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| Stubbs the Zombie in Rebel Without a Pulse | |
|---|---|
| Basic Information | |
| Video Game | |
| [[Wideload Games]][[Category:Wideload Games]] | |
| [[Aspyr Media]][[Category:Aspyr Media]] | |
| Action | |
| DVD (1) CD-ROM (3) | |
| Xbox, Mac OS X, Windows and Xbox 360 (as a downloadable title) | |
| Ratings | |
| BBFC: 15 ESRB: M PEGI: 18+ | |
| Technical Information | |
| 1.02 Windows (2006-05-15) 1.01 Macintosh | |
| Main Credits | |
| [[Alex Seropian]] | |
| [[Michael Salvatori]] | |
| Awards | Changelog | Cheats | Codes | Codex Compatibility | Covers | Credits | DLC | Help Localization | Manifest | Modding | Patches Ratings | Reviews | Screenshots | Soundtrack Videos | Walkthrough | |
Stubbs the Zombie in Rebel Without a Pulse is a third-personaction video game developed by Wideload Games and published by Aspyr Media, and built with the Halo engine. It was released on October 18, 2005 for the Xbox video game console, and was released for Windows and Mac OS X in November that same year. The game was released on February 10, 2006 in Europe. Later, Valve Corporation made the game available for purchase via Steam on May 17, 2007. This title became available on Microsoft's Xbox Live Marketplace as a Xbox Originals on May 19, 2008.
- 1Plot
- 4Reception
Plot[edit | edit source]
In 1933, Stubbs is a traveling salesman during the Great Depression trying to make a living. He temporarily finds happiness with a girl named Maggie Monday, but he meets his unfortunate end when Otis, Maggie's father comes home, chases him outside, and murders him, dumping his body in the wilderness.
The game takes place in the fictional city of Punchbowl, Pennsylvania at its opening ceremony in 1959. It just so happens that the city, founded by Andrew Monday, Maggie's son, has been built directly on top of Stubbs' not-so-final resting place. Stubbs rises from his grave as a zombie and decides to get his revenge by eating the brains of the inhabitants of Punchbowl, quickly creating his own army of the undead, causing increasing amounts of havoc as the zombies clash with the various militant factions of the area. During the chaos, Stubbs kills Otis Monday by blowing up his house after a brief reunion. Shortly before this, in a spoof of the war film Patton, Stubbs stands in front of an American flag hanging from a barn wall and gives a speech to his zombies. Though the speech consists only of the word 'Brains' said in many tones with limited gestures his zombies apparently understand him well enough to let loose a cheer of 'BRAINS!' before shuffling away.
Stubbs eventually reunites with Maggie and the two lovingly embrace - with Stubbs promptly eating her brain. Before her brain was eaten, Maggie revealed Stubbs was in fact Andrew's father. Andrew tries to avenge his half-destroyed, zombie-infested city, and his mother, by killing Stubbs from behind a force field. Stubbs, however, destroys the force field and looms toward Andrew, but Maggie, now a zombie, convinces him to spare their son. The game ends with Stubbs and Maggie sailing off on a small rowboat, kissing as Andrew and all of Punchbowl are destroyed by a nuclear bomb to cleanse the undead infestation, and they both 'live' happily ever after.
Setting[edit | edit source]
Punchbowl is a retro-futuristic city that resembles the future as portrayed by the media in 1950s. It includes hovercars, laser weaponry, a monorail, and robots. Punchbowl was envisioned and funded by Andrew Monday and created by his teams of scientists, led by former Nazi scientist Dr. Hermann Wye.
Gameplay[edit | edit source]
Stubbs The Zombie Game
In Stubbs the Zombie the player plays as a zombie, and the primary goal is therefore to kill humans and devour their brains. Eating brains gives back a certain amount of lost health to the player as well as converting those humans into zombies, causing them to fight alongside the player. The player also has the option of beating an enemy to death with melee strikes to transform them into zombies.
Stubbs' zombie state prevents him from wielding any conventional weapons, and instead wields a variety of improvised weaponry and combat techniques, most of which are done using a specific body part as explosives or makeshift devices.
