The ExecutionerDeveloperTango GameworksPublisherBethesda SoftworksDirectorShigenori NishikawaEngineid Tech 5ReleasedMay 26, 2015GenreSurvival HorrorPrice$2.99PlatformsMicrosoft Windows
PlayStation 3
PlayStation 4
Xbox 360
Xbox OneMediaDigital DownloadThe Executioner is the third and final DLC for The Evil Within. Throughout the course of The Executioner, the player takes control of the Keeper as he battles the many creatures and bosses within the Victoriano Estate during the search for his daughter.
Pedro's original mission is to eliminate the other rogue subjects to slow and eventually halt Marta's mental degradation, as she will be beyond saving once she hits that point. But as he goes through the first set of subjects, it becomes apparent that his daughter's own mental degradation slows, only to suddenly pick up again, even quicker than before, which MOBIUS eventually realizes is due to Pedro himself reading her notes. In order to properly release Marta from STEM, Pedro must battle a dark manifestation of his own avatar, who plots to keep his daughter imprisoned within the dark mindscape forever.
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While the Kidman DLC had a starkly different pacing and set of mechanics, it was still very much within the realm of what was seen in the game proper. The Kidman DLC is akin to making a few tweaks and adjustments here and there to get the result they were after, whereas The Executioner has practically had a whole new set of rules built in from the ground up.
There's also fittingly enough executions you can perform, too. Once an enemy's stunned, your other option besides hurling him across the room is to initiate a short cutscene showing the Keeper, in third-person, utterly destroy your foe's facial region. They're even contextual, sort of. If an enemy's on the floor then the Keeper will stomp his face in (complete with a brief glimpse of the eyes popping), and should it be close enough to the wall will then find its face forcibly colliding with it. Just... an awful lot of face smushing going on in The Executioner. The idea of giving you some goriful imagery to feast your desensitised eyes on fits in perfectly with the add-on, but much like with the environmental hazards there's simply not very many of 'em. There's only the one stomp/wall smash animation, and I think there's only maybe three regular executions when they're standing up right. As such even within its short running time they tend to get just a little old.
@jiggajoe14: I never played any of the BioShock Infinite DLC as I didn't care very highly for the base game, but I do remember Ken Levine comparing the playable Elizabeth DLC to survival horror, which piqued my intrigue. Just... not enough to actually go and buy it. I presume it was designed around stealth gameplay? I think it's definitely within the same vein anywhoo, and it's always fascinating when games try new things with their DLC. The Piggsy DLC for Enslaved is another example of DLC being wholly different from the main game.
Once again I found myself in agreement with you on this games DLC. It's a nice change of pace and rather surprising that all the DLC for this game was all so different. After beating Akumu and the Kurayami modes for Kidman's DLC, the executioner was such a well needed catharsis. Beating peoples heads in with my hammer, laying down traps and following up with absolutely disgusting (in a good way!) finishers was very satisfying. I was also surprised with how well it controlled, watching someone play it makes it look really clunky but controlling it is a different story. The game nails the feeling of being a slow and lumbering giant but if you buy movement upgrades and use the dodge effectively I never felt that I was too slow or struggling to control the pace of whatever battle arena I faced. For the most part, it was rather easy but some boss fights were challenging like the Seabass fight. I took no chances and ruined him with my rocket launcher though. He did get some good shots on me with his magnum and almost killed me though.
The Executioner is downloadable content for The Evil Within and lets the player control a Keeper character from the game. The story is focused on a man in search for his daughter and must follow diaries to understand the truth. The evil company MOBIUS gives orders to the player to eliminate other characters in order to safe his daughter from corruption by said characters. Killing other characters slows the corruption and lowers his daughter mental illness.
