Romeo is a Dead Man

This is why I love video games. This game doesn’t feel like just another piece of content to check off a list. This is what art should be. Messy, fun, uncomfortable, imperfect, free of corporate meddling, and drenched in the soul of the human beings who made it.

Not only is Romeo is a Dead Man the most delightfully Suda-flavored experience I’ve had in a long time, but it’s presented in its optimal form. No meddling from other companies or directors, no hardware limitations, just unfettered, bloody action and unrelenting, delightful weirdness. It’s consistently fun to play and fascinating to experience, from the sudden, wild shifts in tone, level, and story setpieces to the surprisingly tense boss fights and emotional monologues. No matter how dense it all gets, there’s always a method to the madness, a consistent, player-friendly path forward that ensures you can keep making progress at a steady clip, even when the game gets notably difficult. Any complaints I could make are nitpicks at best; if you also love Suda’s works, you owe it to yourself to play this one, and if you’ve never played any of his games before, this is an excellent one to start with.

ROMEO IS A DEAD MAN combines so many of the things that make Suda 51’s games so beloved and makes something fresh and insanely fun with them.

ROMEO IS A DEAD MAN is a brilliant, fever-dream rollercoaster, made by Suda51 and Grasshopper Manufacture at their absolute peak. By leaving behind the empty-world of No More Heroes III in favor of a tightly paced, linear, almost "Soulslike on steroids" experience, the studio has delivered its most mechanically polished and visually eclectic experience to date, and a statement against the sanitized, risk-averse nature of modern AAA gaming.

Romeo is a Dead Man is a magnificent action game, a great demonstration of Goichi Suda's authorial talent, and, above all, a necessary reminder that big-budget productions can also be bold. It's a sincere, imaginative, artistic, human, and imperfect game that tries everything in terms of gameplay, narrative, and audiovisuals, achieving a magical whole that will ignite passions in fans of interactive media and scare away those who merely see video games from a utilitarian perspective, just like truly memorable titles.

An unconventional action game that chaotically dances to the bizarre rhythm of Goichi Suda’s drum. It is flawed, incoherent, and narratively disjointed, offering little emotional payoff, but also undeniably great and refreshingly different.

Romeo is a Dead Man delivers a distinctive, authorial vision from Suda51, brimming with personality, constant variety, and a refreshing linear structure. However, its combat lacks depth, optional segments are uninspired, and camera issues alongside questionable boss design can frustrate on higher difficulties, yet it remains a memorable experience for fans of its unique style.

Part of me kinda wanted for Romeo Is A Dead Man to let me in on a joke. There’s a sense throughout the game that I’m missing a comment or two, that if I just had the right combination I could get a sense of what Suda51 really wants to say, and it would make the whole product feel even better or more coherent. And I can’t quite get there. But that’s part of the fun, and it’s what makes the game not just unique but compelling in the way that a more coherent title probably couldn’t manage. Some people are going to give this game a shot and bounce off it hard, and I think that’s valid. But I think that if you enjoy the game it’s going to be something you keep coming back to, and it’s definitely a game I would encourage people to buy on Steam because if you decide it’s not for you, hey, you can figure that out within the refund window. It’s either going to be very much not for you or very much for you, and I think some people are going to realize that this is their game in a way they wouldn’t have if it hadn’t sort of swept in from nowhere. The moral of the story is that Romeo Is A Dead Man has something to say, but what it’s saying is more about a feeling than anything. That is the lesson.

Romeo Is a Dead Man is like a Suda51 brain blast, a trippy and irreverent vision beamed directly into our minds by Grasshopper Manufacture. There's not a stuffy, responsible business committee in the world that would approve of this game, which is exactly what makes it worthwhile.

The games industry needs more “crazies” like SUDA51. That said, the fact that so many original ideas have gone for years without being paired with truly top-tier gameplay makes it hard to tell whether the fault lies with the producers or with the man himself. The only thing I do know is this: the day he manages to combine this magnificent absurdity and presentation with high-caliber gameplay, his name will be etched in gold in the industry’s Hall of Fame.

Romeo Is a Dead Man really is made for fans of Grasshopper Manufacture. The story is bonkers but not confusing. The gameplay is solid, but it has plenty of elements that give the game an overall sense of strangeness and character. Its presentation may not be the strongest, but it is also unique enough considering that the game uses a very popular engine. Romeo isn't quite a game for everyone, but the game will pique your interest if you're an action fan looking for something that's slightly off the beaten path.

