Were the tongue not planted firmly in cheek, it might be genuinely offensive. That said, OVERKILL’s characters-and indeed, certain machinations of the plot itself-are scaldingly misogynistic and foul-mouthed. But the very fact that OVERKILL hits so many of those little details with such perfect pitch makes it work. Sure, OVERKILL owes just about every profane, mutilated ounce of personality it’s got to the Quentin Tarantino/Robert Rodriguez Grindhouse double feature, from the lint-lashed policy trailers and lurid XXX warnings to the crass characterizations of rule-book-burning renegade cops and revenge-fueled strippers-hell, even the narrator, whose guttural delivery makes every forced alliteration sound lewd. If that’s how you’re going to be, I’m done trying to talk to you like a reasonable person.) OVERKILL is still a fundamentally shopworn experience, but it’s a game you can now cruise through to savor the grit and gristle of the sights and sounds. (The game can, theoretically, be played with a standard DualShock controller, but come on. The guts of the thing remain unchanged in House of the Dead: OVERKILL Extended Cut, but swapping out the Wii Remote for the remarkably more responsive PlayStation Move controller makes all the difference in the world. Trappings aside, it was an old-fashioned, by-the-books zombie shoot, with all the pop-up zombies, blind corners, and carpal-tunnel-aggravating gunplay that entails.
After one level, though, the swimmy sense of lag that the Wii Remote introduced proved a high enough barrier to keep me from wanting to dig any further. I was immediately taken with the game’s exploitation sensibility, and how much of a departure it was from the badly translated Nippo-Gothic monster mash of your usual House of the Dead. I’ll admit, when it originally launched on the Wii in 2009, I was quick to dismiss House of the Dead: OVERKILL. Can I interest you nice folks in some wholesome, farm-fresh BRAINS?
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