Until Dawn Developer 'Wow this game looks great, and all these death scenes are so fresh and different.' Until Dawn Trophies. Don't Scare Jessica To Death: Jessica survived her night of terror: You'll get this if Jessica is alive at the end. See They All Live for more information on how to keep Jessica alive. User Comments: Comment #1 by MenialPegasus.

.: 25 August 2015.: 26 August 2015.: 28 August 2015,Mode(s)Until Dawn is a 2015 video game developed by and published by for the. Players assume control of eight young adults who have to survive on Blackwood Mountain when their lives are threatened. The game features a system in which players must make choices that may change the story. All playable characters can survive or die, depending on the choices made.

^ Murray, Noel. ^ (1 December 2009). Alone with you outfield. Retrieved 3 July 2010.

Players explore the environment from a and find clues that may help solve the mystery.The game was originally planned as a game for the 's motion controller. The motion controls were dropped when it became a game. The story was written by and Graham Reznick, who sought to create the video game equivalent of a. The development team took inspiration from various sources. These include the movies and, and video games,.

To ensure the game was scary, the team used a test to measure playtesters' fear levels when playing it. Composed the soundtrack and ' game engine was used for the graphics. Several noted actors, including, and, provided motion capture and voice acting.Until Dawn was announced at and released in August 2015. Although the title received little marketing effort from Sony, its sales surpassed expectations. The game received generally positive reviews.

Critics praised the branching story, butterfly effect system, world building, characters, and use of. Criticism was aimed at the controls and dialogue. Until Dawn was nominated for multiple year-end accolades. Supermassive followed the game with a, (2016), and a prequel, (2018).

In Until Dawn, players have to make quick decisions that may have unforeseen consequences.Until Dawn is an in which players primarily assume control of eight young adults who have to survive on Blackwood Mountain until they are rescued at dawn. The gameplay is mainly a combination of and exploration. Players control the characters in a linear environment and find clues and items. Players can also collect, which give players a of what may happen in the game's narrative.

An in-game system keeps track of all of the story clues and secrets that players have discovered, even across multiple playthroughs. Action sequences feature mostly (QTE). One type of QTE involves hiding from a threat by holding the controller as still as possible when a 'Don't Move' prompt appears.The game features a system, in which players have to make choices.

These range from small decisions like picking up a book to moral choices that involve the fates of other characters. Some decisions are timed.

Certain choices may unlock a new sequence of events and cause unforeseen consequences. These choices also influence the story's tone and relationships between characters. Players can view the personality and details of the character they are controlling, and his or her relationships with other characters. All eight characters may die by the end of the story, depending on the player's decisions. Deaths are permanent; the game's narrative will adapt to these changes and continue forward without them. The strict system prevents players from reloading a previously saved file. This makes it impossible to revert choices with unfavorable outcomes.

The only ways to change the player's choice are to restart the game or to continue to the end and start a new game. There are hundreds of endings, which are the outcomes of 22 critical choices players can make in the game.The game is divided into 10 chapters. There is an intermission between each chapter in which a psychologist, Dr. He analyses the player fears along with the choices they have made. Portrays Sam GiddingsDuring a party at her lodge on Blackwood Mountain, a cruel prank causes Hannah Washington (Ella Lentini) to run into the woods. Hannah's twin sister Elizabeth 'Beth' (also Lentini) finds her, but the two are pursued by a mysterious figure, resulting in them falling off a cliff's edge.

No bodies are found by the police and the sisters are declared missing.A year later, Hannah and Beth's brother Joshua 'Josh' , invites the group from the previous party - Hannah's friend Samantha 'Sam' Giddings , Josh's friend Christopher 'Chris' Hartley , Chris' mutual love interest Ashley Brown , new couple Emily Davis and Matthew 'Matt' Taylor , Emily's ex-boyfriend Michael 'Mike' Munroe , and Mike's new girlfriend Jessica 'Jess' Riley - back to the lodge. Despite tensions between members of the group and reservations about returning after the tragedy that occurred, all seven accept Josh's invitation. Each member of the group arrives at the lodge through a before engaging in separate activities on the mountain.As the night progresses, Josh, Ashley, Chris, and Sam find themselves terrorized by a masked man in the lodge. Josh is bisected in a torture device set up by the masked man, who then pursues Sam through the building's lower levels. The masked man's torment of the friends culminates with Chris being ordered to shoot Ashley or himself under the threat of them both being killed by giant saw blades. Meanwhile, Jessica is abducted by an unknown individual during a tryst between her and Mike at the guest cabin. Mike's pursuit of her attacker leads him to an abandoned, which contains information about a 1952 cave-in on the mountain that trapped a group of miners.

