The gaming world eagerly anticipates the release of No More Heroes creator Goichi Suda’s newest title, Romeo Is A Deadman. In an exclusive interview, Suda51 shared insights into the game’s development, the evolving landscape of the industry, and a tantalizing possibility: a future game rooted in the UK.

Suda51 isn’t merely a game developer; he’s a celebrated auteur, often compared to cinematic visionaries like Quentin Tarantino. His extensive and uniquely styled catalog, including titles like killer7 and No More Heroes, has cemented his place as a true original in the industry.

During a recent visit to London, Suda51 discussed Romeo Is A Deadman, slated for release on February 11th for PlayStation 5, Xbox Series X/S, and PC. The game is already generating buzz as a strong contender for the most innovative and unconventional title of 2026.

Romeo Is A Deadman plunges players into the bizarre world of Romeo Stargazer, a small-town American police officer resurrected by his grandfather as a high-tech operative for the FBI’s Space-Time Department. Armed with a lightsaber and firearms, Romeo traverses time and space to neutralize temporal criminals – including a recurring antagonist in the form of his ex-girlfriend – who threaten to unravel reality.

What immediately sets Romeo Is A Deadman apart is its audacious stylistic diversity. Within the first hour, the game seamlessly transitions between diorama-style cutscenes, comic book aesthetics, traditional 3D gameplay, and a retro 8-bit spaceship hub reminiscent of Pong and Pac-Man. This seemingly chaotic blend surprisingly coalesces into a cohesive and strikingly original experience.

“Whenever you’re developing a game, changes are inevitable,” Suda51 explained. “Something always gets removed, added, or tweaked. Initially, we envisioned the entire game in full 3D polygon graphics. However, we quickly realized that this approach would significantly increase both development time and costs.” He continued, “Surprisingly, incorporating these diverse visual styles wasn’t more expensive; it was actually the opposite.”

The key, Suda51 revealed, was leveraging the specialized talents within his studio, Grasshopper Manufacture. “We realized we had individuals exceptionally skilled in specific art styles – realistic illustration, comic book art, video production, environment design, and so on. I wanted to showcase these skills and give each artist a chance to shine. It took time to harmonize everything, but the final product, despite its eclectic nature, came together remarkably well.”

The development of Romeo Is A Deadman unfolded against a backdrop of corporate change. Grasshopper Manufacture, founded in 1998, was acquired by NetEase in 2021, as part of a broader acquisition spree. In early 2025, NetEase signaled its intention to divest from many of its international game development studios.

While NetEase still owns Grasshopper, Suda51 admitted the situation added pressure. “I initially hoped this would be a game we could develop at a relaxed pace. Instead, it became a race against time, both for the studio and for me personally. We had to address the situation and find a way forward.” He reflected, “Every game feels more challenging than the last, but this was the first time in a long time I truly realized how complex game development really is.”

Improvisation, however, remains Suda51’s greatest strength. He’s widely regarded as a maverick in the industry, and embraces the label. “I think the ‘maverick’ tag stems from the games I create and the way I approach development. I’ve learned to improvise and find solutions to problems that wouldn’t normally work. When I started at Human, my first job in the industry, I began as a writer and eventually became a director. Back then, with limited technology, we had to be creative in how we expressed our visions – visually, narratively, or thematically.”

“Over the years, I’ve honed my creative problem-solving skills. Today, we have more technical freedom than ever before, but that also presents new challenges. There are fewer limitations, but also more possibilities, and I’m constantly seeking new ways to utilize these tools and generate spontaneous ideas. I view much of our development process as ‘ad-lib’ – a collaborative, improvisational ‘jazz jam’ where ideas bounce back and forth. When you have a talented group of improvisers, the result can be extraordinary.”

He chuckled, adding, “Being called a maverick feels pretty cool, like a pro wrestler nickname. I dig it.”

Romeo Is A Deadman marks Suda51’s 28th game as director at Grasshopper Manufacture. Throughout his prolific career, he’s collaborated with numerous industry legends, but one partnership stands out: Shinji Mikami, the creator of Resident Evil and co-founder of Clover Studio, PlatinumGames, and Tango Gameworks.

“We worked together on killer7 and Shadows Of The Damned, in a producer-director dynamic. I’ve learned so much from him, especially early in our collaboration. He’s a master of action game design and has profoundly influenced both me and Grasshopper Manufacture. I even have his permission to call him my mentor.”

With over 30 years in the industry, Suda51 offers a unique perspective on the evolution of game development. “It’s a double-edged sword. As games have grown in scale, so has the amount of work, the number of people involved, and the specialization required. Back in the day, level design was often handled by the planning team, who would sketch maps that the graphics team would then implement. Now, we have dedicated level designers, graphics specialists, and so on.”

“While this creates more opportunities, it also increases development time and costs. There are fewer generalists today, but that’s not necessarily a bad thing. Specialization leads to expertise. Personally, I’ve always strived to be versatile, to have skills in multiple areas, because I never wanted to limit my career options. I believe it’s crucial to be proficient in several aspects of game development.”

With Romeo Is A Deadman nearing release, what’s next for Suda51? “No beach vacations for me,” he laughed. “I’m diving right back into work, brainstorming new projects.” He then playfully hinted at a potential future setting. “I’ve been thinking about where to set our next game, and the UK keeps coming to mind. There aren’t as many games set in London as you’d expect. I recently watched the show MobLand, and it sparked an idea – the UK would be a fantastic backdrop for one of our games.”

While Suda51 was joking, his signature blend of gritty action, offbeat humor, and literary influences would undoubtedly thrive in a British setting. Only time will tell what he envisions next.

What are your expectations for Romeo Is A Deadman? Do you think we’ll see a Suda51 game set in the UK in the future?

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