With each post in this mini-feature, I highlight a game from a different country around the world. Keep in mind these aren't necessarily the best or most popular games from each nation, but simply a fitting representative.
Sine Mora - Digital Reality, 2012
I've been on a Suda51 kick recently, and I love me some Eastern European game design. Grasshopper Manufacture's most recent collaboration is with Budapest-based studio Digital Reality for the shoot-em-up downloadable title Sine Mora. It may be the best modern shoot-em-up since Treasure's Ikaruga. Like Ikaruga, its twitch-gameplay difficulty harkens back to the genre's arcade roots. But while most games like this are vertical these days, Sine Mora is a horizontal game based around a time-slowing mechanic which helps the player get through the bullet-hell levels and epic bosses. Grasshopper did the artwork, but Digital Reality did all the actual game design.
And most importantly, while most foreign games in my global gaming series are still in English (for better and for worse), Sine Mora's characters actually speak in Hungarian. I love it. I don't know if it's Grasshopper who made the call to let Digital Reality keep the game in their native tongue, but publisher Microsoft deserves major props for letting it happen. This may be the first time a game has ever been released worldwide in Hungarian, a language spoken by only 15 million people.
The global gaming map so far (zoom out for full map):
I've written on this blog before about how much I love Goichi Suda's Killer7. At this point in my life, it may be my favorite game of all time. The avant-garde approach to game design by his studio Grasshopper Manufacture is unmatched.
But as I've also written about on this blog, Suda's games have gone downhill since Killer7 in 2005. He seems to have realized his games have quirky appeal, so he's been banking more and more on the "silly" aspect of his work, without the bleak qualities of Killer7 that make it so evocative.
Grasshopper's first game following Killer7, No More Heroes, was more on the humorous side but still a brilliant game. But Suda's two major productions since then, Shadows of the Damned and Lollipop Chainsaw, are humorous to the point of losing the deeper meaning seen in Suda's older work.
So the announcement of Killer Is Dead is a welcome return to Suda's roots. Billed not as a sequel but a spiritual successor to Killer7, the first real details on Killer Is Dead have emerged over the past few weeks. Its official website is online, and the first official trailer has been released:
It sports the cel-shaded serious look of Killer7 mixed with a healthy dose of the swordplay hack-and-slash of No More Heroes. This is great, although I hope it isn't too button-mashy.
Perhaps my favorite aspect of Killer7 was simply interacting with its bizarre cast of characters and exploring the gameworld. From the first part of the trailer, I was worried it would be an action-adventure game with all "action" and no "adventure".
But the second part of the trailer beginning at the 1:50 mark of the video--the epilogue?--gives me hope. It's an introduction to the game's protagonist, the immaculately-named Mondo Zappa. This reminds me of Killer7 protagonist Garcian Smith, and lovable No More Heroes main character Travis Touchdown. Zappa hints at the next video featuring "a beautiful woman who has devilish hands," and we get to see indeed, a woman with at least ten hands. I CAN'T WAIT FOR MORE!
The prevalence of moon imagery throughout the website and the trailer harkens back to Killer7, and of course, Mondo Zappa is probably a reference to musician Frank Zappa's daughter Moon Zappa. Suda has said in interviews that the game exists in a near-future where lunar tourism is prevalent, but insists that Killer Is Dead isn't a science fiction game. Coming from Grasshopper Manufacture, this could mean anything.
A final note: can Masafumi Takada do the soundtrack, please? He was the man behind the music of Killer7 and No More Heroes, but hasn't worked with Suda since then. Maybe he's the secret behind Grasshopper's greatest works.
From the polarizingreviews to its quirky creator, plenty of people have written about the 2010 cult hit Deadly Premonition. Despite its incredibly dated graphics and horrendous combat mechanics, Hidetaka "Swery65" Suehiro's intricate Twin Peaks-inspired tale is full of deep character development and a realistic small-town open world that truly feels alive.
What really struck me, though, is how much it reminded me of another Japanese gaming auteur with a similar nickname: Suda51. While Goichi Suda has never made an open-world crime game, the "rough around the edges but incredibly out-there and original" soul is the same.
