current offering of game modes does a good job of covering all the bases. Each mode has been thoughtfully constructed and well-balanced, including the maps, which have seen numerous tweaks to their layouts and objectives since the game was in Early Access. The items you’ll find, which include various guns, ammunition for those guns, melee weapons for when you’re out of ammunition, and miscellaneous other goodies are randomly spawned each time the world is loaded. This means if you find a room filled with a treasure trove of life-saving loot during one playthrough, don’t expect it to be there in the next.

As for the available maps, it really is a matter of quality over quantity, with three maps available for Escape, two for Extraction, and four for Hunted.

The environments are expansive and usually do a fine job of rewarding those who take the time to explore them. If I had accrued enough ammunition to stray off the beaten path, I always took advantage of it. Even if there’s nothing in terms of loot, these environments are interesting enough to make them worth exploring. I was never stopped being impressed by the sheer amount of detail that’s been invested into every environment. The world feels alive, even if it is filled to the brim with the undead and the dying.

All of the above is aided by a top notch presentation and stellar sound design that gives away Monochrome’s impressive attention to detail. This is an indie game, though you wouldn’t know it just by looking at it. The graphics aren’t likely to have anyone picking their jaw up off the floor, but they do their job and then some. The lighting is especially well done; fires burn, casting flickering shadows that are easy to mistake for a threat when the tension is high, and muzzle flashes in a dark room can temporarily give away a particularly well hidden enemy.

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The production values — or in this case, talent — extends to the sound design, which is greater than you would normally expect from a low budget indie game. There’s not much in terms of voice acting, but the undead howls, growls, and gurgles are enough to send shivers down your spine if you hear it after having strayed from the group. The guns, too, sound powerful, like their real-world counterparts.

When playing Contagion online, it’s always a good idea to stick together, because other players can join the game as the undead, or if a survivor falls, they can return as an enemy. This introduces a welcome layer of suspense, as human-controlled zombies tend to be significantly more difficult to dispatch. And as if that’s not intimidating enough, when playing as a zombie, a player can actually summon nearby walkers rallying them to their cause. There’s nothing quite as scary as seeing a horde of zombies coming at you, led by someone who used to be your ally.

Usually, indie games with multiplayer components require a certain level of know-how to set up a multiplayer lobby. Monochrome has kept casual PC gamers in mind, so if you’re like me and you don’t necessarily understand or want to deal with trying to set up a server so you can play with friends, Contagion has you covered with an impressive 500 official servers for all to enjoy.

Assuming you haven’t gleaned this a few paragraphs back, Contagion is a great game. It can sometimes be a little rough around the edges — especially when the zombie AI gets a little wonky trying to traverse the game world — but it’s a more polished multiplayer experience than most games like this tend to offer.

The Final Word: In its current state, Contagion is a gory, addictive horror game that’s well worth its $20 price tag, especially seeing as it will only get better, thanks to a developer that’s more interested in fostering a strong community around a great game, rather than making a quick buck.

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Gamer, writer, terrible dancer, longtime toast enthusiast. Legend has it Adam was born with a controller in one hand and the Kraken's left eye in the other. Legends are often wrong.

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“AHS: Delicate” Review – “Little Gold Man” Mixes Oscar Fever & Baby Fever into the Perfect Product

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American Horror Story Season 12 Episode 8 Mia Farrow

‘AHS: Delicate’ enters early labor with a fun, frenzied episode that finds the perfect tone and goes for broke as its water breaks.

“I’ll figure it out. Women always do.”

American Horror Story is no stranger to remixing real-life history with ludicrous, heightened Murphy-isms, whether it’s AHS: 1984’s incorporation of Richard Ramirez, AHS: Cult’s use of Valerie Solanas, or AHS: Coven’s prominent role for the Axeman of New Orleans. Accordingly, it’s very much par for the course for AHS: Delicate to riff on other pop culture touchstones and infinitely warp them to its wicked whims. That being said, it takes real guts to do a postmodern feminist version of Rosemary’s Baby and then actually put Mia Farrow – while she’s filming Rosemary’s Baby, no less – into the narrative. This is the type of gonzo bullshit that I want out of American Horror Story! Sharon Tate even shows up for a minute because why the hell not? Make no mistake, this is completely absurd, but the right kind of campy absurdity that’s consistently been in American Horror Story’s wheelhouse since its inception. It’s a wild introduction that sets up an Oscar-centric AHS: Delicate episode for success. “Little Gold Man” is a chaotic episode that’s worth its weight in gold and starts to bring this contentious season home. 

