Romeo Is a Dead Man arrives on PS5 carrying the unmistakable stamp of Goichi “Suda51” Suda: flamboyant, surreal and intent on bucking conventions. The latest release from Grasshopper Manufacture delivers several brilliant, bizarre moments and flashes of genuine creativity, yet the experience is repeatedly undermined by opaque systems and longueurs that blunt its impact.

Overview

The narrative centres on a crime-comedy premise filtered through Suda51’s love of caricature and pastiche. Cutscenes mix slapstick, noir and outright absurdity, and the tone shifts between gleeful parody and moments of oddly melancholy introspection. The writing lands most of the time thanks to bold characterisation and memorable lines, even when plot threads meander.

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Gameplay

Gameplay is a collage of short, distinct sequences rather than a single coherent loop. There are inventive interludes that feel like curated game jams — brief bursts of novelty that surprise and entertain. Combat is stylish on occasion, leaning on exaggerated moves and cinematic presentation. However, many mechanics read as underbaked: camera and targeting require patience, the rhythm of encounters frequently stalls, and repetition creeps in during longer stretches.

  • High points: inventive set-pieces, memorable scripted moments, humour that rarely misses the mark.
  • Low points: inconsistent combat responsiveness, several tedious traversal and fetch segments, systems that lack clear explanation.

Presentation

Visually, the game leans into stylised art direction rather than realism. Character designs are deliberately exaggerated and the cutscenes brim with personality. On PS5 the frame-rate and load times are generally competent, though occasional stutters and texture pop-in appear in more complex scenes. The soundtrack complements the off-kilter tone, with energetic pieces that elevate the zanier moments.

Performance and Technicals

Technical performance is acceptable but not pristine. The PS5 build benefits from reduced loading compared with last-gen expectations, yet stability is patchy in longer sessions. Minor bugs and inconsistent collision in certain encounters detract from the flow. None are game-breaking, but they accumulate.

Verdict

Romeo Is a Dead Man is a textbook example of a game whose ambition and personality both make and break it. The title dazzles in short bursts with Suda51’s trademark inventiveness and memorable cutscenes, but awkward mechanics and repetitive stretches turn parts of the run into a slog. Fans of Grasshopper Manufacture and those seeking something defiantly odd will find plenty to admire. For players seeking a tightly honed action experience, the game will prove trying at times.

Overall, Romeo Is a Dead Man earns praise for its creativity and character, and criticism for its inconsistent execution. It stands as a curious, often entertaining experiment that rarely feels fully realised.