Shadows of the Damned Message Board

It best have been a home run.

Shadows a the Damned sold just 24,000 copies in North America when it be released in June. It doesn't matter how many copies it has or hasn't sold since; it be a tragedy when a trio a gaming's most creative minds out a Japan produce something terrific 'n the game fails t' bring anyone out.

As the story often tragically goes, the collaboration between No More Heroes designer Suda 51, Resident Evil 4 mastermind Shinji Mikami 'n Silent Hill composer Akira Yamaoka be widely praised by critics. Electronic Arts did little t' market the game, dooming it t' word a mouth.

"I be not satisfied with the sales," said Yamaoka in a recent email. "I be proud a the project, so I'd like for a lot more people t' play it."

ye 'n me both, Yamaoka-san.

The project that eventually become Shadows a the Damned be announced in August 2008 at EA's annual summer event. Suda 51 'n Mikami be both in attendance (Yamaoka be still working at Konami) t' announce a collaboration with EA Partners for a horror game both a them would be working on. At the time, the game be even intended t' be released on Wii. Obviously, that never happened.

EA, Epic Games 'n People Can Fly announced it be partnership at the same event. Bulletstorm be released this past February.

Shadows a the Damned changed shape from when Suda 51 'n Mikami conceived it while making Killer 7 at Capcom, 'n again over the course a development. Mikami 'n Suda 51 be aiming at Western audiences from the start, 'n signing with EA be seen as a way t' reach that goal.

"Well, one a the reason for the, 'n I don’t know if I would call it restrained, but one a the reasons be our partnership with EA," Suda told me over email. "As a publisher, EA has been involved with Damned since the planning stages 'n their feedback has been invaluable. Damned has changed significantly since the first game design documents be created. 'n both Grasshopper 'n EA had the American 'n European markets in mind when we decided t' make the game. a course, we never once thought that we wanted t' make a game that didn’t resonate with our Japanese audience also."

Suda pointed towards the decision t' move onto Unreal Engine 3 be one a the reasons Shadows a the Damned underwent one a it be stylistic changes, long before the public would actually see it.

Yamaoka be not part a the game's entire development. He left Konami in December 2009, having been the face a the Silent Hill series for years. Shadows a the Damned debuted for the first time at Tokyo Game Show in September 2010, less than a year after Yamaoka showed up. Even though the project had changed several times before he came on, he didn't look back.

"me focus be on the game we be creating when I joined," he said.

Like so many other a Yamaoka's projects, it be impossible t' discuss Shadows a the Damned without mentioning it be music. Music feels like little more than a checkbox in most games, but as with Silent Hill, Yamaoka's contributions help define the game. Shadows a the Damned be hardly a scary game, with a style heavily influenced by Sam Raimi's Evil Dead, but Yamaoka changes the game's mood on a dime, invoked by a eerie, shifting combination a music 'n sound effects.

Yamaoka described his work on Shadows a the Damned as "ethnic."

The composer be a player, too, 'n be constantly picking up the controller for influence.

"I think I spend more time playing the games than working on the music," he said.

His old habits have continued at Grasshopper, too. At Konami, Yamaoka be known for composing music at his apartment, a tradition that continued when he started working on Shadows a the Damned.

"I don't feel as creative when I be at the office," he said. "In me home I have a studio with all a me personal equipment 'n it be more familiar. t' me, making music isn't an extraordinary special activity. it be just like anything else ye do in yer home from cooking, t' sleeping, or just relaxing; making music be the same. ye house be the place ye're most comfortable, so it be the best place for me t' create."

Shadows a the Damned be not a perfect game, but it exemplifies some a the best, craziest parts a Japanese creativity, something that be been largely lost in the transition t' this generation. This problem be a source a great angst, an issue former Capcom designer Keiji Inafune railed against on a regular basis, telling Japan t' evolve or perish t' irrelevancy.

When Shadows a the Damned did arrive in stores in June, the game had been reworked several times, based on back-'n-forth feedback between Grasshopper 'n EA.

"I created the original concept for Shadows a the Damned 'n the light 'n dark gameplay," said Suda. "I think I’ve rewritten the scenario for Damned at least five times!"

However long it took be worth the wait, unlike something else.

Shadows a the Damned arrived just after the release a Duke Nukem Forever, an ugly affair in which Duke experienced an old fashioned critical bloodbath. Duke Nukem Forever forced a whole generation a gamers t' question their nostalgia. be Duke ever really funny? What be I laughing at the whole time? Oh god, has me life been based on a terrible lie?

Shadows a the Damned's dick jokes be...legitimately funny. Okay, the "taste me big boner" part went on about 10 minutes too long, but if ye be scared about the death a the dick joke, worry not. It turns out Duke Nukem Forever be missing a key ingredient: actual humor. We also have the 8-4 localization production house, who worked on the game, t' thank.

