Romeo Is A Deadman is very Suda51 (Grasshopper Manufacture)
The creator of No More Heroes is about to release new game Romeo Is A Deadman and we’ve talked to him about modern development and setting his next game in the UK.
The games industry has a number of great characters and Goichi Suda – known to all as Suda51 – is emphatically one of them. The CEO of Grasshopper Manufacture is more than a mere games developer; he’s an auteur, no less, whose extensive and utterly distinctive games catalogue (whose highlights include killer7 and No More Heroes) has earned him comparisons with the likes of Quentin Tarantino.
I caught up with him on a rare visit to London, as part of a tour to drum up interest in his latest game, Romeo Is A Dead Man, due to be released on February 11 for PlayStation 5, Xbox Series X/S, and PC. There’s no mistaking Romeo Is A Dead Man for anything other than a Suda51 game and it’s surely already a shoo-in for 2026’s most bonkers game.
It follows the bizarre exploits of Romeo Stargazer, a small-town American cop who is killed but resurrected, thanks to his boffin granddad, as a lightsaber and gun-wielding operative in the FBI’s Space-Time Department, zipping back and forth in space and time to take down a bunch of time criminals (including his ex-girlfriend in many different guises) who are creating world-destroying anomalies.
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The most immediately striking aspect of Romeo Is A Dead Man is that, in its first hour, it zaps through a welter of different art styles, from a diorama style intro, via comic book style cut scenes, and more conventional third person 3D to a spaceship hub that’s rendered in top-down retro 8-bit graphics (in which homages to both Pong and Pac-Man can be found). Miraculously, what should be a mish-mash of conflicting style coalesces into a highly distinctive whole, with a weird logic of its own.
‘Whenever you’re developing a game, things are going to change at some point,’ explains Suda. ‘There’s always something that gets taken out, put in or tweaked a little bit. And at first, we were going to do the whole game in full polygon, 3D graphics style. We got to some point in the development and realised: ‘OK: this is not only going to take a lot longer than we thought, but it is going to cost a lot more money too.’ Some people think that it must have been really expensive putting all these different visual styles in the game, but actually, it’s the opposite.
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‘One of the things we came up with was the realisation that we have a bunch of people at the studio who are really good at a specific art style, or at a specific aspect of the development. It could be someone who is really good at realistic illustration, somebody who is really good at comic book style stuff, somebody who is really good at video production, somebody who is really good at environments and backgrounds, stuff like that.
‘So what I wanted to do is have the light shone on each of these people who are really specialised in these certain styles. And it took a while to figure out how to get everything to fit together, to make a coherent game out of it. But I feel the end product came out pretty well for the jumble of stuff that it is, you know?’
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Suda51 alludes to a situation which arose at Grasshopper Manufacture, which has been operational since 1998 but in 2021 was bought by Chinese publisher NetEase, when it was on a massive acquisition spree. In early 2025, NetEase announced its desire to sell most of the international game developers it had acquired.
Although it still owns Grasshopper, Suda51 says: ‘When we started out, I was kind of hoping that this would be the sort of game that we would be able to take our time on and relax while we put it together. But it ended up being the opposite. It ended up pretty much from the earlier stages of development, both as a studio and also for me personally being: ‘OK, we’ve got to do something about this, or this has to be worked out somehow’.
‘Every time I make a game, I figure: ‘Oh wow, that was rougher than I thought it would be.’ But it was the first time in a long time that I’ve thought: ‘OK, making games is not as simple as a lot of people who don’t make them think it is’.’
Suda51 loves big guns (Grasshopper Manufacture)
Luckily, improvisation is Suda51’s superpower. He has always been regarded as a maverick in the world of games development, so I ask him whether he thinks that is fair enough, and whether he embraces the term: ‘I feel like maybe one of the reasons I get called something like that is obviously because of the games I make and the way I make games. But, specifically, I have learned how to improvise, and figure out how to make things work that normally wouldn’t work in a certain way.
‘When I started out at a company called Human, in my first job in the games industry, I began writing for games, then ended up as director, and I’ve been doing both of those things ever since. Especially back in the day, when game specs were a lot lower than they are now, and you couldn’t do nearly as much stuff in a video game as you can now; if there was something that you wanted to express visually or story-wise, you had to figure out: ‘Yeah, OK, this is what I want to show, but we simply don’t have the technology to actually show it, so how can I express this either a different way visually or in literary terms, or thematically?’
