Killer Is Dead

Even Killer is Dead's hyper-cel shaded aesthetic can't cover over a flawed, deeply misogynistic title.

It’s not mechanically deep or rewarding to be a classic, but Killer Is Dead remains a solid piece of entertainment that Grasshopper fans will enjoy, while the rest of the world looks in bemusement as to why someone would like this.

This beautiful and bizarre game has a lot of potential, but falters because of a fragmented story. However, a good battle system and varied environments will keep you entertained and intrigued.

Fun, good looking and twisted, Killer Is Dead is sure to please any fan of Grasshopper Manufacture. A couple of camera-related issues along with a story that just gets weaker as the campaign progresses keeps it from reaching the high score.

Grasshopper Manufacture manages to both astound and repulse in this pseudo sequel to the monumental Killer 7. With a rather strange story written by Suda51, clever and quick combat designed to actually challenge players on the higher difficulties and a distinct visual style - Killer is Dead is a unique, well-crafted game. Unfortunately, much of it falls flat due to a clearly misogynistic worldview. It's a shame, since Killer is Dead is one of the technically finer products from the studio.

Killer is Dead isn’t a game for everyone, much like any other Suda51 or Grasshopper title. The visual style, surreal story and odd sense of humour that runs through the entirety of the game make it more than worth playing through for fans of the Japanese developer, although those who have been left unimpressed with his previous output probably aren’t going to find this to their liking.

Killer Is Dead packs the style and swagger that's defined Suda 51's output to date, highlighted by the smart, well-designed boss battles. It's only really let down by awkward pacing and the padding between those boss battles.

The action isn't truly technical but it works, and the cast and narrative don't have that Suda quality charm, but they're interesting enough to compel you to keep playing. If you're a pure action fan, this is just another game to eat up -- for everyone else, there's not a whole lot for you to enjoy in Killer is Dead.

Killer is Dead never becomes anything more than a decent action game. The perpetual nonsense in the story isn’t remotely cohesive and the gigolo missions are nothing more than degrading distractions. While Killer is Dead often looks striking, the game’s other parts rarely match its outward style.

Not Suda51's best effort.

Killer is Dead is a Suda51 game. If that makes you smile, there is probably something here you will enjoy. If not, then its mediocre combat and weird direction are not going to carry you through the whole experience.

Unfortunately, while the concept is sound and the combat system works well, the team's obsession with the bizarre, not to mention the female body, detracts from what could have been a killer experience.

With Suda we’ve come to expect the unexpected, but the most disappointing thing about Killer Is Dead is that the unexpected has become predictable. By adhering too rigidly to its creator’s esoteric template, it gives us pretty much exactly what we were anticipating.

Entertaining in places, Killer is Dead will only appeal to players who enjoyed Suda51’s previous titles, particularly Lollipop Chainsaw. If you’re not convinced by now, this will do nothing to alter that mindset, unless objectifying women is your thing.

The high-contrast art style lends a cool flair to characters and environments, but works against you on the gameplay front.

The decent core combat can’t hide the fact that this is Suda51’s most ridiculous, nonsensical plot yet, and an offensive “courtship” minigame is a further black mark on the proceedings. This one may even turn off Suda’s most hardcore fans.

This game’s not just bizarre, it’s downright schizophrenic. And while we’re used to — and even enjoy — some of these sorts of wild hijinks from mad-genius Suda51 and his team at Grasshopper, Killer Is Dead’s individual components never coalesce into a worthwhile experience.

Killer is Dead is a hodge-podge of ideas that never forms a cohesive whole. Take away the controversial elements (as they merely feel tacked on for the sake of it anyway) and you are left with a disappointing experience that doesn’t live up to the talents of the people involved. Give this one a wide berth.

Suda 51's unique off-the-wall style comes at a price, with gameplay, polish and coherence left by the wayside. [Nov 2013, p.77]

At various points, Killer is Dead shoots for the visual surrealism of El Shaddai, the hyperbolic intensity of Asura's Wrath, the oddball melodrama of Deadly Premonition, the extravagant showmanship of Bayonetta. It misses by a wide margin every time. Those games are punk, but Killer is Dead is just posturing. It's just product.