Almighty Game Designer

America's End of the Day battle system is also very unique.

Although Chen Jiao had not previously labeled some special zombies or special weapons like "Survival in the End", the players found after a little play that the battle system of the game was very different from the traditional zombie game, and completely different from all the games before Chen Jiao.

Simply put, America's End of the Day battle system is more realistic and more capable of demonstrating the true state of human and zombie warfare in an end-of-life environment.

In The End of America, fighting humans or fighting zombies is two different ways of fighting.

When fighting a zombie, his best senses are hearing and poor vision, so he has to walk slowly and quietly.

Listening to and assassinating are the most commonly used methods of combat. “Listening” is a special ability of the protagonist and in the "listening” state, the protagonist moves very slowly, making virtually no sound, and can be audibly positioned behind the wall to locate the zombie and the human being.

Zombies in the game are divided between ordinary and special zombies, and ordinary zombies can be disposed of directly by dive-strangulation, but some special zombies, such as acoustic followers, cannot be killed by strangulation and must use a spring knife.

Moreover, the hearing of the zombies is very acute, and with one shot, the surrounding zombies will inevitably flock, and if the main character is bitten, the game ends directly. So, in combat, sneaking assassinations or simply sneaking around is the best way to play, and it's unrealistic to shoot all the way past.

Unlike other zombie games, other zombie games always try to give the protagonist a bunch of machetes, such as chainsaws, gatrines, etc., so that players can experience the pleasure of slaughtering zombies. But think about it, if it's really the end of 20 years, it would be nice to get a few rounds of ammunition. Things like chainsaws and gatrins are basically hard to get.

When it comes to fighting humans, it's another way of fighting.

Humans have good vision and are discovered as soon as they show up. However, hearing is slightly worse, so the difficulty of diving an assassination is slightly reduced.

Humans tend to be loaded with live ammunition, so this battle is somewhat similar to Mysterious Seas, which is a trail of undercover assassinations + bunker gunfights. However, because the number of bullets in the hands of the player is extremely limited, it is impossible to imagine a protrusion of the whole process, as in the simple mode of "Mysterious Seas", the gun can only be used as a tactical weapon, and in the vast majority of cases the main character's weapon is a bottle of wine, a brick, or even a fist beat.

Especially the way bricks are fought, very grounded.

So, the American End of the Day battle system and the material system, though seemingly slim at first glance, come to think of it more closely, are actually closer to the real end of the day ecology.

If, 20 years after the outbreak of the virus, there are unlimited supplies of combat materials, there may be only bricks left.

Moreover, this battle system still appears to be the kind of diving, assassination, shelter shooting, but in a special late zombie context, coupled with the ability to “listen” and sophisticated weapon systems, has become refreshed, with very clear distinctions between other games, and has made its own distinctive features in the battle experience.

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Zhao Lei has completely immersed himself in the play "The End of America".

Joel and Tess found a shipment of Robert to track down, met Marlene, the firefly leader, and made a special deal: to take a 13-year-old little Lori named Ellie out of town and get a bunch of weapons.

But on her way out of town, she met a soldier and found out that Ellie was actually an infected person, except that she was an infected person with antibodies, and there was a good chance that the key to producing a zombie virus vaccine existed in this little girl.

However, the plot was reversed once again, when all the effort had been made to reach the destination congressional building.

All the fireflies in the Capitol building have been evacuated, but Tess insists on continuing her search for the fireflies, as she has been infected for very little time. Against this backdrop of death, people like Joel don't survive because he's strong, just because he's lucky and his luck runs out.

Tess hoped that Joel would send Ellie to the fireflies and work out a vaccine, but he chose to stop the soldiers who came after they were cut off.

Joel and Alifer avoided soldier hunting every week, and the plot marked a very critical turning point.

What do we do now?

Zhao Lei felt the same way about Joel.

Over the course of 20 years of his life, Joel has gone through so much that he has become accustomed to rubbish me and the cruelty of the end. As can be seen from his ability to kill soldiers and enemies who threaten him calmly and without hesitation.

And Joel was very indifferent to Ellie, and the reason he was escorting Ellie wasn't out of compassion, just to get the weapons, it was just a deal.

It has to be said that Joel's mentality is very much in line with post-mortem rules of conduct, and if Joel is not such a person, he will not survive for 20 years in the end.

At this point, Joel was clearly reluctant to risk his life for a vain goal.

But anyway, Joel couldn't have left Ellie, so the plot went on, and Joel went to his next destination.

During the course of the game, Zhao Lei discovered some very interesting points.

First of all, Joel's attitude toward Ellie is rather exclusive. Compared to that gentle father 20 years ago, Joel is now like a ruthless egoist who basically doesn't respond to Ellie's jokes, sometimes harshly reprimanding them.

Of course, the more reason for this is a self-preservation mentality, and obviously Joel has seen a lot of examples over the last 20 years, like he said, "The only thing that matters is that it kills you." Joel wants to live without risking for an illusory goal.

The portrayal of this character makes Zhao Lei feel very real and relevant. In the afterlife, Joel was no longer a good man, but he was not turned into a bad man; he was merely wearing a protective colour and became a grey man, more likely to survive in the afterlife.

Secondly, Joel and Allie, as partners, have a completely different relationship than Joel and Tess, and this difference can be reflected in the way they play.

Tess is a standard woman, so when she meets some heights, Joel can put Testo up and Tess can pull Joel up. But Ellie was just a little Laurie, and she couldn't pull Joel, so she had to look for the keys to open the door or find some special tools after Joel pulled her over.

Besides, Tess is basically in live ammunition, and Allie is unarmed. When she got the bow and arrow, Ally asked to use it herself, but Joel refused, relying on Ally's generic request, and didn't want to give her any weapons.

But even then, Ellie would look for things like wine bottles, bricks, etc. from the scene, often to help Joel.

This combination of Joel and Ellie is also dramatic, full of contradictions and conflicts, makes Zhao Lei very curious, how will the plot develop?