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‘I feel like one of the strengths that I’ve gained over the years is being able to figure out ways of creative problem-solving. Nowadays, when things are a lot more advanced than they were before, you’ve got a lot more technical freedom of expression, and there’s more stuff that you actually can show, and things that you actually can do with a game than you could 20, 30 years ago.
‘So there aren’t as many limitations as there were before, but conversely, since there is so much more stuff that you can do, I keep trying to find new ways to use these new means of expression, and new ways to come up with on-the-spot ideas.
‘A lot of the development we do, I kind of view as ad-lib development, as tossing ideas back and forth – it’s kind of like jazz-jamming: ‘This guy’s doing this, and if I do this, it’s going to match in some cool way.’ While the other guy is like: ‘Actually, no, I think I’m going to add this in.’ And when you get a really good bunch of improvisers together, then you have a really good jazz jam band, you know?
‘I feel like that’s probably a reason that I get thought of as something like a maverick – not necessarily because I’m trying to break rules on purpose. To answer your question of how I feel about being called a maverick, honestly I’m happy, because it feels kind of cool, like a pro wrestler nickname or something like that, so I dig it.’
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Romeo Is A Dead Man will be the 28th game that Suda51 has helmed at Grasshopper. During that non-stop burst of creativity, he has collaborated with some other legends of the games industry, but one creative partner stands out for him: Shinji Mikami, originator of Resident Evil and co-founder of Clover Studio, PlatinumGames, and Tango Gameworks.
Suda51 says: ‘We worked together both on killer7 and Shadows Of The Damned, as a kind of producer-director tag team. I’ve learned so much from him over the years, especially back in the day, when we started working together. When it comes to action games, he’s done so much and he’s taught me so much – I truly consider him to be a mentor of sorts. And he’s even given me permission to call him that.
‘He’s had the biggest impact, not only on myself, but on Grasshopper Manufacture as a studio, as far as the way we make games is concerned, and specifically regarding how to make action games work. It’s not necessarily that he sat there and gave me these lessons and told me verbally: ‘This is how you make an action game.’ It’s hard to explain, but it’s almost as though I learned it through feeling and sensing and working with him.’
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Suda51 has been around for a long while (Daniel C. Griliopoulos – Hot Grill)
With his career spanning over 30 years, Suda51 is ideally placed to pinpoint how the art of games development has altered, as the technology underpinning it has exploded in complexity: ‘It’s hard to say whether this is a good thing or a bad thing – it’s both good and bad at the same time, for different reasons. But as the general scale of games got bigger and bigger, over the past 30 years, the amount of work that goes into a game, the amount of people that you need working on a game, and the number of types of specialists and professionals you need working on a game has also expanded.
‘For example, back in the day, there weren’t level designers. One of the planning guys would draw the map on a piece of paper, and the graphics guys would turn that into a level, and there you go. But now you have to have somebody planning this stuff out, and somebody actually designing the level itself, then people adding graphics to that, plus backgrounds and so on.
‘So while it’s a good thing in that it provides more work for more people, it also means that things take more time and cost more money. Also, there are less and less people these days who are able to do multiple types of development, multiple jobs. Again, it’s a good thing, because you get people who are really specialised, who get really good at doing a specific part of game development.
‘Personally, I was always worried about not being able to maintain my career and my lifestyle if I was only able to do one thing, so I started out in game design as a scenario writer and tried to work out how to do things like backgrounds, direction, and game design. Ever since I started working in the industry, I’ve been trying to spread out as much as possible, to at least be somewhat proficient, or have usable skills, in multiple areas of game development, just because, again, I never thought that one person would be able to make a career in game development only focusing on one thing.’
This is a game of many art styles (Grasshopper Manufacture)
So now that Romeo Is A Dead Man is ready for release, what’s next for Suda51? You might expect that after that game’s fraught development, he would be looking forward to holing out on a southern hemisphere beach. But that isn’t Suda51’s style: ‘No: I’m going right back into work, work, work mode, basically. I’m actually at the point where I’m planning on taking some time to sit down and put some thought into what kind of projects I should come up with next.’