It’d be one thing if “Little Gold Man” just featured a brief detour to 1967 so that this season of pregnancy horror could cross off Rosemary’s Baby from its checklist. AHS: Delicate gets more ambitious with its revisionist history and goes so far as to say that Mia Farrow and Anna Victoria Alcott are similarly plagued. “Little Gold Man” intentionally gives Frank Sinatra dialogue that’s basically verbatim from Dex Harding Sr., which indicates that this demonic curse has been ruffling Hollywood’s feathers for the better part of a century. Anna Victoria Alcott’s Oscar-nominated feature film, The Auteur, is evidently no different than Rosemary’s Baby. It’s merely Satanic forces’ latest attempt to cultivate the “perfect product.” “Little Gold Man” even implies that the only reason that Mia Farrow didn’t go on to make waves at the 1969 Academy Awards and ends up with her twisted lot in life is because she couldn’t properly commit to Siobhan’s scheme, unlike Anna.

This is easily one of American Horror Story’s more ridiculous cold opens, but there’s a lot of love for the horror genre and Hollywood that pumps through its veins. If Hollywood needs to be a part of AHS: Delicate’s story then this is actually the perfect connective tissue. On that note, Claire DeJean plays Sharon Tate in “Little Gold Man” and does fine work with the brief scene. However, it would have been a nice, subtle nod of continuity if AHS: Delicate brought back Rachel Roberts who previously portrayed Tate in AHS: Cult. “Little Gold Man” still makes its point and to echo a famous line from Jennifer Lynch’s father’s television masterpiece: “It is happening again.”

“Little Gold Man” is rich in sequences where Anna just rides the waves of success and enjoys her blossoming fame. She feels empowered and begins to finally take control of her life, rather than let it push her around and get under her skin like a gestating fetus. Anna’s success coincides with a colossal exposition dump from Tavi Gevinson’s Cora, a character who’s been absent for so long that we were all seemingly meant to forget that she was ever someone who was supposed to be significant. Cora has apparently been the one pulling many of Anna’s strings all along as she goes Single White Female, rather than Anna having a case of Repulsion. It’s an explanation that oddly works and feeds into the episode’s more general message of dreams becoming nightmares. Cora continuing to stay aligned with Dr. Hill because she has student loans is also somehow, tragically the perfect explanation for her abhorrent behavior. It’s not the most outlandish series of events in an episode that also briefly gives Anna alligator legs and makes Emma Roberts and Kim Kardashian kiss.

American Horror Story Season 12 Episode 8 Cora In Cloak

“Little Gold Man” often feels like it hits the fast-forward button as it delivers more answers, much in the same vein as last week’s “Ava Hestia.” These episodes are two sides of the same coin and it’s surely no coincidence that they’re both directed by Jennifer Lynch. This season has benefitted from being entirely written by Halley Feiffer – a first for the series – but it’s unfortunate that Lynch couldn’t direct every episode of AHS: Delicate instead of just four out of nine entries. That’s not to say that a version of this season that was unilaterally directed by Lynch would have been without its issues. However, it’s likely that there’d be a better sense of synergy across the season with fewer redundancies. She’s responsible for the best episodes of AHS: Delicate and it’s a disappointment that she won’t be the one who closes the season out in next week’s finale.

To this point, “Little Gold Man” utilizes immaculate pacing that helps this episode breeze by. Anna’s Oscar nomination and the awards ceremony are in the same episode, whereas it feels like “Part 1” of the season would have spaced these events out over four or five episodes. This frenzied tempo works in “Little Gold Man’s” favor as AHS: Delicate speed-runs to its finish instead of getting lost in laborious plotting and unnecessary storytelling. This is how the entire season should have been. Although it’s also worth pointing out that this is by far the shortest episode of American Horror Story to date at only 34 minutes. It’s a shame that the season’s strongest entries have also been the ones with the least amount of content. There could have been a whole other act to “Little Gold Man,” or at the least, a substantially longer cold open that got more out of its Mia Farrow mayhem. 

“Little Gold Man” is an American Horror Story episode that does everything right, but is still forced to contend with three-quarters of a subpar season. “Part 2” of AHS: Delicate actually helps the season’s first five episodes shine brighter in retrospect and this will definitely be a season that benefits from one long binge that doesn’t have a six-month break in the middle. Unfortunately, anyone who’s already watched it once will likely not feel compelled to experience these labor pains a second time over. With one episode to go and Anna’s potential demon offspring ready to greet the world, AHS: Delicate is poised to deliver one hell of a finale.

Although, to paraphrase Frank Sinatra, “How do you expect to be a good conclusion if this is what you’re chasing?” 

4 out of 5 skulls

American Horror Story Season 12 Episode 9 Anna Siobhan Kiss

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