Review: Shadows Of The Damned: Hella Remastered (Switch) - Cult Shooter Returns As Fun-But-Flawed As Ever

Captured on Nintendo Switch (Handheld/Undocked)

When it was announced back in 2010, Shadows Of The Damned seemed too good to be true. A supergroup of creators teaming up to make a game in the genre they helped define. Shinji Mikami, father of the Resident Evil franchise, joining Suda51, one of Japanese game development's most unique voices. Akira Yamaoka, beloved composer of the Silent Hill series, was also on board. How could this possibly not be another survival horror masterpiece?

Unfortunately, publisher demands twisted their collaboration into something more commercially viable. Starting as a traditional horror experience called Kurayami, Grasshopper Manufacture's anticipated title ended up being a gonzo shooter in which Mikami and Suda’s signature was diluted. A flawed yet enjoyable experience that has since garnered a cult following, Shadows of the Damned: Hella Remastered joins Suda 51’s Lollipop Chainsaw RePop as a flawed yet enjoyable Switch remaster.

Captured on Nintendo Switch (Docked)

When we meet protagonist Garcia Hotspur (played by Steve Blum and his familiar growl), his girlfriend Laura is being kidnapped by Fleming, lord of the underworld. A demon hunter by trade, Garcia travels to hell in order to save Laura's soul and defeat Fleming once and for all. Our hero is joined by his sidekick Johnson, a talking skull that’s also Hotspur's gun…and his torch…also his bike.

The writing for Shadows of the Damned could not be more early-2000s if it tried. Hotspur is a foul-mouthed quip machine. He’s never far from a pun, movie quote, or sardonic banter with Johnson. Oh, and if you think naming a character that turns into a gun 'Johnson' is on the nose, you’ll be shocked to find out that his main weapon form is called Boner. The tone aims for a B-movie irreverence that recalls No More Heroes, but a bit more mean-spirited.

Garcia’s journey to find his lingerie-clad lover takes the form of an over-the-shoulder shooter in the Resident Evil 4 mould. Hotspur can move around freely but aiming pulls the camera in close and restricts movement. Demons can surround him easily, so a dodge and quick turn are handy. Johnson’s torch form can also be used for melee, to bat away enemies, and charge up for crowd dispersal.

Captured on Nintendo Switch (Handheld/Undocked)

As a shooter, Shadows of the Damned is a mixed bag. Aim sensitivity was mostly awful in the original title and that hasn’t been solved by the remaster. Stick sensitivity settings will allow you to fine-tune, but ultimately the frantic pace of most battles smashes head-on with the precise shots you will need to down enemies. Boss battles are a particular frustration. Each has the traditional glowing vulnerability that is sometimes horrible to get a bead on when they're charging toward you.

Along the way, you'll pick up gems that unlock new forms for Johnson. Assault rifle and shotgun variants make aiming less of a concern. The skull-firing Monocussioner in particular is worth upgrading, its power comes in handy in the late game. Guns also gain powerful alt-fire variants at key milestones throughout the story.

A darkness mechanic breaks up combat encounters with some (figurative and literal) light puzzling. Throughout levels, darkness will consume an area and Garcia must find glowing goat heads to shoot and stop the blight eating away at his health bar. Demons can become enveloped in the darkness and they will need Johnson's light shot to dispel the gloom and make them vulnerable to regular bullets (or teeth, in this case). Along the way, the dark will spread in a variety of ways, even acting as your ally in some instances.

Captured on Nintendo Switch (Handheld/Undocked)

It’s in these tense moments, in which you scramble to find a light source, that the clunky camera and movement frustrate just as much as the aiming. Not too far from tank controls in traditional survival horrors, walking feels restricted and slow. There's a sprint that propels Garcia forward, but will more than likely get him hooked onto a bit of scenery.

Visually, this remaster does nothing to remedy the overused aesthetic of Unreal Engine 3. There are splashes of green and gold, along with the striking deep reds of intestines festooning the architecture. Alas, everything else is a bland mix of washed blue and dull grey. There's also an inexplicable border of shadow on the edges of the camera, which serves the oppressive nature of environments, but comes at the cost of fidelity. Elsewhere, frequent frame drops occur when Garcia is exploding the heads of demons during combat.

Where Shadows Of The Damned shines is in its bonkers presentation and entertainingly low-brow humour. As much as Suda's original vision might have been compromised (he writes here, but doesn’t direct), this still feels like a Suda 51 joint. It has the bizarre tone of Killer7 and the grindhouse anarchy of the aforementioned No More Heroes trilogy.

Captured on Nintendo Switch (Docked)

Despite the sheer volume of puerile chatter between Garcia and Johnson, most of it raises a smile. The stylised depiction of hell, with its screaming baby doorways and angler fish that hum a jaunty tune while lighting your way, is truly unique in a way that feels rare these days. Then there's the excellent work of Yamaoka. The musical score is flawless, building on Suda’s Mexican theming with Spanish guitars and banda.

A new game plus mode is appreciated, as this is an experience with significant replay value. Perhaps the most important update is the addition of new costumes, which allow players to complete Garcia Hotspur’s underworld odyssey half-naked like the tequila-swilling rock star he is

Conclusion

A funny, goofy shooter that ultimately feels just as much of a missed opportunity as it did in 2010. Visual inconsistencies and frustrating mechanics aside, Shadows Of The Damned can still offer a good time for those looking for one, but it’s a shame that this remaster doesn't do enough to polish Grasshopper’s cult gem and make it palatable to modern audiences.