King John is a play that constantly surprises--and occasionally frustrates--expectation. It offers the audience scenes of high emotion and of dramatic debate, but it is not easy to categorize the overall effect or appeal. Its isolation in period from the other history plays means that critics look in vain for the prophetic sweep of those plays comfortably located within the larger narratives explored in the two tetralogies. If the play is approached as a tragedy, the protagonist, King John, is likely to disappoint, as he shares the stage with several other significant characters and fades into weakness as the action progresses; in addition, his death is never shown to be clearly or directly the result of his own actions. Nor is the play in any sense a comedy, though the Bastard has his moments of witty commentary. Partly because of this uncertainty of expectation, King John has been characterized as a "transitional" play, fitting neatly between the two tetralogies (Vaughn). The concept of two tetralogies is deeply engrained in critical studies of the histories, despite the remarkable lack of evidence that Shakespeare thought of his historical dramas in this way. As I discuss in my Textual Introduction, the three plays on Henry VI, followed by Richard III, might have some claim to have been conceived as a sequence since they share so many characters, and some structural characteristics, but even the Henry VI plays seem not to have been composed in chronological order, and the title page of the first version of Henry VI, Part Three suggests that it is the second part of a two-part play--a much more common authorial strategy. Similarly, the two parts of Henry IV and Henry V work well as a sequence of three, with the first two explicitly linked. Richard II, however, is a clear outlier, with its deeply poetic language, its focus on one central character--despite the structural importance of Bolingbroke--and its carefully focused, single plot. If King John is to be seen as a transition it is at least as likely that it was written between Richard II and Henry IV, Part One. Like Richard II it is composed entirely in verse; like Henry IV, Part One, it features a fictional character as one of the major sources of entertainment and commentary on the historical plot.
2There is nonetheless some insight in the approach that sees King John as a transitional play. The term suggests experiment, as the author moves from one mode of writing to a different one; if at times King John challenges and frustrates our expectations, it is in part because it is experimental. Whatever its exact date of composition, the mid-1590s was a period when Shakespeare seems to have been constantly exploring a remarkable range of genres and sources for the plays he was writing: Love's Labor's Lost (comedy of manners and words with a non-comic ending), Romeo and Juliet (domestic tragedy with a comic structure), Richard II (history, with an elevated, almost epic style), and A Midsummer Night's Dream (multi-layered comedy like nothing before or since). There are, of course, many similarities within this group of plays: all seem at times drunken with language; three are preoccupied with young love, two explore metatheater in plays-within-plays. The scene in King John where the Citizens look on the battles of the antagonists comes close to the same kind of metatheatrical structure. The Bastard wittily points this out:
4But what all these decisions, from Heminge and Condell onward, tend to do is to smooth over the extraordinary angularity and variety of the work that Shakespeare has left us. Even within traditional genres no two plays look alike: in the tragedies, for example, we move from the tight construction of Macbeth with its central anti-hero to the sprawling dual plot of King Lear (in both versions); and no theory of dual authorship in the surviving version of Macbeth or of extensive revision in King Lear will paper over the differences. If we choose to create a subcategory for Roman tragedies, we are similarly left with the chasm between the restrained language and compact structure of Julius Caesar and the sprawling riches of Antony and Cleopatra, with its episodic structure and dense imagery. There are, of course, overarching changes in Shakespeare's craft between early and late plays, but at the granular level as we look at groups of plays we are left with variety rather than regularity and consistency; with experimentation as much as with anything we might label "genre," or "development."
. . . that same purpose-changer, that sly devil,
That broker, that still breaks the pate of faith,
That daily break-vow, he that wins of all,
Of kings, of beggars, old men, young men, maids--
Who having no external thing to lose
But the word "maid"--cheats the poor maid of that;
That smooth-faced gentleman, tickling Commodity.
(TLN 889-94)
35The trajectories of the debates on the significance of legitimacy and oaths seems to converge on a pessimistic assessment that these virtues are for sale, and will be used as a convenient cover to justify actions after the event. In his passionate defense of his actions to Lewis, Salisbury explicitly justifies the disloyalty of the lords to King John by claiming that only by doing wrong can one heal the disease within the land:
39In each case, happenstance rather than any moral choice is the trigger for the plot. Shakespeare underlines the effects of sheer misfortune in the similarly bad weather that the Bastard suffers, losing "half his power" (TLN 2597) in the Lincolnshire Washes (tidal flats). According to Holinshed, and in TRKJ, it is King John who loses his train--his followers and his baggage, including the crown. The overall effect of these accidents is to reduce the level of human agency in deciding the outcomes of the various debates and political manipulations we have witnessed through the play. It is something of a paradox that a play so intensely political suggests in the end that human attempts to manipulate events--however skillful--are ultimately without effect. As I have earlier suggested, in some measure King John remains firmly within the de casibus tradition where Fortune is the ultimate arbiter of human events; but the play's emphasis both on the ineffectiveness of political manipulation and of morally-driven action (notably Hubert's refusal to blind Arthur) suggests a world where human action takes place in a moral vacuum. Phyllis Rackin remarks that in this play "every source of authority fails and legitimacy is reduced to a legal fiction" (Stages 184), and Judith Weil describes King John as a "decentered and indeterminate play" (46). There is perhaps something of a foretaste of the end of King Lear, where sheer chance means that Cordelia is killed just before help arrives. 9af72c28ce
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