Let’s give some respect to a game that knows exactly what it wants to be, even if it just wants to be disgusting.
Here is a list of games that were released in 2010:
- God of War 3
- Red Dead Redemption
- Dead Rising 2
- Bioshock 2
- Dante’s Inferno
- Castlevania: Lords of Shadow
And 2010 was also a year some of these games were noted as champions of storytelling within the medium. Red Dead Redemption is a game that deserves to be held in the same exalted pantheon as its western forbearers. Bioshock 2 wasn’t as revolutionary as the game that (mostly) birthed its franchise, but it was still a somber look at greed and decay. Dead Rising 2 has a lot to say about the current state of the medical industry in the United States. Dante’s Inferno is the retelling of an epic poem that now somehow involves a hell of a lot of dismemberment. Actually, come to think of it, literally every one of these games involves a surprising amount of mutilation. And… was that the point? Were these complicated stories of love, betrayal, and a dude that somehow forgot he was Dracula, yarns that just happened to be attached to bloodbaths? Or was it the reverse? Were these violent videogames (utilizing the latest technology of the day to clearly render when you had successfully ejected an opponent’s spinal column) that also, incidentally, included tales that would rival those of Dante? These were all games that enjoyed varying levels of success, and now, ten years later, it’s impossible to discern the intentions of the writers and directors involved.
Or we know exactly what they were thinking: hyper-violent action games were all the rage in 2010, and your average player would eat up any story that claimed to have influences more cerebral than a Burger King Kid’s Club flyer (… yeah… people in 2010 were dummies, I’m sure gamers got better in the meanwhile). If you had a game that was primarily shotgun-based, but wanted to score a few reviews that somehow still included the word “elegant”, all you had to do was wrap your story around a few heady concepts, and, before you could say “Kafkaesque”, you’ve got a hit on your hands. And, for better or worse, this would happen over and over again for years. A new game is released, it embraces an unhealthy amount of face punching, but also includes a reference to a philosophical concept or two, and it is graded as some manner of genius event for everyone involved. Then the shine rubs off (usually sometime around when the DLC release schedule winds down), and we’re left with a number of people scratching their head, vainly attempting to figure out why the hell there was such a big hubbub in the first place. Bioshock Infinite cured racism? I’m sure I remember that happening once…
But there was one game released in 2010 that knew exactly what it was and what it was about: Splatterhouse.
Splatterhouse is a 3-D, modern reimagining of the original Splatterhouse franchise. All of the old staples are there: a disastrous visit to an old house in the middle of nowhere, a girlfriend kidnapped, and a haunted mask that propels our protagonist to stalk the halls in a very Voorhees manner. There’s a clear goal (rescue girlfriend), obvious monsters (they’re the dudes with asymmetric tentacles), and an excuse or two for a little blood splatter. Old weapons are scattered about the area (who couldn’t use a 2×4) and even the old bosses are represented in straightforward (there cannot be that many dudes with chainsaws for hands) or figurative ways (a haunted room must evolve into a poltergeist colossus). This Splatterhouse is not a “modern remake” that completely eschews the source material in favor of something new and different, it is completely recognizable as Splatterhouse.
But there is technically a new plot hoisted on Splatterhouse. What we have here is something that could have been implied by the original, practically narration-less Splatterhouse, but is now made concrete in 2010. “The Mask” is an ancient prisoner of monsters that slipped out, and is now using its magical/deadly powers for revenge. Your ultimate opponent is a Lovecraftian cadre of formless ones that want to enter this universe and transform it into their personal meat grinder. The majority of your foes are literal monsters stitched together by a vengeful, immortal college professor (that, incidentally, kind of looks like Lovecraft). And poor, traditionally mute Rick is now a conflicted student stuck in the middle. Rick wants to save “his girl”, and he certainly doesn’t want to be dead, but does he need to kill so many ostensibly living creatures in order to meet his goals? Mask is all about the violence, but Rick seems to have objections to the kill count that is rapidly mounting at the end of his fists. Does Rick need to be so violent? Is all this carnage really necessary? Can’t we all just get along?
And the answer is: No, Rick, you dumbass, this is a videogame. You’re here to paint the walls red. Everybody knows what this is, Ricky Boy, don’t fight it.
