Let me just get this off my chest: I wanted to hate Bulletstorm. I really did. And from the moment the game’s relatively short campaign mode began right up until it’s disappointing ending, I felt like Bulletstorm wanted me to hate it too. In fairness, there really is so much to dislike: it’s crass, obnoxious and altogether pretty derivative. So why the hell do I like it so much?

The answer, unfortunately, is not immediately clear. As Bulletstorm’s relatively brief campaign begins to unfold; we’re treated to perhaps the weakest opening hour of any game in recent memory. An overly long tutorial sequence, laced with unskippable in-game cut-scenes and pointless quick-time events, dominates any first impressions the game might leave. This, coupled with an extremely slow progession of weapon unlocks means one could easily mistake Bulletstorm for a terrible, terrible game.

Then, suddenly, everything falls into place. The game’s “kill with skill” mechanic is introduced - albeit justified with some seriously contrived logic – and everything begins to make sense. Though it presents itself as some generic, run-and-gun first person shooter, Bulletstorm really is anything but.

The game’s weapons are the first factor to set it noticeably apart from the rabble. Bulletstorm goes out of its way to make you try out every gun, with a powered-up alternate firing mode available for each. Every weapon has a proprietary “skill kill” list; a catalogue of fun, creative ways to slay the myriad enemies you encounter. The more of these you complete, the more points you receive; points you can then use to unlock further weapons and upgrades. The logic becomes clear, and so a delicious circle of gratuitous violence is perpetuated. It’s contrived, it’s gamey, but it works.

This particular skill kill is awarded for shooting an enemy in the throat. Splendid.

Of course, all of this would be for nothing if Bulletstorm didn’t control well. Fortunately, People Can Fly have nailed down a control scheme that’s more than capable of matching the fast-paced, white-knuckle gameplay found in-game. It takes a while to get used to it, but once you do you’ll be sliding, kicking, and shooting around levels at breakneck speeds. There’s a very particular rhythm to Bulletstorm, and once you fall in step with it the game becomes immensely enjoyable.

Like it or not, Bulletstorm’s particular brand of crude, phallus-obsessed humour plays a huge part of the overall experience. While it may grate a little at first, Bulletstorm’s dialogue serves as a cleverly executed satire on the norms of writing in video-games. Phrases such as “Holy piss shit!”, “Dear mother of shit!” and “Ah, dick-tits” are delivered with such ironic machismo that it’s hard not to chuckle along as increasingly bizarre curses are growled by the game’s cast. After a while, the in-game dialogue stops being offensive and starts being downright funny.

There’s more to Bulletstorm than an excellent concept, however. Though lacking in competitive multiplayer, a well thought-out cooperative mode provides an interesting twist on the single-player formula. Players work together to achieve a set score, with a whole new set of team-based skill kills to make use of. It’s a shame there’s no truly competitive online modes, but what little multiplayer there is works well and adds a layer of lastability to an otherwise brief affair.

To clarify: that is a large, explosive chain wrapped around that man's face. Detonation is imminent.

A final game mode is found in the somewhat entertaining “Echoes” segment. Like the “Special Ops” mode of Modern Warfare 2, players are challenged to complete small segments of intense action with a set target score to beat. Stars are awarded for good performance, and these stars unlock further Echo challenges. The mode is somewhat forgettable, though as a means of maintaining interest once the campaign finishes it proves fairly successful. Additional downloadable content for this mode is on the way.

Bulletstorm’s graphics are particularily noteworthy. Almost as a direct response to such series as Gears of War and Call of Duty – which are all too often labeled “grey” and “samey” –  Bulletstorm offers a hugely varied and interesting selection of gameplay locales. It’s all big, bright and colourful, and it adds a lot to an experience that could otherwise become somewhat stale. The guns and character models are crisp and sharp, and a well-designed HUD means you’re always aware of exactly what’s going on.

Despite the game’s “unique” writing, the overarching plot actually works quite well. It’s not much more than your standard revenge tale, but it’s carried out cleverly enough and keeps you interested right up to the sequel-spawning end. Bulletstorm’s ending alludes fairly clearly to the probability of future installments, a development I definitely would not have a problem with.

There will be blood. Lots and lots of blood.

So no, Bulletstorm is not pefect. And, certainly, it’s not for everyone; the ridiculously large 18-cert badge on the game’s cover should make that abundantly clear. But what’s interesting about Bulletstorm is just how good it is almost despite itself. We’re presented with a remarkably obnoxious and offensive package; a game that by rights doesn’t deserve for a moment to be taken seriously, which somehow manages to become a hugely enjoyable and interesting experience regardless. But then that’s the point of Bulletstorm: it’s a beautifully, hilariously self-aware game that never takes itself any more seriously than it should.

In an industry flooded with the same old shooter-formula being trotted out over and over again, it’s refreshing to see something as original and as experimental as Bulletstorm. And HOLY MOTHER OF DICK is it fun to play.

Bulletstorm is published by EA games and is available now on PC, Playstation 3 and Xbox 360