It only takes literal minutes into ‘Shadows of the Damned’ (SoD) before it becomes semi-obvious that you’re playing something truly special. Packing extraordinary production value, SoD is the rare game simply screaming for a movie adaptation.
Last time I encountered such a sensation was with ‘Uncharted 2,’ which – coincidentally enough – is on its way (albeit a somewhat rocky path) to said Tinseltown status. Thank you, Marky Mark.
This production excellence is no accident. The brainchild of ‘No More Heroes’ visionary Goichi Suda and ‘Resident Evil’ guru Shinji Mikami, this creative hodgepodge combines to produce a Goth-punk, horror action title that would make Quentin Tarantino sport an ear-to-ear grin. Akira Yamaoka (‘Silent Hill’) is the icing on the console cake, one of the industry’s best sound designers once again working his musical and effects magic. Voice-overs likewise stand out as engaging, humorous and top-notch.
Thus – and to truly appreciate ‘Shadows of the Damned’ – it’s arguably essential to consider this a game wrapped around by a creative gem. In saying so, it’s simultaneously understandable that such a label lends itself to cover within book comparisons. Thankfully, however, SoD is no slouch, gameplay-wise…and holds its own quite well to praiseworthy creative components.
To explain, ‘Shadows of the Damned’ is a survival horror tale, where Mexican demon hunter Garcia Hotspur’s main squeeze – Paula – is kidnapped by the Lord of the Underworld (‘Fleming’). Fleming - tired of Hotspur’s demon ass-kicking exploits – challenges him to win back Paula within the depths of Hell itself. Bring it, chicano.
Garcia, however, is not alone. A disembodied demon head – Johnson – can morph into various weapons/items to assist, a constant knowledge and comical companion to Hotspur to help with the good fight.
In contrast to traditional notions of Hell (fire, brimstone, yadda yadda), this version has some serious flair to it. Goat heads produce light, strawberries (made from tongues, no less) are the food of choice, and sake’ and tequila combine to keep Garcia’s health up and running. Hell also has vending machines, entertainment options, and a black market where colored gems yield weapons upgrades. Sounds a bit like the wrong parts of Sydney. But I digress.
Gameplay mechanics are copy and paste out of ‘Resident Evil IV,’ either a good or bad thing depending on personal preference. Unfortunately, I tend to side more on the latter, finding the far-too-often, spin me right round (like a record, baby) aiming dynamics a tad frustrating. While I dig the precise aiming mechanism plus melee characteristics inherent in both SoD and Resident Evil, the trade-off of near-constant re-orientation does become tiresome. Similar complaints reside in the ‘how the hell am I dead?’ function of the health meter, where Garcia goes from sake’-powered, full potency to dead as a doorknob seemingly out of nowhere. My hunch is this dynamic a likely byproduct of the aiming mechanism conundrum. Meaning, off-screen demons converge, combine to kick the living bejeebuz out of you, en masse. Then… Fade to black. No one can save me but myself.
In all fairness, however, SoD’s melee combat (Johnson’s flaming head on a literal stick) compensates fairly well. Swinging for the fences can quickly turn the tide against even the most ambitious of these off-screen attacks. Twice over if Garcia adequately charges Johnson for a full-powered, Babe Ruth-ian strike.
Level progression is a bit formulaic, comprised of darkness to light, vice-versa puzzles, where Garcia locates items and targets needed to advance in both environs. A notable caveat is that too much time in the darkness can kill Garcia while spawning powered-up enemies (requiring light exposure) to take down. I perceived this a logical component to separate areas and challenges, also empower noggin’ work to deduce proper use of both worlds to kill enemies plus advance onward. Level bosses are resilient pains in the ass, but persistence and strategy always win out.
To be honest, I was so damn entertained by Shadows of the Damned, that gameplay progression became almost secondary to the next quip and/or homage to Grindhouse film lore. For instance, a deliberate ‘Bordello of Blood’ reference is alive and well about an hour in, one likely to produce some serious thumbs up among fans of the genre.
Also, it’s ridiculously cool to have a Mexican protagonist, the smartass version of ‘Constantine’ we always we wish we had. Similarly, audio goes a long way in creating terrific ambiance and character. Hearing the aforementioned goat heads bleat is hysterical; ditto the screams and horror calls from behind even inaccessible closed doors. Thus, visuals and sound combine to always keep things moving along organically. Props as well to the Sam Raimi-style loading graphics. Bruce Campbell is nodding in agreement, boomstick and all.
Let me shout it from the rooftops: ‘Shadows of the Damned is FUN, damnit!’
This is not to say that the game is all talk and no walk. It does what it’s supposed to, albeit flawed and forced at times.
Still, I welcome a title where its designers tried something a bit different, of paying respects to a genre where they’ve dedicated their creative careers. If I was a betting man, I’d wager Suda, Mikami and Yamoaka would collectively confess that Shadows of the Damned is the combined experimentation and jazz they wish available within their commercially successful, highly marketed predecessor offerings. It’s obvious this trio had a damn good time in making this game. Evidence? Save points consist of a one-eyed demon named ‘Willy’… who drops steaming poo as placeholders. Now that’s what I’m talking about.
In closing, if you could appreciate Shadows of the Damned for what it is, you’re in for a terrific time. The game is a fun, stylistic and movie-esque tale with wonderful characters, comedy and personality. Still, it plays like the ghosts of gameplay past at times, and with it potential disappointment by those with finger twitch desires. For mature gamers seeking an interactive entertainment experience, however, Garcia Hotspur is los hombre de momento.
