The other distinction is the game’s pseudo-action focus, which is both a strength and weakness. There are also plenty of situations in which it’s unclear whether your zombies can survive a fall or jump, which can lead to an unintentional bloodbath and begrudging restart. The monochromatic art style can be confusing, however, as the visual cues for which walls are destructible and which floors can be jumped through are subtle and sometimes easily missed. As a journalist, I found the broadcast headlines that accompany the tutorial exposition especially chuckle-worthy (“Hurricane tears through cemetery hundreds remain dead,” “Man struck by lightning faces battery charge”). (In a nod that’s slightly too blunt, the street drug that’s been turning people into zombies is called “Romero.”) The predominantly black-and-white colour scheme evokes 1968’s Night of the Living Dead, while the focus on humour matches the tone of the many horror B-movies that followed. While it does go for a retro pixel-art aesthetic, the style is pure George Romero. However, the game does a lot to distinguish itself, most notably in its spot-on presentation.
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