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His eyelids are clamped open, preventing him from looking away, his movement is almost completely restricted by a straitjacket, and his ears subjected to a steady stream of classical music played at deafening volume. If you can picture this assault on the senses, you’ll have some idea what playing People Can Fly’s Outriders feels like, but unlike Alex, who is repulsed by violence after being subjected to this ‘therapy’, you might actually find yourself reveling in it.

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A frenzied and fast-paced third-person shooter set on the alien world of Enoch, Outriders will see you play one of the eponymous Outriders, a gun-slinging militia that accompanies the last of the human race as they voyage across space, leaving behind the barren wastelands of Earth.

Upon arriving on Enoch after an 83-year journey and exiting cryogenic sleep, you are greeted with the lush, untouched wilderness that stretches as far as the eye can see. The beleaguered human race appears to be on the cusp of a new start, but a massive storm named ‘the Anomaly’ tears through a town, killing several people and granting magical powers to a select few. Fast forward a couple of decades, and the planet is in turmoil, thrust into a Mad Maxian dystopia, and only you can bring an end to the chaos, mostly just by putting bullets in the right people.

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Someone at People Can Fly heard the old adage about the offense being the best form of defense, and really took it to heart. Outriders is a game in which defense is rarely an option, and even when it is, it’s not an option for long. Instead, constant movement and frenetically paced gunfights are the priority, much like Destiny or Gears of War or any of the other classics of the genre that seem to have heavily influenced the making of this game. Hanging back behind cover is something the game actively tries to prevent its players from doing, with opponents frequently chucking all manner of explosives at you to force you into the open.

Girl on the Third Floor’s director Travis Stevens is back again to big screen with his new film Jakob’s Wife. Penned by Stevens, Kathy Charles, and Mark Steensland, Jakob’s Wife gives a creepy twist to an account of a lady discovering her solidarity and freedom.

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Barbara Crampton plays Anne Fedder, the devoted spouse to the town’s minister Jakob (Fessenden). Many years together implied that their marriage sometime in the past developed into a natural, day-by-day schedule assembled essentially around Jakob. At the point when Tom (Robert Rusler), a past love interest of Anne’s, shows up back around to restore the old gin factory property, Anne’s interest gets provoked. Before teases work out in a good way too far to consider turning back, Tom and Anne find Nosferatu-like containers in the factory’s storm cellar, bringing about a dreadful chomp on Anne’s neck. As Anne starts her change into a vampire, it starts another vitality in her that accompanies a body check that doesn’t look good for her marriage.

Travis’s film additionally makes set-up for one substantial job in Anne. She starts as submissive and docile, featured by the various scenes where she yields to her more emphatic spouse, in any event, when it’s reasonable she feels the inverse. Jakob’s Wife has extremely positive things like the supper scene or a grouping where Anne, sorting out her newly discovered force, conveys furniture with one hand while Concrete Blonde plays behind the scenes. Yet, with those highs come smashing lows that neglect to sink the film, especially in the content division that unquestionably feels like it was composed by three individuals with contending points.

The explanation is basic: the film is a lot of a satire first, frightfulness second. What’s more, the satire is silly and unconventional in manners that eventually sabotage the reflective informing at its middle as opposed to improve it. There are looks at the inverse—like Jakob discovering approaches to rapidly handle otherworldly events and position himself as the vanquisher of abhorrent his collar requests and how that worsens the force imbalance of his marriage—however not almost enough to quit making the entire feel incoherent

The throughline of a lady finding her self-rule and sexuality at a later point in life rapidly tumbles off the rails in the chaotic second demonstration. From the outset, it appears as though the story needs to handle a more reasonable and specifically complex idea of couples choosing to remain together and sorting out what life would resemble with a totally unique force dynamic. Fessenden sells this polarity by introducing a strict patriarch who’s attempting to grapple with his better half’s newly discovered control of her sexuality, however, the pieces don’t totally meet up in a good manner.

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