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Hands On: Shadows Of The Damned
When songwriters collaborate, it is generally a hit or miss factor yet actors collaborate all the time, but very rarely will you have two game developers collaborate in such a high-profile way. Shinji Mikami; best known for being the father of the modern survival horror game and Suda 51; best known for stylish yet bizarre concepts have joined forces to bring us Shadows of the Damned. I took the opportunity to attend a small gathering to see whether or not too many game developers spoils the broth.
I took the role of Garcia, a demon hunter whose girl Paula has been snatched by a demon going by the name of Flemming and his hellish forces. Starting in what looks like a hotel room, the game showed me the many similarities that this game will have with Resident Evil 4/5. Appropriate really since the creator of that series is Shinji Mikami is involved in this project. What is apparent from this tutorial level is that the action is a higher octane than that of previous survival horror games with fast paced action and quick reflexes required to avoid getting hit.
The game then shifts to an abandoned town with what looks a little Victorian. It becomes apparent though that as you master the principle of the light gun attack, that the undead roam freely and are slightly peckish. It turns out that this is the Underworld, where there is a constant battle against darkness and light. Most people would go into these hellish situations of despair with guns or some form of melee weapon. Garcia however has his own personal demon, and here is where I am not joking; it’s called Johnson (insert jokes here). Thankfully though, Johnson turns into many strange and wonderful objects of destruction such as a torch to beat things down with or a firearm such as a pistol or shotgun. It is a particularly satisfying visual pleasure when you make a headshot not because you might get a slow motion scene, but because of the fountain that subsequently forms from the absence of a cranium plugging in vital fluids. Some enemies however catch onto this shenanigans and put on a mask to protect their heads from your gun; spoil sports.

Darkness probably plays the most important role though. When you step into pitch blackness, it actually hurts you. To get rid of it permanently you need to trigger a light source or collect… hearts. Not cute hearts like in Zelda, no, human hearts. Apparently the human heart, once picked up, makes it so you last longer in the dark without dying. It’s a great little feature that is prominent in a couple of puzzle sequences. However, with the darkness comes an observation. Goats are a symbol of light? This is a bizarrely twisted game that seems to have its own concept of demonic mythology, and it somehow works because it has the randomness that Suda 51 is known for. This madness comes off in the script as well with banter going from Garcia and Johnson in the entire demo. Curiously though, Garcia spoke random Spanish in certain places which were mostly swearwords. Another bit of random mythology, the effect of alcohol in the underworld is to heal you; so bottles of Sake are your healing items. The boss in the demo was a large beast with a bladed saw that has a huge pod on its back. This pod is apparently filled with human blood and is needed for “larger demons”. Essentially read this as “big target”. While this boss was painfully simple to dispatch once you know how to efficiently use the tools provided, I can see the pod being used in more interesting ways and with increasingly difficult conditions for the boss to expose the pod.
From the looks of things, we could be on to something very special here. The mechanics are very interesting in not just combat but also for puzzles. It’s high octane action that kept me on my toes the entire demo. It is certainly more than a little bizarre with its own take on demon mythology and it certainly doesn’t take itself too seriously. Oddly, it seems that this collaboration has given birth to what is perhaps the most promising original IP of the year.
Shadows of the Damned is scheduled for release on Xbox 360 and PlayStation 3 on June 24, 2011.
Source: http://mediakick.org/2011/05/23/hands-on-shadows-of-the-damned/
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Crazy doesn’t do it justice
In recent years EA have shown that they are willing to take risks on new IP and their latest risk may be their biggest yet. Shadows of the Damned is a "punk rock psychological action thriller" coming from Grasshopper Manufacture, a studio that has gained a cult following with titles such as Killer 7 and No More Heroes. The punk rock aspect of the game comes from Goichi "Suda 51" Suda, the writer and director of Grasshopper's previous hits. His unique sense of humour is being joined in collaboration with Shinji Mikami, the master of psychological action, famed for his work on the Resident Evil series.
This mad partnership makes for one of the most unusual games that you're likely to see this year. The core gameplay is an over-the-shoulder third person shooter similar to Resident Evil 4 and 5, but that is where the similarities end and the insanity begins. The game opens with your girlfriend being killed by a demon that rips her in half from the inside and that’s just the beginning. From there you will experience weirdness such as a slow-motion camera zooming in after shooting a demon in the head just to show off the fountains of blood coming from the undead's neck and doors which are locked by demons' pubic hair. Calling Shadows crazy doesn't really do it justice!
Teethers and Boners
The Story sets you in the role of Garcia Hotspur, a professional demon hunter whose girlfriend is taken taken to Hell by a vengeful demon lord. There, she is forced to die over and over again for the lord's entertainment. Along with your companion - a floating skull named Johnson with a distinct British accent - you must enter into Hell to rescue your girlfriend and defeat the lord of all demons.
