—Dr. Yang
Apsulov: End Of Gods is not the longest game, with there in fact being a trophy awarded for completing the game in under two hours (you can take much longer and still not obtain everything). Its uniqueness and aesthetic triumphs outweigh the brevity one way or another. An indie game which merges a science fiction corporate catastrophe with Norse paganism, it released in 2019 during the surging popularity of Norse mythology in mainstream entertainment while possessing a very distinct artistic identity. Brutal in tone, visually strong, and unique among many indie games in a similar space, Apsulov is largely a masterpiece from its category of gaming.
Production Values
Besides a sprinkling of visual glitches, like part of a wall and the floor disappearing while crouched in a passageway, the graphical quality is superb for an indie game. A recurring evidence of this besides the excellent use of colors (green is prominent for its connection to Loki and Helheim) and the smooth animations for environments and characters is that the text on small miscellaneous items, like cans and snack packaging, is distinctly legible. Clear wording on materials and walls is a testament to the indie title's graphical clarity and attention to detail on the part of the developers. Many longtime gamers have probably seen scores of items where the text was just presented as obscure pixelation. Not so here!
And whether intentionally or not, there are some distinct parallels to the 2016 Doom reboot of all games in one cutscene in particular, something to be of focus in a separate post about the subject of artistic influence and facts like how parallels do not necessitate inspiration. In the cutscenes, the aforementioned one included, and in the gameplay, Alice's limbs are visible, which does add a layer of visual immersion. What of the voice acting? That of human characters is adequate, but what really shines is Loki's voice both in dialogue and delivery, all of which flawlessly pairs with his extreme malevolence. Also of particular excellence is the use of music in the direct leadup to the final fight of the game—the soundtrack is utilized to help establish the significant urgency and finality of what lies ahead.
Gameplay
Apsulov is somewhat a "walking simulator," as some pejoratively call games where you walk from one place to another with, among other things, little to no combat. Eventually, there is a means of protecting yourself and actively killing enemies. It just will not be available at first. Until that point, you do walk about as protagonist Alice while vulnerable to the handful of flayed people who chase you upon sight. They do not, however, pursue you unrelentingly. In fact, run to the next room or even the other end of a large area, and they might not even keep following you at all. If it was not for this, a certain early part of the game would be very hard to complete since it involves inputting a code while standing in place.
Some of the enemies roam in dark environments, though, even the humanoid figures without skin wearing a skull with antlers. How do you avoid physical or visual contact? In the opening of the story, you are told how to trigger a special sight mechanic tied to pagan magic and key plot details that come to light later on. You cannot constantly rely on this sight. Its meter much recharge after depletion, forcing the player to either more patiently approach some segments or, if they so choose, charge ahead blindly to quickly get through an area. When you obtain a technologically enhanced arm that can fire energy projectiles, charging ahead is no longer as risky. Beware, though: you only have a limited number of energy discharges before you must refill the weapon with a finite amount of ammunition on hand or at fixed stations.
No matter how much you can defend yourself at a given time, the game will take you through varying locations which reveal more of the lore and deepen the harsh thematic atmosphere. For example, you pass by the enormous shields of the Valkyries in one area. Without them making an appearance, the sheer size of their shields and the macabre atmosphere of the game work together to reinforce the vulnerability and mystery of the setting. A voice log mentioning that the Valkyries escort fallen warriors to their afterlife in Valhalla dances around the more pressing matter: what happens to the other people who die in a story where the Norse myths are supposed to be mere shadows of how ghastly the real beings and events were? You see what is supposed to await them later. In another case, you come across Thor's hammer, a massive instrument that generates enough electrical energy to power the entire facility. Thor's voice is heard in a postgame cutscene with only dialogue and a black screen with subtitles as he discusses getting his hammer now that Fimbulwinter is here, the great winter preceding Ragnarok—the end of the Nine Realms.
Speaking of the afterlife, though Alice visits Helheim as part of the plot, she goes to a small afterlife area with a series of walled bariers and an open center upon getting killed by an enemy in ordinary gameplay. This plane has a unique mechanic where the player must guide Alice to move orbs into place while being stalked by a spirit (Loki). If successful, this will return her to life on Midgard—she is still alive in the afterlife, of course, or she else would no longer exist. But during a scripted scene, the player sees her die in first-person and must later revisit the same area on Earth, where Alice's former body is still visible.
Story
A woman wakes up in a sparsely lit chamber with medical technology above her and a voice speaking to her through the machine, saying something about her not remembering her own history if she selects the wrong rune from the walls after an invasive procedure grants her a special sight ability. The robotic voice speaks in increasingly hostile and dismissive manner until she escapes through the floor, finding ominous voice logs evidencing that it is 2027 and that the Borr Corporation has done something that led to devastation for the outside world. As it turns out, the corporation uncovered the tree connecting the Nine Realms, and Loki has orchestrated the deaths—or worse—of the personnel on site.