After discovering that the cable car's key is missing, Matt and Emily head to a radio tower request help. The request is successfully received, but the responder states that the group will not be rescued until dawn due to a storm and Emily falls into the mines when an attacker causes the tower to collapse. Looking for a way out, Emily stumbles upon the location where Beth and Hannah fell, with Beth's severed head located nearby.Mike reunites with Sam just as the masked man appears before them and Ashley and Chris. The masked man reveals himself as Josh, who orchestrated the events at the lodge as revenge for his sisters' presumed deaths. Believing Josh killed Jessica, Mike has him bound in a shed to remain until the police arrive. At the lodge, Sam, Mike, Chris, Ashley, and, if she escaped the mines, Emily are confronted by the -wielding stranger , the man Beth and Hannah encountered the night that they disappeared.

The stranger reveals that the deaths on the mountain have been caused by, former humans who became malevolent creatures after resorting to. Chris and the stranger travel to the shed to rescue Josh, but discover him missing, and the stranger is killed by a wendigo while attempting to return to the lodge. Suspecting that the cable car key is in Josh's possession, Mike heads back to the sanatorium to find him, while Sam pursues Mike to warn him about the wendigos.Sam and Mike discover Josh in the mines, whose weakened mental state has caused him to hallucinate his sisters and psychiatrist Dr. Alan Hill. Mike tries to lead Josh to safety, but they are separated when Josh is attacked by Hannah, who turned into a wendigo after consuming Beth's corpse.

If Jessica and/or Matt are still alive, they attempt to escape through the mines while evading wendigos. Mike and Sam return to the lodge to hold up in the basement with any other survivors, only to find it overrun by wendigos, including Hannah. When a fight between the wendigos causes a gas leak, Mike and Sam work together to destroy the lodge, leading to an explosion that kills Hannah and the remaining wendigos inside. Following the explosion, rescue helicopters arrive to look for survivors.In the ending credits, any surviving characters, excluding Josh, are interviewed by the police about the events on the mountain. If Josh has survived, a post-credits scene depicts him eating the stranger's head as he transforms into a wendigo.Development and release As a PlayStation Move title. The game was initially designed for the motion controller for the PlayStation 3.British developer led the game's development, which began in 2010.

Its existence was revealed after a trademark for Until Dawn was discovered. The game's creative director was Will Byles, who joined the studio in the same year. The studio began discussing an idea for a new game for the 's accessory, which had a greater emphasis on narrative than Supermassive's previous titles like.

The proposed game would be a horror game that resembled a and it would be designed for a younger audience that publisher had courted with the Move. Supermassive hired American writers and Graham Reznick, both of whom had worked on horror movies, to write the game's script. They were hired because Byles felt the company's British writers wrote in a 'parochial' way that is inappropriate for the horror genre.The game was initially exclusive to PlayStation Move, meaning players needed to buy the Move controller to functionally play the game. In this version of the game, the only way to navigate and progress the game is by moving the motion controller. Moving the wand guides the movement of the flashlight held by the characters as players explore the location from a. The wand can also be used to interact with objects and solve puzzles. In this version of the game, players can occasionally wield a firearm.A segment of the game shown at 2012 received positive comments from the gaming community.

Byles said the enthusiastic response was due to the game's unique tone, which was thought to be 'fresh' compared with that of its competitors. One of the most common complaints received was the game's status as a Move exclusive; most people did not want to purchase a controller for the game. At that time, the game had reached the development stage. Byles experimented with the game's and realized the potential of changing the perspective to. This would change the game from a first-person adventure game to a more 'cinematic' experience. The game also switched platform from PlayStation 3 to the and expanded the game's scope to include more mature content. Retro shooting 2018 may.

Sony approved the idea and allowed the team to develop for the PS4 and changed the game's genre. According to Ashley Reed of, the changes in gameplay gave more 'space to let the score, character personalities, camera work, and settings shine through'. Most characters were also recast;, one of the actors retained from the PlayStation 3 version, said he believed that the recasting was performed to hire better-known actors.With these changes, the team partnered with Cubic Motion and to the actors' performances.

The team also needed to change the game's graphics. They used the engine created by and had to rework the lighting system.

The team also extensively used particle effects and to light up the game's environments. Despite the third-person perspective, the game adopted a static camera angle in a way similar to early games.

