Editorials
The Original ‘Final Destination’ Established Death’s Design with Unforgettable Kills
Twenty five years ago, a new horror franchise was born with 2000’s Final Destination, a supernatural horror film that made Death an unstoppable slasher villain that employed Rube Goldberg machine-like tactics to reclaim the lives of those who evaded his grasp.
Final Destination, directed by James Wong and written by Wong, Jeffrey Reddick, and Glen Morgan, featured a clever setup that presented no shortage of creativity when it comes to delivering over-the-top kills and breathless, nail-biting suspense thanks to the elaborate series of events that would result in a gnarly and sometimes comically complex death sequences.
The series, now six entries deep thanks to this week’s release of Final Destination Bloodlines, offers some of horror’s most unforgettable kills, so much so that we’ve ranked the entire franchise (so far) by Death’s Designs.
In anticipation of the sixth installment, we’re retracing Death’s steps to examine the established lore, formula, and, of course, the standout kills from the series, starting with the film that set Death in motion back in the year 2000.
The Inciting Event
Final Destination established one vital component of the franchise’s successful formula straightaway: the inciting premonition of a lethal cataclysmic event that would disrupt Death’s plan and incite his vengeance.
The original movie introduces a high school class embarking on a school trip to Paris. Before boarding, Alex Browning (Devon Sawa) can’t shake the mounting feeling that something is wrong, which only escalates as he and his classmates finally board the plane. There, Alex experiences a vivid premonition of a mechanical failure leading to a catastrophic in-air explosion shortly after takeoff that claims the lives of everyone on board. He snaps to from his vision, but becomes hysterical when reality begins mirroring his vision.
That panic gets him and a handful of classmates and a teacher ejected from the flight, sparing them from the plane explosion that arrives minutes after deplaning but setting in motion an even grislier fate as Death returns to claim them one by one.
It’s a jarring and effective inciting event; the disaster gets grim in its explicit detailing of each death from passengers getting sucked out of the plane midair to being burned alive. Not only does this paint a stark picture of the kill order, a critical part of Death’s equation, but it helps prepare audiences for the Rube Goldbergian demises that’ll reclaim the disaster’s evaders.
The subsequent entries in this film series adhered to the blueprint that Final Destination established. Each would feature a plausible catastrophe, dialed up to gory excess, that would designate a protagonist who’s doomed to read Death’s clues in the bid to escape its clutches once again. The inciting premonition lays out the intended order for its human characters to decipher and attempt to shatter, and key music that helped signal impending Death machinations.
Final Destination‘s inciting plane crash may get overshadowed by some of the more elaborate opening sequences in subsequent sequels, but its impact remains just as effective today.
The Standout Kills
1) The First Cut is the Deepest
The first to fall among the plane crash escapees is Alex’s best friend Tod Waggner (Chad Donella), which sets the standard for the Rube Goldberg machine style of demises. In this case, it means that tension gets coiled to an almost excruciating degree as we watch Tod shaving in his bathroom, unaware of the dangerous chain reaction being set in motion around him.
The camera closes in on all the details, leaving viewers guessing at the myriad of emerging ways Tod could die. It even offers a fakeout; Tod nearly gets executed by a radio.
Instead, Tod slips into the tub and gets choked by the laundry line; a ruthless demise made even crueler by painful details like blood vessels bursting in Tod’s eyes as he asphyxiates.
2) The Lewton Bus
If the characters’ names aren’t already an indicator, the original film pays tribute to horror pioneers. While teacher Valerie Lewton (Kristen Cloke) is directly named after legendary producer Val Lewton, Final Destination pays an amusing tribute to Lewton’s original jump scare in his 1942 film, Cat People, referred to as the Lewton Bus.
The Lewton Bus is a technique that relieves the built-up tension with an innocuous jump scare. In Cat People, it was the abrupt and noisy arrival of a bus just as danger was about to strike. In Final Destination, the bus becomes literal as Terry Chaney (Amanda Detmer) steps out into the street, where a bus unexpectedly crashes into her mid-sentence.
3) Kitchen Nightmare
Terry’s abrupt death is downright gentle compared to the film’s Lewton character. Death shows no mercy for the petrified teacher who blames Alex for the mounting body count.
Final Destination showcases the myriad of household items that can become tools of death as Valerie tries to unwind at home, with the camera soaking in all the details. The stovetop pilot light isn’t cooperating, which is a pesky problem for Valerie as she tries to make tea. It sets in motion the film’s most drawn-out death, a chain of suspenseful events that sees boiling water flung, spilled alcohol prompting an electric fire, and a resulting explosion that flings glass into her neck.
It’s enough to seal her fate, but Death isn’t done yet. Val also manages to yank on a towel that brings kitchen knives down with it…right into her torso.
Death’s Expert
“By walking off the plane, you cheated Death. You have to figure out when it’s coming back at you.”