Thanks to the ability to move and shoot at the same time, the action is much faster than in many other Japanese survival horror titles, Mikami's Resident Evil included. You start with a pistol called the Boner, which uses bones for ammunition and can be used to aim precisely at demons' heads for a quick kill, or other parts of their anatomy in-order to slow them down. There aren't any slow, shambling zombies in this game so your aim will need to be steady and true. Later weapons include a shotgun that fires skulls and an automatic weapon called the Teether which – you guessed - uses teeth for ammo. This tongue-in-cheek humour has been the hallmark of Suda 51's previous work and fans can look forward to just as much of it in Shadows.
The madness is backed up by gorgeous graphics courtesy of the Unreal 3 engine. Characters are as impressive as they are imposing. The environments have a little bit of the famous Unreal engine shine, but it works well in a game that is so incredibly over-the-top. The lighting is great as well, offering plenty of moody atmospheres to supplement the bizarre action, story and set-pieces.
Something special
EA's dream team (or should that be nightmare team?) of Suda 51 and Shinji Mikami want you to squirm simultaneously with horror and delight and its looks like they're almost certainly going to achieve that. Most importantly though and unlike previous Suda 51 titles, the gameplay in Shadows looks to be extremely well executed. Both No More Heroes and Killer 7 suffered at times from gameplay mechanics that became repetitive. However, with Mikami onboard for Shadows the gameplay mechanics seem far more consistent. If the mechanical execution can match the imagination of the story and writing then Shadows of the Damned could be a very special game indeed.
Source: http://www.hookedgamers.com/x360/shadows_of_the_damned/preview/article-854.html
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E3 2011: Evil and Dead in Shadows of the Damned
Running screaming through an evil forest with familiar scenery in the third chapter of Shadows of the Damned.
May 30, 2011
Grasshopper Manufacture's resident impresario, Suda 51, has made mention of Quentin Tarantino and Robert Rodriguez's Grindhouse again and again in marketing and interviews for his upcoming HD debut, Shadows of the Damned. But after making my way through the first half of the game, it's clear there are other 80's horror icons that belong in that list of influences. Five or so hours in, and it also seems like your ability to appreciate the multi-dimensional references to eight and sixteen-bit era gaming conventions and VHS horror mainstays might determine your ability to appreciate Shadows of the Damned as a game.
Publisher EA and Grasshopper Manufacture have already shown the first two chapters of Shadows of the Damned a couple of times before, but chapter three is unlike anything they've exposed us to previously. It also kicks Shadows of the Damned's horror homage into overdrive. Where earlier levels of Shadows of the Damned reference the style of the Tarantinos and Tobe Hoopers (Texas Chainsaw Massacre), the third chapter features an extended tribute to Evil Dead and Evil Dead 2 and their director, Sam Raimi.
While he's better known now for his directing work on the Spider-man films, Raimi made his bones (no pun intended) writing, directing and producing the Evil Dead films. In the middle of Shadows of the Damned's third chapter, the Evil Dead worship isn't just evident, it assaults you. Running screaming through the woods, our hero Garcia (F*cking) Hotspur is fleeing the deranged corpse (possibly? Shadows wallows in nebulous explanations of weird sh*t) of his suicide girlfriend Paula, taking refuge in wooden cabins, screaming to the world "How do you stop them?" I had to stop and take a moment to process the familiarity, the audacious, wholesale lifting of visual cues, right down to the roaring intangible spirit trying to break down the cabin door.
Then an undead monster banged its head up into the cellar door and cackled maniacally, staring at Garcia through the crack left by the rope securing the portal, and I'm pretty sure it said something about swallowing my soul.
As a fan of Raimi's work, it's hard not to feel an overwhelming sense of kinship with Suda 51 for his clear love of Evil Dead ad infinitum. It's that building psuedo-relationship, that kinship of appreciation, that's pulling me through Shadows of the Damned where otherwise I don't know that I'd be so inclined to continue. The wacky, over the top gore, the fantastic and diverse score by Silent Hill composer and fiction-caretaker Akira Yamaoka, the Ghouls and Ghosts inspired progress map between chapters, these are all attaching themselves to the threads of nostalgia in my brain. The gameplay? Not so much.
So far, my earlier issues with Shadows of the Damned from a mechanical point of view are borne out in this review build of the game. Shooting is a little clunky, and a little slow in the way that third party Unreal Engine 3 third person shooters often are. The camera doesn't always play nice despite the relatively simple demands placed on it. The character animation is often laughably bad, and Shadows of the Damned so far desperately panders and stoops to every possible dick joke and phallic reference it can stretch to - it's like the video game equivalent of that douche at the party who never stops with the "that's what she said" refrain.
It isn't fair to crucify Shadows of the Damned yet though. There's still half of a game to go, and mechanically, Shadows of the Damned is functional, if nothing else. But I can't shake this feeling that if not for my own predilections toward campy horror and gore, the five hours I've spent playing Shadows would probably have felt at least twice as long. The new tricks it keeps pulling out to show me are mostly removed from how it plays, which is usually considered a not so good thing. The question is whether Shadows of the Damned will find something besides red meat to throw at me in the second half.
Source: http://xbox360.ign.com/articles/117/1171444p1.html
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