Romeo is a Dead Man is pure Suda51: chaotic, stylish, self-aware and unapologetically weird. Its time-hopping narrative, genre-blending gameplay and constant mechanical surprises make it a creative joy, even when nothing fully makes sense. Combat is fun and flashy, but enemy repetition, camera issues and mission pacing hurt the experience. Technical problems on PC are the biggest drawback, at times seriously impacting progression. Even with its flaws, it’s another unmistakable Suda51 work that values creativity and personality over polish.

Romeo is a Dead Man is an unapologetically bizarre experience that screams Suda51 from start to finish. Its bold artistic flair is backed by layered, engaging gameplay, despite some rough edges. Think Romeo & Juliet reimagined as a fever dream of pop culture, and you’re getting close.

An oddly emotional game, Romeo is a Dead Man is Suda51's best in years, marrying entertaining combat with pop culture references and constant creativity. Get through the game's somewhat flat start and you'll find auteur game design at its best, idiosyncratic, strange, and thoroughly enjoyable.

I'm Thinking Grasshopper Is Back.

Romeo is a Dead Man is Grasshopper Manufacture at its most confident and its least conformist. It's got its fair share of rough edges, but the combat is satisfying – offering a challenge without being frustrating – and the sheer inventiveness in its myriad art styles and its bizarre plot ensure this is an adventure you won't have seen before. Anyone with an interest in wandering off the beaten track of familiar third-person action adventure games should check this one out.

Romeo is a Dead Man has so much to offer and introducing some of those genre-splicing mechanics had me grinning ear to ear. Unfortunately, I think the one area where Romeo is a Dead Man stumbles is in the core combat gameplay loop, which you'll be engaging with every mission. I feel if it forwent the hack and slash elements and took on a more strategic style it would've been a lot more enjoyable, and there were several boss fights that I found quite obnoxious and mechanically frustrating. However, do not let the combat dull this blade too much, I am still so impressed with this level of creativity and ingenuity, and I found everything else to be such a joy. The world would be a boring place without Suda51 and Grasshopper Manufacture.

Romeo is a Dead Man is unmistakably a Suda51 game, bursting with creativity, absurdity, satire, and unapologetic eccentricity. The classic Shakespearean tragedy is reimagined as a surreal sci-fi adventure that may stumble at times with uneven pacing and repetitive enemies, but ultimately overcomes its flaws through bombastic, over-the-top action and sheer, unfiltered craziness.

Romeo is a Dead Man might be Suda51’s wildest and most referential work yet, but the barrage of ideas doesn’t always hit the mark, and here and there even a hint of boredom creeps in.

Romeo is a Dead Man's gameplay style, soundtrack, visual aesthetic, and peculiar characters and elements make it one of the most interesting games from the developers to date.

Apart from troubles with framerate and visual clarity, Romeo is a Dead Man is worth your time if you’ve had this game on your radar. You’ll want to kill the past over it.

Yes, the combat could have used more development time, the central relationship needed more substance, and the boss battles could use some play testing. Yet, for all its stumbles, Romeo is a Dead Man is worth experiencing, especially if you appreciate a game that takes risks.

The best praise you can give Romeo is a Dead Man is this is probably exactly what game you would expect from Grasshopper Manufacture and Suda51. It has that Suda51 personality embedded within it, even if it is a bit rough. Its stylish presentation, absurd storytelling, and amusing ideas like the Bastards system, along with entertaining combat help make it a fun time, but it eventually becomes repetitive as enemy variety thins out in the later stages with that frustrating level design. Still, for fans of Suda51’s work, there is stuff here to appreciate. It is a little messy, somewhat inconsistent, and a bit rough, but unmistakably a Grasshopper Manufacture game, and that alone will be enough for some people. What I am trying to say is that Romeo is a Dead Man is good, but in a quaint, unconventional manner.

Romeo is a Dead Man is a creative, confusing, and bizarre Suda51 game. It's a mix of brilliant creative delirium and confusing, disconnected oddities, all underscored by unappealing gameplay that becomes monotonous. The game's greatest strength is its unpredictable aesthetic, constantly shifting visual styles to keep players alert. However, beneath the visual and narrative madness lies a hack-and-slash action game with Soulslike elements that often fails to match its presentation.