Jokingly, he dangles what would be a delicious prospect indeed: ‘While we’re on this promotional tour, I’m just constantly trying to work out what the next thing is going to be. Maybe the setting is going to be in the UK. You feel like there should be lots of games set in London, but when you think about it, there aren’t that many. Recently I was watching that show MobLand, and it made me think, oh man, the UK would be a really cool place to set a game.’
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Suda51 was laughing while he said that, but his brand of hard bitten, off-the-wall, literary-infused action would work gloriously well in a British setting. Who knows what he may come up with next?
Come with him if you want to not die (Grasshopper Manufacture)
You can use your current bills to calculate what your future bills will be
The cost of energy is set to fall from April after Ofgem announced its new energy price cap. The typical dual fuel household will now pay £1,641 a year for their energy from April 1, 2026. That’s down from £1,758 based on the cap set on January 1, 2026.
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That’s the typical household, however. You can use your current bills to estimate how much your bills will change by using our interactive calculator.
The price cap sets the maximum you can be charged for unit rates and standing charges – so your bill can be higher or lower than the price cap figure.
The average unit rate for gas is falling from 5.93p per kilowatt hour (kWh) to 5.74p per kWh, while the standing charge is decreasing from 35.09p a day to 29.09p. The average unit rate for electricity is falling from 27.69p per kWh to 24.67p per kWh. The standing charge is rising from 54.75p a day to 57.21p a day.
Tim Jarvis, Director General, Markets, at Ofgem, said: “Today’s announcement will be welcome news for many households. Wholesale energy prices have fallen in recent months, and we’re investing in our network to safeguard the future energy system. The main driver of today’s reduction is the change to policy costs announced by the Chancellor in the budget.
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“Our focus at Ofgem remains on bearing down on the costs within our control, and unlocking the investment needed to support the transition to a more stable energy system over the longer term.
“We’re also seeing encouraging signs of greater engagement and competition, with switching increasing by almost 20% year on year. More households are choosing time‑of‑use tariffs that offer cheaper off‑peak rates, and suppliers are offering a wider range of products, including deals with savings at evenings or weekends.
“The price cap protects households from overpaying for energy, but it’s a safety net. Last year, consumers on fixed deals paid around £115 less than the cap on average, so we’d encourage people to speak to their supplier about the options available and consider whether a different tariff or payment method could help bring their bills down further.”
At the 2026 Bafta awards, big wins for independent British film I Swear and American horror film Sinners were overshadowed by a regrettable moment. Activist John Davidson said the N-word – arguably the most offensive slur in the English language due to the centuries of violence and oppression it carries – while Sinners’ stars Michael B. Jordan and Delroy Lindo were presenting an award.
Davidson, on whom the film I Swear is based, has Tourette syndrome – including coprolalia which causes the involuntary use of obscene and socially inappropriate words and phrases.
Jordon and Lindo looked shaken and have since expressed their discomfort and disappointment with Baftas’ handling of the situation. In an apology letter to Bafta members, the academy said it was launching a “comprehensive review” into the incident.
Since the incident, Davidson has received extensive online abuse, including accusations that he is a racist – an accusation that fails to consider that this was an involuntary audible compulsion. Davidson has stressed there was no intention behind the word, stating he was “deeply mortified if anyone considers my involuntary tics to be intentional or to carry any meaning”.
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Two things can be true at the same time. While this incident was involuntary, that does not lessen the hurt or offence that Jordan, Lindo and members of the viewing public felt. No one could have prevented Davidson’s involuntary compulsion in the moment.
However, it could have been edited out of the delayed broadcast. In fact, a second slur was removed, but this one was missed. Doing so would have spared viewers from hearing the slur and helped protect Davidson and others with Tourette’s from the abuse that followed. It also could have reduced the spread of misinformation about the condition, which directly undermines the mission of I Swear to teach empathy and kindness towards people with Tourette syndrome.
By broadcasting the Baftas on a two-hour delay in a condensed format, the BBC assumes greater editorial responsibility than with live transmission. It must therefore meet higher standards and be able to justify its editing choices. The BBC failed to do that in this instance, causing undue harm to both black and disabled people.