Final Destination also marked the start of its sole recurring character outside of Death itself: William Bludworth (Tony Todd). The mysterious mortician gets introduced in the original film when Alex and Clear Rivers (Ali Larter) sneak inside the morgue to see Tod’s body. Bludworth’s brief but memorable scene provides key exposition about Death’s Designs and following the order. He warns of the consequences of interfering with Death.
Tony Todd’s appearance in this scene quickly made Bludworth a fan favorite and ensured that we’d see Bludworth again. He’s back one last time in Final Destination Bloodlines.
I’m always a big fan of trying out new demos during Steam Next Fest, but this one feels particularly packed with great options. It feels like a lot of developers, from AAA to indie, were trying to capitalize on buzz from a particularly strong Summer Game Fest by letting people try their game out right after their big trailer debut. It’s a strong strategy, one that has given me a bunch of new titles on my Steam wishlist.
There are tons to go through, but here are six that grabbed me if you’re looking for a place to start.
PENGUIN COLONY
We’ve seen the works of H.P. Lovecraft adapted in so many different ways in video games throughout the years. Whether direct adaptations or merely riffs on his themes, everything from the Call of Cthulhu: Dark Corners of the Earth to Bloodborne has given its take on cosmic horror concepts. What possible new perspective could there be for Lovecraftian fiction? How about a penguin’s perspective? Penguin Colony, the next game from Umarangi Generation creators Origame Digital, draws inspiration from stories like “At the Mountains of Madness“ and “The Shadow Out of Time“ to tell a tale of ancient beings hidden in the Antarctic seen through the eyes of a penguin.
It sounds like an odd pitch that’s extremely gimmicky, but after my time with the demo, it’s clear that they’re onto something. As a penguin, you waddle, slide, and swim your way through the desolate Antarctic landscape, running into remnants of an expedition that’s hunting for something in the ice. Aside from the environmental storytelling, narrative is delivered through voiceover, delivered by Lenval Brown of Disco Elysium fame, making for a moody trip through a barren world.
At its core, it’s essentially a walking simulator, but one with interesting movement options and oppressive atmosphere. In a clever touch, the wind effects act as your guide when you get lost, giving you a nudge in the right direction while also making your environment feel maximally chilling in the process. I love weird little experimental storytelling games like this, and I can’t wait to see how Penguin Colony explores Lovecraft from its unique perspective.
Penguin Colony is due out later this year.
ASCENDERS: BEYOND THE PEAK
While this game is also Lovecraft inspired, it couldn’t be further in gameplay from Penguin Colony. Ascenders: Beyond the Peak is a turn-based tactical mountain climbing game in which you face monsters and madness the higher you get. Mountain climbing has also been a popular theme recently, with games like Cairn or Jusant, but the turn-based approach feels wholly original, transforming the act of climbing into a board game-like experience. The clever gameplay is wrapped up in a roguelike structure that adds a lot of desperate decision-making as your journey goes on and supplies grow scarce.
The sheer cliff face you scale is represented on a grid, with various outcroppings that both block your way and offer places for you to rest. Each climb, you select three characters, who have different stats and abilities based on their class, and send them up the mountain. Their stamina is the most obviously important stat, which drains any time they are hanging from the side of a mountain. Resting on a ledge will recover one stamina, but time is always passing, and conditions are getting worse by the moment.
The most clever twist to your ascent is that your climbers are attached by rope, meaning you have to be smart about sending them through different routes to scavenge for supplies scattered around the map. As you run across creatures or mad climbers, combat comes into play as well, making the already dangerous climb even more deadly. I only did the tutorial and one run in my time with the demo, but I’m excited to see how the Lovecraftian elements come more into play when the game hits Early Access later this year.
ONIMUSHA: WAY OF THE SWORD
Capcom has been on a roll lately. Resident Evil games, Pragmata, Monster Hunter, the list goes on. It was only a matter of time before they started digging into their back catalog to revive beloved series of the past. Given the success of Sekiro and Ghost of Tsushima/Yotei, it shouldn’t be surprising that they are bringing back their samurai action-horror series Onimusha with an all-new entry. It’s been decades since I last played any of the games in the series, so while I don’t know if it replicates the originals exactly, Onimusha: Way of the Sword at least gives me the same feeling the old games did.
The demo itself is very action-heavy, sending you through a small village overtaken by demonic creatures. It’s a smooth combat experience that feels a bit more like a character action game a la Devil May Cry than a soulslike, which works fine for the tone it strikes. Enemies have both a health bar and a stamina bar, and breaking the stamina bar allows you to do a devastating attack that dismembers and kills them. There are also bonus attack windows granted with perfect dodges and parries, adding a satisfying timing element to the fights. While I found most of the standard encounters to be pretty easy, it did end with a slick boss fight that took me a few tries to get through, so it’s clear that Capcom likely has some more tricks up its sleeve to challenge the player more than this demo. It’s great to see the series back, and it looks like Way of the Sword is going to be a return to form. I’m very excited to see how it plays when it’s released on September 25.