Splatterhouse may momentarily flirt with a greater calling to make comments on the nature of violence or explore its Cthulhu inspired universe; but, more than that, it is a game that knows exactly what its audience is here for. Like a good 80’s horror film, it assumes the viewers only want two things: blood and tits. To satisfy that bloodlust, practically every enemy can become part of a fatality-esque finisher that offers organs aplenty being splayed about. And if you choose to hold off on those QTEs, all monsters pop like blood ticks, so your Mask’s thirst for the red stuff is always satisfied. And if you’re looking for the other reason for an R (M) rating, Splatterhouse has straight up nudity ready to go from the first level. Jenny is apparently the only human female seen in this universe (granted, technically, there’s only like one 100% human male on screen in this story, and he’s dead before the game starts), and she has been kidnapped, but don’t let that stop you from whipping it out in her honor. Every stage has four fragments of “Jenny’s Pictures” scattered around, and, boy, let me tell you, Jenny was an exhibitionist. The Jenny model is shamelessly used in all sorts of situations, so whether it’s a steamy shower scene or a skimpy Halloween costume that is going to wet your noodle, Splatterhouse has got you covered. Ha! Covered! Totally unlike Jenny!
And is this gross? Absolutely. 90% of the content of the previous paragraph is disgusting. The idea that the player would be “rewarded” with naked pictures of the ostensible heroine of the story is not only narrowly male heteronormative, but also just plain gross. Jenny is not only a damsel in distress, her naked (and thereabouts) pictures are the prime reward for a player exploring these environments. By all accounts, she was created just to be ‘bating bait for the audience, and, plot-wise, all we learn about Jenny is that she likes posing for risqué photographs (on actual film! Is that a character trait?). And once you get past her, the only friendly cast member, the fact that you can only interact with your antagonists through bloodsport isn’t much better. Your opponents are monsters, yes, but it is plainly stated that a number of these “creatures” are humans that have been experimented on and mutated. And how do you deal with these lost souls (some of which are distinctly noted as people Rick once knew)? Your tear their insides out. And when a door is a pulsing eyeball, you tear that out, too! But don’t worry, when a mouth-door is involved, then you have to feed blood to it, so there’s no tearing there. But there’s still violence! In fact, there is nary a single problem in Splatterhouse that can’t be solved by wanton, bloody destruction. And that’s a moral we don’t need! Violence is not the answer, and any “game” that encourages hours of carnage cannot be good for the national psyche.
Except… that’s not any different from every other bloody brawler released in 2010. The only variance here is that Splatterhouse is completely honest about its vices, while its contemporaries tried to hide behind a veneer of respectability.
God of War 3 ended by claiming the entire franchise was about the relationship between an abusive father and his son (that may have murdered his family), but it was also a trilogy that always took time to include topless women and what could best be described as a “sex minigame”. But don’t worry, kiddies, that happened slightly offscreen! This is a respectable game! Castlevania: Lords of Shadow was a “mature” reimagining of Castlevania that incidentally treated its female cast like disposable props. Any women left standing? There’s Carmilla, a former holy warrior whose desecrated earthly remains became a vampire that is going to flirt with her opponent for about 80% of the fight. So a nun that has become corrupted and is now overtly sexual? Gosh, that couldn’t be an extremely well-trodden fetish or anything. This is a mature game. It’s not like Carmilla is wearing something like a nun’s habit split to reveal her breasts or anything. But that’s the way it goes, right? These are sophisticated games, so there might be a little t(its) to accompany your v(iolence). You know, maybe.
Or that’s the entire point, and so many games in 2010 were simultaneously nakedly chasing the heterosexual, 20-something male demographic and attempting to claim a seat at the table of “mature” media like books or movies (because everyone knows those mediums never pander to anybody). Testosterone-fueled escapes for a man’s Id were the norm (ha, were), but you could get away with it if you attached some tragedy to the proceedings. And not, like, horror movie, you-decided-to-take-the-wrong-turn tragedy, either! Pathos! You need the hero to really feel bad about his dead wife (do you want to review the previously mentioned 2010 games and tally up the number of dead wives involved? It is a concerning number!), so that way the “hero” is at least grimacing when he rips the heart out of the malevolent Tig Biddy. Kratos might be involved in an adventure that could incidentally involve a lot of nudity and violence, but he’s doing it for his family (even if they’re dead). This isn’t an adolescent fantasy, it’s a tale of love and redemption. It’s epic.