All of the aforementioned improvised weapons, excluding Stubbs' hand, have a chance of converting the humans they kill into zombies. Stubbs can herd zombies which are in range by whistling. Since there is a limit to how many zombies will follow him at a time, Stubbs can guide the rest by sending whole groups of zombies in a direction with a single shove. Stubbs' zombie followers can kill humans and eat their brains, just like Stubbs can, and any human killed by one of his minions will also turn into a zombie. An enemy that fires upon a zombie in a group will attract the attention of all the rest of the zombies. Crowds of zombies serve as a great shield when approaching enemies armed with ranged weapons and are needed for sowing the necessary chaos and confusion into a difficult melee.
Stubbs can also drive a wide variety of vehicles, such as cars, tractors and tanks.
Development[edit | edit source]
Stubbs the Zombie was Wideload Games' first game after its founding. The company's founder, Alex Seropian had previously co-founded and worked with Bungie and used the production as an experiment to determine how he would run an independent studio. The game's development began with a team of twelve, but Seropian decided to use contractors which raised the number to sixty. This decision brought difficulties when the hiring process wasn't properly overseen, leaving the team with a shortage of producers and lack of cohesion. A game development model was developed, with 12 full time employees overseeing pre and post production phases, while independent contractors worked with the remaining content. Using the Halo engine provided some problem in the early stages. The engine was completely developed by Bungie and it lacked notes from them or peer reviews that would emphasize possible programming problems. Due to this, an excessive amount of time was spent determining which contractors would require training to use the engine, as well as how long they would receive instruction.
From the onset, the game's concept intended to innovate the horror genre by letting the player play as a zombie. Seropian claims that the team intended to take 'something that people are familiar' and turn 'it upside down.' The game was intended to contrast with what was regarded as the general idea of zombie games, changing the 'straightforward good guys versus zombies' format found in games like Resident Evil. Humor became a key aspect during the developmental stage, with Seropian claiming that the team wanted to go 'beyond just amusing dialogue in a cut-scene'. Character dialogue and game mechanics were designed so that 'funny results' are directly based on the player's action, preventing them from becoming repetitive or stale.
Reception[edit | edit source]
Stubbs the Zombie received a generally positive reception in North America, with IGN giving it 8.1 out of 10.0, GameSpot 7.8 out of ten and GamePro 3.5 out of 5. However its reception in Europe was lukewarm, with Eurogamer giving it a score of 4/10, claiming that it has 'lots of reasonable ideas that don't quite work' and 'a general lack of cohesion'. Metacritic gave the Xbox version of the game a score of 75/100. The Windows PC version earned a score of 72/100.
The game was perceived as 'painfully short' and 'linear', but 'never boring'.
The game's environments were described as 'nicely varied', noting that 'places like Punchbowl, the city of the future, are extremely well designed and appropriately cool looking.' The game's soundtrack received predominantly positive reviews. The character's voice acting was described as the element that 'set the game apart', to the point of claiming that 'Never before have the sounds of zombie moaning been done so well in a game.' IGN emphasized the 'futile cries from civilians and armed foes' and 'squishy, scalp-munching sound effects.' as elements contributing to a higher quality that the game's visuals.
Stubbs the character was ranked second on EGM's Top Ten Badass Undead.
Cannibalism controversy[edit | edit source]
Stubbs the Zombie, along with F.E.A.R., encountered controversy in November 2005 regarding cannibalism in games. NIMF's David Walsh and US Senator Joe Lieberman also criticized the game as 'cannibalistic' and harmful to underage children. Senator Lieberman stated 'It's just the worst kind of message to kids, and furthermore it can harm the entirety of America's youth'.
Wideload Games responded by saying:
| “ | The current kerfuffle in the US media about Stubbs the Zombie can be summed up in one word: semantics. Stubbs, they say, is a cannibal. This is nonsense, as anyone with a working knowledge of cannibals can tell you. Stubbs fails all the classic litmus tests for cannibalism. He does not wear a bone through his nose. He does not help FBI agents track down serial killers. He has not written a cookbook. He is not named Jeffrey Dahmer. The list goes on and on. Stubbs is azombie. Thus the title 'Stubbs the Zombie.' Zombies eat brains. That's what they do. Stubbs cannot just saunter into the cafeteria and order a plate of freedom fries. He has to fight for his meals. In fact, actual cannibals only make it harder for Stubbs to eat, which is why this 'cannibalism' story is insulting as well as injurious. It's no surprise that the all-human media cartel resorts to distortions and name-calling; their anti-zombie bias has been evident for decades, and Stubbs is just the newest target. If you're a thinking adult, you're probably ready to hear the other side of the story. You'll find it in Stubbs the Zombie in Rebel Without a Pulse, in stores now for Xbox, PC and Macintosh. Don't let the humanity-centric media tell you what to think about zombies. A free mind is a tasty mind. | ” |
GamePolitics also chided the report, calling it 'ridiculous' and citing 36 mainstream news outlets had picked the story immediately after the NIMF report.