Onimusha: Way of the Sword will also launch on PlayStation 5, the Xbox Series, and the Epic Games Store.
BLOOD DUNGEON
I liked Vampire Survivors enough when it came out, but it didn’t get its hooks in me the way its card-battling cousin did. It was a fun idea, but its gameplay complexity never really elevated to a point that kept me coming back after I started winning runs. Blood Dungeon, the latest game from the creator of indie hit Nidhogg, takes the autoshooting formula that Vampire Survivors made popular and puts it in a 2D platformer context, breathing new life into the subgenre.
At the start of the run, you pick a character that comes with a starting weapon, then you’re dropped into a 2D platforming level with waves of enemies coming after you. Right off the bat, you have access to a barbarian, who summons a sword to float around him, and a gunman, who shoots quick bursts of bullets. Just like Vampire Survivors, you kill dudes with these attacks that are on their own timers, collecting blood and selecting between random modifiers or weapon upgrades when you level up.
Not only does the new perspective add a lot more excitement to the genre, but I was surprised at the amount of movement options you had at your disposal. In addition to jumping around, you can climb on pretty much any surface, allowing you to scale walls or hang from ceilings as you attempt to avoid your enemies. There are also ladders and Super Mario World-esque chain-link fences you can climb on to aid your escape. I know this all sounds like pretty basic platforming action, but the dynamic ways you can escape make it feel so much more thrilling than your standard survivor-like. Jumping between bats only to hang from a ceiling over a knight while your sword slashes him, then leaping to a ladder to pursue a treasure chest, is exciting stuff, and that power curve you feel as you level up feels so meaningful.
On top of that, its Newgrounds flash game art style is unique and readable, making it easy for you to parse the chaos on the screen. I thought I was done with Vampire Survivor-likes, but this one might earn a place in my rotation whenever it’s released.
ENTROPY
I enjoyed my time with Lovely Hellplace’s Dread Delusion, a weird Morrowind-like RPG from a couple years ago, but it didn’t stick with it through the end. Entropy, their new tactical turn-based RPG inspired by classic JRPGs, seems to be a genre that’s a lot more in my wheelhouse, but still retaining the weird PSX-style visuals that give it so much character. You begin in a small medieval town as the sole surviving member of a theatre troupe after a horde of demons descends. After cleverly building the basics of your character by selecting options as you try to remember your lines in the play, you’re off to the races, trying to build a party that will fight back creatures and get you to safety.
The combat so far is fairly standard turn-based RPG mechanics, with two rows on each side that allow for a bit of tactical positioning. Attacks are emphasized with dynamic zooms that make them feel a bit more exciting, even if the animations remain pretty basic. You have one character that you control as you go through towns that cannot die, even if knocked out in battle, but every other member of your party has the chance of being lost if a battle turns south. Seems like the intention is for you to be thorough in your exploration, finding as many party members as you can to keep your ranks full, giving you incentive to do side quests.
After getting through the opening town, I was presented with a classic world map to navigate that brought me to some fun areas that had all sorts of strange inhabitants, like a band of mercenaries interrogating a head hanging from a tree. While I think I need to see more of the game to see if the combat has the tactical depth I need to keep me hooked, the vibe on display in the demo has me eager to dive in when it’s released in Early Access this August 16.
Entropy launches into Early Access on August 16.
VALOR MORTIS
Even though Ghostrunner was extremely my jam aesthetically, I couldn’t get into the punishing rhythm of precision wall running and one-hit-kill sword slashing as much as I wanted to. So when I saw the developer’s name on the reveal trailer for Valor Mortis, I was equal parts hopeful and skeptical. While the melee combat was a familiar aspect, the setting and inspirations were completely different. This first-person take on the soulslike genre casts you as an undead, supernaturally powerful soldier in Napoleon’s army trying to unravel a conspiracy that threatens all of humanity.
It’s a bold departure from Ghostrunner, but it’s easy to see the throughline if you look hard enough. They brought over the fast melee combat, but added some more intricacies that really bring to life the feeling of Bloodborne, but in first-person, which is no easy feat. You have all the standards of the genre – stamina, blocking, parrying, dodging – along with a pistol and magic options to round out your arsenal. Not only does it all come together and feel good in first person, but the setting feels really unique, with some grotesque soldiers-turned-monsters that test your mettle. At SGF, they announced a late September release date, but have since moved to October 13 to avoid release at the same time as some other heavy hitters.
Valor Mortis will also launch on October 13 for the PlayStation 5 and the Xbox Series.
Have you found any hidden gem demos for Steam Next Fest? Share your recommendation in the comments below!
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