There Will Be Blood- Splatterhouse Review

Much like the reoccurring expedition which has served as the series’ backstory, Splatterhouse‘s conception has been filled with uncertainly and threat. Once helmed by BottleRocket Entertainment- the studio responsible for the 2002’s inspired Mark of Kri, the game was later handed over to one of Namco-Bandai’s internal development groups. Although both a protracted production period and a change of design teams can be harbingers of failure, Splatterhouse manages to provide players with a clenched fistful of blood-soaked charms. After all, there’s a woefully scarce number of games which let players fight off attackers with one of their own appendages. Regretfully, these moments don’t come consistently enough to elevate the title above most of its M-rated action-game peers.

Splatterhouse‘s storyline remains faithful to its arcade and early console roots, as series protagonist Rick lays bleeding to death- his girlfriend Jennifer kidnapped by the nefarious Dr. West. Nearby lays the series’ iconic mask, which proposes a Faustian deal to the college student. With his life drawing near, Rick reluctantly dons the mask, and transforms into a muscle-bound behemoth. Trapped within this hulking shell, our protagonist is forcing to kill an incessant onslaught of ferocious beasts and bosses. Fortuitously, each of the creatures is filled with an amble supply of blood, which just happens to be the nutrient Rick needs to further augment his metamorphosis.

Most of the time, players will be pummeling foes with a familiar set of light, heavy strikes as well as a handful of grapple moves. As is customary of the beat ’em genre, there’s a healthy set of combos to be mastered, initiated with both button taps and prolonged presses. Additionally, players have the ability to block basic strikes, initiate a indispensable defensive roll, and even extract blood from foes to refill the protagonists’ health gauge. Splatterhouse‘s moveset will surely draw comparisons to Kratos’ powerful repertoire- although the God of War character’s blades certainly have a greater reach, even when Rick picks up a discarded 2×4 or iron pipe.  Like the Greek demigod, weakened enemies can be devastated by a quick-time event, with players pushing the analog sticks in specific directions to rip foes into mounds of flaccid flesh. It’s unfortunate there isn’t a wider range of these gristly finishing moves.

Periodically, the game will shift into a side-scrolling mode to pay homage to the series’ roots. While this transition could have adeptly complemented the 3D fisticuffs, these sequences feel woefully underdeveloped. Jumping over rising spikes or swinging obstacles often lacks precision; more than a few times Rick was grazed while standing on a secure area. Control issues are worsened once Splatterhouse‘s platforming enters the third dimension. Here, a bit of unresponsiveness will lead to the occasional instant death, compounded by a lengthy reload.

Visually, Splatterhouse presents a persistently gushing geyser of blood and entrails, often coating the screen with washes of crimson gore. Between Rick’s gaping wounds and the sporadic evisceration  of enemies, gamers would be hard pressed to find a game with as much gratuitous bloodletting. Sadly, an uneven framerate and unwieldy camera impair the impact of the title’s Grand Guignol delivery. Inexplicably, the game’s perspective can drift into a impractical low-angle shot when fighting one of the sturdier foes. Sonically, Splatterhouse is elevated by Jim Cummings spirited delivery as the mask, but the game’s soundtrack is an irregular combination of remixes tracks from the original franchise with a sporadic inclusion of metal. For retro enthusiasts, the inclusion of the original arcade title as well as the two Sega Genesis sequels (unlocked as players progress through the main campaign) are a welcome addition.