Nearby objects can be grabbed and thrown. There’s also a dodge-roll that grants frames of invincibility, a limited use of a time-slowdown mechanic, and unlisted actions like a great jump-landing roll. It’s capable of slicing at 45-degree angles from a comfortable distance and paints the wall with blood spatter in contextually appropriate directions. Thankfully, Katana Zero has more on its mind that praising Ninja Gaiden and Shinobi. Katana Zero, at a primal level, operates with the austere machinery of a 16-bit action game you go somewhere, you kill everything in sight, and then you go rest at home before doing it all over again.
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Action is performed by eliminating every henchman populating segments of each level before ultimately dealing with the final target. The Dragon is provided with a dossier of a target and a location and dispatched by a shadowy organization to take care of business.
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It opens with its protagonist, known as The Dragon, living the dream job of every media-addled child of the 80’s a professional ninja. Katana Zero’s lack of restraint is frequently at odds with its otherwise dramatic performance and presentation. Every time Katana Zero opens its mouth-when someone literally speaks or when it tries to weave all of its frenzied introspection together-it’s inarticulate at best and mortifying at worst. Its signature mechanic, an exciting spin on time manipulation, is available in both its action and its narrative and forges a powerful sense of identity. Its fluid pixel art and neon noir aesthetic achieve an expensive ambience atypical of 2D action games. Katana Zero is determined to justify its vanity.