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There are two main reasons why the Baftas are broadcast at a delay. The first is engagement. The award ceremony lasts three hours, so to help make it less tedious, the broadcast is edited down to two hours.
The second is political. The BBC’s editorial guidelines require them to prevent harm and offence to viewers. Award shows are considered high-risk because they are live and broadcasters cannot control what winners say.
This is often called “the tyranny of live”. As media and communications scholar Paddy Scannell wrote, in live broadcasting “if something goes wrong, the best you can do is damage limitation, for once the words are out of your mouth they are in the public domain and they cannot be unsaid”.
Yet, by broadcasting at a delay to mitigate “the tyranny of live”, broadcasters open up a new can of editorial worms – “the tyranny of the edit”.
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In live broadcasting, when things go wrong, they can often be blamed on live conditions. While this does not necessarily reduce any harm caused, it can reduce culpability. Once a programme has been edited, this no longer applies, raising the editorial standards and making broadcasters accountable for every word spoken and removed.
In other words, broadcasters must be able to justify every editorial choice to their audience, especially when those choices cause harm or censor a political perspective.
Reaction and lessons for the BBC
The BBC has apologised for broadcasting the slur and re-edited the programme for BBC iPlayer. Producers overseeing the coverage told the Guardian that they did not hear the N-word from the broadcast truck due to a technical issue. That would hardly be a reassuring defence of their actions.
Davidson later said that he was assured by Bafta that any swearing would be edited out of the broadcast, and that he felt “a wave of shame” over the incident. He also questioned the decision to seat him so close to a microphone.
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The BBC has also offered no explanation for the post-production removal of sections of My Father’s Shadow director Akinola Davies Jr’s acceptance speech, including a statement of solidarity with “the economic migrant, the conflict migrant, those under occupation, dictatorship, persecution and those experiencing genocide” and the remark “free Palestine”.
Labour MP Dawn Butler has written to the BBC seeking a full explanation for these decisions.
Beyond the immediate fallout, this episode carries wider lessons for the BBC about learning from past errors. Last summer, the BBC was found to have broken harm and offence standards after airing “death, death to the IDF” chants in Bob Vylan’s Glastonbury set. After this incident, they promised to review their protocols around the livestreaming of “high-risk” events. Yet a similar misjudgement happened again.
To maintain public trust and support, the BBC must be more responsive in explaining their editorial choices – and more forthcoming when they get things wrong.
Cuba claims its military fired on a US speedboat that entered territorial waters, killing four people and injuring six in a confrontation on Friday
Antonio Scancariello and Laura Hill
20:05, 25 Feb 2026Updated 20:06, 25 Feb 2026
Cuban military forces have shot at an American boat, resulting in four fatalities and six casualties, according to emerging reports.
Cuba’s Ministry of Interior (MININT) announced today (February 25) that a US speedboat bearing the Florida registration FL7726SH was spotted approximately one nautical mile northeast of the El Pino Channel, near Cayo Falcones in Corralillo Municipality, Villa Clara.
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According to the Home Office’s official account, hostilities erupted when the “violating” craft opened fire on Cuban border personnel, wounding the commander, after Border Guard Troops moved in to identify the vessel.
The statement confirmed the “offending boat opened fire against the Cuban personnel, causing the commander of Cuban vessel to be injured. As a result of the confrontation, at the time of this report, on the foreign side, four aggressors were killed and six were injured, who were evacuated and received medical assistance”.
Cuba’s Home Office further declared: “Cuba reaffirms its commitment to protecting its territorial waters, based on the principle that national defence is a fundamental pillar for the Cuban State in order to protect its sovereignty and stability in the region. Investigations are continuing by the competent authorities to fully clarify the facts.”, reports the Express.
The exchange of gunfire occurs against a backdrop of escalating tensions between the United States and the communist nation, separated by merely 100 miles (160 kilometres) of the Florida Straits, AFP reported. This development follows Washington’s decision to ease the near-total oil embargo on the island, initially imposed by President Donald Trump in January following the U.S. removal of Cuba’s key ally, Nicolas Maduro of Venezuela.
