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For over three decades, Goichi Suda, better known as Suda51, has been one of the few genuine auteurs within the gaming sector. His signature is infusing well-known genres with unexpected turns, whether it’s transforming the hero’s quest into a tragedy in Super Fire Pro Wrestling Special (1994), a cel-shaded adventurous take on first-person shooters in Killer7 (2005), or a charming anti-hero who must mow lawns to finance his aspirations of becoming the world’s leading assassin in No More Heroes (2007).
His latest endeavor, Shadows of the Damned: Hella Remastered (released on Oct. 30), is a revamped edition of the 2011 partnership between Suda51 and Resident Evil creator Shinji Mikami. It’s a bold expedition through hell, both as brutal and entertaining, highlighting an essential aspect of Japanese culture in the dynamic between protagonist Garcia Hotspur and his witty gun/companion Johnson.
Rolling Stone recently connected with the unconventional developer to discuss the societal significance of humor, seek hints about his future project, and uncover what it’s like within the thoughts of Suda51.
This interview has been streamlined for brevity and clarity.
For those unfamiliar, what exactly is Shadows of the Damned?
It’s reminiscent of Super Mario Bros., but set in hell. You have Paula, who serves as Princess Peach, while this demon hunter known as Garcia Hotspur must plunge into hell to rescue her from the demon Fleming, akin to Bowser. It’s essentially a far more twisted rendition of Super Mario Bros., narrative-wise.
You’ve previously mentioned that Garcia Hotspur underwent numerous iterations during the initial development of Shadows of the Damned. What served as the foundation for his final design?
There are mainly two inspirations. The first is the actor Benicio Del Toro, and the second is a highly acclaimed Japanese manga series named Crows. There’s a faction in Crows called The Front of Armament, or TFOA. I was particularly drawn to the aesthetic that this group portrayed. The core idea that I used to shape Garcia’s character was drawn from Mario, reflecting the deep affection he has for Princess Peach and his determination to go through the very pits of hell to rescue the woman he loves.
The game is widely recognized for its innuendos and allusions. Was that integrated during the initial phases, or did it arise organically throughout the process?
As we developed the game, much of it emerged naturally. We’d be working on a level and think, “Oh, this reminds me of that,” or a team member might suggest, “Let’s include this joke here, or this film or game reference right here.” Some ideas originated from me, while others came from different team members. During the design and refinement phase, levels featuring more comedic elements seemed to come together a bit more seamlessly. So, it’s not that the game was structured around this; it just unfolded organically. Additionally, these types of elements fit well into the game’s creation process, allowing the inclusion of such references and jokes.
Have you contemplated what direction a sequel might take? Is that a consideration you’ve explored or outlined?
In terms of specifics regarding what type of game or storyline it could entail, to be truthful, I haven’t devoted much thought to it yet. However, there are two concepts that I would love to explore someday. One is a VR adaptation of Shadows of the Damned. I believe the sequel could align well with VR, possibly akin to a Time Crisis experience. The other notion is my personal fascination with the character of Fleming; I desire to delve deeper into his character and create something meaningful involving him. I don’thave any specific tangible concepts yet, but I would prefer to develop something that delves deeper into Fleming and his conflict with Garcia, exploring their backstory and potentially Fleming’s origins. One aspect I would like to introduce is a wild twist. I have no clear idea of what that twist might entail, but it should definitely be something unexpected involving Fleming.
In many of your games, whether it’s Shadows of the Damned or No More Heroes, we see a significant amount of humor. What are some of your comedic inspirations?
In Japan, humor plays a vital role in culture, functioning as a crucial component of cultural identity itself. This has been the case for a long time. There are numerous variety shows in Japan, and typically they are hosted by a comedian or a troupe of comedians, or feature panels that are predominantly made up of comedians. Comedians are regarded quite highly in society, yet not in a pretentious manner. They hold a significant position not only in the entertainment sector but in society as a whole.