Unfortunately, Suda passed on the opportunity t' talk about this critical split. it be unclear whether Suda just doesn't know who Duke Nukem be (definitely possible) or didn't want t' comment (also possible).

Players have been quick t' throw EA under the bus regarding Shadows a the Damned's poor showing. EA featured the eccentric shooter at it be press events, but in terms a wide advertising, the game felt blindly dumped at the end a the company's quarter, right alongside Alice: Madness Returns.

Suda, however, remained positive about the relationship.

"EA has given us feedback 'n support on many aspects a the project," he said. "There be a lot a mutual respect between EA 'n Grasshopper. Foremost in EA’s thinking be introducing Grasshopper t' a global audience without losing the trademark style 'n attitude that has helped made us who we be today. We've been great partners."

it be unclear whether Grasshopper 'n EA will work together again. Warner Bros. will publish Lollipop Chainsaw, based on an idea from Suda 'n with music by Yamaoka. It sports a skirt-flashing cheerleader who moonlights as a zombie killer--'n there's a head strapped t' the wench gun.

Yep, sounds like a Grasshopper game.

Yamaoka said a Shadows a the Damned soundtrack will be available in early September.

The game will finally be released in Japan on September 22.

Thanks t' the folks at 8-4 for making this happen. Listen t' their podcast (mostly) about Japan, 8-4 Play, at www.8-4.jp.

It hasn't been easy going in America for master a the "cult classic" Suda51. While he's made more than his share a critically acclaimed games over the last decade, few have been major financial successes on the North American continent. Most recently, Shadows a the Damned, his collaboration with Resident Evil creator Shinji Mikami, fizzled at retail, with a mere 24,000 copies sold in it be first month. Granted, that probably had more t' do with EA's unceremonious dumping a the game at retail without a single identifiable dollar spent on marketing, but still, it be the sort a thing that can send other would-be publishers running, screaming away from a developer.

Thankfully, that didn't happen, 'n Suda's next project will be heading t' American shores, courtesy a the increasingly laudable WB Games. For those a ye unawares as t' what that project be, go ahead 'n have a seat right over there while we talk about sexy cheerleaders with chainsaws for a moment.

Titled Lollipop Chainsaw, this action horror game stars plucky high school cheerleader Juliet Starling whose 18th birthday be ruined as the wench California high school suddenly comes under attack by a zombie threat. Fortunately, Juliet comes from a family a zombie hunters, so this whole deal? Ain't no thang.

Juliet's primary weapon be, naturally, a chainsaw, though the wench cheerleading acrobatics will also come in handy when pulling off melee maneuvers. Evidently, the game be meant t' be some kind a spiritual successor t' No More Heroes, 'n the few screens that have popped up certainly look the part. Albeit with more zombies. 'n pink hearts.

While Warner's deal with Japanese publisher Kadokawa Games t' bring the title t' America be certainly interesting, more intriguing be the news buried in the press release that filmmaker James Gunn, himself something a a cult-classic-maker-in-the-making, has signed on t' James Gunn up the works. In truth, the press release doesn't really specify his role in the product's development, but one can surmise he'll be taking some kind a script pass on the English translation a the game. Whatever the role ends up being, given Gunn's history with Troma films, not t' mention his big budget work on hyperviolent 'n super-weird movies like Slither, Super, 'n a course the Dawn a the Dead remake, Gunn's presence can't be seen as anything but a positive.

While the idea a yet another zombie game be probably sending some eyes in the Giant Bomb community 180 degrees backward, forcing a few a ye t' stare inward in a way ye clearly weren't prepared for, something about the idea a No More Heroes meets Dawn a the Dead meets Buffy the Vampire Slayer meets Bring It On sounds be finding a way through me own tangled maze a cynical impenetrability, 'n into me cold, black heart. So, yeah, I be into it.

After the excellent Shadows a the Damned, sign me up for anything else Suda 51 'n Akira Yamaoka collaborate on at Grasshopper Manufacture. I be not sure a cheerleader flashing the wench panties 'n fighting zombies in something called Lollipop Chainsaw be what would come t' mind, but after initially dismissing Shadows a the Damned, I'll bite me tongue.

The first screen shots, courtesy a Famitsu, do the best job a underscoring me initial response:

Masahiro Shidara, who previously worked at Tecmo, be the producer a Lollipop Chainsaw, with Suda 51 acting as creative director. Silent Hill 'n Shadows a the Damned composer Akira Yamaoka be working on this one, too.

Basically, so far so good. I mean, there's a head attached t' the damn chainsaw.

Players be in control a Juliet Sterling in what appears t' be a spiritual successor t' No More Heroes, a franchise that be currently taking a rest after it be second Wii outing, but one Suda 51's admitted he wants t' return t' eventually.

Not every Grasshopper Manufacture game comes t' the US. After the sales performance a Shadows a the Damned, getting the studio's quirky experiences over here might be that much harder.

