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by Kurt Kalata - 2005

Killer7 (キラー7) - GameCube, PlayStation 2 (2005)

Japanese GameCube Cover

American GameCube Cover

European GameCube Cover

Japanese PS2 Cover

One of the standout moments in Killer7 is the gateway that leads you into a boss battle. The room is a simple, straight line with only two doors, a set of stairs, and a few lights on the ceiling. As you can see in the picture on the right, it's not exactly a particularly exciting room. It is, however, a delightful optical illusion - are you running through a narrow corridor, encased by brown walls? Or are you running on top of a platform floating over a gigantic brown abyss? The music is a pulse-pounding rave that would sound more at home in a Mega Man game. Like most dance music, it serves the purpose of getting you pumped up for a big battle, but it clashes stylistically with the rest of the soundtrack. On several levels, the music is telling you that something unexpected and amazing and really FUCKED UP is about to happen.

And all of this is a tiny, tiny room.

From a gameplay perspective, you do nothing in this room. There are no bad guys to shoot, no puzzles to solve, no mazes to navigate. You hold down the "A" button (or whatever button it is in the PS2 port), you sit back and watch your character walk down the stairs, then you exit. It's easy to scoff at these segments are pure show, crazy bits thrown in for the sole purpose of being crazy.

Which is, for all intents and purposes, the same criticism leveled towards the entire game.

Killer7

There hasn't been any game in recent memory that has inspired such mixed reactions. Capcom, along with producer Shinji Mikami and director Goichi Suda (codename: Suda 51) have crafted a strange love-it-or-hate-it game. I'm not going to bother sifting through various media sites and trying to give quotes as to why Killer 7 is so drastically hated upon, but the game is simply persecuted as a case of "style over subtance." That isn't entirely inaccurate, but at the same time, it misses the point - it seems to suggest that the game is all about being showy and ignoring the gameplay.

Obviously, one of the big draws of Killer7 when it was announced was the graphics. All of the characters have intentionally low-polygon models - we're not talking Virtua Fighter here, but certainly not too detailed - but instead makes incredible use of shadows. It's easy to pick out the triangles in their faces, but the overall aesthetic creates a deliciously moody atmosphere. Even more impressive are backgrounds. While also simplistic in design, Killer7 bans all texture maps from its world and instead uses some creative shading to pull off some incredibly cool effects, most of which involve some gorgeous juxtaposition of colors. But it's really the characters - or, personalities, as it were - that make the game.

Characters

Killer7 scores post-modern points for being weird, and it's really the supporting cast that drives this home further.

Much like the game, the soundtrack is an eclectic mix of styles - most of the time, you'll hear moody electronica, but there's a few ventures into jazz and rock, as well as the boppy techno piece previously mentioned. Masafumi Takada and Jun Fukuda have proven themselves capable to creating incredible music that suits the trippy nature of the game perfectly. The voice acting is surprisingly excellent, which is good, because their quality can make or break a game like this. It's all in English, even in the Japanese version - however, the American and European versions have more distorted voices over the ghosts, making it much harder to make out anything that they're saying. While I have yet to hear it myself, apparently much of the dialogue was a grammatical, Engrishy nightmare.

Quick Info:

Developer:

Grasshopper Manufacture

Publisher:

Capcom

Director:

Goichi Suda

Genre:

Action: 1st Person
Action: 3rd Person

Themes:

Parody
Player Character: Bearded
So Anime it Hurts
Unique Visuals


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