DEADLY NIGHT FREE DOWNLOAD

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DEADLY NIGHT Free Download Unfitgirl Oh, crap. I’m in a house again I’m always down for some sleazy horror. Okay, maybe not the film kind, since I’m not much of a movie buff, but this new trend of short-form slasher games with VHS filters and PS1 graphics I’m all about. Deadly Night by Cubyte Games is that. It is definitely that. Deadly Night follows Carol after she’s dropped off at a motel. I’m sure it isn’t difficult to guess that she’s in for a bad time. What is interesting is that you have some control over what kind of bad time you have. Regardless of what you choose, though, Carol eventually winds up in the basement of a creepy house. It’s one of those horror stories. The creepy house story. And, of course, there’s a killer there. You know what you signed up for. While there are technically four scenes to survive through, the house is clearly the main event. In it, you have to navigate the gloom and various rooms to find a way to escape. To evade the killer as he stalks the halls, you can hide under beds and in closets. It’s maybe not the most novel of narratives, but I actually don’t have a positive way of ending this sentence. I feel that things can only go downhill from here if I keep going. To be fair to Deadly Night, it pulls off its subject matter rather well. The house is well designed, even if its layout is a bit unnatural. Unfitgirl.COM SEXY GAMES

You can always hear the killer as he is stomping around, but there is no sound difference in whether he’s above, below, or on the same floor as you. There’s a single chokepoint in the stairwell, so trying to guess whether he’s near it or not is a big part of the game. Deadly Night also wisely takes advantage of this fact, providing moments where your actions alert the killer, as well as one moment where you have to travel quickly to your objective. There are times when you just can’t afford to wait until you know he’s off the stairs; you need to pick your moment and follow through, which can be tense and difficult.Evading the killer isn’t all that challenging unless he wedges you into a corner. Typically, you just need to break the line of sight and get back into the closet like your parents are coming to visit. He’ll then just stand outside, breathing on the door until the varnish peels off. It’s not at all uncommon in these sorts of hidey games, but I found it hilarious nonetheless. He’ll get his masked face directly up to it and then just stand there for a while like he forgot what he was doing. The other scenes in the game are mainly to tell the story, which isn’t all that great.

Looks like it still works

Take that as you will because Deadly Night makes it known it’s supposed to be a tribute to schlocky slasher flicks. However, there seem to be a lot of missed opportunities in exploring the characters. The backstory is established, but there are a lot of glaring blanks that just get glossed over. It’s perhaps not necessary to have a tight, cohesive plot when the obvious goal is to simply terrify. However, games like Bloodwash and Nun Massacre do a better job of establishing these things, whereas it almost seems unfinished in Deadly Night. The fact that two of the scenes don’t even involve the slasher gameplay and seem to exist entirely for storytelling makes it a little odd that there isn’t more development. For that matter, it feels like some shortcuts were taken when it comes to designing the gameplay. There’s a fridge, for example, that won’t open because of “pressure.” And you have to wait until it equalizes before it can be opened. Anyone with a deep freezer can tell you this is an actual issue, it just feels kind of like cheating when you can’t open it until a set gameplay milestone is passed. Likewise, there are parts where you can’t interact with something until you’ve interacted with something else. Turbo Overkill

An example of this is where you can’t pick up a stick until you examine a log and are told you need something for leverage. For that matter, Deadly Night has aspirations towards replayability, but it’s not executed to the fullest extent. However, most of the deviations happen in the first chapter. Things get rearranged when you’re in the house, but I feel that playing it more than the two times I did would still be a bit much. While you might find the alarm clock in a different spot, the puzzle is the same, and I can only think of one way things can be done differently in that chapter, and it’s mostly just there to judge whether you get the good or bad ending. The first chapter has more deviation to the point where I mostly skipped the entire thing on my first playthrough. There was later a comment made by Carol that referenced something that didn’t happen because I skipped it. Deadly Night is at least kind enough to tell you what you missed out on, so you know what to look for when you revisit. Summing up my thoughts on Deadly Night is a bit difficult since I’m a fan of the short-form horror genre and want to encourage it to be explored further by more people.

