very enchanting game with an incredible soundtrack, the colossus were all great to witness and fight except one, that bull like one, that one was ass. I loved it despite the clunky controls
The timeless colossus of the gaming industry
Shadow of the Colossus stands as a testament to the artistic potential of video games, transcending the boundaries of mere entertainment to deliver a profound philosophical experience. Released in 2005 for the PlayStation 2 and later remastered for newer platforms, this game continues to captivate audiences worldwide with its haunting beauty, enigmatic narrative, and thought-provoking themes. In this review, we'll delve into the philosophical underpinnings of Shadow of the Colossus and explore its revolutionary impact on the gaming industry, as well as the enduring legacy it has fostered among fans who continue to unravel its mysteries and debate its deeper meanings.
At its core, Shadow of the Colossus grapples with profound existential questions about morality, sacrifice, and the consequences of human ambition. The protagonist, Wander, embarks on a solitary quest to resurrect a deceased loved one by slaying sixteen colossal beings known as Colossi. However, as Wander progresses on his quest, players are forced to confront the moral ambiguity of his actions. Is the pursuit of personal desires worth the destruction wrought upon these majestic creatures? The game prompts players to reflect on the ethical implications of their actions, challenging conventional notions of heroism and villainy.
Moreover, Shadow of the Colossus explores themes of isolation and existential dread, as Wander traverses the desolate landscapes of the Forbidden Land. The sparse environment and minimalist storytelling evoke a sense of solitude, inviting players to contemplate the nature of their own existence in relation to the vast, indifferent world around them. The game's atmospheric soundtrack and breathtaking visuals further enhance this sense of immersion, drawing players into a mesmerizing realm where beauty and melancholy intertwine.
Upon its release, Shadow of the Colossus garnered widespread acclaim for its innovative gameplay mechanics, striking visual design, and emotionally resonant storytelling. Unlike traditional action-adventure games, which often prioritize combat and exploration, Shadow of the Colossus places a singular focus on the epic battles against the Colossi. Each encounter is a meticulously crafted puzzle, requiring players to analyze the creature's behavior and weaknesses to overcome seemingly insurmountable odds. This novel approach to gameplay challenged conventions and inspired a new wave of experimental game design.
The gameplay mechanics of Shadow of the Colossus had a profound impact on the evolution of gaming technology, particularly considering its unique and innovative approach to game design. Here are some ways in which its mechanics influenced and shaped the future development of games:
Focus on Scale and Intimacy: While many games of the time focused on vast open worlds filled with secondary activities, Shadow of the Colossus opted for a more intimate and focused approach. Each encounter with the Colossi was a singular and immersive experience, standing out for its monumental scale and the close relationship between the player and their opponent. This demonstrated that games don't need to be huge in scope to be impactful, but rather offer deeply engaging and memorable experiences.
Breaking Action Game Conventions: While many action games emphasized frenetic combat and uninterrupted action sequences, Shadow of the Colossus challenged these conventions by offering deliberate and strategic encounters with the Colossi. Each battle was a puzzle-like experience, requiring players to observe the enemy's behavior and discover their weaknesses. This influenced a shift towards more contemplative and strategic gameplay in many subsequent action-adventure games.
Innovative Use of Technology: Shadow of the Colossus made the most of the technology available at the time, pushing the limits of the PlayStation 2 hardware to create vast and detailed environments, fluid animations, and impressive visual effects. The game demonstrated the potential of video game consoles to deliver cinematic and immersive experiences, paving the way for future advancements in graphics, physics, and artificial intelligence in games.
Ambiguous and Open-to-Interpretation Narrative: While many games of the time told linear and straightforward stories, Shadow of the Colossus adopted a more ambiguous and open-to-interpretation approach. Its enigmatic narrative and ambiguous ending challenged players to reflect on deeper themes such as morality, sacrifice, and redemption. This influenced a trend towards more mature and complex narratives in games, where players are encouraged to actively participate in constructing the meaning of the story.