Suda's newer games have been a bit of a letdown for me, because they've forgotten what makes his work so gripping: the strange dark tone. Killer7 and even the more recent No More Heroes had a very twisted underbelly that made them compelling. It's black humor, but it's also a sort of gallows humor. Shadows of the Damned and Lollipop Chainsaw featured plenty of dark and evil, sure, but they didn't have that certain... je ne sais quoi.
So what is that je ne sais quoi? The more I think about it, the more I realize that the games I think about long after I finish playing them are the ones I don't understand. Deadly Premonition hit me the same way Killer7 did because it hinted that there's more to this game than I can fully comprehend.
We all remember playing Pokémon Red and Blue back in the day, and one of the aspects of the games that kept us coming back was the aura of mystery around them. Before the age of internet FAQs, rumors about the game spread by word-of-mouth. You'd hear "if you go to this place at this certain time and do this, this happens." Because there were a few Easter eggs and glitches like the Rare Candy Trick, this led us to believe that any of the urban legends could be true. And more than anything, that's what made the first Pokémon titles so memorable.
Many games from our youth are like this. Partially because we weren't old enough to fully "get" them, and partially because the internet hadn't given us all the answers to every game yet. I remember everything from Myst to seemingly-innocent games like DinoPark Tycoon feeling like they were full of dark mystery.
Suda's older work captures this feeling perfectly. And I love Deadly Premonition because its creator Swery captures it, too.
I was skeptical aboutLollipop Chainsaw. Suda 51 is one of my all-time favorite game designers; his avant-garde 2005 opusKiller7 is what made me realize video games could be art. But his past few games have been progressively more disappointing, perhaps as his studio Grasshopper Manufacture has become more successful. FromNo More Heroes to its sequel to last year’s Shadows of the Damned, Suda has become slightly more… mainstream. While Grasshopper’s schtick has always been irreverent silliness, a punk-rock attitude, and over-the-top action, the gameplay has become more generic. Killer7 was silly, but it also had a very dark tone. Its “kinda-sorta on-rails shooter but not really” gameplay was hard to grasp, but once you got the hang of it, the strange controls only added to the experimental experience. He hasn’t quite recaptured that essence since.
When I saw the first trailer for Lollipop Chainsaw mere months after Shadows of the Damned was released, my eyes rolled. Zombies? Really? I’ve had enough of zombies. I once called myself a zombie enthusiast, even attending my local Washington, D.C. zombie lurch. But the last five years or so, we’ve seen more zombie movies, video games, and books to last me a lifetime. The undead are played out at this point. Let’s move on to something else!
So I was not excited for what looked like Suda 51 playing it safe–a hack-and-slash game featuring a high-school cheerleader hunting zombies with a chainsaw while wearing the dismembered still-alive head of her boyfriend as a keychain. It looked like the goofiness of No More Heroes and Shadows of the Damned without the mature undertones of Killer7. Much like its eponymous sugary treat, Lollipop Chainsaw looked like empty calories. Was my prediction correct?
Mostly. The game’s plotline is just as zany as one would expect from Grasshopper Manufacture. The gameplay consists of six linear levels (plus a prologue level) where protagonist Juliet Starling must essentially “kill all the zombies and get to the next stage.” It’s a short game, but I’ve always been an advocate for short games–I’d rather play seven hours of great gameplay than twenty hours of just-okay gameplay, and sometimes a concept only lends itself to short-form game design. Lollipop Chainsaw is one of those concepts, and that’s fine with me.
While the combat at first seems like shallow button-mashing, learning combos makes for a fairly deep game mechanic. Players earn coins by defeating enemies, and can use them to upgrade Juliet’s abilities as well as unlock goodies like alternate costumes and concept art. The game does fall victim to the Quick Time Event Craze, but in the context of this hack-and-slash game, it’s excusable. Each level ends in a boss fight, and anyone who’s played a Grasshopper game before knows this is one of their strengths–crazy, inventive boss battle design. Without committing the mortal sin of spoilers, I can say each boss in Lollipop Chainsaw is inspired by a genre of music. And they all live up to Suda 51′s standard–it’s definitely worth getting through even the most tedious level to see the ingenious boss at the end.