Oh, crap. I’m in a house again

And the truth is, Deadly Night delivered on most of what I expected; it just didn’t impress as well as Bloodwash did. The mechanics weren’t as inventive as Humble’s Happy Burger Farm. The sleaze doesn’t mesh as well as it does in Puppet Combo’s own self-published work. Deadly Night is not the best example of what the genre is capable of while at the same time being a demonstration of what it is: short experiences that take you to a simpler time in horror. It’s a worn rental store VHS encapsulated in an interactive experience. It’s lo-fi brain candy for the horror enthusiast. It knows exactly what it is, which allows it to get away with murder. In November of 1984, TriStar Pictures and director Charles E. Sellier Jr. created quite the stir with the release of Silent Night, Deadly Night. The film follows Billy (Robert Brian Wilson), an 18-year-old recently released from the orphanage in which he was raised. As a small child, Billy witnessed his parents’ brutal murder at the hands of a man dressed in a Santa Claus suit. As a result, Billy suffers from trauma associated with Christmas and the jolly fat man. The film had an impressive opening week at the box office but caused an uproar with critics and audiences alike. Two Point Campus Switch NSP

For critics, the murderous St. Nick was at best a cheap ploy to gain attention and at worst an insulting misstep. For viewers, it was a direct attack on the sanctity of Christmas. Time has been far kinder to this delightful slice of festive camp. Not only have modern audiences warmed up to the idea of a Santa slasher, but the film has earned praise for its attempt at tackling trauma, something overlooked in 1984. “You people have nothing to be proud of,” Gene Siskel exclaimed on an episode of At the Movies, speaking directly to those responsible for Silent Night, Deadly Night. During the brief segment, Siskel publicly shamed the writer, director, and production studios by name for soiling Santa’s good name and pristine reputation. “Your profits truly are blood money.” Siskel’s longtime co-host, Roger Ebert, agreed, adding that he’d “like to hear them [the filmmakers] explain to their children and their grandchildren that it’s only a movie.” Ken Tucker of The Daily Dispatch called Silent Night, Deadly Night “another garbage movie” that “attracted more publicity than your usual garbage slasher film.” Tucker wrote that the setup of a murderous Father Christmas was a “truly disturbing image” to base a movie.

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Worse yet, the filmmakers couldn’t even manage to do much with it, churning out “an abomination made dull with pious self-righteousness.” “The film features something to infuriate and offend almost everyone,” Keith Roysdon wrote in his review for the Muncie Evening Press. The concept is one done in bad taste, according to Roysdon, and if that bad taste were visible, it “would be as visible from space as the Great Wall of China.” For Roysdon, Silent Night, Deadly Night doesn’t even manage to work as shocking exploitation because it’s “so dull and so badly made, with terrible acting, phony-looking makeup and inept direction by Charles Sellier.” For Herald & Review, Gary Minich called on the Legion of Decency to save us from the appalling Silent Night, Deadly Night. Minich felt the film was merely a rehash of previous genre efforts, calling it a “low-budget quickie that borrows nearly every scene from predecessors.” Most of all, Minich was upset to be reviewing it, fearful that some poor souls would be encouraged to see it regardless of his harsh words. Much like Minich, Charles Oestreich of The Argus wasn’t happy to be giving Silent Night, Deadly Night publicity. Two Point Hospital

Oestreich described the movie as “junk,” calling it the sort of film that would typically play to a scattering of folks for a week or two and then quickly disappear. “Its only claim to fame, its exploitation of a sacrosanct icon — Santa Claus — is reprehensible,” Oestreich wrote. That exploitation, combined with the film’s controversial ad campaign, provided the movie with more notoriety than your standard low-grade slasher. And Oestreich feared this would open the world of horror to other things we hold as sacred, such as motherhood, flags, and apple pie. Poughkeepsie Journal‘s Mike Hughes was one of the few critics in 1984 to appreciate what the creators of Silent Night, Deadly Night were hoping to achieve. Hughes wrote that it was only a matter of time before Christmas became a staple of horror and admitted to there being “potential to the idea of a killer in a Santa suit.” Once Billy dons the red suit and starts hacking away at those he deems naughty, “it works fairly well.” It’s the build-up to get to that point that didn’t work for Hughes, who wrote it off as “excruciating” and at times “sickening.” I’ll be the first to admit that Silent Night, Deadly Night isn’t without its flaws.

It’s a bit derivative, and if it weren’t for the Christmas aspect, it likely would be another forgotten slasher. But that’s also why it’s brilliant and works so well. It takes something we’ve seen before and packages it in a way to make it stand out from the crowd. Silent Night, Deadly Night followed in the footsteps of Christmas Evil — a much better killer Santa film released four years prior — and added in the sleaziest parts from the Friday the 13th franchise and a marketing campaign that didn’t shy away from what it was. While the film was punished for it upon its release, it launched a series with four sequels and a remake while paving the way for countless killer Santa flicks to follow. There’s also something to be said about the filmmakers’ efforts to delve into the psyche of Billy. He does many terrible things throughout the film, like decapitating a poor boy trying to have some sledding fun, but he truly wants to be good. The problem is he’s never had the proper support system. Billy experienced a horrific event at a young age and then was just tossed in an orphanage. Once he turned eighteen, he was released on his own, expected to be just fine. Silly as the film may be, it’s a pretty accurate commentary on how America handles mental disorders.

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