The approach was initially resisted by the development team because the designers considered the camera 'archaic'. Byles and the game's production designer Lee Robinson, however, drew storyboards to ensure each camera angle had narrative motivations and prove their placements were not random. Initially, testers were frustrated with the camera angle; Supermassive resolved this complaint by ensuring drastic camera transitions would not occur at thresholds like doors but the team had to remove some scenes to satisfy this design philosophy. Gameplay and story To increase the player's agency, the team envisioned a system named the '. Every choice the player makes in the game helps shape the story and ultimately leads to different endings. Byles stated that 'all of the characters can live or all of whom can die in any order in any number of ways', and that this leads to many ways for scenes to unfold. He further added that no two players would get the same experience because certain scenes would be locked away should the player make a different choice.

Byles said this would encourage players to replay the game to discover more about the story. The dynamic choice and consequence system was inspired by 's.

With a branching story, Supermassive developed software that recorded every choice in the game. Byles described the software as a series of 'nodes' that enabled the team to keep track of the story they intended to tell. Due to the branching nature of the game, however, every time the team wanted to change details in the narrative, the writers needed to examine the possible impacts the change would have on subsequent events. The team avoided substantial rewrites and instead focused on adjusting the game's pacing and once the motion capture and shooting process had begun.The game's strict was designed to be 'imperative' instead of 'punitive'. Byles said even though a character had died, the story would not end until it reached the ending and that some characters may not have died despite their deaths being hinted at. Some plot points were designed to be indirect and vague so the narrative would gradually unfold.

Byles recognized the design choice as 'risky' and that it may disappoint mainstream players but he felt it enhanced the game's 'horror' elements. The game's pacing was inspired by that of and, in which there were quiet moments with no enemy encounter that help enhance the games' tension. Tom Heaton, the game's designer, said an unsuccessful trial or one incorrect choice would not lead directly to a character's death, though it would send the characters to 'harder, more treacherous paths'.Byles described the game as 'glib' and 'cheesy', and said the story and the atmosphere were similar to a typical teen horror movie. The film was inspired by a number of classic movies; the developers observed horror and that can be subverted in the game.

These films included,. Fessenden and Reznick wrote a script of nearly 10,000 pages. The playable characters were set up as typical horror movie but as the narrative unfolded, these characters would show more nuanced qualities. The writers felt that, unlike films, games can use quieter moments for characters to express their inner feelings. With the game's emphasis on players' choices, players can no longer 'laugh' at the characters' decisions because they must make these decisions themselves.

It enables the player to relate with the characters and make each death more devastating. The dialogue was reduced significantly when the team began to use the motion capture technology, which facilitates storytelling through acting. The story was written in a non-linear fashion; chapter 8 was the first to be completed. This ended up causing some inconsistencies in the story.The development team wanted to invoke fear in the player and ensure the game had the appropriate proportion of terror, horror, and disgust. Supermassive made most use of terror, which Byles defined as 'the dread of an unseen threat'. To ensure the game was scary enough, the team used a response test to measure playtesters' fear levels while they were playing the game.

Byles described Until Dawn as a game that took 'horror back to the roots of horror'; unlike many of its competitors, tension rather than action was emphasized. Is the composer for the game.began working on Until Dawn 's music in 2011. The scoring process for three orchestra recording sessions lasted for one year. Graves talked with Barney Pratt, the game's audio director, for three hours to get a clear idea about the direction of the soundtrack. He first composed the game's main theme, which he felt represented what the team was trying to achieve, and used it as the demo pitch to Supermassive Games. The music was reactive; it would become louder as the player character approached a threat.

While composing for the game, he mixed both melodic and atonic sounds together. The music was influenced by the work of.

There were tonally ambiguous themes to mirror the game's mysterious storyline.With the butterfly effect being an important mechanic of the game, Graves used film music editing techniques. He divided each track into segments and had the orchestra play it piece by piece. He then manipulated the recordings and introduced variations of them in the recording studio. For the game's mountainous setting, he used a 'goat-hoof shaker' to perform the mountain theme and many of the key tracks. He also extensively used synthesizers to pay homage to 's work. Only 30 minutes of themes with melody and were recorded in three orchestral sessions. This was because most of the time was spent recording 8–10 hours worth of atmospheric music and sounds that Graves later combined to invoke different emotions in different scenes.