Soundtrack[edit | edit source]
The soundtrack to Stubbs features covers of 50s and 60s-era songs, as well as the original track 'The Living Dead', all performed by modern-day artists.
External links[edit | edit source]
- Cannibalism story at GamePolitics.com
Vacillating, a decision wavering somewhere between a four and a five, I wonder: would I feel differently about Stubbs the Zombie if I were to know nothing about the people behind it?
Possibly, I think.
But then: no. Below par is below par, period.
For me, this is one of those instances where the anticipation of a thing is better than the thing itself. Stubbs the Zombie is the first title from developers Wideload, the studio established by Bungie co-founder Alex Seropian after his post-Halo departure from Redmond. It uses a modified version of the Halo engine, has a solid premise - 'be' the zombie, creating chaos as you sire undead hordes by feeding on the living - and, given the pedigree of being designed by a team that includes several erstwhile Bungie staffers, has been a game that I've been looking forward to all year. I hoped for something inventive, offbeat, polished and, given its backplot, cleverly macabre. Having completed it twice, though, the adjective that leaps most readily to mind is 'crude' - and in pretty much every sense of the word.
Rebel Without a Pulse takes place in Punchbowl, a fictional planned city based in late 1950s America. There are period stylings and authentic touches (much like Destroy All Humans, then), but this retro-futuristic municipality also features anachronistic technology such as robots, hovercars and laser weaponry. It's clear that Wideload wanted to play around with the distinctive clichés of the chosen era (particularly the stupidity/naivety of civilians; this takes a certain sting out of the blood-splattered carnage), but without being constrained in terms of design. Given that you play the role of a brain-eating zombie, this isn't too jarring: it's just something that you accept.
After a brief introduction to this wholesome utopia, an opening tutorial shows you how to control titular antihero Stubbs, and introduces you to his basic abilities. Alarm bells ring as you realise that his primary form of attack is a one-button, context-sensitive melee attack. The number of blows required to fell an assailant or civilian varies. It can be as little as one for a non-combatant, but three for a policeman; later, you might need to strike an opponent several times before they fall. When Stubbs kills a human, they rise again - after a short delay - as an undead ally who will subsequently attack (and, if successful, convert) any other people that they can find. Creating zombies helps on two levels. It reduces your combat workload because you have minions to wreak havoc on your behalf, but also means that Stubbs is no longer the sole target for whichever enemies you may face. You also get a limited amount of control over your putrefying posse: you can whistle for them to gather around you, or push them out of the way if you encounter problems with undead traffic jams in confined spaces.
During the first half of the game, Stubbs acquires four additional abilities: Possession, Gut Grenade, Unholy Flatulence and Sputum Head. The use of each is carefully limited. To replenish the onscreen meters for these, you need to eat a varying number of brains. This is achieved by pressing an action button after making a penultimate melee strike on the person you're currently fighting. Count each blow carefully, initiate the assault, and Stubbs grabs his quarry and, in a fairly gruesome rain of blood, snacks on their skulls.
Problematically, only two of Stubbs' special attacks are of any meaningful utility. Unholy Flatulence is a localised smart bomb that temporarily incapacitates any humans within close vicinity. It's handy to have, but you have to eat quite a few brains to access it and - as with all attacks of this genus in videogames - you tend to save it for eventualities and emergencies that rarely arise. With Sputum Head - the last special ability you acquire - Stubbs removes his head and bowls it in the direction he faces. You then guide it as it moves, knocking over policemen and soldiers, and can detonate it with a second button press. Again, though, the number of skulls you need to crack open to use it means that it's rarely at the forefront of your mind during a fight.