There was a legendary troupe of Japanese comedians known as Drifters. Even if you didn’t watch their shows, everyone knows about them. They’re universally recognized. Their most renowned bits and sketches are well-known across the board. Another noteworthy duo is Downtown, who has been seen as the epitome of Japanese comedy for about twenty-five to thirty years. They are not only the familiar vaudevillian duo making jokes on stage together but also stand out as individual comedians. If you’re in Japan and grew up watching television, you’ve encountered these figures repeatedly throughout your life; you’re familiar with all the cultural references.
Are you familiar with the series Workaholics? Unfortunately, it isn’t available in Japan. I don’t think it’s ever been localized. My wife and I might be the only Japanese individuals I know who even recognize that series. A few years back, I stumbled upon it during a flight and devoured all the episodes they had available on the in-flight entertainment system. I find Adam DeVine particularly hilarious. Their comedic style resonates with me. I can assure you that you wouldn’t encounter another Japanese game developer citing Workaholics as an inspiration!
Is Japanese humor significantly different from the type of humor we encounter in the West?
Indeed, there are many substantial distinctions. One prominent difference is that in Japan, we have a comedic style known as Manzai, which resembles old vaudeville acts like Abbott and Costello. Typically, two men take the stage, sometimes three. One performer acts foolishly, while the other reacts with confusion or exasperation, often responding with something akin to, “What the heck are you going on about?” That kind of act faded in popularity in the U.S. by the 1930s or 1940s, yet it remains vibrant in Japan.
One of the major year-end spectacles for Japanese people is a program called The M-1 Grand Prix. It’s essentially a competition among up-and-coming stand-up comedians, most of whom come in pairs. Winning this contest serves as a springboard to stardom. Once you win, you’re set; it’s a unique aspect not commonly seen in the West. In contrast, the West tends to have more solo stand-up comedians, while Japan emphasizes duos and trios.
You mentioned those duos and references to Abbott and Costello, and I can’t believe I overlooked how unmistakably this mirrors the dynamic between Garcia and Johnson.
Precisely! Johnson and Garcia’s interaction and their back-and-forth banter indeed reflect the Japanese Manzai comedy style. In Japan, when you have a Manzai duo, the roles are clearly defined. There’s a character known as the Boke, who is akin to Johnson, and another called the Tsukkomi, who corresponds to the sharper, more sarcastic character. The Boke intentionally makes blunders or tells silly jokes, while the Tsukkomi responds with remarks like, “What are you talking about?” or “please, be quiet.” He counters with sarcastic or critical remarks. The dynamic consists of a well-meaning, somewhat clueless person and a more acerbic, witty counterpart; this is precisely where their interaction originates.
In the past, you have explored a variety of genres, such as visual novels and wrestling titles. Are there other genres you haven’t tackled in some time or ones you’re curious about exploring?
I’m interested in creating an adventure game. Not just a straight-up action adventure, but something much more focused on exploration and narrative. With an action game, the gameplay loop revolves around action; you center your attention on keeping that aspect engaging and enjoyable. However, in an adventure game, the emphasis lies more on the narrative. The journey and story become the core elements, which means you need to invest more effort into crafting an intriguing tale. How do you make that captivating? How do you…keep people’s fascination with that? For the first time in quite a while, I would like to attempt creating a game with a greater emphasis on that aspect.
Are there instances of contemporary games that you believe excel in that area?
They may not be extremely recent, but the initial thing that pops into my mind is the types of games that David Cage produces [such as 2018’s Detroit: Become Human]. They are distinctly adventure-oriented, and the adventure elements are very well executed. You can sense that he has invested a significant amount of effort into the immersive experience and carefully considers his approach.
Regarding reflections on the past, I have always found Fire Pro Wrestling to be incredibly intriguing. What might a Suda51 wrestling game in 2024 resemble?
It’s not something we are firmly planning to create currently, but I have conceived of a game idea that I’ve been holding onto for quite some time, something I envisioned long ago that I hope to actualize someday. It would be a modern-day wrestling game under the Suda 51 label. I certainly have a vision in mind already.