The Decima game engine was programmed to determine how the music was layered depending on players' choices in the game. The game's soundtracks were nearly 15 hours long. The theme song, 'O Death', was performed by Amy Van Roekel. Release and marketing Until Dawn was officially announced at and it was initially scheduled to be released in 2013 for PlayStation 3. After the game was retooled, it was rumored Sony had canceled it but Supermassive CEO Pete Samuels refuted the claim. The game was re-revealed at 2014. Sony did not market Until Dawn extensively; most of its marketing effort was spent on promoting third-party titles such as.

On 31 July 2015, Sony confirmed the game had, indicating the team had completed development and it was being prepared for duplication and release. It was released for the PlayStation 4 in August 2015, two years after its initial proposed launch. Players who pre-ordered the game received a bonus mission featuring Matt and Emily. As well as the game's standard edition, an extended edition and a steelbook edition were available for purchase. The game's death scenes were censored in the Japanese version. Supermassive hosted a time-limited Halloween event in late October 2015, in which 11 pumpkins were added to the game as collectibles.

Reception Critical response ReceptionAggregate scoreAggregatorScore79/100Review scoresPublicationScore7/108/109/108/107.5/106.5/1090/100Until Dawn received a generally positive reception based on 103 reviews, according to.Jeff Marchiafava from wrote that Supermassive Games had 'polished the adventure game formula to a triple-A sheen'. He also enjoyed the butterfly effect system because some choices significantly affect the game's narrative. 's Jessica Vazquez described the system as a 'welcome limitation' because players would not know the consequences of each choice until they reach the ending. Alexa Ray Corriea from liked the game for its impactful choices and the 'paranoia' it invokes during critical choices that risk the lives of certain characters. She also admired the system's complexity and intricacy, which lets the player replay the game to discover new scenes.

Mollie L Patterson from thought that the system is a 'fantastic' inclusion but it never reached its full potential. Chris Carter from called the butterfly effect system 'gimmicky' due to the choices not significantly influencing the plot. 's Louise Blain opined that most choices players make in the first half of the game are meaningless, though she noted that this is less of a problem in the latter half. 's Phillip Kollar respected Supermassive's decision to not include manual saving, though he found the decision to be punitive because accidentally failing a QTE can result in a character's death.Carter liked the game's, which he said is extensive and intriguing. He also praised the cast's performances—singling out 's performance as therapist Dr.

Hill—and the intermission sessions that became increasingly disturbing as the game progressed. Ray Corriea also enjoyed the cast's performances along with Graves' soundtracks, which she said elevate the game's 'panic, terror, and anguish'. On a less positive note, Kollar wrote that the acting is hampered by inadequacies in the game's motion capture technology. Marchiafava enjoyed the 'compelling' story; he applauded the developers for successfully using different horror tropes while introducing several twists to the formula. Both Marchiafava and Dean Takahashi from liked the characters, who show genuine growth as the narrative unfolds.

Correa added that players can relate to these characters. Both Blain and Patterson called the title a 'love letter' to horror films, with Patterson noting the game's similarities to a 'B-grade teen slasher flick'. Andrew Webster from agreed, saying the game combines elements of both horror films and games, and transforms them into a 'terrifying experience'. He further added that the control the player has over the events makes Until Dawn 'something special'.

Lucy O'Brien from, however, said the game's strict adherence to genre tropes dilutes the game's scary moments and that it 'revels in the slasher genre's idiosyncratic idiocy'. She also criticized the game's inconsistent tone. Kollar disliked the game's writing and he criticized the 'awkward cuts, long moments of unintentionally hilarious silence and hopping between scenes and perspectives with no regard for holding the player's interest'.Carter called the gameplay of Until Dawn unimaginative, though critics generally agreed the quick time events are well-handled because they help players become immersed in the game; Ray Corriea chose the 'Don't Move' prompt as one of the player inputs that further heighten the tension.

Marchiafava called its use one of the best in gaming because button prompts were often timed and successful attempts required precision. Patterson described the gameplay as conventional; he enjoyed the inclusion of QTEs and said they match with the game's overall theme and atmosphere. He noted, however, the game's cumbersome controls and suggested the shortcoming may originate from the game's origin as a PlayStation Move exclusive.

Ray Corriea was disappointed by the game's linearity and the lack of interactions players can have with the environments, which she said had wasted the game's setting. Blain praised the game's quieter moments, in which the player character simply walks and explores the environment, and the fixed camera angles that contribute to tense and frightening moments. Takahashi found the 3D navigation awkward. O'Brien lamented the game's poorly-implemented motion control; she also disliked the QTEs, which she considered as tedious at times. Level design and location diversity were commonly praised by critics.

