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Gameplay[ edit ] The Suffering is a first and third-person shooter psychological horror game in which the player controls Torque, the player character , from either a first-person or third-person perspective, depending on their preference.
Weaponry includes a shiv , an axe , a. Slayers represent decapitation ,  Marksmen represent death by firing squad ,  Mainliners represent lethal injection ,  Noosemen represent hanging ,  and Burrowers represent burial alive.
Festers are the reincarnation of slave traders who ran their slave ship aground on Carnate, and left their slaves tied up in the hold to be eaten by rats , rather than freeing them. The eleven people were burnt alive. On the bottom right are, from top to bottom, his Xombium bottles, flashlight batteries, projectile weapon count, and ammo count. As Torque kills enemies during the game, an on-screen meter called his "Insanity meter" begins to fill.
Once it is full, it begins to flash, and at this point, Torque can transform into a monster.
In this form, Torque can tear enemies apart and can perform several powerful attacks. The more enemies Torque kills whilst in this form, the more powerful the monster becomes and the more combo moves become available. At numerous points during the game, the player will encounter situations where they have several choices as to how to proceed.
These situations involve NPCs, and the choices are usually to help the person good morality , kill them bad morality , or ignore them neutral morality. However, not every choice presents the player with all three possibilities.
For example, when Torque finds the controls to the electric chair , he can turn the chair on to torture an inmate strapped to it bad morality , or simply ignore the controls neutral morality. There is no good morality choice available here. Another example is when Torque finds a guard who has had his limbs removed and is slowly dying. He can kill the man to relieve him of his misery good morality , or ignore him neutral morality.
Here, there is no bad morality choice. If the photo is dirty, crumpled and covered in blood, his morality is moving towards evil.
The Suffering (Video Game 2004) - IMDb
This plot synopsis details the "good ending" The game begins as Torque who never speaks is being escorted by CO Ernesto Alvarez voiced by Mark Dias onto death row in Abbott State Penitentiary on Carnate Island, off the coast of Maryland , an island with a long and troubled history. After seeing several guards killed by the creatures, Torque uses security monitors to find the entire prison is under attack.
He then gets a phone call from his dead wife, Carmen Rafeedah Keys , telling him the island is more than a prison, that it brings out evil in everyone, and advising him to escape as soon as he can. Obsessed with discovering what is wrong with Torque, Killjoy appears as an image projected from 16 mm film projectors. Haight John Patrick Lowrie was the executioner in Abbot for twenty-seven years, before he committed suicide in the gas chamber.
He appears as a green vapor formed into the shape of a human. Hermes is determined to drive Torque into unleashing the evil inside him. Gauge John Armstrong was an inmate who was executed in the electric chair for murdering his wife during a conjugal visit. Full of guilt for his actions, he claims Carnate drove him to it, and wants to help Torque realize his decency.
He appears in the form of electricity. They head through the eastern cellblock, where Torque has a vision of Carmen, who explains why she left him; when he was incarcerated for the second time, she knew she needed to make a change to her life.
However, a fire starts, preventing Torque from following. She tells him that herself and the girls are fine, but there is a fire in the nearby forest getting closer to their house. Killjoy then tells Torque to return to the prison, where he will give him his diagnosis. Torque heads back to Abbot by way of the beach, where he encounters Clem Ross Douglas , an elderly inmate who was in the middle of an escape when the earthquake struck. Successfully sending a signal, he learns a Coast Guard vessel is on the way.
Torque heads to the lighthouse, passing through the old military barracks, Fort Maleson. Torque defeats him by using pressurized gas to push Hermes into a furnace. He continues to the lighthouse, outside of which he meets Ernesto Alverez, who is trying to find his family. They restore power, and reactivate the lighthouse, arranging to meet the ship at the dock.
As they near the village, however, they are separated by a fire, and Alverez goes on alone, telling Torque to get to the docks. As he arrives, he encounters Killjoy, who tells him to cure himself he must face what awaits him, and only by using the Rebirth Machine can he defeat it. Torque heads to the docks where he encounters a massive creature with a miniature version of himself protruding from its stomach.
He said to leave you alive. Enjoy your new life. On the boat, the captain recognizes him, and reveals that his case has been reopened after the prosecutor was indicted , and Torque will likely have a retrial.
The game ends with the boat sailing away from Carnate. When the coast guard arrives, Torque transforms into his monster state and kills him, before running back into the woods of Carnate. Neutral ending After Torque defeats the creature, he remembers the murders.
During an argument with his wife, he pushed her, and she accidentally knocked her head against the bedside table.
The Suffering Review - IGN
Development[ edit ] Story and influences[ edit ] "I see The Suffering as somewhat unique among console action-adventure or shooter games in the seriousness of its subject matter and the moral themes it endeavors to explore. This is something that I wanted from day one and I am fairly happy with the result we achieved. In the end though, the compatibility of a game about human atrocities over the ages within the "gory shooter" game milieu was perhaps our biggest limitation.
