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Matthew Krueger (10051 KP) rated the Xbox One version of Layers of Fear in Video Games
Oct 26, 2019
Psychological Paintings
Contains spoilers, click to show
Layers of Fear- is scary, horrorfying, spooky, creepy, terrorfying, psychologically thrilling and more.
In Layers of Fear, the player controls a psychologically disturbed painter who is trying to complete his magnum opus, as he navigates through a Victorian mansion, with disturbing secrets about the painter being discovered. The gameplay, presented in first person perspective, is heavily story driven and often revolves mostly around puzzle-solving and exploration, as the game intensifies after each level while jump scares occur often.
The game is divided into six chapters with various items for the player to find in order to complete his work. The game is heavily dimmed, and there are objects that uncover certain aspects of the painter's history. While completing the painting, there is a letter that is slowly pieced together, which shows the origin of his masterpiece, and objects which explain the secret of the painter through dialogue flashbacks.
Lets talk about the plot and the three different endings.
Set in the 1920s United States, the unnamed protagonist returns home from a court hearing. After briefly exploring his empty house, he goes to his workshop to start working on his "magnum opus". After he adds the first layer, he starts having hallucinations about his past encounters.
There are three different endings featured in the game, each depending on the player's actions during the course of the game.
Ending 1 - The endless loop ending shows that the artist was working on a portrait of his wife as the masterpiece. He seemingly succeeds in creating the painting, and steps back to admire it only to see the figure of his wife devolve into a mutilated figure that proceeds to taunt him. Horrified, he grabs the painting and hurls it into a room full of identical paintings, all of which begin to laugh. It is revealed that the painter spent years shut in his house working on the same picture multiple times trying to perfect it in a cycle of obsessive mental deterioration. If the player enters the room where the artist threw the painting into, it is revealed that all the portraits are well made and resemble the artist's wife, but he can only see them as a disfigured mess. Returning to the studio, he unveils a blank canvas and begins working on the next painting, further continuing his self-destructive cycle as the screen fades to black.
Ending 2- The family ending is much the same, but this time he puts his child in the painting too. He then realizes the horrible mistakes he has made, and that he can never bring them back, no matter how many times he tries. He goes to the room upstairs and burns all his previous paintings along with his finished work before laying down and dying in the fire.
Ending 3- The selfish ending ends with a portrait of himself as his final attempt. Being finally satisfied, he decides to hang it in the room upstairs. The next shot goes to his painting on a display at a museum among other famous Victorian artists.
Their is also dlc for this game called Inheritance, which also has a good ending, bad ending and the true ending. I havent played the DLC so i wont spoil it because i havent played it.
Anways Layers of Fear is a grear game and I can't not wait until I play the DLC and Layers of Fear 2.
In Layers of Fear, the player controls a psychologically disturbed painter who is trying to complete his magnum opus, as he navigates through a Victorian mansion, with disturbing secrets about the painter being discovered. The gameplay, presented in first person perspective, is heavily story driven and often revolves mostly around puzzle-solving and exploration, as the game intensifies after each level while jump scares occur often.
The game is divided into six chapters with various items for the player to find in order to complete his work. The game is heavily dimmed, and there are objects that uncover certain aspects of the painter's history. While completing the painting, there is a letter that is slowly pieced together, which shows the origin of his masterpiece, and objects which explain the secret of the painter through dialogue flashbacks.
Lets talk about the plot and the three different endings.
Set in the 1920s United States, the unnamed protagonist returns home from a court hearing. After briefly exploring his empty house, he goes to his workshop to start working on his "magnum opus". After he adds the first layer, he starts having hallucinations about his past encounters.
There are three different endings featured in the game, each depending on the player's actions during the course of the game.
