Such lucre is vital to survive the zombie apocalypse It’s shamelessly arcade, the gameplay – ironically – more emotive than cerebral. Dead Nation’s dystopian world is a cautionary tale of ruined metropolises, stricken skyscrapers and unnerving parklands, locations overrun with a relentless scourge hell-bent on munching on your meninges.
Fans of erstwhile titles such as Gremlin Interactive’s Loaded on the original PlayStation, not to mention games such as Diablo that share a similar vantage point, will enjoy how the mayhem pans out. Presented in a quasi-top down isometric view (the camera position manually shifts, usually presenting the optimal angle), there’s a distinctive old-school feel to Dead Nation. When not unloading endless lead into the former living, players have the option of momentarily dashing away from the grasping clutches of the flesh-eaters or briefly dazing them with a well-placed rifle smash into their putrid, gurning faces. Much like their space-faring arcade blast-a-thon, Dead Nation’s lead characters are guided around a shattered apocalyptic world with one analogue stick while pointing an assortment of weaponry at wave after wave of shambling undead with the other.
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In digital PS3 exclusive Dead Nation, Finnish studio Housemarque have dug up the immortal genre once more, this time branding their own personal stamp on the timeworn premise of pesky dead folk coming back to life with the sole intention of dining on the living.ĭespite the polar difference in themes from their first PSN title, the Super Stardust HD developer have rekindled their signature love of the twin shooter in Dead Nation’s novel way of dispensing with the recently departed. If there’s one good thing about the seemingly never-ending zombie onslaught on the media domain, it’s that when the undead holocaust does happen, we’ll at least have reams of source material to reference in our vain, fretful attempts to survive.
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