It wouldn’t merely be a wrestling game with just plain fighters in a ring; it would be a game that depicts the journey of a particular wrestler, highlighting his triumphs and challenges, as well as all he experiences, while still being fundamentally a wrestling game. But that’s all I can disclose at this stage because there’s a strong chance that we may eventually bring this to fruition.
We are just a few years away from the 30th anniversary of your studio, Grasshopper Manufacture. Do you allow yourself to reflect on and appreciate your achievements, or are you constantly looking ahead?
I generally concentrate more on what lies ahead. Not solely on our current projects but also on our aspirations for the future, the kinds of games we wish to develop, and where we aim to steer the company moving forward. Although we are still two and a half years away, the upcoming 30th anniversary is a significant milestone. At that moment, I would likely want to take some time to look back at all we’ve accomplished and how that informs our future direction. We don’t yet have any solid plans. However, one idea I had was to perhaps reach out to Devolver Digital and say, “Hey, it’s our 30th anniversary; could we possibly do something together now?”
You are well recognized for your notable collaborations over the years with creators such as (the creator of Resident Evil) Shinji Mikami, (director of Superman) James Gunn, and your radio drama with (the creator of Metal Gear Solid) Hideo Kojima, among others. Who else would you like to partner with?
There’s not necessarily a specific individual or game studio I aim to collaborate with, but there are a select few individuals I’d like to attempt working alongside, as well as some intellectual properties I wish to partner on. For instance, I have an interest in some Marvel and DC projects. I’d love to create something involving Batman, particularly Batman Black and White. That’s a game I’ve wanted to explore for a significant period. Regarding Marvel, I have wanted to design a Deadpool game for quite a while. Additionally, another concept I’ve longed to develop involves Gundam. I would absolutely love to take a shot at a Gundam title.
What do you consider to be the ultimate Gundam?
Film-wise, it’s Char’s Counterattack (1988). And for my personal favorite Gundam, it would be Exia from Gundam 00 (2007).
You’ve mentioned several times that you are a huge Marvel enthusiast. Who stands out as your favorite Marvel superhero?
I’m a massive admirer of the X-Men. If I had to choose one, I would probably select Wolverine. I appreciate Deadpool as well, but Wolverine is my favorite. For one reason, he’s undeniably awesome, and he also shares significant connections with Japan in both the films and comics. He has Japanese adversaries and collaborators, which gives him a special place in my heart.
Here in the United States, Travis Touchdown
is arguably the most renowned character to emerge from Grasshopper. However, do you have a preferred character that you’ve developed or one that you believe deserves more appreciation?
It’s rather challenging to choose between the two, but the first would likely be Travis Touchdown. Travis is somewhat like a part of my identity. I infused a great deal of myself into this character, making it quite effortless to craft scenarios or narratives for him. We have shared numerous experiences throughout the years. So, that’s probably the straightforward answer, but another character who also deserves more recognition and affection is Tetsugoro Kusabi, one of the main figures from The Silver Case. This was the first game I worked on at Grasshopper Manufacture.
When I developed that character, I again invested much of myself into him. I shaped this character to represent the kind of adult I aspired to become in the future. I thought, “Alright, this is what a true man would exemplify, and this is the kind of person I want to be.” Thus, due to that connection, Kusabi holds a very special place in my heart. Sometimes, people inquire, “When are you going to revive this character or that character?” If I ever do bring him back, it would have to be in a narrative where he is the protagonist, and the entire story revolves around him. I can’t just pull him out for a [brief appearance]. I wish more individuals would acknowledge the charisma, or extend a bit more affection towards Tetsugoro Kusabi.
You transitioned into a director just a few days after beginning your first significant role in the industry. What counsel would you offer your past self, looking back at the beginning of your career?
If I had someone like my present self provide some crucial insights back in those days, then the Suda51 you see now probably wouldn’t exist. He likely wouldn’t have reached this point. He might not have accomplished a lot of what he has managed to do, as he probably wouldn’t have been able to produce the work necessary to get this far. I would refrain from offering any guidance and simply allow him to evolve as he will.
Could you share a bit about your creative process? How do you determine which elements become part of your game or your storyline?
