Review: House of the Dead Overkill
By most ordinary critical standards, House of the Dead Overkill isn’t a five-star game. However, it’s a long time since I played anything which put such a grin on my face throughout, and from gloriously profane beginning to genuinely jaw-flooring climax (seriously, no matter what you’re expecting, you have never seen anything like it) this thrillingly dumb rail shooter is just pure, unreconstructed fun.
It’s clearly been made with a lot of love and respect - both for its host console and for the grindhouse movies it parodies. The presentation is startlingly good - the title screen text appears from a blur as if a projectionist has just adjusted the picture, while a terrific film grain effect and deliberate continuity errors in the game’s cutscenes pay appropriate tribute to the genre. The Seventies-themed soundtrack, featuring delightful songs about decomposing mutant girlfriends and the like, is outstanding.
And then there’s the swearing. Make no mistake - Overkill has a big, red 18-certificate sticker on the box for a reason, and it’s not just the splatters of gore when you dismember or decapitate the attacking mutants. But it’s the utterings of protagonists Agent G and particularly Isaac Washington that stand out, the dialogue littered with variations on the f-word. It’s all done in such an over-the-top way that it’s hard to be genuinely offended, no matter how sick the story gets - and with sojourns into incest, necrophilia and a climax which brings a whole new meaning to ‘meeting your maker’ you’d better believe that it’s one seriously twisted tale.
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