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The agency further reported that prior to Maduro’s apprehension by U.S. forces on January 3, Cuba had depended on Venezuela for approximately half its fuel requirements.
In response to concerns from Caribbean leaders, who feared that depriving Cuba of oil would rapidly lead to economic collapse, Washington announced it would permit shipments of Venezuelan oil for “commercial and humanitarian use,” according to AFP.
Daniel Dubois refused a fist bump from world champion Fabio Wardley as the pair came face-to-face at a lively news conference in London.
The world title fight between two of Britain’s biggest punchers takes place at Manchester’s Co-op Live Arena on 9 May.
After some long-winded bickering between the two camps, the fighters – relatively restrained until that point – finally sparked into life.
Wardley said he would “flatten” the challenger. “My power is proven. If there’s time left on the clock, I’m taking you out of the fight,” he added.
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The 31-year-old – with 19 stoppages in 20 wins – will make the first defence of his WBO crown, having claimed the ‘interim’ title against Joseph Parker before being upgraded to full champion when Oleksandr Usyk vacated the belt.
Former IBF champion Dubois, 28, is coming off a devastating knockout loss to generational great Usyk last summer.
“If you look back, when it gets dicey, he’s not up for it,” Wardley said of Dubois, who has faced accusations of folding too easily in his three stoppage defeats.
Wednesday’s news conference took place at Dutch Hall, a converted 16th-century church tucked away in the heart of the city.
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Dubois – never one for lengthy monologues – kept his answers short and matter of fact.
But the Londoner was clear in his intention. “Victory by knockout, by any means necessary,” he said.
When the fighters eventually stepped forward for the obligatory face-off, Dubois looked away first as Wardley smirked.
Moments later Wardley extended his fist in a gesture of respect, but Dubois shook his head and refused to engage.
The former glamour model visited an aesthetics clinic on Tuesday with her husband Lee Andrews, where she splashed the cash on course of beauty treatments
20:04, 25 Feb 2026Updated 20:05, 25 Feb 2026
Katie Price has showed off her new face after booking in for a series of tweakments in Dubai. The former glamour model visited an aesthetics clinic on Tuesday with her husband Lee Andrews, where she splashed the cash on course of beauty treatments.
On Wednesday evening she posed for a glamorous selfie in front of the Burj Al Arab, telling fans she had enjoyed a “gorgeous dinner with a gorgeous view”. Katie wore her hair up and showed off her tan in a white dress, accessorising with some gold jewellery.
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The newlyweds both underwent aesthetic tweakments, with the clinic claiming on Instagramthat they have set out a “treatment plan” for Katie “over time” – suggesting she isn’t planning on coming back from her honeymoon any time soon.
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Sharing a snap with Katie and Lee on Instagram, aesthetic practitioner Max McNiel wrote: “It was lovely to see you today @katieprice. It was great to have you both in clinic today & was lovely to meet you both!
“Thank you for trusting me to carry out your treatments & I look forward to seeing you both again soon. A full treatment plan for Katie has been set out to achieve best results overtime.”
It’s not yet known what the Pricey has done to herself, however the clinic says it specialises in ‘lip contouring’.
The mum-of-five, 47, promised fans she would come back to Blighty last week with her new husband, Lee, 43, who hasn’t stepped foot in the country since their bombshell wedding in Dubai.
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After the shock nuptials, the former glamour model returned home to the UK on her own just days later – as her new husband explained she needed to see her children .
She then flew back out to Dubai for their ‘honeymoon’ after the businessman claimed he would come to the UK several times. However, the couple have now been in Dubai for several weeks.
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Last night, the Pricey admitted she’d put on half a stone in weight since meeting Lee, who she teased was a “feeder”. Taking to her Instagram Stories on Tuesday evening, Katie told fans: “I have a confession to make. He is a feeder. I’ve been to the doctors and everything, asked them why… everyone’s saying how I’ve lost weight.”
“I’ve got to sort you out, I’m sorry,” Lee replied. “I’ve actually put on half a stone,” Katie continued. “You’ll be pleased to know I’ve put on half a stone because I can’t stop eating. And you’re eating for one, that’s the truth,” Lee said, referencing recent speculation that Katie was pregnant. She has since confirmed she isn’t. “I’m just comfy,” Katie concluded as the couple enjoyed their meal in Dubai.