Splatterhouse is just like its contemporaries, except it doesn’t chase that “epic” banner. Splatterhouse is a game that accepts its audience wants some nudity and violence, and, hey, here you go. You don’t have to analyze it. You don’t have to think about it. You just have to press X to explode-a-head. You can just review a gallery of naked pictures. You can be as horny or ferocious as you want, and Splatterhouse isn’t going to judge. It might be gross, but if it’s your thing, it’s not trying to hide your thing. Splatterhouse seems to believe it knows exactly what its audience wants, and it is going to unashamedly drown everyone in it.
Splatterhouse doesn’t try to be what it is not. Splatterhouse is Splatterhouse, and it should be commended for never apologizing for such.
Stay gross, Splatterhouse.
FGC #542 Splatterhouse (2010)
- System: Playstation 3 and Xbox 360. Splatterhouse is not listed as an Xbox One backwards compatible game, but apparently something called “The Splatters™” is listed, so the search function is working properly.
- Number of players: Just Rick and Mask, working as one player.
Beyond the Gore: Splatterhouse is a pretty typical 3-D action game of the era, but it does have a few tricks up its sleeve. There are some 2-D areas that harken back to the old days, and they’re generally enjoyable (mostly because most of the usually spongey mooks suddenly are all 1-hit kills). There are also a few “jump areas” and “chases” that are predominantly quick time events, and they’re… less fun. It feels like we have gotten away from continual QTEs with our current gaming generation, which almost makes these portions vaguely nostalgic.- Favorite Area: The plot finds an excuse for magical portals to beam Rick outside of the titular Splatterhouse, so there are a few interesting venues available. The “ruined future”, “the past”, and slaughterhouse are all fun locations, but you really can’t beat the “Murder Carnival” that is some kind of pastiche of Disney World, a local fair, and an unruly number of giant entrails. And the hall of mirrors offers an excuse for all kinds of fights for Rick, so just enjoy the ride.
- Are there Murder Clowns? Yep.
- Say something mean: It’s fun being a murderous psychopath, but the final few areas find excuses to add different kinds of timers. Sometimes it is a collapsing bridge, sometimes it’s an “escort mission”, and sometimes there’s just an outright timer on the screen; but regardless of the reason, anytime your seconds are limited in Splatterhouse, it is pretty lousy. “Aiming” is a pain in the ass, and most combos keep going well after your opponent is finished. The result? You’re punching air for seconds on end while your death ticks closer and closer. Losing control isn’t a good thing when you don’t have time to spare.
- Favorite Boss: Experiment 765 is a giant, electric ape with a hammer. He beats ol’ chainsaws-for-hands any day of the week.
Did you know? Whether it was intended as part of the original release or DLC that would never come, there was a lot of cut content in Splatterhouse. There was supposed to be a Nazi ice base (featuring that previously mentioned ape), a “dead island” tropical setting (including a boss that is only seen in a fish tank in the game proper), and even a finale in a collapsing chapel (there is a wedding/human sacrifice happening sometime around then, after all). Splatterhouse was kind of a bomb, so it’s unlikely we’ll ever see what was intended to be “Splatterhouse Complete”, but I have to formally state that any game that includes extra violence against Nazis is a good thing.- Would I play again: Probably not. This is fun in the short term (most of the time), but it’s not really my thing. That said, Berserker Mode is a hoot, and, if I have to play a PS3-era beat ‘em up, this ain’t too bad. I’m not stalking the halls again anytime soon, but I could conceive of a world where I might give it a shot. At least there is a New Game+!
What’s next? Random ROB has chosen… Mario Tennis for the Virtual Boy! Spooky times are over, but we’re still seeing red. Please look forward to it!
Sigmund Freud put forth the psychological theory of psychosexual development. In short, Freud’s hypothesis was that boys and girls went through certain sexual developmental stages during childhood, and each of these phases had particular erogenous triggers that should be satisfied, even if only subconsciously. If these conditions were not properly met, a child would grow into an adult that had a specific fetish/fixation. If all went well, then the kid would grow to be a sexually well-adjusted man or woman that doesn’t google pictures of half-dressed centaurs when his fiancée is asleep. While Freud’s psychosexual outlines have been derided since the early 20th Century as sexist, homophobic, euro-centric, scientifically inaccurate, and generally unpleasant, Freud’s teachings still persist through to today… even if they only wind up as part of pop-psychology lectures provided by sitcom characters. Oh! And in videogames! 