Furthermore, Shadow of the Colossus pushed the technical boundaries of the PlayStation 2 hardware, showcasing the potential for games to be considered works of art. The game's expansive landscapes, dynamic lighting effects, and lifelike animations set a new standard for visual fidelity, demonstrating the medium's capacity for immersive storytelling. Its influence can be seen in subsequent titles that prioritize atmosphere and narrative depth over traditional gameplay mechanics, cementing its status as a landmark achievement in gaming history.
Nearly two decades after its initial release, Shadow of the Colossus continues to captivate audiences with its timeless appeal and open-ended narrative. Its enigmatic story and ambiguous ending have sparked countless interpretations and fan theories, fostering a vibrant community of enthusiasts who eagerly dissect every detail of the game's lore. From philosophical discussions about the nature of morality to speculative analyses of its hidden secrets, Shadow of the Colossus remains a fertile ground for intellectual exploration and creative expression.
Moreover, the game's influence extends beyond the realm of gaming, inspiring artists, writers, and filmmakers to explore similar themes of isolation, sacrifice, and existential angst. Its legacy can be felt in works of literature, cinema, and other forms of media, underscoring the enduring impact of its narrative and aesthetic achievements.
Shadow of the Colossus stands as a seminal work in the annals of video game history, pushing the boundaries of the medium and challenging players to confront profound philosophical questions. Its revolutionary gameplay mechanics, stunning visual design, and thought-provoking themes have earned it a place of honor among gaming enthusiasts and critics alike. As the years pass, its legacy only continues to grow, solidifying its status as a timeless masterpiece that transcends the limitations of its medium.
Shadow of the Colossus stands as a testament to the artistic potential of video games, transcending the boundaries of mere entertainment to deliver a profound philosophical experience. Released in 2005 for the PlayStation 2 and later remastered for newer platforms, this game continues to captivate audiences worldwide with its haunting beauty, enigmatic narrative, and thought-provoking themes. In this review, we'll delve into the philosophical underpinnings of Shadow of the Colossus and explore its revolutionary impact on the gaming industry, as well as the enduring legacy it has fostered among fans who continue to unravel its mysteries and debate its deeper meanings.
At its core, Shadow of the Colossus grapples with profound existential questions about morality, sacrifice, and the consequences of human ambition. The protagonist, Wander, embarks on a solitary quest to resurrect a deceased loved one by slaying sixteen colossal beings known as Colossi. However, as Wander progresses on his quest, players are forced to confront the moral ambiguity of his actions. Is the pursuit of personal desires worth the destruction wrought upon these majestic creatures? The game prompts players to reflect on the ethical implications of their actions, challenging conventional notions of heroism and villainy.
Moreover, Shadow of the Colossus explores themes of isolation and existential dread, as Wander traverses the desolate landscapes of the Forbidden Land. The sparse environment and minimalist storytelling evoke a sense of solitude, inviting players to contemplate the nature of their own existence in relation to the vast, indifferent world around them. The game's atmospheric soundtrack and breathtaking visuals further enhance this sense of immersion, drawing players into a mesmerizing realm where beauty and melancholy intertwine.
Upon its release, Shadow of the Colossus garnered widespread acclaim for its innovative gameplay mechanics, striking visual design, and emotionally resonant storytelling. Unlike traditional action-adventure games, which often prioritize combat and exploration, Shadow of the Colossus places a singular focus on the epic battles against the Colossi. Each encounter is a meticulously crafted puzzle, requiring players to analyze the creature's behavior and weaknesses to overcome seemingly insurmountable odds. This novel approach to gameplay challenged conventions and inspired a new wave of experimental game design.
The gameplay mechanics of Shadow of the Colossus had a profound impact on the evolution of gaming technology, particularly considering its unique and innovative approach to game design. Here are some ways in which its mechanics influenced and shaped the future development of games:
Focus on Scale and Intimacy: While many games of the time focused on vast open worlds filled with secondary activities, Shadow of the Colossus opted for a more intimate and focused approach. Each encounter with the Colossi was a singular and immersive experience, standing out for its monumental scale and the close relationship between the player and their opponent. This demonstrated that games don't need to be huge in scope to be impactful, but rather offer deeply engaging and memorable experiences.