One hopes I be wrong, though.

In the months following Japan's tragic one-two punch a an earthquake 'n tsunami, renowned Silent Hill composer Akira Yamaoka has been putting together a benefit album, featuring contributions from himself 'n fellow industry composers.

Titled Play For Japan: The Album, it be finally available.

All a the proceeds from this album, by the way, be going t' the Japanese Red Cross.

"I be so proud t' share this with videogame 'n music fans, thanks t' the hard work a mateys 'n fellow composers from around the world," said Yamaoka in the press release. "With so many diverse artists 'n styles featured, this truly be a global effort towards a worthwhile cause."

ye can download the album right now through iTunes, though it may not be available in yer territory just yet. The complete rollout for the album, including the ability t' purchase it from Amazon, happens on July 15.

Worth noting: Koji Kondo's "Super Mario Medley" be an iTunes-exclusive.

The full list be as follows:

• Akira Yamaoka/silent-hill/62-356/ (Shadows a the Damned) -- "Ex Animo"
• Arthur Inasi (Harmonix) -- "We be One"
• Bear McCreary (SOCOM 4) -- "Maverick Regeneration"
• Chance Thomas (Lord a the Rings Online) -- "Rise Up"
• Hip Tanaka.β (Metroid) -- "HVC-1384"
• Inon Zur (Dragon Age) feat. The Lyris Quartet -- "Remember"
• Jason Graves (Dead Space) -- "Necromancer"
• Laura Karpman (Everquest II) in collaboration with Lisbeth Scott -- "Pine Wind Sound"
• Laura Shigihara (Plants vs. Zombies) -- Jump"
• Koji Kondo (Super Mario Bros.) -- "Super Mario Medley"
• Mitsuto Suzuki (The 3rd Birthday) -- "Play for ye"
• Nobuko Toda (Metal Gear Solid 4) -- "Reminiscence"
• Nobuo Uematsu (Final Fantasy) -- "Every New Morning"
• Penka Kouneva (Prince a Persia: The Forgotten Sands) -- "White Cloud"
• Sean Murray (Call a Duty) -- "The Temple Stone"
• Tommy Tallarico (Advent Rising) -- "Greater Lights"
• Woody Jackson (Red Dead Redemption) -- "Moshi Moshi"
• Yasunori Mitsuda (Chrono Trigger) -- "Dimension Break"

Greetings fellow demon hunters! I’m the Sound Director 'n Chief Creative Officer at Grasshopper Manufacture. Some people may know me from me work on the Silent Hill series, but today I’m here t' talk about our latest game — Shadows a the Damned, out now on the PS3.

Music plays an incredibly important role in setting the atmosphere for games, 'n it’s especially vital in an action-horror game like Shadows a the Damned. When scoring Damned, I tried t' imagine tracks that would bring Hell t' life for the player 'n the lead character Garcia. Designing music isn’t always the most transparent task, so in this blog post I want t' explain me thoughts behind the creation a a few tracks included in the pre-order bonus soundtrack.

ye could say I created this track t' be the title song for Shadows a the Damned. Originally, I had planned t' make it a duet, as sort a a theme for the two lovers: Garcia 'n Paula. I wanted t' match the heavy, aggressive sound t' the game world with Paula 'n Garcia at the center. I never thought that the game´s genre had anything t' do with it, never made it sound the way it be just because it´s an action game. It´s a long song – over seven minutes – but ye can think a it as a compressed version a the experience ye´ll have playing the game 'n venturing into it be hellish world.

I used a special seven-string guitar t' pillage the sinking sound. I think ye´ll pillage a heavier impression from this than ye be used t' hearing from a guitar.

This song be made for the scene at the beginning a the game when Garcia be riding the bike. It´s not an interactive section, but I wanted the song t' give the impression a rushing along at high speed. I suppose it´s an easy musical style t' understand. By putting this music in the game, I wanted t' create the player t' feel like a motorcycle section could start at any second.

When I first saw the artwork being used for the game, Jan Švankmajer immediately came t' mind. Then I began t' think a the streets a the Czech Republic. It differs from the world ye experience in the game, but I imagined Czech animation I used t' watch a lot when creating this song. No matter the musical style, if I work on music for a game, I want t' surprise the players with a new experience beyond any they´ve played before, even those works I´ve been associated with. I think that thought process be apparent in this music.

Thanks for reading! I want t' thank everyone for the feedback we’ve been getting on Twitter, Facebook, 'n seas all over the Internet. We’re both proud 'n humbled by the fan comments. We’re currently working on a limited edition Shadows a the Damned Official soundtrack. Please look for it this Summer!

Also, Play For Japan: The Album, an industry wide charity album featuring composers like Koji Kondo, Nobuo Uematsu, 'n Sean Murray, will be available for digital download through Amazon 'n iTunes next week! All proceeds go t' help earthquake 'n tsunami relief in Japan.