Firefighters were called to the property in Church Lane, Thornton le Dale, at 12.45pm on Wednesday (February 25).
North Yorkshire Fire and Rescue Service said the crew from Pickering pumped the water out of the property and helped a Yorkshire Water engineer to isolate the burst main.
A service spokesperson said: “Crews used main pump, hard suction and a delivery pump to get water out of the property as well as a salvage sheet and small tools to assist a Yorkshire water engineer isolate the water.
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“Once the water had stopped progressing into the property, crews left the incident.”
On 23 February 1981, a group of officers led by Tejero burst into the main chamber of the national parliament, wielding guns and threatening the politicians as a new government was being sworn in. Their aim was to return authoritarianism – six years after the death of the country’s dictator Francisco Franco.
York Central MP Rachael Maskell said the “web” surrounding child sex offender Jeffrey Epstein and his associates “must be brought to book”.
Andrew Mountbatten-Windsor, whose royal titles were removed in October 2025, was a known associate of Epstein’s and stepped down from his role as UK trade envoy – a position he held from 2001 – in July 2011.
It came after details of his friendship emerged following Epstein’s 18-month prison sentence for soliciting a minor for prostitution in 2008.
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Mr Mountbatten-Windsor was arrested on suspicion of misconduct in public office on Thursday (February 19).
He has since been released under investigation and has previously denied any wrongdoing.
Rachael Maskell MP has called for more to be made clear surrounding Andrew’s appointment and time spent as trade envoy, along with the
‘Privilege must not be protected’
In a parliamentary debate held on Tuesday (February 24), Ms Maskell said “unaccountable power must not hide, privilege must not be protected”.
The debate was brought to the House of Commons by the Liberal Democrats, who demanded all papers relating to the creation of Andrew’s role as trade envoy, along with minutes and communications on the vetting of the former prince, be made public.
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The motion also requested correspondence relating to advice from – or provided to – Peter Mandelson, another associate of Epstein’s who was also arrested on suspicion of misconduct in public office on Monday (February 23).
‘This is the latest blow, in this shameful chapter’
The House passed the motion on Tuesday (February 24) without division.
Trade Minister Chris Bryant confirmed that the government will release the files “as soon as is practicable and possible within the law”.
He indicated that any documents potentially relating to the offence of misconduct in public office may be withheld.
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Tom Gordon MP has welcomed the passing of his party’s motion in Parliament (Image: Supplied)
MP for Harrogate and Knaresborough, Tom Gordon, said he “welcomed” this news, which he said would “shine a light on Andrew’s dealings”.
He added: “This is the latest blow, in this shameful chapter.
“We’ll continue to call for transparency and restore trust in our political institutions.”
But Ms Maskell has called for more to be done.
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She called the Liberal Democrats’ motion “narrow in scope”, adding: “Clearly the police investigation must take its course, and I am sure it will be deep and thorough because it runs so far, but ultimately, if we are just looking at the appointment, we must also ask about that period of time when Mr Mountbatten-Windsor carried out the role and the implications to wider networks.”
The death in Poynton is not being treated as suspicious
19:28, 25 Feb 2026Updated 19:28, 25 Feb 2026
Police sealed off a pathway and area of woodland on Tuesday night (February 24) after a woman was tragically found dead. Officers and paramedics attended the incident off Woodside Lane in Poynton, Stockport.
Emergency crews were called to the scene shortly after 7pm to concerns for welfare reports regarding a woman. A woman, aged in her 60s, was found dead at the scene.
A number of incident response units and police cars were seen stationed along Woodside Lane following the incident, with a walkway and wooded area also cordoned off by police who were standing guard amid investigations.
The death is not currently being treated as suspicious, Cheshire Constabulary said. A file is being prepared for the coroner.
A spokesperson for Cheshire Constabulary said: “At 7.05pm on Tuesday 24 February, police were called by paramedics to concerns for the welfare of a woman on Woodside, Poynton.
“Officers attended and sadly a woman in her sixties was declared dead at the scene. The death is not being treated as suspicious, and a case file will be prepared for the coroner.”
