New Blood Interactive have released a free HD DLC remaster for their reputation-making retro FPS Dusk, almost five years to the day since the original shooter launched on Steam. Honestly, the idea of remastering an alt-history "199X"-style homage to Half-Life and Doom does a number on my sense of time - which multiversal branch are we in now? Still, those gibbable demon Klansters certainly look swish. Find a comparison trailer below:
Suda51 on 25 years of making strange masterpieces at Grasshopper Manufacture
28.11.2023 - 19:18 / gamedeveloper.com
Grasshopper Manufacture, the punk rock video game studio led by CEO and game designer Goichi “Suda51” Suda, turned 25 years old earlier this year. This milestone firmly entrenches Grasshopper as a contemporary of larger and more well-known developers like Valve, Sony Santa Monica, and Retro Studios, which may come as a shock if all you know about the studio is that time Suda revealed a game while sitting on a toilet.
With so much of the game industry suffering from layoffs and closures in recent years, I couldn’t help but be curious how Grasshopper managed to stay afloat for so long. The studio epitomizes the kind of success story you don’t see too often these days—the plucky start-up making instant cult classic video games and, in the process, acquiring a fanbase of ride-or-die devotees—so I went straight to the source for answers on how they pulled it off: Suda51 himself.
My conversation with the mastermind behind Killer7, No More Heroes, and Shadows of the Damned dove headlong into Grasshopper’s “give no fucks” attitude, revealing some of Suda’s long-dormant white whales as well as how the studio’s games have been influenced by filmmakers like Alejandro Jodorowsky and Takashi Miike.
Suda founded Grasshopper Manufacture in 1998 after a stint at the now-defunct Human Entertainment—you may know it as the company behind the survival horror Clock Towerseries. He first made a name for himself penning the controversial story to 1994’s Super Fire Pro Wrestling Special, the conclusion of which sees protagonist Smith Morio die by suicide.
Human Entertainment famously received mountains of hate mail over this shocking ending, but Suda never let the public sentiment affect his work, an ethos that persists at Grasshopper to this day.
“I try as much as possible not to care about [sales and Metacritic scores],” Suda told me through an interpreter. “I’ve been in the industry for a while, and I’ve never really looked at the games that I make that way. It’s a goal of the studio to not try to make games that are going to sell well, not trying to make games that are going to get a high Metacritic score.”
“Good sales and high scores are good things, obviously, but that’s not why we make games. We make the games that we make because we want to make them. We try to make things that are unique and things that we feel are going to be new and original.”
Grasshopper’s games have always had a film-like quality to them, thanks in part to Suda’s fascination with heterodox works like El Topo, Gozu, and Paris, Texas. They have a way of ripping control away from players through story beats and aesthetic flourishes that can be frustrating for newcomers.
Such design choices turn what is typically an interactive medium into a more passive
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