Breaking Action Game Conventions: While many action games emphasized frenetic combat and uninterrupted action sequences, Shadow of the Colossus challenged these conventions by offering deliberate and strategic encounters with the Colossi. Each battle was a puzzle-like experience, requiring players to observe the enemy's behavior and discover their weaknesses. This influenced a shift towards more contemplative and strategic gameplay in many subsequent action-adventure games.
Innovative Use of Technology: Shadow of the Colossus made the most of the technology available at the time, pushing the limits of the PlayStation 2 hardware to create vast and detailed environments, fluid animations, and impressive visual effects. The game demonstrated the potential of video game consoles to deliver cinematic and immersive experiences, paving the way for future advancements in graphics, physics, and artificial intelligence in games.
Ambiguous and Open-to-Interpretation Narrative: While many games of the time told linear and straightforward stories, Shadow of the Colossus adopted a more ambiguous and open-to-interpretation approach. Its enigmatic narrative and ambiguous ending challenged players to reflect on deeper themes such as morality, sacrifice, and redemption. This influenced a trend towards more mature and complex narratives in games, where players are encouraged to actively participate in constructing the meaning of the story.
Furthermore, Shadow of the Colossus pushed the technical boundaries of the PlayStation 2 hardware, showcasing the potential for games to be considered works of art. The game's expansive landscapes, dynamic lighting effects, and lifelike animations set a new standard for visual fidelity, demonstrating the medium's capacity for immersive storytelling. Its influence can be seen in subsequent titles that prioritize atmosphere and narrative depth over traditional gameplay mechanics, cementing its status as a landmark achievement in gaming history.
Nearly two decades after its initial release, Shadow of the Colossus continues to captivate audiences with its timeless appeal and open-ended narrative. Its enigmatic story and ambiguous ending have sparked countless interpretations and fan theories, fostering a vibrant community of enthusiasts who eagerly dissect every detail of the game's lore. From philosophical discussions about the nature of morality to speculative analyses of its hidden secrets, Shadow of the Colossus remains a fertile ground for intellectual exploration and creative expression.
Moreover, the game's influence extends beyond the realm of gaming, inspiring artists, writers, and filmmakers to explore similar themes of isolation, sacrifice, and existential angst. Its legacy can be felt in works of literature, cinema, and other forms of media, underscoring the enduring impact of its narrative and aesthetic achievements.
Shadow of the Colossus stands as a seminal work in the annals of video game history, pushing the boundaries of the medium and challenging players to confront profound philosophical questions. Its revolutionary gameplay mechanics, stunning visual design, and thought-provoking themes have earned it a place of honor among gaming enthusiasts and critics alike. As the years pass, its legacy only continues to grow, solidifying its status as a timeless masterpiece that transcends the limitations of its medium.
This review contains spoilers
Nota 9
Uma premissa que ao olhar de muitas pessoas possa parecer "chata" e "Vazia", pra mim foi uma das coisas mais curiosas e interessantes que eu já joguei.
A proposta de cara já me fisgou. Para mim foi simplesmente cruel da parte narrativa e muito tocante da parte audiovisual o preceito base para você enfrentar os colossos. Você precisa fazer de tudo para salvar alguém que você ama, até mesmo encarar a solidão de uma enigmática planície amaldiçoada e matar friamente criaturas que só estavam dormindo e desfrutando da paz da solidão desse mundo.
Você sente através das estruturas, do cenário, da geografia do mapa que aquele lugar contém uma história fascinante que nunca será nem sequer descoberta por nós. Você pode só simplesmente tentar a contemplar em sua jornada de ódio e tremenda tristeza. Toda vez que um deles cai você sente demais mesmo.
E para te emergir nesse mundo o jogo tecnicamente é impecável em todos os quesitos. O design é macabro, fantasioso e bem pé no chão; a trilha sonora e sua ausência é ideal para a contemplação do mundo e para o ar tenso das excelentes batalhas, e o som, a sonoplastia é assustadoramente bem feita. Você sente pelo som específico do vento em certas alturas, pelo jeito que sua voz ecoa, pelo pisar dos colossos, você sente uma imersão total naquele mundo.