As games seek to engage the player with more and more serious subject matter, the game mechanics need to evolve along with them, giving the player a wider expressive range than deciding whether to kill or not to kill. Rouse felt Gunsligner had been too ambitious for its own good, especially a "morality system" which saw entire towns full of people react differently to the player character depending on what actions the player had taken earlier in the game. Finding this system impossible to implement effectively, Rouse envisioned The Suffering as having a "drastically stripped down morality system" with a much simpler AI system for tracking it.
According to Rouse, The Shining was the movie that stood out for everyone as something that was deeply horrific, yet not cheesy or ridiculous. A serious piece that is also intensely frightening.
My hope is that players will fill in the blanks with their own imagination, following the tradition of great horror films such as The Birds , The Shining, The Blair Witch Project , and The Ring.
This had implications for much of the design work on the game, as "it meant we were going to focus more on combat and avoid the long cutscenes , frail central characters, clumsy controls, fixed camera angles , and sparse ammo of many console horror games.
He really is almost Neanderthal in appearance.
We wanted that strength to come through. Creature design was also an important element in the development process, with the team determined to create a unique array of enemies. It was also early on we decided we wanted to have a theme for all the creatures. Rouse explains, to have a disturbing and unsettling tone we knew that creepy monsters alone would not be enough.
Therefore we wanted to tie into real-world horrific events. Thus the storyline is suffused with the darkest elements of American history , including prison life and culture, slavery , racism , unethical medical experimentation , mob-mentality executions, and the death penalty.
This is fairly serious subject matter for a videogame, particularly an action-adventure, and it amplified the horror of our world tremendously. The game originally had a target-lock system, based on the controls in Syphon Filter and Devil May Cry.
The Suffering (2004) | PC Walkthrough | Chapter #03: Slumber of the Dead - GameVicio
However, the developers were unhappy with this system as they felt the gameplay was based more on "PC-style shooters" such as Half Life, which uses a mouse and keyboard control scheme to facilitate easier free aiming, rather than a target lock system. As such, "with our controls for a console-style shooter but our gameplay from a PC-style shooter, about a year into development we realized we had a dangerous disconnect in our design that made our game tedious instead of fun.
The change was a huge success for the game: The list included The Suffering, which was described as "action-horror game set inside a prison. In the game, Abbot had been built from the remains of a World War II army base, whereas Alcatraz was originally a military prison. They also revealed the game would be M-rated , and the 3D game engine would draw the locations in real-time as opposed to the 2D pre-rendered backgrounds found in the Resident Evil games. Thus they gave us a generous time extension, not because we were behind schedule but because they wanted to make the game as strong as possible.
Thus, with our levels all fully built and functional many months before shipping, we were able to do a number of passes on the game. We did a pass on horror elements to make the game more frightening, including adding our real-time environmental flashes that are so key to the final experience. We also did a story pass, not to change the story but to expand on how it was presented to the player.
We performed an AI pass to make the creatures much more dynamic and varied in their behaviors. Finally we did a puzzle pass to fix the most egregious problems with the puzzles.
The impact of these passes cannot be underestimated. A defunct gothic prison that is supposedly haunted, game journalists spent the night in the facility with representatives from Midway and Surreal Software. A demo of the game was available in the cafeteria of the building.
The Mindgate Conspiracy , as well as titles coming later in such as Mortal Kombat: The original concept for the music and sound design was proposed by lead sound designer Boyd Post. The concept entailed creating "instruments" out of objects found in the environments depicted in the game, and using them to create both the sound design and the music, which would organically intertwine with one another.
According to Post, I worked with the composer to come up with a hybrid idea where we would extract the elements of the music from the sound design. I gathered up objects that were made of various elements; stone, steel, things that had long tones. We were using aluminium rods that were ten and twelve feet long and got them to resonate length wise. We were then striking them and getting them to resonate horizontally.
We used just about anything we could think of to create sonic signatures that were not typically used in game sound effects. For example, in the prison level rhythms and textures using struck metal bars, slamming a dumpster against a wall, violent metal scrapes, the bowing of metal rods.
In the asylum level, the whispers and cries of the insane were combined with the faint, sinister droning of the Victrola coming from Dr. In the cave, the musical textures were made entirely from the scraping, breaking, and striking of rocks.
The battle with Hermes, who appears as green gas in the shape of a man, is scored using violent rhythms created from compressed air. For Horace, an inmate who died horribly in the electric chair and travels over power lines, the battle music is laced with rhythms created out of arcing electricity.
These included a Stamenphone "a sort of cross between a waterphone and a tambura that can be bowed to create droning tonal melodies or struck for a percussive metallic resonating sound" and Orbacles "hollow metal pods large enough to fit a person inside. These could be struck to create percussive impacts, bowed with superballs to create moaning ambiences and played like congas to create rhythms". These were combined with other objects such as hubcaps , railroad spikes , hammers and glass jars.