![]() ![]() The story begins on our lead character, Juliet Starling’s 18th birthday on her way to San Romero High School for class, however there are zombies everywhere, especially in her school. If it wasn’t obvious from the name itself, Lollipop Chainsaw is schlock, and it revels in it in all forms. Yamaoka would share music real-estate with the licensed tunes in the menus and stages proper, while Jimmy Urine would compose each of the game’s boss fights. Akira Yamaoka would return as composer, but this time would be joined by Jimmy Urine, the lead singer of the band Mindless Self Indulgence (also doing voice work for the game), as well as a large selection of licensed music from the likes of Toni Basil, Dragonforce, and even including the song “Pac-Man Fever” by Buckner & Garcia. ![]() This could be explained by looking no further than the title’s writer Hollywood director James Gunn, at the time being known for his work at Troma, and the films Slither and Super, well before his more well-known work on Marvel’s Guardians of the Galaxy movies. Unlike SotD however, LC would be directed by a Japanese designer from the company, this time being Tomo Ikeda, who previously worked on Rule of Rose and Little King Story as a designer. The one key similarity to be found would be both titles affinity for crude, often referential humor, but while it would just be the occasional side banter in SotD, this becomes the basis for LC‘s humor as a whole. While Shadows of the Damned is a grim, atmospheric third person shooter at it’s core, Lollipop Chainsaw is an action game, exploding with color. In a way, Lollipop Chainsaw is the polar opposite to Shadows of the Damned. Warner Brothers would be the publisher in the west, with Kadokawa in Japan. Released just shy of a year after Shadows of the Damned, came what would be the second of Grasshopper’s collaborations with Western publishers, Lollipop Chainsaw.
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