E sério era simplesmente um colosso mais interessante e desafiador que o outro; que vibe de gameplay diferente, que tensão, que RAIVA QUE DÁ CAIR DESSES BIXOS. E tudo isso leva a combates extremamente grandiosos em proporção épica. Más seria mesmo épica? Enquanto você luta você sente a euforia que irá captar o seu espírito jovial, más ao completar seu trabalho você quase que prenuncia o que estaria por vir do final maléfico do jogo. Você só sente um alívio por ter acabado e uma simples e genuína melancolia.
(SPOILERS)
O "Acontecimento" da égua Agro é simplesmente irretocável. Você cria um senso de empatia com ela que é absurdo! Ela é sua única companhia nesse mundo totalmente vazio... Toda vez que você vence e é transportado para o templo está ela indo até você percorrendo diversos quilometros sozinha sem saber seu estado. Durante a batalha contra os mais terríveis colossos ela nunca o abandona mesmo ferida. Ela de fato age como um cavalo muito realista, você tem que ter cuidado ao cavalgar com ela. Tudo isso gera um sentimento de conforto perto daquele quatro patas.
Para você enfrentar o desafio final o jogador sabe muitíssimo bem que terá que correr com ela em um lugar frágil e ele o faz para encerrar a jornada. Quando ela cai, tanto o jogador quanto o personagem não tem volta, nem mais o que se apegar no jogo além do único objetivo de encarar o último dos desafios.
Reta final simplesmente primorosa. O desfecho imersivo da gameplay no momento da possessão do protagonista também é incrível. Só nos resta aquele sabor dúbio que ficou na boca e encarar os ótimos créditos. Os colossos eram guardiões que abrigavam espíritos malignos dentro deles para proteger o mundo, e mesmo após o próprio mundo estar em ruínas eles só queriam apreciar a paz que suas funções agora exercem. Nos créditos eles são apenas cadáveres se transformando em pedra, agora se tornando um com o mundo esquecido que nunca será entendido pelos futuros homens.
Uma premissa que ao olhar de muitas pessoas possa parecer "chata" e "Vazia", pra mim foi uma das coisas mais curiosas e interessantes que eu já joguei.
A proposta de cara já me fisgou. Para mim foi simplesmente cruel da parte narrativa e muito tocante da parte audiovisual o preceito base para você enfrentar os colossos. Você precisa fazer de tudo para salvar alguém que você ama, até mesmo encarar a solidão de uma enigmática planície amaldiçoada e matar friamente criaturas que só estavam dormindo e desfrutando da paz da solidão desse mundo.
Você sente através das estruturas, do cenário, da geografia do mapa que aquele lugar contém uma história fascinante que nunca será nem sequer descoberta por nós. Você pode só simplesmente tentar a contemplar em sua jornada de ódio e tremenda tristeza. Toda vez que um deles cai você sente demais mesmo.
E para te emergir nesse mundo o jogo tecnicamente é impecável em todos os quesitos. O design é macabro, fantasioso e bem pé no chão; a trilha sonora e sua ausência é ideal para a contemplação do mundo e para o ar tenso das excelentes batalhas, e o som, a sonoplastia é assustadoramente bem feita. Você sente pelo som específico do vento em certas alturas, pelo jeito que sua voz ecoa, pelo pisar dos colossos, você sente uma imersão total naquele mundo.
E sério era simplesmente um colosso mais interessante e desafiador que o outro; que vibe de gameplay diferente, que tensão, que RAIVA QUE DÁ CAIR DESSES BIXOS. E tudo isso leva a combates extremamente grandiosos em proporção épica. Más seria mesmo épica? Enquanto você luta você sente a euforia que irá captar o seu espírito jovial, más ao completar seu trabalho você quase que prenuncia o que estaria por vir do final maléfico do jogo. Você só sente um alívio por ter acabado e uma simples e genuína melancolia.