Intellectual Content
Why did I say that Loki has orchestrated something worse than the deaths of Borr Corporation personnel? Well, Loki makes promises of immortality to those who drink blood that comes through the roots of the World Tree, but once they drink it, he has their skin removed and leaves them to wallow in their pain and regret. Perhaps they do not really live forever, as not even the gods are supposed to have eternal life once Ragnarok snuffs them out. Either way, what Loki does is worse than simply killing these people, and it is tied to their drinking of blood. This act is not inherently connected with paganism of any kind (as I have seen an adherent of Rabbinic Judaism fallaciously assert), but eating blood is a rather grave sin on Judeo-Christianity (Genesis 9:4, Leviticus 3:17, 7:26-27, 17:10-14, 19:26, Deuteronomy 12:16, 23-25, 15:23, Ezekiel 33:25).
A researcher with an apparent gravitation towards the metaphysical and epistemological errors of naturalism was wary of Loki's promise and decided to escape once others drank the blood, as evidenced by a voice log in which he says the people who drank it showed no regard for ethics. It is unusual for a seemingly very secular scientist to think there are ethical problems with drinking the blood other than spreading some sort of health risk, but even then, devastating pragmatic consequences do not automatically mean good and evil exist or that an action is evil if they do. This researcher is not the only person who expresses unease with what is uncovered as the Borr Corporation tries to harness the power of the Norse "gods". Dr. Sara Andersson, for instance, voices her rightful concern about the nature of Loki, especially since a major theme of the game is that the stories of Norse pseudo-deities are tamer than the real events they were derived from.
Loki's murderous deception that led to Baldur's death in the tales is said to have been punished with the death of his sons and daughters, the disfigurement of his face, and his confinement underground with acid dripping onto his face, this confinement supposedly lasting "forever". The Loki of Apsulov is indeed incredibly evil, but the torture someone says he was subjected to, which he does escape from, is far morally and amorally worse than any act of mere immoral killing. Ragnarok would eventually end his suffering by virtue of releasing him from his torturous confinement, of course, and perhaps the destruction various audio logs or characters say is occurring on Earth's surface is part of Ragnarok (if in this version of events, part of Ragnarok occurs before Fimbulwinter). Yet, the idea that murder deserves eternal torture instead of many tortures far short of the eternal sort deserving death is incapable of being true. Not even the cruelest beings could deserve endless torment.
Perhaps because malevolence was already his personal nature, perhaps because of bitterness after his prolonged imprisonment and torture, or perhaps for both reasons, Loki is highly malicious after his escape. In the game, Alice encounters those who drank his blood only to find themselves remaining alive after their skin has been removed, and he is verbally and physically aggressive towards her until the end of the game. Loki's proposed pact between "gods" in the ending, which he says cannot be broken, is really in all likelihood a ploy to save his life in the moment. As a trickster entity, it would be entirely in character for him to only be lying to Alice. Still, the player gets to decide to take his offer and co-rule the universe with him or bring him to a seemingly total end. The game, here and elsewhere, only emphasizes how these "gods" and "goddesses" are created, mortal beings even according to their own stories.
Hel herself—whom Alice is actually a reincarnation of—is said to have been killed on her throne in Helheim as Loki's daughter in part of his punishment for bringing about the death of Baldur (which would itself could possibly not be just because one person is involuntarily punished as part of their family member's penalty), and her skeleton remains on that enormous throne in Helheim as seen later. That is two "divine" entities who are supposed to have died already! Alice herself is a partial recreation of Hel with human stature, a far cry from a legitimate god/goddess (an uncaused cause). She had a beginning, and the being she is somewhat a reincarnation/clone of had both a beginning and an end. It is implied that Hel had no afterlife in the meantime. Or if she did, Alice had forgotten by the start of the game. These entities are far from uncaused causes that cannot be killed by mortal beings as with the Biblical Yahweh.
Conclusion
Apsulov capitalizes extraordinarily well on the horror of Scandinavian paganism (that is not to say that Judeo-Christianity does not involve horror of its own! [1]) and on the bleakness of a corporate endeavor that seemingly initiates Norse eschatological disaster. Referencing the Edda by name, the game excellently broadens its worldbuilding by mentioning pagan beings not depicted onscreen and setting up a potential sequel with the onset of Fimbulwinter. It does not have an incredible amount of diversity in the gameplay since most of the playthrough is spent walking around or finding items, but being a fairly short game helps prevent this from becoming a major flaw. So does visiting multiple distinct worlds from the Nine Realms. Even if you do not particularly appreciate games with a lot of walking, the tone, story, and the superbly handled darkness of Loki make this a great indie title.