Where Lollipop Chainsaw shines is the presentation. It’s utterly fantastic. Cutscenes are beautiful, and the comic book-inspired interface makes navigating menus a joy. The dialogue was written by Hollywood director James Gunn, and it shows through constantly stupid-but-well-written quips, especially from Juliet’s beheaded boyfriend Nick.
The standout, though, is the jaw-droppingly epic soundtrack. Grasshopper’s games always have great music, and composer Akira Yamaoka (of Silent Hill fame) returns after penning the music for Shadows of the Damned. Collaborating with Mindless Self Indulgence singer Jimmy Urine, the game’s soundtrack spans everything from death metal to ’80s teen pop to… dubstep (ugh). And for the first time in a Grasshopper game there’s an extensive list of brilliant licensed music, as well. Never before did I think I’d play a video game featuring both the stupid early ’80s hit song “Pac-Man Fever” AND Finnish power metal band Children of Bodom. The most iconic song for Lollipop Chainsaw, of course, is the classic “Lollipop” by ’50s a cappella group the Chordettes.
Which brings me to the game’s level design. Huh? From the soundtrack to level design? See, Suda 51 always manages to fit one super drug-induced level into each game he makes. In Lollipop Chainsaw, Juliet is casually perusing a farm in one level when she accidentally does ‘shrooms… which leads to a trip-fueled level of killing giant chickens and running over zombies with a tractor while listening to “You Spin Me Round (Like a Record)”by ’80s new wave group Dead or Alive (you know, the song from that website… cough cough). This pairing of gameplay and music may be the greatest in the history of this video games.
Like many Japanese games, though, there are a few cultural issues. First and foremost, Juliet herself. As an adult with dignity and a significant other, I couldn’t help but feel a little awkward with the fetishized “sexy schoolgirl” look of the game’s protagonist. Juliet brings up the same dichotomy first seen in Tomb Raider‘s Lara Croft: on one hand, it’s this very objectified vision of what a woman looks like, but on the other hand, it’s an empowered female character kicking ass. The importance of this can’t be understated in a gaming industry where male protagonists are still the norm.
But still, it’s a bit creepy when one realizes most of these beautiful virtual women in games are likely created by male programmers. Lollipop Chainsaw makes a point of letting us know that the game’s story all takes place on Juliet’s 18th birthday–as if to tell us “she’s a sexy high school cheerleader, but she just turned 18 so you don’t have to feel like a pedophile!”
Then there’s one of the game’s bosses, Josey. Video games have traditionally been created by white and Asian development teams, and as a result, our industry has an embarrassing track record with black characters. Japanese developers in particular seem to be a bit more out of touch than Western studios. Lollipop Chainsaw features Josey, a boss meant to be some sort of auto-tuned funk mash-up of George Clinton, Rick James, and T-Pain.
Of course he plays ambiguous funk/hip-hop music, and rides around on a UFO with two white women in bikinis. But it doesn’t end there. On top of the flamboyant gear you’d expect from this type of character, he wears voodoo skull make-up and a necklace of shrunken heads. This is a special sort of cultural ignorance all too common in Japanese video games.
But I digress. Lollipop Chainsaw is a fairly standard hack-and-slash action game with fantastic presentation. It’s another step down for Suda 51 and Grasshopper Manufacture, but the mushroom trip level keeps my hope alive that they still have the spark to create truly experimental games in the future. I recommend Lollipop Chainsaw to fans of Grasshopper, zombie aficionados, and anyone who loves heavy metal and/or punk rock. The soundtrack alone is worth buying the game for.
It's been a while since I've posted. My girlfriend and I have been in the middle of a move to Kansas City, Missouri! Now that we're all set up and I finally got internet in the apartment, I'll get back to my regular writing.
Right before leaving for KC, I finished Ubisoft's I Am Alive. It's received mixed reviews, but I loved it. Although it's obvious the developers wanted to create a more epic game than they were finally allowed, I Am Alive is a fantastic exploration of a nearly dead genre.