(SPOILERS)
O "Acontecimento" da égua Agro é simplesmente irretocável. Você cria um senso de empatia com ela que é absurdo! Ela é sua única companhia nesse mundo totalmente vazio... Toda vez que você vence e é transportado para o templo está ela indo até você percorrendo diversos quilometros sozinha sem saber seu estado. Durante a batalha contra os mais terríveis colossos ela nunca o abandona mesmo ferida. Ela de fato age como um cavalo muito realista, você tem que ter cuidado ao cavalgar com ela. Tudo isso gera um sentimento de conforto perto daquele quatro patas.
Para você enfrentar o desafio final o jogador sabe muitíssimo bem que terá que correr com ela em um lugar frágil e ele o faz para encerrar a jornada. Quando ela cai, tanto o jogador quanto o personagem não tem volta, nem mais o que se apegar no jogo além do único objetivo de encarar o último dos desafios.
Reta final simplesmente primorosa. O desfecho imersivo da gameplay no momento da possessão do protagonista também é incrível. Só nos resta aquele sabor dúbio que ficou na boca e encarar os ótimos créditos. Os colossos eram guardiões que abrigavam espíritos malignos dentro deles para proteger o mundo, e mesmo após o próprio mundo estar em ruínas eles só queriam apreciar a paz que suas funções agora exercem. Nos créditos eles são apenas cadáveres se transformando em pedra, agora se tornando um com o mundo esquecido que nunca será entendido pelos futuros homens.
Classic - loses half a point for occasionally clunky controls.
Tomei tempo pra zerar esse pela primeira vez. Demorei muito. Verdadeira obra de arte.
Videogame é arte?
Forewarning: It's basically impossible to talk about this game in any detail without spoiling key aspects of it, so if you want to experience it for yourself I recommend staying away from this review (or others) until you've played it.
My brother, at one point in our childhood, managed to get ahold of a PS2 and a stack of games to go with it. The end result was the two of us coming into contact with a great many experiences that had eluded us due to only owning Nintendo devices previously. This included series like Metal Gear Solid, Final Fantasy and Grand Theft Auto. Of all the games we had managed to accumulate, though, one particular 2005 release titled “Shadow of the Colossus” really seemed to command his attention. I tried it for myself and ended up spending one lonely day bathing in its pale golden rays. There were times when I kind of wanted to tear my hair out… But I kept on regardless. Those eight or so hours have stuck with me for a long time.
The tale Team Ico is telling here is as simple as they come. A youth named Wander has entered a cursed and forbidden land with three things in tow: A valiant mount named Agro, an enchanted blade, and the lifeless body of a girl. He brings this body to an ancient shrine and is approached by a spirit known as Dormin. Wander asks if the girl can be brought back to life. Dormin suggests it is possible, but only on one condition – Wander must scour the Forbidden Lands for sixteen colossi and slay each one. Only then will Dormin have the power to grant Wander’s request. The boy unflinchingly accepts. Led by a mysterious light emanating from his sword, he sets off to fulfill his end of the bargain. There are hints that nothing here is quite so straightforward as it seems, and while some of the shadows surrounding this narrative are dispelled with time, just as much is kept obscured.
Every aspect of the game feels intentional, even when there’s fair reason to assume otherwise. Wander is a skilled rider and bowman, which is translated through gameplay. What is also translated through gameplay is that the poor fellow has clearly never held a sword for more than a few minutes, wielding his ancient blade with all the finesse of a child playing with a handsome stick found by the creek. A shame, then, that flinging what may as well be toothpicks at your towering targets will predictably avail you of naught. And Agro, while being as trusty a steed as they come, is clearly of different stock than the gravity-defying horses that inhabit the province of Skyrim. You’re going to have to get up onto that walking tower under your own power and give it a good stabbing if you want to have any hope of bringing it down. What follows is a gut-wrenching dance wherein you desperately seek an opening to clamber up to that glowing weak spot, striving to avoid being crushed like a bug or flung unto the hard and uncaring earth. Each move the colossus makes causes your controller to vibrate violently, and even the Playstation 2’s hardware seems to falter beneath the utter weight of the tragic monstrosities it endeavors to display. All the while, a sweeping orchestral soundtrack swells from menacing to triumphant as you slowly but surely manage to accomplish the impossible. The staggering sense of scale and the accompanying drama have rarely been matched by other games in the past two decades.
