I always feel like I have to declare, “I am a big fan of Goichi Suda, better known as Suda51” – the legend behind games like Killer7, No More Heroes, Shadows of the Damned and Killer Is Dead, to name just a few. Every time I review one of his games I feel the need to say it, because you either get what he’s all about or you find his work strange, abrasive and utterly bizarre. ROMEO IS A DEAD MAN is the latest title from the grindhouse maestro.
The game aims to deliver another slice of stylish ultraviolence wrapped in surreal storytelling and a heavy dose of punk‑rock attitude.
Suda Bred
ROMEO IS A DEAD MAN is best summed up as Suda51 doing what Suda51 does best. It’s a blood‑soaked, attitude‑heavy action game that feels like it’s been dragged through a grindhouse cinema. And then set on fire for good measure.
This game is loud, brash and unapologetically weird, and honestly, that’s exactly what I wanted and expected.
The story is fragmented at best. It’s told through cryptic dialogue, sudden shifts and narrative left turns that make you wonder if you accidentally skipped a cutscene. But that’s part of the charm. Like many Suda titles, it’s less about a straightforward plot and more about vibe, symbolism and trusting that it’ll mostly make sense by the time the credits roll.
You play as Romeo Stargazer, a sheriff’s deputy in Deadford, PA, who is killed and then revived as a ‘deadman’ cyborg by his scientist grandfather. He’s recruited by the FBI’s Space‑Time Police to hunt criminals across the cosmos while searching for his missing girlfriend, Juliet.
That’s the base-level setup. Your grandfather is sort of dead, but he lives on your jacket as a patch. You travel through time on a bike. Oh, and you hunt down Juliets from other dimensions.
There is a lot going on here, to put it mildly. Surreal just about covers it, but one thing is certain: it’s 100% unashamed, unadulterated Suda.
Action, Brawling and Weighty Combat
Gameplay‑wise, it’s a fast‑paced action brawler with hack‑and‑slash combat at its core. Romeo slices, shoots and dashes through tight arenas packed with weird and wonderful monsters. Combat feels weighty and satisfying early on, with stylish finishers and flashy special attacks that reward aggressive play.
As the hours pass, though, combat can slip into repetition. New weapons and abilities appear, but fights often devolve into chaotic button‑mashing when the screen fills with enemies. It’s fun, no question, but chaotic too.
Boss fights are a highlight: disgusting, imaginative and bursting with personality. Each one feels like it’s stepped out of a deranged comic book or an 80s horror film, blending body horror with humour. They’re tough, sometimes brutal, but rarely unfair. When you die, it’s usually because you got greedy or mistimed a dodge.
Visually, the game throws everything and the kitchen sink into the mix. Cel‑shaded characters clash with grimy industrial backdrops and neon‑soaked blood. The art direction absolutely defines the game’s identity, with dramatic camera angles and stylish UI flourishes that scream Suda. And the continue screen… your head slowly rotting away… is one of the most disgusting I’ve ever seen.
Rustic Game Charm
There are rough edges: noticeable frame drops when the action spikes, occasional camera issues in tight spaces, and a touch of input delay. But as a fan, it all feels like familiar Suda “jank”, which will be charming to some, off‑putting to newcomers.
ROMEO IS A DEAD MAN is messy, loud, violent, brutal and undeniably stylish. It doesn’t always stick the landing mechanically, and it certainly won’t be for everyone, but it oozes personality in every blood‑splattered frame.
It’s very much an acquired taste – almost arthouse‑meets‑grindhouse – but if you’re a fan of Suda51’s brand of madness, you’ll love it for being bold, bizarre and gleefully unhinged.
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