No More Heroes Review
We meant to do that.
Version tested: Wii
No More Heroes is a game about slicing people up with a laser sword until you're the best assassin in town. Sounds straightforward; 2007 tapped a rich vein for single-minded murder-'em-ups with Crackdown and Assassin's Creed among the better examples, and 2008 is welcome to carry on splashing the same blood on our faces. Except No More Heroes does what those games do back to front: where the journey was once the worthier part, gently parting crowds in beautiful, sun-baked Jerusalem with a knife at the ready or kicking people off rooftops in Pacific City's skyscraper playground, No More Heroes' Santa Destroy is a dull, dusty strip of under-populated inactivity where the showdowns are the actual pay-off.
There seem to be two ways to interpret what it's doing. On the one hand, there's a fascinating purposefulness to the dull rituals you perform to amass cash to buy in to each Rank Battle (the skulls to the scalps that propel you up the leaderboard). There's the three-minute mowing, or litter picking, or filling up cars, or picking up coconuts. It's not fun, but that seems to be deliberate; it's making a point about working to live, and in the case of Travis Touchdown - our arrogant, spiky-haired protagonist - living is killing, boning and looking good. A potential contradiction is that if he does enough menial nonsense, he's offered small-time assassination gigs, except these are also quite dull and repetitive. Hrm. Ah - but of course these money-spinning side-missions don't matter either, because what use is killing, boning and looking good if no one notices? It's certainly a bold way to ask for our thirty quid.

Travis's motel room lets you play dress-up, pet your cat, watch TV (Genki Rockets video, anyone?) and generally lounge around. And poo-save.
The other way to look at it is that it's, er, quite dull and repetitive in-between the good bits. Navigating Santa Destroy on-foot or on your motorbike (I can't better Oli's description of it as "an unfortunate collision between half a Transformer and a Sinclair C5", or rather I can't be bothered to) is unnecessarily clunky and ugly, full of corners upon which to snag yourself and collisions to inadequately detect.
Available tasks are highlighted on your mini-map, bluesy '50s music that you can sing the Spider-Man theme to jangles away, and the day-to-day of filling your wallet by wiping away graffiti or killing the same pizza company CEO in the same car park half a dozen times can be as metaphorical as it wants; it's still dull. If we celebrate it, aren't we just doing that to feel a bit smug? Because, you know, we understand it? Not that we've never done that (in fact, I've done it rather a lot - I look forward to the prosecution case in the comments), but No More Heroes comes dangerously close to forcing us to face up to it.
The good news for people who fall into either camp is that we can all peacefully co-exist, because the rest of the game is charming, witty, colourful and inventive whether you dress and think like Vivienne Westwood or think pints are for mens and wine is for womens.

The tiger in the top-right shows you how long power-ups last.
Take the combat. You target with Z on the Nunchuk and mash with A, but finishing moves are performed as directional Wiimote slashes prompted by the game, while block-breaking B-button wrestling moves are two-handed motions of escalating complexity, like moving the Nunchuk swiftly right at the same time as flicking the Wiimote up. You can also adjust your beam katana attacks for height depending on the angle of the Wiimote - high or low. There's significant repetition across the game's many, many fights, but the mixture of mashing and physical movement is novel enough and subsequently flexible enough to keep you happy.
Exciting combat is rewarded by the slot machine spinning at the bottom of the screen, and the prizes are bigger attacks; button-matching black-and-white dark side finishers and projectile sword blasts among them. For further variation, there are scene-specific forays into other gameplay ideas, seemingly for the hell of it, like a baseball sequence in Destroy Stadium where you kill pitchers by smacking balls back at them.
It always looks fine, but while Grasshopper's stylised, Killer7-style rendering and versatile character modelling is easy on the eyes, the Wii's overall output generally isn't. There's slowdown throughout Santa Destroy, the edges are so jagged you could cut glass with them and everyone who's walked past my screen this week has ignored the lovely shadows, and Grasshopper's ability to get a lot out of a little in artistic terms, preferring instead to focus on "the Dreamcast visuals". The absence of blood from Rising Star's PAL release also means that your enemies explode in showers of black pixels rather than an Eli Roth ketchup fantasy, but the fact they shower you with coins rather makes up for it.
Where you do the most fighting is in the run-up to boss encounters, which turn out to be very enjoyable. There's no doubt that each of your adversaries is a well-rounded, fascinating bundle of complexes and philosophies, scripted with care and concern, but there's also Suda 51's telltale caricature and absurdity, like a grenade-loving amputee with a rocket launcher for a leg who attacks you by detonating landmines with a spade. Each encounter is preceded by a long stream of henchmen fights (kill these guys, a path opens, kill these guys, a path opens), and rarely is there much more than a thematic allusion to what lies beyond the final door, but the game's knowing construction assists their impact; after half a dozen virtually identical build-ups, a flight along a tunnel with the boss ever-present and just out of reach is interesting, the subsequent encounter in a wind farm is handled with assurance, and a train ride further on is a great white success.

