A few hours into the five-hour story I was sick of hearing anyone say anything - except for Nick, Juliet’s boyfriend. The exhausting vulgarity is amusing early on but grows annoying shortly afterward. When shocking and titillating the player take precedent over the core gameplay loop, we have problems. Obscenity eventually hits a point where it’s no longer contributing to anything. In and out of combat, the primary goal of Lollipop Chainsaw is the money shot, whether it’s up Starling’s skirt or down her shirt. For every zombie Juliet Starling decapitates with her chainsaw, someone calls her a whore, talks about masturbating to her, or comments on her gigantic breasts. At some point, however, the over-the-top exploitation of a hyper-sexualized high school student isn’t the parody it started as anymore. Lollipop embraces exploitation to poke fun at itself - everything is excessively violent, excessively sexual, and mashed together with glitter, sparkles, and rainbows. Profanity is as prevalent as innuendo, and the open-faced absurdity is endearing. It has fun with itself and is proud to be what it is. From top to bottom, Lollipop Chainsaw is self-aware and utterly silly. If you can’t hang with the nonsense from the start, you won’t keep up as the obscene insanity spirals further out of control. In the first five minutes, a voluptuous blonde goes from welcoming you to her bedroom to having a steamy shower scene to slaughtering zombies in her high school. Even fewer are willing to leave you behind if you aren’t into it. Few games establish a tone as firmly and quickly as this one.
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