Ending 1 - The endless loop ending shows that the artist was working on a portrait of his wife as the masterpiece. He seemingly succeeds in creating the painting, and steps back to admire it only to see the figure of his wife devolve into a mutilated figure that proceeds to taunt him. Horrified, he grabs the painting and hurls it into a room full of identical paintings, all of which begin to laugh. It is revealed that the painter spent years shut in his house working on the same picture multiple times trying to perfect it in a cycle of obsessive mental deterioration. If the player enters the room where the artist threw the painting into, it is revealed that all the portraits are well made and resemble the artist's wife, but he can only see them as a disfigured mess. Returning to the studio, he unveils a blank canvas and begins working on the next painting, further continuing his self-destructive cycle as the screen fades to black.
Ending 2- The family ending is much the same, but this time he puts his child in the painting too. He then realizes the horrible mistakes he has made, and that he can never bring them back, no matter how many times he tries. He goes to the room upstairs and burns all his previous paintings along with his finished work before laying down and dying in the fire.
Ending 3- The selfish ending ends with a portrait of himself as his final attempt. Being finally satisfied, he decides to hang it in the room upstairs. The next shot goes to his painting on a display at a museum among other famous Victorian artists.
Their is also dlc for this game called Inheritance, which also has a good ending, bad ending and the true ending. I havent played the DLC so i wont spoil it because i havent played it.
Anways Layers of Fear is a grear game and I can't not wait until I play the DLC and Layers of Fear 2.
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Bob Mann (459 KP) rated Battle of the Sexes (2016) in Movies
Sep 29, 2021
Tennis and sex, but without the grunting.
Here’s a good test of someone’s age…. ask the question “Billie-Jean?”. Millennials will probably come back with “Huh?”; those in their 30’s or 40’s might come back with “Michael Jackson!”; those older than that will probably reply “King!”.
“Battle of the Sexes” (which I just managed to catch before it left cinemas) tells the true-life story of US tennis star Billie-Jean King (Emma Stone, “La La Land“). The year is 1973 and Billie-Jean is riding high as the Number 1 female tennis player. She is a feminist; she is married (to hunk Larry – no not that one – King played by Austin Stowell (“Whiplash“, “Bridge of Spies“)); …. and she is also attracted to women, not something she has yet acted on. That all changes when her path crosses with LA-hairdresser Marilyn (Andrea Riseborough, “Birdman“, “Oblivion”).
But this is a side story: the main event is a bet made by aging ex-star Bobby Riggs (Steve Carell, “Foxcatcher“); that – even at his age – as a man he could beat the leading female tennis player of the day.
The film is gloriously retro, starting with the old-school 20th Century Fox production logo. And it contains breathtakingly sexist dialogue by writer Simon Beaufoy (“Everest“, “The Full Monty”). Surely men couldn’t have been so crass and outrageous in the 70’s? Sorry ladies, but the answer is yes, and the film is testament to how far women’s rights have come in 50 years.
This is a tour de force in acting from both Emma Stone and Steve Carell, particularly the latter: a scene where Carell tries to re-engage with his estranged wife (Elisabeth Shue, “Leaving Las Vegas”) is both nuanced and heart-breaking. Stone’s performance is also praiseworthy, although it feels slightly less so as it is an impersonation of a (relatively) well-known figure: this is extremely well-studied though, right down to her strutting walk around the court which I had both forgotten and was immediately again reminded of.
One of my favourite movie awards are the Screen Actor’s Guild (SAG) “cast” awards that celebrate ensemble performances, and here is a film that should have been nominated (it unfortunately wasn’t). Andrea Riseborough; Natalie Morales (as fellow tennis player Rosie Casals); comedian Sarah Silverman (“A Million Ways to Die in the West“), almost unrecognisable as the brash publicist Gladys Heldman; Bill Pullman as LTA head Jack Kramer; the great Alan Cumming (“The Good Wife”) as the team’s flamboyant, gay, costume designer; Lewis Pullman as Riggs’s son Larry; Jessica McNamee (magnetic eyes!) as King’s Australian tennis nemesis Margaret Court. All bounce off the leads, and each other, just beautifully.