The two most interesting (and most used) abilities are Gut Grenade and Possession. The former is not dissimilar to the Covenant Plasma Grenade in Halo, but differs in that detonation is performed manually. You can have up to three of these available at any time, and only need to feed from a few heads to gain one. Only a single brain is required to activate Possession, though - which is fortunate, as it's this feature that adds essential variety, depth and a limited strategic aspect to Stubbs the Zombie. When you use it, you take control of Stubbs' severed arm, which can scuttle along floors, walls and ceilings. When you are sufficiently close to a human, you can press a button to leap for their heads and gain control of their bodies - and also, in a neat twist, their firearms. These range from simple pistols during earlier sections, to rifles, shotguns, machineguns and rocket launchers, and finally laser weaponry during later stages.
At the point that you gain the Possession ability, there's an abrupt change of pace. Suddenly, there's more to Stubbs the Zombie than near-mindless button mashing. At first, it's disturbing that you seemingly need to shoot each assailant several times to dispatch them, but you soon realise that headshots are the key to winning gun battles. While Stubbs has an energy gauge that refills after a period of safety, possessed humans have a limited capacity to withstand damage; when they die (or you manually relinquish control), control returns immediately to Stubbs. This means that you often have to use both cover and caution, moving behind whatever screen furniture you can find and picking your shots carefully. This is an essential tactic, because weapon use is restricted by the need to reload or, with lasers, wait for them to cool down. It's by no means the most refined shoot-'em-up ever conceived - it feels rather stilted and awkward at times - but the regular visits you make to this 'game within a game' can be reasonably entertaining.
One side effect of using the Possession skill is that humans slain with firearms do not rise again as undead helpers. As the difficulty level increases, this means that you need to invest a little thought into how you intend to get past a specific group of enemies. Sometimes, it's better to use a Gut Grenade, eat a few brains, then hide Stubbs and quickly use Possession to gain control of a soldier or policeman as the zombies you created distract his associates. Although very linear, there's actually a laudable flexibility to Stubbs the Zombie: you're given the (albeit limited) tools to achieve a goal (usually, to get from A to B without dying), but how you go about doing so is generally your own choice.
Unfortunately, novel set pieces or notable encounters in Stubbs the Zombie are few and far between. New foes are introduced at certain points, there are a few brief vehicular sequences, and there are a few situations that could be described as 'boss' battles, but it's so, so samey. Let's recap: to fill the four meters and gain access to Stubbs' abilities, you need to engage in repetitive, one-button melee combat, then press another button to initiate one of a handful of stock brain-eating animations that can take up to four seconds to complete. This becomes very tedious, very quickly: less thirty seconds of fun over and over, more thirty seconds of boredom. You find that use of the Possession skill becomes less tactical choice, more desperate need for respite from that central mechanic.
It doesn't help that Stubbs the Zombie looks so dated. What the Halo engine did brilliantly was to convey a sense of genuine scale. I really don't think it's designed for the kind of detailed interiors or exteriors we'd expect from a videogame with a (however loosely) contemporary setting. In Halo, the highly artificial (and occasionally very austere) environments were fine: you were, after all, exploring an alien world. The retro-futuristic architecture of Stubbs the Zombie can be pleasant enough to behold in a low-fi way, and its character models aren't too bad. In some areas, though - the Knobb Cheese Farm [ew - Ed] section being a pertinent example - it's just downright sparse and ugly.
The most saddening thing of all, in many ways, is that it's not even particularly funny. There's very little plot until its climatic battle, and so its cut-scenes are either far from side-splitting sketches, or devices used to (roughly) explain a transition from one locale to another. In one animated aside, Stubbs stands before an American flag and delivers a 'speech' to gathered zombies that consists of repeated, emotive use of the word 'brains'. This is about as sophisticated as it gets. It feels like a generic, low-rent children's cartoon adulterated with gore, bodily functions and rudimentary slapstick. I've got nothing against crude or puerile humour, but Stubbs the Zombie feels like it's designed to titillate young teenage boys - the very audience that, with irony, its Mature rating (sure to be replicated in kind on UK release) should technically preclude from playing.
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After my first playthrough of Stubbs the Zombie - which, incidentally, took less than eight hours - I sat and reflected that there were only a handful of moments that I recalled with any degree of clarity. Playing again, with the difficulty level increased, I realised why: it's just an eminently forgettable game. Average execution, terribly repetitive combat, lots of reasonable ideas that don't quite work, a general lack of cohesion: it's not diabolical, but it's far from great. It has some lovely touches - particularly its soundtrack - but it's really, contrary to my expectations, nothing special. Shame.
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4 /10