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Romeo Is a Dead Man Walkthrough Part Six – Existence

Romeo Is a Dead Man Chapter Seven

In this guide, we will take a detailed look at Romeo Is a Dead Man’s chapter Seven: Existence.

After defeating Magrus and returning to Last Night, Romeo celebrates his victory with the crew on the ship. With that, the fifth chapter concluded.



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Romeo Is a Dead Man Chapter Seven
An Invitation From Juliet to Romeo.

The first thing after you wake up is to go and talk to Kimberley and then receive details about your next mission.

Unlike previous chapters, this time you receive an invitation from Juliet herself, which seems like a trap, knowing her singularities’s nature.

Take the invitation, go to the cockpit to scan the singularity, and steer Last Night towards the newly discovered Dimensional Seer; it leads to the Deadford City Hall.

Exploring Deadford City Hall

Romeo Is a Dead Man Chapter Seven
The Guard Letting Romeo Enter the Party.

This City Hall is the same as in a previous chapter, but its theme and time have changed. Once you reach the gates, a guard will invite you in, but it’s nothing like your average City Hall; Juliet is the DJ who is hosting a party.

Explore around the City Hall while the music keeps hundreds of zombies distracted. However, the distraction does not last long, and all the zombies will suddenly focus on attacking you.

Romeo Is a Dead Man Chapter Seven
The Party and The Zombies Dancing to Juliet’s Music.

Defeat three zombie waves to initiate a battle against the Executioner.

Once you have defeated the boss, Romeo will finally confront Juliet. Still, nothing comes of it as she asks him to meet at the Clock Tower.

Romeo Is a Dead Man Chapter Seven
Romeo and Juliet Go Face to Face.

Moving forward, use the Nirvana TV to enter Subspace. Then, save the game/upgrade your items through the Space-Time pharmacy, and interact with the distorted Green Orb to spawn a platform.

Romeo Is a Dead Man Chapter Seven
The First Green Orb That Spawns a Platform.

A Klista Gate Key part appears after the Green Orb is fixed; pick it up and then return to Real Space. Turn right from the room to find a Bastard Seed on the second floor, and then head to the left hallway to progress your objective.

The path leads you to the main hall, where you fought zombies initially. Go to Subspace using the Nirvana TV, and teleport atop the newly spawned building. Then, move forward and climb the stairs to interact with the second Green Orb.

Romeo Is a Dead Man Chapter Seven
The City Council Chambers.

Return to Real Space and head to the City Council Chambers on the third floor. Kill all zombies in your way, and interact with the third TV to teleport to the third Green Orb to further expand your reach.

Back in the Real Space, exit the Council Chamber and turn left to find a bathroom. Inside, use the next TV to break the barrier between yourself and a Green Orb.

The Barrier in Subspace.

There will be a lot of back-and-forth between these two dimensions; head to the fourth floor and turn left to find another TV. Fix another Green Orb, and interact with the new TV on the staircase that leads you to the Mayor’s Room.

In Subspace, collect the third Klista Gate Key part and then return to the Real Space; this TV will drop you into the Mayor’s Room.

Mayor Room’s Locker Code

Entering The Mayor’s Locker Room.

The Locker’s code inside the Mayor’s Room is the same as chapter four’s. Here is the code:

  • 9 (Right)
  • 7 (Left)
  • 4 (Right)
  • 12 (Left)

Inside it, you can discover an epic Bastard Seed. Cultivate the seeds in Last Night’s Garden regularly.

Now, for the final Klista Gate Key part, visit the small compartment inside the Mayor’s room to access another TV and collect it.

Clock Tower Puzzle

After collecting Klista Gate Key’s final part, head back ot the Real Space. There, climb up the ladder to access the puzzle and then solve it.

Hint: The clock tower memo you found in Mayor Room's Compartment. 
The First Clock (4:48).

Use the valve to your left to initiate the puzzle. According to the Memo, setting the clock to 4:48 solves the first code on the door.

Second Clock

The Second Clock (6:27).

For the second clock, turn left to find another valve. Check the Memo and set the clock to 6:27 to solve the second code.

Third Clock

The Third Clock (12:10).

Keep moving left to reach the backside of the clock tower. Then, interact with the next valve to set the clock to 12:10 to solve it.

Fourth Clock

Romeo Is a Dead Man Chapter Seven
The Fourth Clock (1:56)

To solve the fourth and final clock, follow the path, use the remaining valve, and modify the clock’s time to 1:56.

Confronting Juliet and Klista Gate

Juliet Shapeshifting Into The Reaper (Death Changeling Parabellum).

The time has come. Romeo enters the clock tower, and then, the confrontation between these lost lovers begins. Obviously, yet unfortunately, things go south, and Romeo later finds himself before a Klista Gate.

After returning to your normal state of mind, go through the Kilsta Gate.

Death Changeling Parabellum Boss Fight

The Main Boss of Romeo Is a Dead Man Chapter Seven.

Death Changeling Parabellum has a borderline-unbreakable poise. Additionally, using Juggernaut won’t suffice in this battle. Keep momentum and defense as priorities, and only attack the boss when you are certain of the time window.

Do not forget to cultivate bastards as they provide a considerable advantage, especially in boss battles. You can break the boss’s spinning attack with either a Suicide Bomber Bastard or Yggdrasil.

Fighting Death Changeling Parabellum Boss.

Move, dodge, and attack. However, avoid the purple AOEs once the boss’s health reaches 20 percent and wait for it to finish. Rush in and give it everything you got to be the victor.

Despite everything, the battle does not end in Romeo’s favor as he still manages to fall for Juliet’s trap.

Juliet Holding Romeo’s Hand.

Here, chapter seven ends, and now we are headed towards the finale.

This concludes our guide for Romeo Is a Dead Man, chapter seven. Click here to check the complete Walkthrough Hub dedicated to the game.


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