Slitterhead Review – A Strange and Alluring Blend of Pulp Horror and Virtual Tourism
As a seasoned gamer with decades of experience under my belt, I must say that Slitterhead is a captivating journey through the mind of Keiichiro Toyama, a master storyteller who has always had an uncanny ability to blend the ethereal and the gritty in his games.
In the game Slitterhead, you control a yellow energy entity that aims to regain a physical form. You traverse the merged cityscape of Kowlong (a blend of Kowloon and Tokyo), which is shrouded in steam and flickering light. As you glide through the air, you eventually descend and occupy a canine body. While some players may already consider this game a strong contender for Game of the Year, it doesn’t take long before you need to switch hosts. Much like a commuter switching trains, you take over a human body. Whether this transition is an improvement or not is questionable. As you observe your new host’s thoughts, you remark, “This one… can… think.” After all, life can be quite challenging!
Just as new shoes need time to fit comfortably, people require a period of adjustment. At first, you may stumble awkwardly in your actions, but eventually, you learn to navigate these fragile bodies with some finesse. Then, an intriguing mystery unfolds. A sinister presence lurks in the alleyways. A series of grotesque murders have taken place, with victims found decapitated, their brains removed as if someone had scraped them out with a piece of toast. A local detective, attired in shirtsleeves and a waistcoat, is investigating the case, and so are you. It seems there’s a link between this enigma and your spirit. You might say it’s personal. As it turns out, the culprit is uncovered: Slitherheads disguise themselves among the populace, until they split apart into a writhing mass of death. They then invade your mind, consuming your thoughts. In one scene, a couple is depicted in a passionate embrace, bathed in a soft pink light. At the resolution, let us simply say that the man gains an eye-opening revelation.
In this peculiar mix, additional enigmatic elements are introduced: a time loop, causing you to repeatedly explore the same brief span of days with new hints, and an assortment of characters, one of whom is a girl named Julee, who labels him ‘Night Owl.’ During her possession, she exhibits gooey abilities, such as projecting claws made of solidified blood from her fingertips and propelling herself vertically using strands of wet crimson. Yuck. There’s also a character who rides a motorcycle and carries a short shotgun, much like Arnold Schwarzenegger in Terminator 2: Judgment Day.
Investigating the ghouls and their ties to the underworld is the task of Night Owl, aided by some unique companions. In between missions, you engage in conversations, uncovering new leads as you follow the intricate twists and turns of the storyline. However, Slitterhead also takes interest in Kowlong, inviting you to immerse yourself in its peculiarities, much like Stray does. Similar to Stray, it is inspired by the Walled City, which stood, or rather leaned, in Kowloon until 1993 when demolition started. Viewing images of it now gives an impression that construction and wires can become uncontrollable, just as a neglected garden does. Abandoned locations always captivate our imagination, and it’s exciting when games bring them to our attention; keep an eye out for S.T.A.L.K.E.R. 2: Heart of Chornobyl, coming soon, with its focus on the barren exclusion zone.
To put it simply, Slitterhead stands out primarily for its unique atmosphere, and this is largely due to Akira Yamaoka’s eerie yet occasionally beautiful soundtrack. It switches between quirky percussion and offbeat keyboards one moment, then spine-tingling strings the next. The game offers quests that involve jumping on rooftops, but it seems these are more about enjoying the cityscape of Kowlong from various perspectives, akin to a tourist adjusting their camera while going down stairs. It’s a game that doesn’t fully convey its charm in trailers, but once you play it, it speaks volumes. The animation has a charming roughness to it, which hints at its pulpy nature – a game brimming with B-movie themes, making you feel that the essence of the experience lies within these themes rather than the technical aspects.
Keiichiro Toyama is the director behind this game, and that’s quite revealing. He was the one who created the original Silent Hill, but this new title may surprise you – despite its gruesome nature, it’s not really a horror game. Instead, it seems more like an exploration of Toyamology, a term we might use to describe his unique style.
The central conflict that shaped his peculiar career is highlighted here: the struggle between weightless liberation and the gravitational pull of limitations, between an entirely explorable virtual town on PlayStation and the veil of fog concealing much of it, between an unfettered imagination and a preference for intricate machinery. In the case of Slitterhead, the battle was between the desire to produce work that stands out from the rest, richly detailed visually, and the confines of a modest budget. This is Bokeh Game Studio’s debut, an independent developer established by Toyama, Sato Kazunobu, and Junya Okura, all veterans of other series. From the start, it’s clear that we are in the Double-A realm, where Toyama has always thrived. As the tensions within his games intensify, creativity flourishes. Therefore, while some characters share features with spectators from TopSpin 2K25 – hollow eyes and hair resembling streaked clumps of Play-Doh – others are masterfully designed. Take a look at Slitterhead shedding its skin and transforming into a mantis-like creature.
Bokeh’s in-house artist is Miki Takahashi, known for her ability to create both eerie and captivating designs. These elements grab your attention as much as they engage your character. In the game, you dodge enemy attacks by moving the right stick, and swiftly switch between hosts to surround opponents and attack together. Even passive bystanders are drawn into each battle, although they’re not particularly tough on their own. However, when grouped together, they increase your chances of victory. This unique system is fast-paced and enjoyable, with a good rhythm, but it leaves one questioning its purpose.
Slitterhead is undeniably reminiscent of past times. Toyama presents us with an immersive digital travel destination, and it’s apparent that he is fixated on the juxtaposition of buzzing chaos and sleek metal structures. The gentle texture of the visuals and the richness of the colors evoke Wong Kar-wai, specifically Chungking Express and In the Mood for Love. It’s a game captured in Polaroid form: it’s about holding onto moments as they blur with time, shaking them until they become crystal clear. Toyama has always been ingenious with mechanics, but here it seems like he has crafted a game that yearns for simplicity. Although it’s still enjoyable and the storyline is engaging, there’s an element of fun that feels secondary; you can sense something eerie and captivating trying to break free from another form. If I sometimes felt restless, it might be because I couldn’t help but feel that a part of the experience was slipping away. Perhaps that’s the intention. Toyama has written a nostalgic letter, longing for places, films, and games that no longer exist. Who needs battles when you’re in the mood for love?
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2024-11-04 16:12