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[Review] ‘Friday the 13th: Ultimate Slasher Edition’ Unleashes Jason on Switch

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Friday the 13th: The Game comes to the Nintendo Switch with the Ultimate Slasher Edition effectively seeing the game in its Jason X form. Still somewhat ragged, but a far more complete package than the decaying, yet seemingly unstoppable, hulk we’d seen previously.

When I reviewed the original launch version of Friday the 13th for another site, I came in with high hopes for something that captured the things I love about the iconic slasher series, and in many ways, it did a fine job of that. For a start, it brought so many of the great locations, characters, and Jasons to life, complete with the musical score that almost immediately comes into your head when someone so much as mentions Jason Voorhees. Best of all, the 1v7 asymmetric multiplayer setup of it is by far the best idea for a slasher series being made into a game. Playing as Jason is powerful and exciting. Playing as the counselors with a group of friends though? That’s where the true slasher magic is.

Of course, things didn’t go all that smoothly. All manner of technical issues plagued the game at launch, putting developer Illfonic on the back foot. Then, just as these hiccups had been brought back to a more manageable level, the whole licensing fiasco threw a harpoon through the game’s guts.

In typical Jason fashion though, the game managed to rise again, grow and evolve into something more, which brings us to the Nintendo Switch’s Ultimate Slasher Edition, which collects the game and all its improvements and additions into a new and portable form. Now you and Jason can take Manhattan, Brooklyn, Paris, and even Hull as you slay teenagers/escape an undead killer on the go.

The big thing to get out of the way is that yes, this is a technically deficient version of Friday the 13th, which hasn’t exactly in the best shape, to begin with. the camp counsellor’s can look very waxy, especially in cutscenes, and there’s a clunkiness to player movement that seems far more noticeable here than in previous console versions. It’s fair to say the former is less of a problem when playing in handheld mode at least, but the slight awkwardness of the controls causes some unfortunate moments of frustration both when hunting and escaping.

Otherwise, it’s fairly smooth sailing. The base game works as well as it ever has. One player plays as one of several iterations of Jason Voorhees, out to cull the boys and girls of summer en masse, and a bunch of other players are the camp counselors, out to not end up as another notch on Jason’s murder bedpost. It’s not a simple chase however, as both sides have their own strengths and weaknesses to try and tip events in their favor.

Each Jason (Friday the 13th features a host of Voorhees’ looks from over the years, including his sack-headed debut appearance and his purple-hued look from a Friday game of yesteryear) has his own starting set of skills and weaponry, with context and special kills that can be unlocked and added to give your killing spree a touch of gruesome flair. Jason’s base skills take time to recharge after use, and includes Morph, which allows Voorhees to instantly teleport to another spot on the map, which is a delightfully meta nod to slasher villains and their uncanny ability to just appear out of nowhere. Another gives Jason a kind of temporary heat vision allowing him to see potential victims nearby and to know if they’re inside or outside a building, while there’s also a fast zoom to catch up with fleeing camp counselors and a short-term stealth hunting ability. Once Jason gets ahold of a counselor, he can select one of his personal killing methods and hopefully off them and move on to the next.

The other side of that is the counsellers themselves, who are largely helpless against the hulking slab of undead terror, but can buy short reprieves against him through sheer wit and cunning…and sometimes baseball bats. As previously mentioned, if Jason gets ahold of a camp counselor, it’s likely to be curtains but, there’s a small chance of escape, especially when healthy, and that is amplified anytime they get themselves a knife (which are littered around the place for anyone to use). With a knife driven into Jason’s neck, you can get out of his death grip and scramble to relative safety. You can of course just not get caught or have something meatier to hand to knock back the colossal lunk before he gets you, but that’s clearly not always going to be an option, is it?

As with Jason, each counselor has particular skill levels and abilities that help or hinder their ultimate goal, but unlike Jason, these are largely about defense rather than attack. Counselor’s can escape a number of ways, including fixing up broken down cars and boarding boats, but to do that requires items, and they are spread across the maps, where Jason is more than likely going to cross their path. You could go fast, but Jason will hear you and be able to locate you far easier.

This is the core of what makes Friday the 13th work, the risk and reward the counselors must choose between, and the frightening power of Jason to seek out the smallest hint of their location. When the flashpoint of Jason’s arrival occurs, you can hide under beds, dive through windows, and lock doors, but the knowledge is there that he will more than likely find you, and it will not end well for those playing as counselors. On the flipside, actually forming some kind of strategy and escaping is such a joyous occasion because even a really cack-handed Jason has the potential to off at least one of you, so it feels earned to get away from him relatively unscathed.

Even when Friday the 13th was deeply troubled by technical issues, this dynamic was the key selling point, and arguably why it has withstood multiple obstacles. Dead By Daylight may have had a bit more polish and variety, as well as a more historically stable set of servers (they do seem fine so far for F13 on Switch, but that’s with relatively few people at organized times) but with Friday the 13th, it feels far more like a cohesive slasher game by being all about the world of Mrs. Voorhees’ Baby Boy.

That has been further bolstered by extras that don’t require an online connection to enjoy, an essential thing for the Switch. Offline play is a great way to tune up your machete-wielding skills without the Wi-Fi, and a virtual tour of a cabin filled with a good amount Friday the 13th trivia is a nice touch, but the most fun you can have offline is the challenges. These put you in Hitman-esque scenarios where Jason has to kill hapless teens in specific ways and not get seen, or allow them to escape. The first one has you killing a guy while he takes a leak, so you can imagine the kind of things you will be getting up to. It’s a fun way to celebrate Jason’s varied and entertaining killing methods.

Throw in a slew of good and goofy unlockables, from alternate skins to emotes to different versions of Jason, and you have a fairly healthy package for Friday the 13th fans. Even with the restrictions Illfonic has had to endure regarding the license, it has still made great use of it. The core game may be a tad clunky at times, and not much of a looker, but the love for Friday the 13th can be felt from the title screen onwards.

Friday the 13th: Ultimate Slasher Edition review code provided by the publisher.

Friday the 13th: Ultimate Slasher Edition is out August 13 on Nintendo Switch, and is out now on PS4, Xbox One, and PC.

 

 

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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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