The collectibles were regarded as meaningful additions to the game because they give players insights into possible future events in the game. Sales According to, Until Dawn was the second-best-selling retail game in the UK in its week of release, trailing only. It was also the seventh-best-selling game in the US and the top-trending game on in August 2015. Sony was surprised by the game's critical responses and the number of players posting videos of it or streaming it on., President of, called Until Dawn a 'sleeper hit'. Samuels added that the game surpassed the company's expectations, though the exact sales figure was not announced. Accolades DateCeremonyCategoryRecipient(s) and nominee(s)ResultRef.2015PlayStation Game of the YearUntil DawnNominatedBest NarrativeNominated2016Excellence in Technical AchievementNominatedPerformance in a Drama Supportingas MikeNominatedUse of Sound, New IPUntil DawnNominatedBritish GameNominatedGame InnovationNominatedOriginal PropertyWonStoryNominatedSpin-off and prequel Sony announced a non-canonical spin-off titled at 2015.

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Contents OverviewSometime after the prank and before the main story starts, Mike left for Jessica, being drawn to her fun-loving personality as opposed to Emily's high maintenance.Since the start of the game, the two are both shown to be an intimate and laid-back couple, constantly flirting, playing pranks on each other, and heading to the cabin to have intercourse.Both show a high level of care for each other, as when Jessica is attacked, Mike bravely chases after her in order to save her. He will feel incredibly guilty if he couldn't get to her in time, even blaming her potential death on himself if the player took the longer paths or stumbled too much.Until DawnJessica orchestrates the prank on, involving Mike leading Hannah up to the bedroom and embarrassing her by pretending to be sexually interested in her. She will later claim that Hannah can't take a joke.Jessica is introduced at the, awaiting Mike's arrival with a romantic letter in her hand. Then snatches the letter from her and teases her about her crush on Mike.

She can reveal that Emily and Mike had split up and that she and Mike were now dating, or tell him that he'll figure it out eventually.Upon his arrival, the two participate in a snowball fight, which finishes with Mike tackling Jessica onto the ground and the two flirt, which she can either reciprocate by kissing, playfully throwing a snowball in his face, or by doing nothing, which results in an awkward moment between the two. The two then head up to to meet up with the others.The two arrive at the lodge and cuddle on the couch together, which is interrupted as Emily engages Jessica in an argument, while Mike observes. Ultimately, breaks it up and suggests that they go to, in which Mike invites Jessica, taking her by the hand. After exiting the lodge, the two continue to flirt and Jessica gets Mike to take a selfie, which if done correctly, she'll comment on how they look like the 'cutest couple'.On their way to the cabin, Jessica falls into the, which Mike is immediately concerned about. Depending on the player's decision, Mike can be brave and jump down to her aid, which impresses her, or stay up and give her instructions on how to get out, ultimately frustrating her with his lack of care for her.Following this, Jessica continues to tease Mike playfully, laughing as a mine cart may knock him over, saying he 'literally ate shit.'

If Mike evades the mine cart, Jessica will show concern for him, asking if he's okay. Upon exiting the mine, Jessica finds a telescope and will claim to have seen a figure at the cabin. Mike may then spot said creature if he decides to take a closer look. Afterwards, the two find the path blocked, so Jessica climbs over it and calls Mike a Debbie Downer for his complaining, followed by throwing a snowball at his face. As Mike turns away to pick up a snowball, Jessica vanishes and lets out a shriek of horror, worrying Mike.Mike searches for the seemingly missing Jessica, trying to play it off as a prank even though he is scared for her safety. Ultimately, Jessica pops out at him while holding a deer head, recording his reaction. The two continue on their journey to the cabin and find a small shack on the way.

Inside, Mike finds an old mask and can choose to scare her for revenge. If he does, she will fall into the creek and be extremely upset about getting wet and gets mad at Mike. The two then continue heading to the cabin, and upon arrival, Mike attempts to rush into the intercourse, but Jessica demands a proper romantic setting, despite Mike's eagerness to warm up with her.Following Mike starting the fire and closing the shutters, different scenarios can play out depending on their relationship meter based on player decisions. If Mike didn't upset Jessica at all, Jessica will lead the sexual intercourse by pushing Mike onto the couch, and performing a strip tease for him.

Otherwise, Jessica will comment on how she's not feeling it yet, revealing her insecurities to Mike, which he can either brush off or support her, the former upsetting her, stating that he's a dick. Otherwise, she'll warm up to Mike again, which will presumably lead to intercourse. If Mike scared Jessica with the old mask, she'll still be angered by him and she blames him for the loss of her phone. However, she warms back up to him after he gets her a blanket. Depending on how romantic their relationship has been made by the player, she will either be in her full outfit, a shirt and jeans, or in her undergarments.Jessica becomes paranoid after hearing noises outside and a glass shattering, which she orders Mike to investigate.