My initial thought revolves around a broad concept for the narrative. I envision the opening scene or the very first segment of the game, considering, “Alright, how can I craft this moment to captivate the player, to engage them and pique their interest in the game?” From there, I branch out—what will emerge from this, what types of challenges will arise?
Do you envision the game’s imagery and its opening before determining the genre it will belong to?
I generally settle on what type of game it will be first. Overall, our titles are typically action or action-adventure games. Thus, it’s likely to be an action-adventure title in any case. But initially, I define specifically which genre of game I aim to create. Subsequently, I decide on the particular opening sequence and the type of plot I wish to have. However, the genre and type of game definitely take precedence.
Do you prefer to give your team significant freedom to brainstorm, or do you favor being very involved in every aspect?
It’s a considerable quandary for me concerning which approach is optimal, not just for myself but for the organization, the games we create, and each team member too. When I initially established Grasshopper, I was very hands-on with everything, overseeing every detail of the game. I ensured it was precisely how I envisioned it because I held a clear picture in my mind. However, over time, I began granting other staff members more autonomy to generate their ideas, imbue their personalities, and apply some of their own creative vision.
My instinct is to be hands-on with every aspect and ensure it aligns perfectly with my vision, which comes naturally to me. But considering the best interests of the company and its future, the opposite approach may be more beneficial, allowing individuals greater creative freedom, and giving them space to develop and flourish as creators. Thus, I strive to maintain a balance between the two.
GRASSHOPPER MANUFACTURE INC.
Could we discuss some of your cinematic inspirations?
There are numerous films, directors, and even certain characters that I’ve taken inspiration from and have been influenced by. For instance, much of the elements in the No More Hero series were inspired by El Topo (1970), crafted by Alejandro Jodorowsky. It’s an unusual, intriguing film, yet it holds a sort of cult status. Additionally, the name Travis Touchdown was derived from the character portrayed by Harry Dean Stanton in the film Paris, Texas (1984), which ranks among my all-time favorites. The character itself is entirely different, but the name resonated with me as a source of inspiration.
In the case of Shadows of the Damned, there exists a film titled Crazy Thunder Road (1980) by filmmaker Gakuryū Ishii (known as ‘Sogo Ishii’ back then). A considerable portion of his body of work has notably influenced Shadows of the Damned. Another influential artist is Derek Jarman, who directed many music videos for The Smiths during their heyday. To reference some more contemporary influences, I would say, somewhat dorkily, that I’m genuinely passionate about the Marvel cinematic universe. I watch every Marvel film, so lately, they’ve significantly impacted my creative process.
The music plays an integral role in your games. How do you see the relationship between the music and your creations?
I’m quite passionate about music overall. Whenever I’m drafting scenarios, I continuously listen to music. Music, scenario development, and game design are inextricably linked. Most of the time, I stick to tracks I am already acquainted with and enjoy, often looping the same pieces. However, occasionally, I’ll encounter a sound on television, the radio, from a game, or similar mediums, which sparks an idea for me.
More often than not, I’ll be tuned into a particular band while composing a specific scenario or game, sometimes even repeating the same song multiple times. This approach not only motivates me to continue and persevere but also inspires me greatly through the music I experience during the writing process.
Once more, I find it impossible to create games without music, as they are completely intertwined. Not just the melodies I listen to while crafting a game, but also the music incorporated within the game and its application are fundamental components and elements.
What are you currently listening to?
Lately, I’ve been focusing on numerous rewrites, enhancements, and additions to the storyline for the next project we’re undertaking. There are three musicians in particular whose work I’ve been engaging with extensively: Brian Eno, Mogwai, and a relatively new Japanese group called D.A.N..
That gives us our first hint about what might lie ahead.
I’m contemplating a hint I could offer that won’t give too much away. There’s a specific film or series that has had a profound impact on that game. I understand this sounds quite ambiguous, but once you witness it, you’ll recognize that this was indeed the subject we were discussing at the time.
Similar to Shadows of the Damned or No More Heroes, the main character radiates a formidable presence this time as well.
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