Survival-horror, once the bastion of Resident Evil and Silent Hill fame, has devolved into action and explosions. Perhaps this is because higher-fidelity graphics mean modern games don't need to rely on psychological horror to scare players. Perhaps it's because society today is increasingly ADD and doesn't want to spend more than 20 seconds walking through a room without shooting something. Regardless, survival-horror is an increasingly rare genre.
But there is hope! Swedish indie developer Frictional Games has been hard at work carrying the torch (or lantern?) for survival-horror with their Penumbra titles, and most recently, the iconic Amnesia: The Dark Descent. I Am Alive is an Xbox Live Arcade game in that same vein. While not as overtly scary as Amnesia, I Am Alive explores the "survival" part of "survival-horror." Bullets for your pistol are limited. Exposure to the dust around the city causes your stamina to fall. You can't climb forever like Lara Croft without hurting yourself. Most encounters with enemies are an exercise in finding a way to escape without a firefight.
I Am Alive has flaws. It's clear that the game's budget was slashed in the middle of production, with inaccessible areas and an abrupt ending. But the new ideas and unique approach in this title make the download worth it. Its emphasis on the struggle to survive and lack of empowerment of the player is a breath of fresh air in today's industry.
In other news, Suda 51's new effort, Lollipop Chainsaw, comes out on the 12th. And I'm worried. Grasshopper Manufacture's work has been getting increasingly silly and stupid. I know Suda is all about silly, but it seems he's beginning to phone it in. His 2005 opus, Killer7, had plenty of irreverent humor, but it was very dark and creepy at the same time. No More Heroes was less serious and more happy-go-lucky. Then Shadows of the Damned injected even more penis humor. I just hope Lollipop Chainsaw isn't as campy and half-hearted as it sounds like it's going to be.
At least Killer Is Dead has been announced for 2013.
As I’ve gotten older, I’ve become a pretentious “games as art” person. Nothing sums that up better than Grasshopper Manufacture’s 2005 opus Killer7.
It’s a poorly designed mess. Killer7 is essentially an on-rails shooter with an obtuse storyline and inconsistent difficulty. The controls are awkward and the interface is frustrating to navigate. But perhaps because of all this, Killer7 is beautiful.
This huge barrier to entry and steep learning curve make it all the more satisfying when you can finally comprehend the stylized cel-shaded look and the plot’s dive into Japanese mysticism. The gameplay takes countless twists and turns, and the boss fights are unforgettable.
It’s a game that many people will hate, but if you can get into it, Killer7 pays off in spades. It’s greater than the sum of its parts, and truly a work of art.
What makes this all work is the game’s director, Goichi Suda. He’s something the film industry thrives on, and the video game industry needs more of: Suda is an auteur. He doesn’t use dozens of metrics and playtest a game to death to determine a lowest common denominator of gameplay. He doesn’t care about appealing to the biggest possible audience. Suda makes the games he wants to make.
The film industry revolves around stars. When you see a movie poster, it likely has the names of star actors prominently displayed to lure you into the theater. Actors are sexy. Actors sell tickets. But there are a number of directors who are big enough names on their own that they're able to get their names on posters, too. It's a way of validating film as an art form, that the name of the "artist" behind it is able to sell something like the names of authors or painters.
There are a handful of auteurs in the video game world who are considered big enough to get their names on the boxes of their titles, but despite Japan's massive worldwide industry presence, virtually no Japanese designers receive this honor outside their home country. In fact, the only name that comes to mind is Metal Gear creator Hideo Kojima. Even Shigeru Miyamoto, the most important game designer on Earth, doesn't get his name on the cover of the newest Mario game. So it's a pretty big deal when punk rock designer Goichi Suda, better known by his pseudonym Suda 51, gets the phrase "A Suda 51 Trip" emblazoned across the front of the North American and European release of his newest title, Shadows of the Damned.
Gaining a cult following in 2005 with his opus Killer7, Suda finally had a commercial breakthrough with 2007's No More Heroes. This led to his company, Grasshopper Manufacture, doubling in size and adding offices both in Japan and in the United States. It was all a lead-up to Shadows of the Damned, released last month as a collaboration with famed Resident Evil creator (and auteur in his own right) Shinji Mikami, and a soundtrack by Silent Hill composer Akira Yamaoka.