Following this, she goes outside to rant, believing this all to be a prank by their friends. However, she is taken out the window, leaving Mike in shock.Mike immediately tails Jessica and the presumed murderer, following them in order to save her, while she screams out in horror for Mike's help.

Mike can either take the safe or more risky paths to save her, with taking too much of the former resulting in her death. Mike finds her in an elevator shaft, and if he took too long, he'll mourn her death before the elevator drops. If she's alive, she'll ask for help before dropping, with Mike assuming she died.Mike heads to the, fueled by Jessica's death, believing the attacker to be residing there after following there himself.may ask where Jessica is, to which Mike will reply that she is dead. After Josh is revealed to be after unmasking himself, Mike assumes Josh was the person who forced Jessica out of the cabin and murdered her, making him knock Josh out, incredibly upset about her death.If Jessica had died in Chapter 4, Mike and Sam will find Jessica's head in the mines and will show grief towards Jessica.During the credits, if Jessica survived, she will comment on how Mike came for her after she was carried away, seemingly admiring him and feeling grateful for doing so. She desperately asks where he is, and if he made it out alive before it cuts off.During Mike's interview, he blames himself for Jessica's death if he was too slow to reach her, saying that if maybe he was a little bit faster, he could have saved her.Trivia. Mike and Jessica are two of the four characters to have a song on the named after them, the other two being.Quotes.

'You're a worthy opponent, Miss Jessica the Snowball Queen.' - Mike. 'Okay that sounds vaguely dirty.' - Mike and Jess flirting after their snowball fight,. 'I mean, I could stay out here for pretty much, ever, provided I was making out with you the whole time.' - Mike.

'Just making out?' - Jess. 'Quote unquote.'

- Mike. 'Well, I think we might freeze to death somewhere in between those quotes.' - Mike and Jess. 'Oh my god!' - Jess.

'That was. Really close!' - Mike. 'Yeah. Good to know I've got a hot B.O.D-' - Jess. 'I'll say-' - Mike.

'Bodyguard On Demand.' - Jess.

'Whoa. Sexy AND smart.' - Mike. 'Roll up your tongue and let's get back to the lodge, hotbod.' - Jessica and Mike if Jess hit the bird and failed the QTE to roll out of the way. 'Play your cards right and maybe you will get lucky.' - Jessica to Mike after they leave the lodge,.

'What was all that muscle flexing back there with you and Matt?' - Jessica questioning Mike's fight with Matt. 'Oh my god, this is perfect. We're like, the cutest couple.' - Jess. 'Damn, you should be a model.' - Mike.

'You keep that camera handy and maybe I'll let you start my portfolio. At the cabin.' - Jess. 'Wink! - Mike. 'Emily's as dumb as she looks if she thinks she can cut in on what we got goin' on. Maybe if we're lucky she'll try and follow us out here and get eaten by a bear!'

- Jess. 'I think you bring out the worst in her.' - Mike.

'Is that so?' - Jess. 'Epic jealousy.' - Mike.

'Suck it.' - Mike and Jessica talking about Emily if they fought and Mike agrees with Jess. 'I appreciate your confidence in my physique, but I don't think the 'ladies' are gonna fit.' - Jess. 'Oh, right, with the.okay, gotcha.' - Mike and Jess flirting after she falls into the mines and Mike asks her to squeeze between the cart and the wall.

'Ugh. I think I'm a little freaked out and it's hard for me to like, keep this up, and-' - Jess. 'What? Keep what up?' - Mike.

'Look, I act all confident and like a total sexy babe and everything but underneath, I gotta be honest, I'm. Really kinda insecure.' - Jessica talking with Mike about her insecurities,. 'Jessica is dead. He killed her, Sam.

There's some maniac up here on the mountain who's trying to kill us. And I swear to God when everyone is safe and accounted for I am gonna hunt that fucker down and rip his nuts off one at a goddamn time!'

- Mike to Sam after she asks him about Jess,. 'Mike. He came for me. Did he make it?'

- Jessica if she survived until dawn,. 'I just wasn't fast enough. I was so close man. If I've just been, just a little bit faster, I.

I could have saved her. I could have saved her. So it's my fault. I'm the reason Jess is dead.' - Mike grieving over Jessica's death.