The combat's button-mashing and motion mixture is just the right balance of skill and slapstick.
That said, we're not really talking about Metal Gear Solid 3's The Sorrow, or MGS' Psycho Mantis levels of invention. There are times when it comes close - Harvey Moiseiwitsch Volodarskii's Lionel Richie moment springs to mind - but while there's crossover in the voice acting pool, most fights ultimately come down to circling your prey, observing their attack patterns and making sure there's enough juice in your beam katana to withstand the most direct attacks and enough space to evade and then swing into action when you've done your homework. It's the theatricality, rather than the mechanics, of each encounter that delivers it into infamy.
Meanwhile, the manner with which you're delivered into each encounter speaks to the game's wonderful absurdity and gimmicky love of its Nintendo home. Sylvia Christel, the French-sounding blonde who queues up your opposition, is a ruthless tease, and Travis's whole ascent seems to be predicated on the belief that she'll "do" him if he makes it to number one. When she calls you up to announce that you're nearly at the fight, you have to hold the Wiimote up to your ear like a mobile phone to hear her. Which is neat, even if she does talk gibberish.

Never let it be said there are not enough spade-wielding amputees in games. There's one.
Thinking back on the rest of the game is a blur of smiles: recharging the beam katana by holding the A button and shaking it vigorously as Travis does his part on-screen; the third-rate-job provider's belief structure; the superhero boss with the hand-zapper; the glorious pixellated icons and deliberately useless 8-bit throwback mini-map; saving your game on the toilet; playing with your cat; every screen-wipe, fade and cut, and the shutter effect on view-correction; the video shop phone messages. The music's brilliant, too. As long as you're in one of a few key places - a fight, a shop, a cut-scene or a conversation - you won't be bored. The game's point, to return to where we came in, is that if you're not, then of course you won't be.
The reviewer's point is that in a fight between games as metaphor and games as entertainment, we need to feel like the winners. There are times in No More Heroes when we don't, but there are enough occasions when we do, and by the time you're the best assassin in town you'll either be glad that the destination was always worth it or arguing that it deserves another mark. Either way, you do at least win.
8 / 10
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Comments (65) Latest comment 4 years ago
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/reads review
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Will probably buy this, although it doesn't appeal to me much at all
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Stop taking my cash Nintendo!
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Wood, perhaps, or a particularly robust loaf of bread.
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I'm really not sure about No More Heroes.
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So, it looks better than a PS2 game then?
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Hopefully it'll be in bargain bins soon.
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I hope so.
/pre-orders this
/goes off to play Mario Galaxy and Zack & Wiki
/looks at Strikers, Geometry Wars and Metroid sitting on shelf and feels guilty
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I don't think so. Run along totally linear rails, stopping to shoot bad guys or to solve wierd puzzles. To odd for its own good; the basic shooting mechanics aren't even up to much.
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Probably dirt cheap to pick up now (especially PS2 version, although I played the apparently superior GC version).
It was nicely different in play-style from most other games.
As for No More Heroes it's tempting, although the censored/non-censored arguments have left me a little more cautious as own a PAL Wii...
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Get you, with your pretentious post-modern "undefined number" scoring system.
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Make a note, Sonic Team!
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\o/
I'm such a lucky guy me. Yes yes.
God I'm so fortunate.
/a winner is me
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So have you actually played it to garner that opinion?
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No, what they're saying is that if the game was more polished and the hub world more interesting then it would have gotten a higher mark, it got an eight based on the style and raw fun of the areas up to and including the boss fights.
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They withdrew the blood from the Japanese and EU versions to avoid getting too high a rating. There's no doubt based on Suda's earlier games that the bloody version was the original idea.
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So, I guess I'd recommend it for academic interest, but if you just want to play something for enjoyment, it's skippable.
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I'd say it's more the case that the reviewer knows this is one of those divisive, 'arthouse' games and has written a provocatively ambiguous review to suit (apologies Tom).
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Possibly looking forward to this more than Mario.
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Note: I'm talking about the American version. The lack of blood wouldn't ruin it for me, but it will for some. You know who you are.
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i read the review and came away even more sure that i'd be buying this day 1. the 'flaws' don't sound like they'll bother me, the 'good bits' sound fucking brilliant and an 8 out of 10 seems more than reasonable. but hey, i liked assassin's creed too, maybe i'm just MAD.
you don't have to like everything that everyone else likes, you know.
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Yep, it really reminded me of God Hand.
It's a game that's totally in love with the fact that it's a game, and makes no apologies for that. More importantly, it represents some of the most satisfying motion control on the console.
As for the blood, in all but one area, it makes more sense to go with black pixels and flying coins. The one time the US version seems like a great idea is in the 100-man battle, which - as NGamer put it - is like an homage to The Bride Vs The Crazy 88 fight from Kill Bill: Volume One.
