Romeo Is a Dead Man Evolves Suda51's Style

Grasshopper Manufacture has released the first two chapters of their latest action title, Romeo Is a Dead Man. The game, directed by Goichi Suda, is described as a 'mad science experiment' that takes significant steps forward in art design and presentation.

Despite retaining the studio's signature erratic tone and absurdist humor, the game attempts to evolve beyond being merely 'crazy fun games to watch clips from.' The narrative is fast-paced and intense, utilizing a unique collage of mixed media to tell its story.

Combat systems have been layered to create a more engaging experience, though early gameplay suggests a slow start regarding enemy variety. The overall impression is that the studio is committed to creating a game that holds attention for countless hours.

The Grasshopper Manufacture DNA is immediately recognizable in Romeo Is a Dead Man. The studio's history of high-energy, off-the-wall games like Let It Die and Lollipop Chainsaw establishes a specific expectation for their work. The latest title meets these expectations with relentless absurdist humor, gore, and a script filled with one-liners.

However, the signature erratic tone feels 'turned up to 11' in this new entry. The pacing is described as breakneck, with exposition delivered rapidly and scenes shifting abruptly from focused narration to chaotic combat. This intensity requires players to take moments simply to digest what is happening.

The studio's commitment to 'killing the past' and over-the-top characters remains a central theme. The narrative holds tightly to its fourth wall-breaking sense of humor, defining the studio's unique identity while pushing presentation standards higher.

The story of Romeo Is a Dead Man is among the most ridiculous in the developer's history. Players control Romeo, a deputy sheriff whose face is ripped off by an interdimensional zombie ghoul. He is transformed into a Space Sheriff Gavan-style superhero and drafted into a space-time division of the FBI to hunt monsters.

Supporting characters include Juliet, an extradimensional being who appears in Romeo's Appalachian town. The plot also involves a time-traveling grandfather who saves Romeo but is killed, eventually living as a patch on Romeo's jacket. The narrative is engaging, though not always well-written or acted.

Visual presentation is a standout feature, utilizing a collage of mixed media to keep the experience fresh. The opening sequence uses a tilt-shifted handmade diorama, transitioning into standard 3D cutscenes and vivid comic strips. Gameplay levels feature pixelated animations on televisions that act as portals to training-room style spaces.

Navigation of the FBI HQ, a ship called The Last Night, is handled via a top-down 32-bit Sega Genesis-style RPG interface. Even the 'game over' screen is an FMV of a prosthetic face melting off. These jarring transitions are described as 'pretty awesome.'

While Romeo Is a Dead Man is not Devil May Cry, it features layered systems that create a combat experience the player 'really came to like quite a bit.' The mechanics include basic light and heavy attacks that cannot be canceled out by dodging, meaning every swing is a commitment.

Players must manage being surrounded by enemies, as attacks do not reliably stun foes. The strategy involves staying outside of mobs, picking away at edges with melee or ranged attacks, and building a 'blood meter' to unleash special Bloody Summer attacks for high damage.

Chapter 1 is noted as lacking variety, offering straightforward combat and a simple end-level boss fight. However, the game opens up significantly afterward. Players can purchase different weapons at HQ, which can be swapped in the field. While melee weapons like greatswords and dual blades do not drastically alter playstyle, ranged weapons such as the pistol, shotgun, and rocket launcher do.

Romeo Is a Dead Man appears to be a pivotal title for Goichi Suda and his team. By raising the bar on art design and presentation, the game seeks to validate the studio's chaotic reputation while offering deeper gameplay mechanics. The shift from a passive viewing experience to an active, hours-long engagement is a stated goal that the current build seems capable of achieving.

With a narrative that embraces the absurd and a visual style that refuses to sit still, the title stands out as a unique entry in the action genre. The evolution of combat systems suggests a learning curve that rewards persistence, promising a robust experience for players willing to commit to the madness.