Postal

Postal is a controversial isometric shooter game released in 1997, known for its extreme violence and dark humor. Players take on the role of an unnamed protagonist who embarks on a rampage through various locations, armed with a diverse arsenal of weapons. The game’s disturbing theme involves shooting ordinary citizens, including pedestrians, a marching band, and even Santa Claus, making it a highly provocative and unsettling experience.

Postal: Review

Introduction

In the annals of video game history, few titles have courted controversy as brazenly as Postal (1997). Developed by Running With Scissors and published by Ripcord Games, this isometric shooter thrust players into the blood-soaked boots of the Postal Dude, a deranged protagonist on a violent rampage through a fictional Arizona town. Released at the height of mainstream panic over video game violence, Postal became a lightning rod for debates about morality in gaming—a digital embodiment of the phrase “going postal.” Beneath its shock-value exterior, however, lies a game that straddles the line between crude satire and unsophisticated provocation. This review unpacks Postal’s legacy, dissecting its mechanics, themes, and cultural impact to determine whether it’s a misunderstood commentary on American decay or a nihilistic misfire.

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Development History & Context

Running With Scissors, founded by industry veterans Vince Desi and Mike Jaret-Schachter, emerged from the ashes of Riedel Software Productions, a studio known for family-friendly licensed games. Seeking creative freedom, the team pivoted to adult-oriented projects, with Postal as their debut. The game was built using the RSPiX engine, repurposed from earlier children’s titles, and drew inspiration from arcade classics like Robotron: 2084.

Released in 1997, Postal arrived amid a perfect storm of moral panic. The Columbine massacre (1999) had yet to occur, but games like Doom and Mortal Kombat had already drawn scrutiny from politicians like Senator Joe Lieberman. Postal leaned into this controversy: its ad campaign featured the Postal Dude torching a marching band while a voiceover smirked, “They’re out to get you… or are they? It doesn’t matter!” Banned in over a dozen countries and sued by the U.S. Postal Service over trademark concerns, the game thrived on its notoriety, selling 49,036 copies by 2002.

Technologically, Postal was unremarkable. Its isometric graphics—a mix of flat-textured polygonal models and hand-drawn backdrops—were functional but dated even for 1997. Yet its vision was uncompromising: players could execute crawling civilians, ignite protestors with Molotov cocktails, and even attack an elementary school (a scene later removed in Postal Redux). The game’s janky AI and repetitive level design highlighted its budget limitations, but its willingness to confront taboos set it apart.

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Narrative & Thematic Deep Dive

Postal’s narrative is deliberately threadbare, serving as a loose framework for its carnage. The Postal Dude, evicted and unhinged, believes the U.S. Air Force has infected his town with a “hate plague,” justifying his murderous spree. The plot unravels through surreal diary entries (“I regret nothing”) and taunts from a demonic voice in the Dude’s head—a device that blurs the line between protagonist and player.

The game’s themes are a messy cocktail of nihilism and dark humor. While critics accused it of glorifying violence, Postal often feels like a parody of itself. Civilian screams are exaggerated to the point of absurdity; enemies include Santa Claus and ostriches; and the Dude’s quips (“Only my weapon understands me”) undercut the brutality. The original ending—a failed school shooting followed by institutionalization—suggests the Dude’s rampage was a delusion, a critique of media sensationalism. Yet the satire lacks subtlety, relying on shock over substance.

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Gameplay Mechanics & Systems

Postal is a top-down shooter with a simple premise: clear each level by killing a percentage of hostile targets (police, soldiers, etc.). The Dude’s arsenal includes a machine gun (unlimited ammo), shotgun, flamethrower, and rockets, found in crates or dropped by enemies. Health is scarce, and stamina limits sprinting, fostering tension despite the chaotic tone.

Combat is clunky but visceral. The isometric perspective complicates aiming, and enemies often behave erratically—standing still mid-firefight or swarming recklessly. Flames spread dynamically, igniting civilians who flee screaming, a darkly comic touch. The game’s infamous “Gauntlet” mode strips away narrative pretense, challenging players to survive endless waves.

While repetitive, Postal’s gameplay loop thrives on emergent chaos. A well-placed Molotov can send dozens fleeing, while friendly fire often turns allies into collateral damage. The lack of checkpoints and punishing difficulty (later levels flood the screen with rocket-wielding soldiers) amplifies the hostility, mirroring the Dude’s descent into madness.

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World-Building, Art & Sound

Postal’s visual identity is a grimy homage to ’90s edgelord aesthetics. Levels range from trailer parks to military bases, rendered in muted browns and grays. The Dude—a shambling figure in a red bathrobe—contrasts with the drab environments, while flaming corpses and bloodstains punctuate the carnage.

The soundtrack, a mix of ambient noise and dissonant drones, heightens the unease. Screams, gunfire, and the Dude’s maniacal laughter create a soundscape of suburban decay. Standout moments—like a marching band’s brass instruments cutting through the chaos—showcase the game’s dark humor.

Technically, Postal is rough. Pixelated textures and stiff animations betray its budget, but these limitations lend it a DIY charm. The 2016 remake, Postal Redux, modernized the visuals but lost some of the original’s grimy personality.

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Reception & Legacy

Postal polarized critics upon release. While some praised its audacity (GameRevolution: “unabashed anarchy”), others dismissed it as tasteless (Computer Games Magazine: “a bad game”). It holds a middling Metacritic score of 56, reflecting its divisiveness. Cult status came later, with fans embracing its unapologetic violence as cathartic satire.

The franchise evolved into self-aware absurdity with Postal 2 (2003), but the original’s influence lingers. Games like Hatred (2015) and Hotline Miami (2012) owe a debt to its confrontational style, while its open-source release (2016) cemented its place in gaming’s underground canon.

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Conclusion

Postal is a paradox: a game that’s simultaneously groundbreaking and grating. Its clunky mechanics and repetitive design undermine its ambitions, but its unflinching nihilism and dark humor make it unforgettable. More than a game, Postal is a cultural artifact—a time capsule of late-’90s edginess and a challenge to gaming’s moral boundaries. While not for the faint of heart, its audacity ensures its place in the medium’s history. As the Postal Dude himself might say: “Have a nice day.”