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But it is mechanically solid enough to prop up the ideas that actually make it stand out.
Slitterhead doubles down on its central mechanic, swapping bodies via possession, to a rare degree.
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Possession is the answer to almost everything in Slitterhead.
Can’t reach that ledge?
Possess someone a few floors up.
Need to get off this building?
This carries over into combat as well, a third-person melee-parry sandwich glued together with blood and bodies.
The clutch slow-mo escapes this dynamic creates are quite fun.
You’ll want to soak up any nearby blood to heal yourself between jumps.
That’s right, folks: honest-to-god missions.
I couldn’t be happier to hear it.
Not every game has to be massive, and frankly too many games are.
Give me a shot of creativity that doesn’t overstay its welcome and I’m on the hook.
Eventually you start to find a rhythm and swing bloody maces and swords with more oomph.
Do it right and you’re able to sneak in a counter.
The limbs and head of a blue ring octopus erupt from some poor citizen’s ribcage.
It goes without saying that I immediately asked Keiichiro Toyama why these things have tiny, terrible, butts.
He laughed and said, “It was just a personal choice.
The result is an endearingly odd game that quickly made a fan out of me.
Slitterhead is set to release for PS4, PS5, Xbox Series X, and PC on November 8.
