On the presentation side, there’s been a noticeable jump in visuals from the Wii to the PS3, which is expected. The story is puerile and basically disposable, but acts as the vehicle to deliver the game’s demented charm and personality.įirst let’s go over the obvious changes. It is gory, sexist, nonsensical, nihilistic and entirely conscious of what it is doing, making it a gaming gem for those that appreciate bent, dark comedy. It’s a ridiculous tale that can’t go for more than a minute without dropping an emphatic, hilariously inappropriate f-bomb. However, where EA’s 3rd person action game got some of the aesthetics right, but missed the heart of the grindhouse genre, House of the Dead gets it, guts it, puts it on a stick and drives around the neighbourhood using said stick to knock mailboxes off their posts. The story has an obvious and zealous love affair with the Rodriguez/Tarantino collaboration Grindhouse, similar to the more recent game Shadows of the Damned. It’s a grindhouse tale of a cop and an agent gunning after the mysterious Papa Caesar who has stumbled on a zombification compound and is quite liberal about using it.
What does this mean for the game? The short version is, if you like the game, this just became the definitive version to get.Ĭhronologically, the game is a prequel to the previous House of the Dead games, and also the first in the series to be made just for consoles. Now, a little over two years later, it’s back, on the PS3 with Move compatibility, upgraded HD graphics and some new levels. The experience was marred somewhat by significant technical issues like the frame rate that dropped noticeably whenever the Wii had trouble keeping up with the action. At that time it was hailed one of the funniest, most over the top and mechanically proficient light gun/on-rails shooters for the console. House of the Dead: Overkill debuted on Wii back in February of 2009, and was promoted as a companion game to the Wii Zapper.
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