Suda51, a name synonymous with quirky and boundary-pushing games, delivers a new title that unfortunately misses the mark. For years, Japanese game director Suda51 has captivated audiences with his unique brand of gaming, from the mind-bending Killer7 on the GameCube in 2005 to the satirical take on open-world games in No More Heroes (2007), and even a collaboration with James Gunn for the stylish Lollipop Chainsaw (2012). His creations often provide a refreshing departure from the often soulless, astronomically budgeted blockbusters that dominate the industry. Therefore, it was with genuine anticipation that I approached Suda's latest offering, his first new game in a decade.
But here's where it gets confusing... The game opens with a visually striking animated sequence depicting our protagonist, Romeo Stargazer, meeting an unfortunate end by a zombie. He's then quickly brought back to life by his eccentric scientist grandfather, gifted with new abilities, and the adventure begins. Almost immediately, players are plunged into a bewildering deluge of proper nouns and convoluted plot points. This bewildering narrative persists for the entirety of the 20-hour experience.
Romeo is now a "deadman," a being existing in a liminal state between life and death. He's been enlisted by a cosmic FBI division, the space-time police, to combat intergalactic criminals wreaking havoc across the universe. Your mission involves fending off endless hordes of zombies, bizarrely referred to as "bastards" within this world. Adding to the surrealism, a character named Juliet makes sporadic appearances across different dimensions, haunting Romeo's dreams with her PS2-era 3D aesthetic before confronting him as a boss. If this summary sounds like it was concocted by a child who hasn't paid attention in class, I regret to inform you that even after completing the game, its narrative remains an enigma.
In a previous interview, Suda cited Rick and Morty as a significant inspiration for Romeo Is a Dead Man, admitting to difficulties in explaining the game's plot while expressing his fondness for chicken katsu and his desire to fight against "the bastards." I held onto the hope that there was a profound meaning hidden beneath the seemingly juvenile chaos, but that hope proved to be misplaced.
Beyond the narrative quagmire, the core gameplay initially shows promise. The main quests involve wielding a lightsaber-like weapon to dismember waves of "bastards," offering a gameplay experience reminiscent of a more robust No More Heroes. The hack-and-slash combat against zombies is undeniably fun, with stylish maneuvers erupting in vibrant, screen-filling displays of color. The boss battles are engaging and visually distinct, contributing to an overall sense of satisfying mayhem. However, as the game relentlessly pushes its nonsensical story towards its conclusion, even the game's engine appears to falter. Despite playing on a PS5 Pro, the frame rate frequently plummeted to a crawl during intense enemy encounters in later stages, rendering an already flawed game nearly unplayable.
Between these inter-dimensional combat sequences, players navigate a charmingly retro hub world: Romeo's FBI-branded spaceship. This environment is rendered in 16-bit era 2D pixel art, allowing you to explore the spacecraft and interact with Romeo's eclectic crew. This crew includes an ancient Roman god, a talking cat, and a Jamaican journalist. Within the ship, you can acquire new items, engage in mini-games, and cultivate plants that grant abilities, inspired by the various zombies you defeat.
One undeniable strength of Romeo Is a Dead Man is its visual diversity. The game showcases an astonishing array of distinct art styles, from fully animated cartoons to PS2-inspired polygons and sculptural art pieces. This visual eclecticism surpasses what one might find in an entire catalog from most game publishers. However, while these elements are eye-catching in promotional materials, the final playable experience feels less like a cohesive artistic vision and more like a child haphazardly assembling toys from different sets.
And this is the part that might divide opinions... Romeo Is a Dead Man is undeniably unpredictable. It can elicit a bewildered smile, and its anti-establishment gaming stance might appeal to fans seeking an ironically profound reason to embrace it. Yet, where No More Heroes' straightforward narrative kept the action flowing and the humor consistent, Romeo Is a Dead Man's sprawling plot feels disappointingly aimless. Instead of coalescing into a kitschy, universe-spanning epic, this sci-fi tale is unfortunately conveyed with the coherence of a drunken monologue.
Do you believe that experimental storytelling in games can sometimes go too far, sacrificing coherence for the sake of uniqueness? Or is the unpredictable nature of Suda51's work a vital element that keeps gaming fresh and exciting?