Won’t someone please think of the children: The gore was turned down dramatically for the home versions. Additionally, a floating, upside cross was replaced with a severed head (or maybe a doll’s head?), and bladed weapons (like a meat cleaver) were replaced with sticks of wood. Oh! And when you murder the beating heart of the mansion, it doesn’t gush fluids, but immediately catches fire. That at least explains why the following stage is a bit toasty.
Would I play again: Maybe. This is a game that is too difficult to play casually (without save states, memorization, or a childhood of playing the title constantly), but maybe I’ll give it a go for a credit or two sometime. It is damn satisfying to splat monsters against walls, and the arcade version is available as part of Splatterhouse 2010. Speaking of which…
What’s so wrong with taking a hit?
In the grand scheme of things, Dante is a pretty resilient guy. Over the course of Devil May Cry 3, Dante has the misfortunate of being hit by demonic blades, a charging, flaming stallion, and even the occasional rocket launcher (wait, are you hit by a rocket launcher, or just the rocket? I never thought I would have to know the answer to this question…). He can survive damage from all these traditionally lethal items presumably thanks to his resilient birthright… but he can’t survive much. I know I would be dead after one cutting combo from a 
But whether you’re playing the special edition or not, DMC3 is constantly judging you for taking any damage. Literally! Like many games of the era, DMC3 evaluates your performance at all times. You’re expected to juggle multiple enemies and gain bonus points for SSStylish!!! combos, and obviously you’re supposed to grab every last pickup you can find, but a significant part of your rank is based on damage taken and number of items used (and the main reason you’d use an item would be to recover health, so they may as well be the same thing). So even if you survive every last onslaught and never see a dead Dante, the game will go out of its way to criticize your performance for not being completely immaculate. And your combo counter resets after an opponent’s tap, too. Want that S-Rank? Well, then Dante must dodge every assault from the bottom of the tower to the top. Good luck!
And, ultimately, what would be the harm in playing a game where you are Superman? This isn’t to say you should be invulnerable at all times in all games, but what would be the issue with offering a “Dante must have a fun time” mode to compliment the seven different variations on hard mode offered in your average action game? And this isn’t a proposal for your basic “easy mode”, this is a distinct mode where you’re ranked on how many stitches Dante is going to need at the end of a stage, and rewarded for it. Do you know how many tears you put in that snazzy red coat? Cool! Now you’re living life like an unkillable half-a-demon! Sssmokin’ (bullet holes)!
Number of players: Two in very specific areas! Like, there’s that one boss fight, or that fighting style that is earned about 75% of the way through the game. And now the Switch version allows for two players in its endless challenge mode.
A Sign of the Times: It’s kind of interesting to look at this game as an obvious middle point between Resident Evil and Bayonetta. There are a number of clear “Resident Evil camera angles” here and there across the tower, and some of the weirder gate/key puzzles seem like they would be much more at home in Raccoon City. But there is also an inordinate amount of emphasis placed on combat style, and some cinema scenes that were just itching to become QTEs appropriate to the Bayonetta universe. It might not be the same creators distinctly involved across the franchises, but it seems like playing Resident Evil 2, Devil May Cry 3, and Bayonetta in order would give a good idea of game evolution across systems.
Sometimes a game isn’t the “best” in the franchise. Sometimes a game goes well beyond such an accolade. Sometimes a game is the “most” in the franchise. And, for the Contra franchise, Contra 4 is the most Contra that has ever existed.
If you hadn’t played Contra (1) in a while (which, considering Contra 4 was released in celebration of Contra’s 20th anniversary, was very likely for many people), you might be forgiven for assuming Contra 4 was some kind of remake or reimagining. Many of the familiar trappings of Contra are right there from the beginning (like a certain laser core wall or a dragon gate at the top of a waterfall [its name is Gromaides, you buffoon]), and levels do have a tendency to switch from radical 2-D to tolerable 3-D hallway-based fortresses. And there’s a giant, pulsating heart at the (an) end, too! But then you might notice there are a few items from 
And that’s how Contra 4 feels in a nutshell: there are so many situations and abilities involved that, while it’s all been done before, it is done so perfectly here that, when you hit your stride, it feels amazing. The fact that later levels are gated behind limited lives and continues is not an accident: it is a way of telling the player that the ideal way to play Contra 4 is to play it while coasting on the high of a death-defying run.
Favorite Character: I know it’s Wayforward 