It's the sort of game that you'll either totally adore, or it'll leave you fairly nonplussed. Either way, it's worth a go - if only to support such balls-out bravery in creating something that's both utterly barmy and a joyous celebration of the medium we all love.
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That is, unless he's just lying.
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Apparently so do geeky brits, who seem to value red pixels over whether or not a game is actually any good..
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/looks forward to jaggy jubblies and wiilly waving minigame
(yes I know it was spelt different)
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In an interview with Edge (I think), when pushed, he said that the 'full gore' version was more inline with his original vision. So, the non-red version may be the original, but it's not the definitive. The US version is more like a director's cut.
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You made this same erroneous comment in the preview. The non-PAL version is blood AND coins. The blood was part of that knowing charm and silliness prevalent throughout the game. Without the blood, it feels completely neutered. It's like having Gordon Freeman without specs.
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The review doesn't say that the non-PAL version doesn't have coins, so isn't erroneous. "the fact they shower you with coins rather makes up for it" merely suggests that the coins lessen any negative impact the "black pixels" might have had.
You could argue that the statement is unclear, but not that it's wrong.
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Well, i was going by Suda's comments in this article:
[link url=http://uk.ga mespot.com/news/6184700.html
]http://uk.ga mespot.com/news/6184700.html
[/link]
"When asked about why the game was changed in the US to become gorier, whereas Europeans are to get the original Japanese version... he said:
'In the European and Japanese versions, there's more of an action style to the game. For instance, when you kill characters in this version of the game, the coins come out straight away... And the American market has more of a predilection to a more violent version. I don't want anyone to misunderstand--neither version is better. I love both versions.' "
But seeing as everyone else appears to be quoting him from other places, and he seems to have said several different things, I honestly have no idea.
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No blood, no buy.
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but I can see why many people hate it
I hope people buy though this though whatever
just so suda makes more games
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but I can see why many people hate it
I hope people buy though this though whatever
just so suda makes more games
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The art style is ugly (yes I said the art style, not the graphics) and the gameplay just sounds like a bit of dullness punctuated with the odd moment of insane comic genius. Quite frankly those odd moments just aren't enough for me.
While I like seeing games that are different and general seethe when people don't try them I can just tell this isn't for me. I'd normally not comment negatively about the taste of others but I really just don't understand the appeal of this game at all.
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The art style is ugly..."
Well, for me the art is the thing. For example the picture at the front page, only because of that I want to buy the game. I also got the expression that it's quite funny, and the music is good. So it seems that it will be enjoyable to hang in the games world. I'll propably end up hating the game...
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uh, the review that clearly and specifically gives it 8/10?
for christ's sake get over yourself.
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The overall play mechanic would work better in a traditional structure IMO. In other words, a continuous action/adventure unfolding linearly would hold my interest better than this B.S. GTA-wannabe retread crap, with mini-games interspersed. The whole premise seems to be, if you have time to play my game, you must have nothing better to do at all. So in addition to playing my game, "drive" around a "city" which is so pointlessly devoid of content that it's essentially a 3D operating system which dispenses missions. Half of which are mini-games that have nothing to do with the game you had set out to purchase and play. And during which time you largely lose touch with the proper (swordfighting) game mechanics, such that when you FINALLY get back to it, you're reduced to button mashing, failing, realizing there's no restart option, and (gasp) "driving" around the "city" some more to get the mission retriggered.
Why are designers still doing this so many years after the fact: developing decent core content and then crapping all over it in an effort to revisit GTA3? Personally I never liked GTA in the first place, but I respect that I'm in the minority. Either way, this is a significantly lesser take on that whole approach. Please, someone, make the "open world" buzzword madness stop! I do not play games hoping they will kill as much of my time as possible, because I can't think of how to fill the hours. I play them when time allows, and I want that time - all of it if possible - to be FUN. Collect your own f'ing coconuts.
Woah.
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I kind of like the game, but it takes far, far too many liberties with your patience. The boss fights are great, the cut-scenes are funny, the art style's a treat, but aside from all that about 80% of the actual game's taken up with backtracking around an empty city and doing tedious odd jobs for cash just for the privelage of being allowed back into the story. Urgh, and the constant 'DYYNNNHHH!' loading screens...
Suda51 should stick his ideas into a Cowboy Bebop type anime or something. He whips up a lot of great style, but the majority of the gameplay feels like something that must've seemed more fun in his head than it actually is.
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This is any of the 3D GTA games, only nowhere near as well executed. I honestly can't see a single point that this game beats GTA III/Vice City/San An on.
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It's amazing, especially when you have the American version with all the Gore
"MY SPLEEEEEEEEEEEEEEEEEEEEENNNNNNNNNN!!!!!!!!!!!!!!!"