Cinematography by Linus Sandgren (“La La Land“) and editing by Pamela Martin (“Little Miss Sunshine”) unite to deliver one of the most sexually charged haircuts you are ever likely to see on the screen. For those put off by this aspect of the storyline, the “girl-on-girl action” is pretty tastefully done and not overly graphic: it’s mostly “first-base” stuff rather than “third-base”!
“What a waste of a lovely night”. Marilyn (Andrea Riseborough) and Billie-Jean (Emma Stone) get serious.
Directed with panache by the co-directors of the 2006 smash “Little Miss Sunshine” – Jonathan Dayton and Valerie Faris – all in all it’s a delight, especially for older audiences who will get a blast of nostalgia from days when sports were still played at a slightly more leisurely pace… and definitely without the grunting.
“Battle of the Sexes” (which I just managed to catch before it left cinemas) tells the true-life story of US tennis star Billie-Jean King (Emma Stone, “La La Land“). The year is 1973 and Billie-Jean is riding high as the Number 1 female tennis player. She is a feminist; she is married (to hunk Larry – no not that one – King played by Austin Stowell (“Whiplash“, “Bridge of Spies“)); …. and she is also attracted to women, not something she has yet acted on. That all changes when her path crosses with LA-hairdresser Marilyn (Andrea Riseborough, “Birdman“, “Oblivion”).
But this is a side story: the main event is a bet made by aging ex-star Bobby Riggs (Steve Carell, “Foxcatcher“); that – even at his age – as a man he could beat the leading female tennis player of the day.
The film is gloriously retro, starting with the old-school 20th Century Fox production logo. And it contains breathtakingly sexist dialogue by writer Simon Beaufoy (“Everest“, “The Full Monty”). Surely men couldn’t have been so crass and outrageous in the 70’s? Sorry ladies, but the answer is yes, and the film is testament to how far women’s rights have come in 50 years.
This is a tour de force in acting from both Emma Stone and Steve Carell, particularly the latter: a scene where Carell tries to re-engage with his estranged wife (Elisabeth Shue, “Leaving Las Vegas”) is both nuanced and heart-breaking. Stone’s performance is also praiseworthy, although it feels slightly less so as it is an impersonation of a (relatively) well-known figure: this is extremely well-studied though, right down to her strutting walk around the court which I had both forgotten and was immediately again reminded of.
One of my favourite movie awards are the Screen Actor’s Guild (SAG) “cast” awards that celebrate ensemble performances, and here is a film that should have been nominated (it unfortunately wasn’t). Andrea Riseborough; Natalie Morales (as fellow tennis player Rosie Casals); comedian Sarah Silverman (“A Million Ways to Die in the West“), almost unrecognisable as the brash publicist Gladys Heldman; Bill Pullman as LTA head Jack Kramer; the great Alan Cumming (“The Good Wife”) as the team’s flamboyant, gay, costume designer; Lewis Pullman as Riggs’s son Larry; Jessica McNamee (magnetic eyes!) as King’s Australian tennis nemesis Margaret Court. All bounce off the leads, and each other, just beautifully.
Cinematography by Linus Sandgren (“La La Land“) and editing by Pamela Martin (“Little Miss Sunshine”) unite to deliver one of the most sexually charged haircuts you are ever likely to see on the screen. For those put off by this aspect of the storyline, the “girl-on-girl action” is pretty tastefully done and not overly graphic: it’s mostly “first-base” stuff rather than “third-base”!
“What a waste of a lovely night”. Marilyn (Andrea Riseborough) and Billie-Jean (Emma Stone) get serious.
Directed with panache by the co-directors of the 2006 smash “Little Miss Sunshine” – Jonathan Dayton and Valerie Faris – all in all it’s a delight, especially for older audiences who will get a blast of nostalgia from days when sports were still played at a slightly more leisurely pace… and definitely without the grunting.
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