Mikami's influence is clear from the get-go, as the gameplay and controls of Shadows of the Damned are drawn straight from his own personal masterpiece, Resident Evil 4. And oddly, both games feature a "merchant" who first appears hostile to frighten the player, but is revealed to be a friendly character who sells the protagonist goods throughout the storyline. In Shadows of the Damned, his name is Christopher, and in Resident Evil 4, he's simply known as the Merchant; both characters emanate a blue glow from their stores to let the player know they're near. But that's where the obvious Resident Evil connections end, as this game is firmly placed in Suda 51's realm.
The premise is simple: your girlfriend commits suicide and gets dragged to hell by demons, and you must travel to the Underworld to get her back. Sounds like a standard video game trope, but Suda adds his signature crude humor and crazy art style with creeps galore. Since this post is all about auteurs, though, let's take a gander at the motifs running through Suda's games, and the sexual themes explored in Shadows of the Damned.
Right off the bat, protagonist Garcia Hotspur comes off as strikingly similar to Travis Touchdown, the main character in No More Heroes. Both are leather jacket-wearing cool dudes in their 20s or early 30s with giant motorcycles and a penchant for penis jokes stemming largely from their phallic weapons of choice (see photo above for Garcia's). Both embody a hyperbolic version of modern male American (in Garcia's case, Mexican-American) culture, and are going through the violent events of the game in pursuit of a hot blonde woman (see below for Garcia's).
The enemies of the game bring Killer7 to mind. Coincidentally, it was the last game on which Suda collaborated with Shinji Mikami. Both games take place in a strange afterlife world--Shadows of the Damned in Hell, and Killer7 in an alternate version of Earth where protagonist Harman Smith interacts largely with characters who are dead. The lowest form of enemy is similar in both games: the demons in Shadows of the Damned resemble Killer7's ghostly Heaven Smiles.
Suda's tradition of featuring a game-within-a-game is even more widespread. Killer7, Contact, and No More Heroes all feature games-within-games, and it's most developed in Shadows of the Damned's "Great Demon World", a 2D R-Type-style shooter with a distinct construction paper-esque art style. Even a major boss battle against one of the main game's prominent antagonists takes place in this 2D minigame.
Another motif in Suda 51's games is his obvious love for Mexican imagery. One of the playable characters in Killer7, Mask de Smith, is a lucha libre wrestler. Travis Touchdown lives just north of the Mexican border, collects dozens of lucha libre masks and learns Mexican wrestling moves in No More Heroes. And in Shadows of the Damned, we've finally got a Mexican-American main character. Garcia uses plenty of Spanglish throughout the story, and his background is a big part of his characterization in the game. It's strange, then, that Suda didn't capitalize on all the great Mexican Day of the Dead imagery he could've used for the Underworld.
Shadows of the Damned is a tonal halfway point between the deathly subject matter of Killer7 and the juvenile shenanigans of No More Heroes. While Shadows of the Damned is a solid game, Suda's distinct style works better if he stays in either extreme; this median means the game is not quite as compelling as the two that precede it.
A more serious theme the game deals with is Garcia's sexuality. As he travels through Hell to find his girlfriend Paula, hellish apparitions of her appear to him constantly. Sometimes he thinks he's finally found her and they share a loving embrace, only for her skin to peel off and reveal a demon inside. Sometimes her severed head appears to him in Underworld markets or ghoulish bowling alleys. Sometimes she simply chases after him in a zombie-like state and tries to kill him with the Kiss of Death.
But while the "real" Paula appears to Garcia in an elegant dress, the hallucinations of Paula always appear to him in seductive lingerie. In a sequence about halfway through the game, Garcia most run across gargantuan building-sized Paulas, who are naked and moaning while he is forced to run between her breasts and down her stomach.
It's all a reflection of his sexual tension. This suddenly puts all the dick jokes and fun phallic insinuations throughout the game in context. Now it doesn't seem so trivial. Shadows of the Damned is a trip through Garcia's fragile psyche, his greatest fears and instincts visualized.
