Wikipedia defines a guilty pleasure as ‘something, such as a film, a television program or a piece of music, that one enjoys despite feeling that it is not generally held in high regard, or is seen as unusual or weird.’
That statement doesn’t mention video games but all gamers have one: the title you love to bits but are too scared to admit in public. Maybe it’s that annual EA Sports release you’ve denounced as a blatant marketing ploy but then go home to play and win the World Cup. Or perhaps that new release you’ve joined in with the bashing of on an online forum before quietly collecting every hidden item throughout the remainder of the evening.
The House of the Dead: Overkill is a first-person rail-shooter developed by Headstrong Games and originally published by SEGA in 2009. The story takes place in 1991 when Special Agent G is sent to Louisiana to investigate a series of disappearances and hunt down crime lord Papa Cesar. Just when you think it can’t get any more clichéd, along comes partner Detective Isaac Washington who’s out to seek revenge for the murder of his father – and don’t forget about the infestation of mutants.
What if you kept the B-movie plot and zombies, but replaced the guns with a keyboard and bullets with random (and often crude) words? It sounds pretty bizarre but what you’ll end up with is Modern Dream’s 2013 release The Typing of the Dead: Overkill, and my very own gaming guilty pleasure.
Opinions of the game are somewhat mixed and it currently has a user score of 7.7. Some people praise it for its sense of innovation and comical wisecracks, but others criticise it for its juvenile humour, excessive use of the F-word and lack of gameplay. For example, take a look at some of the negative comments on the Metacritic page:
I really shouldn’t like The Typing of the Dead: Overkill as much as I do. It features Varla Guns and Candi Stryper as two of its protagonists, described as ‘the hottest stripper on the Bayou City club scene’ and portrayed as the ‘dumb blonde’ stereotype respectively. Bosses such as mutant strippers Coco and Sindy bring the tone down even further – and I haven’t even mentioned the gratuitous boob shots yet.
Considering all of this, I should be shouting ‘Sexism!’ from the roottops. But I love it because it’s just so damn camp. The B-movie grindhouse style and vintage soundtrack encourage players not to take the title too seriously and I can’t seem to stop myself from laughing at the parade of scantily-clad mutants and F-bombs. I know that’s possibly a little hypocritical of me considering my thoughts on females in gaming – and yes, I can laugh at some pretty immature stuff – but I just can’t help but get sucked into this game.
I mean, come on. You’re fighting a boss called Meat Katie, a grotesquely-mutated butcher woman with a cow skull and udder attached to her body who uses a giant meat cleaver in battle. You’re confronted with phrases such as ‘udderly delightful’, ‘sirloin surprise’ and ‘food preparation’ until she’s forced backwards into a meat grinder and dies with a moo. How can you not laugh at that?
Nintendo Power apparently once called The House of the Dead: Overkill ‘one of the Wii’s greatest guilty pleasures’, so The Typing of the Dead: Overkill is worthy of being mine. There may be a stream coming soon…
Video game lover, Later Levels blogger and SpecialEffect volunteer. Big fan of wannabe pirates and fine leather jackets.