And as you would probably expect of any deal with the devil, this exercise involves no small amount of pain. The Forbidden Lands, while eerie and beautiful, are also barren and lifeless, save for a few decrepit structures and a light sprinkling of flora and fauna. Every new mark seems more distant and difficult to reach than the last, and you will become intimately familiar with each empty stretch of this realm in your travels. You really feel Wander’s relative weakness and scaling each boss can be a deeply frustrating task, which is in no way helped by the awkward controls and combative camera. Nothing quite boils the blood like getting shaken off one poke away from felling your foe. If the sheen of the spectacle wears off somewhere between scene one and scene sixteen, there isn’t much left for you here. Aside from one or two little secrets, this world is just as empty as it feels. Thus, if the idea of exploration for exploration’s sake doesn’t grab you, then you will find very little reason to persist. And as previously suggested, the framerate does chug at times. I doubt this will be too much of an issue for most, but it is worth mentioning.
What will probably make Shadow of the Colossus hardest to stomach for some, though, is the moral ambiguity surrounding its protagonists and the nature of your charge. Wander is not some righteous and just warrior facing off against an unquestionably dangerous villain. Dormin may or not be a benevolent entity and is decidedly not a beloved one. The religious enforcers that pursue you might seem to be wantonly zealous at worst, but what if they have very good reasons for rushing to stop Wander? As to your targets - the sixteen colossi seem perfectly content to exist in perpetual solitude, peacefully milling about until you arrive. Even then, some of them only seem to attack out of animalistic instinct, some pay you no heed at all until you actively threaten them, and some outright flee from you. Video games have long been centered around the simple task-reward structure of giving you a treat and a pat on the back for completing your objectives before urging you on to the next stage. This transactional nature is very much present in SotC and is mirrored in the narrative, as each titan you topple puts you one step closer to saving a life in addition to making Wander just a touch more able. However, the intrinsic feeling of triumph that is typically associated with these experiences can potentially be snuffed out by the tragic tone that underscores each encounter. While you might be capable of understanding your character’s loss and their desperate desire to right what has gone wrong, you might find it much harder to accept that the ends justify the means. You are not a hero in this tale. You are a hunter. You may end up questioning if any of this is truly worth the blood you’ve shed. You might wish for an alternative.
Maybe you don't need to slay the colossi at all. Maybe you can abandon your quest, find a nice patch of grass and quietly sit with Agro while taking in the bloom and gloom. Maybe you can eke out a living riding to and fro and subsisting off fruit and lizard tails. Maybe you could just turn off the console. Loss is a natural part of life. Your beloved is gone. Shouldn’t you accept that and move on? Shouldn’t you leave this forbidden land - the denizens of which are seemingly guilty of no crime under man or god – to continue to exist forgotten and undisturbed?
But then I guess there wouldn’t be a game.
The simple fact of the matter is that this is Wander’s story, and he didn’t steal a magic sword and travel untold miles with his girlfriend’s cadaver in tow to just give up the second he started feeling a tinge of guilt. Once that first colossus hits the ground, there’s only one path left. The dying groans of your unwilling victims and the somber music that accompanies their demise might leave a bad taste in your mouth, but if Wander is having second thoughts at all, he doesn’t let it show. And maybe you can stop playing any time you want, but I get the distinct impression that if it was somehow possible to turn control over to your avatar, he’d jump right back into his killing spree without an ounce of hesitation. The game never asks you to take a side; it’s been chosen for you already. It may be that Dormin has nothing but ill will for humanity, and perhaps they will betray you in the end. Perhaps they were never capable of fulfilling your wish in the first place. None of that matters. Opportunities to cheat death don’t come every day. If life isn’t worth living without her, then what alternative do you really have?