Romeo is a Dead Man is a bloody action game full of absurd situations.

Romeo is Dead Man, is a game that fans who remember PS3 and Xbox 360 era action games and are familiar with Suda51's games will love. The story starts off disjointed but draws you in more as it progresses. The action, while not overly deep, doesn't get too tedious throughout the game, and the fun side activities make the 10-13 hours you spend on the game well worth it.

Conversely, the game's reliable constant, its combat mechanics, begins to petrify through repetition. [Issue#421, p.104]

Romeo Is A Dead Man is unmistakably a Suda51-style production, defined by its highly distinctive visual flair, outrageous premise, unconventional storytelling, and willfully eccentric design choices. If you're drawn to that offbeat, cult sensibility—prioritizing experience over pure gameplay and willing to tolerate its many baffling decisions—this absurd take on Romeo and Juliet may offer a uniquely strange kind of enjoyment.

Despite the issues here and there, Romeo is a Dead Man feels like a SUDA51 game through and through, which is a compliment. There aren't many games that challenge status quos when it comes to their mechanics and style, but SUDA51 does. Does it work? Not all of the time. Can it be frustrating? Sometimes. However, there aren't many games that embrace this style and structure that direct correlates what the norms are.

The more I played Romeo is a Dead Man, the more I realized I was in the presence of the quintessential decent video game, nothing more. The game developed by Grasshopper Manufacture is a formally correct action game, without any particular or obvious flaws, but also lacking in interesting sparks and ideas. Beyond the crazy style typical of Suda51's works, what remains is an "old school" video game that can entertain fans of the genre for about fifteen hours, but never truly excels. It's a shame about the optimization, or rather, the lack thereof.

Romeo is a Dead Man is another signature digital idiosyncratic reverie from Suda51 and Grasshopper Manufacture, a kaleidoscopic muddle of visual styles, music, and ideas that offers acres of fertile concepts and feelings to interpret and muse over. However, when the dust settles, it isn’t all that enjoyable to play.

Romeo is a Dead Man is self-aware and self-referential, filled with personality. Whether it’s a compelling personality will vary from person to person, but it throws so much at the wall that surely something will stick. The combat is excellent, the enemies are memorable, and the balance between macabre and levity is well-tuned. Despite the stumbling story, there’s enough bounty in the chaos to recommend this game.

Very stylish and with high-quality staging ideas, Romeo is a Dead Man is nevertheless a merely adequate game that we would find difficult to recommend wholeheartedly. Despite everything, beneath this thick layer of flaws, Grasshopper Manufacture manages to convey a kind of touching sincerity that makes it impossible to be completely angry with it. A video game B movie that is as frustrating as it is endearing.

Atmospheric, intricate, absolutely unhinged: there are many terms that come to mind to describe Romeo is a Dead Man, but the most appropriate is "what a shame". It would have been fantastic to see Suda bring his vision to life with the support of adequate resources, rather than having to improvise a thousand workarounds and emergency solutions to make the numbers add up for a work that fights hard and shows commitment, yet starts from far too disadvantaged a position.

Romeo is a Dead Man is initially exhilarating thanks to its kaleidoscope of visual styles and formal experiments, but its repetitive combat and poor level design grates with time. Its plot deals in fascinating concepts as well, though the cast of characters is too flat and dramatic moments too infrequent for its narrative to hit home.

Romeo is a Deadman is an exceptionally strange game. Not only is it the strangeness players have come to love from Suda51 (a good thing), it’s strange in a way where nothing really quite comes together in a cohesive package despite offering some neat ideas. It’s almost as if, in a bid to be weird and whacky, Grasshopper Manufacture ran out of time to let it cook properly. For the cult followers, there’s plenty of zaniness here to sustain you with acceptable hack ‘n’ slash gameplay. For anyone else, it’s just a bizarre and hollow experience with shortcomings that are too hard to ignore.

ROMEO IS A DEAD MAN is an outlandish, absurd, sci-fi hodgepodge that is inexplicably endearing and has its own identity. It would be an enjoyable game if not for the dismal performance.

Romeo is a Dead Man is experimental in all the right ways when it comes to its aesthetic and visuals but forgets to try anything new when it comes to its gameplay.