Ultimately, pyrrhic is the only word that can be used to describe your eventual victory. The true nature of the ending is left as uncertain as everything that came before and may raise just as many questions as it provides answers, not only unto itself but also with regards to Team Ico’s namesake and maiden title. For me, at least, the mood was intensely somber but not without a spark of hope. After playing so many games with endings that are bittersweet at absolute worst, having those sentiments flipped on their head was definitely something that I needed at the time.
Shadow of the Colossus did not attempt to offer what I think most would consider a broadly enjoyable gameplay experience. Strip away the story and aesthetics and all that remains is a clunky, choppy collection of boss fights preceded by lengthy hallways. However, while some may be able to fully divorce in their minds the game proper from the package it’s wrapped in, to do so for a title like this one is to perform a disservice. They are deliberately and irreversibly intertwined. To me, SotC is a game that feels like one of the rare opportunities for an industry-backed developer to turn their nose up at convention and make an experience that conveys their intended vision. Many critics considered it a success, and many players have similar feelings. Maybe you feel it’s a masterpiece or just another overrated piece of artistic intrigue, or anywhere in-between. In my opinion, if nothing else, it’s an experiment that definitely left a mark on both me and my hobby, and one that I think we gravely need to see more of.
My brother, at one point in our childhood, managed to get ahold of a PS2 and a stack of games to go with it. The end result was the two of us coming into contact with a great many experiences that had eluded us due to only owning Nintendo devices previously. This included series like Metal Gear Solid, Final Fantasy and Grand Theft Auto. Of all the games we had managed to accumulate, though, one particular 2005 release titled “Shadow of the Colossus” really seemed to command his attention. I tried it for myself and ended up spending one lonely day bathing in its pale golden rays. There were times when I kind of wanted to tear my hair out… But I kept on regardless. Those eight or so hours have stuck with me for a long time.
The tale Team Ico is telling here is as simple as they come. A youth named Wander has entered a cursed and forbidden land with three things in tow: A valiant mount named Agro, an enchanted blade, and the lifeless body of a girl. He brings this body to an ancient shrine and is approached by a spirit known as Dormin. Wander asks if the girl can be brought back to life. Dormin suggests it is possible, but only on one condition – Wander must scour the Forbidden Lands for sixteen colossi and slay each one. Only then will Dormin have the power to grant Wander’s request. The boy unflinchingly accepts. Led by a mysterious light emanating from his sword, he sets off to fulfill his end of the bargain. There are hints that nothing here is quite so straightforward as it seems, and while some of the shadows surrounding this narrative are dispelled with time, just as much is kept obscured.
Every aspect of the game feels intentional, even when there’s fair reason to assume otherwise. Wander is a skilled rider and bowman, which is translated through gameplay. What is also translated through gameplay is that the poor fellow has clearly never held a sword for more than a few minutes, wielding his ancient blade with all the finesse of a child playing with a handsome stick found by the creek. A shame, then, that flinging what may as well be toothpicks at your towering targets will predictably avail you of naught. And Agro, while being as trusty a steed as they come, is clearly of different stock than the gravity-defying horses that inhabit the province of Skyrim. You’re going to have to get up onto that walking tower under your own power and give it a good stabbing if you want to have any hope of bringing it down. What follows is a gut-wrenching dance wherein you desperately seek an opening to clamber up to that glowing weak spot, striving to avoid being crushed like a bug or flung unto the hard and uncaring earth. Each move the colossus makes causes your controller to vibrate violently, and even the Playstation 2’s hardware seems to falter beneath the utter weight of the tragic monstrosities it endeavors to display. All the while, a sweeping orchestral soundtrack swells from menacing to triumphant as you slowly but surely manage to accomplish the impossible. The staggering sense of scale and the accompanying drama have rarely been matched by other games in the past two decades.
And as you would probably expect of any deal with the devil, this exercise involves no small amount of pain. The Forbidden Lands, while eerie and beautiful, are also barren and lifeless, save for a few decrepit structures and a light sprinkling of flora and fauna. Every new mark seems more distant and difficult to reach than the last, and you will become intimately familiar with each empty stretch of this realm in your travels. You really feel Wander’s relative weakness and scaling each boss can be a deeply frustrating task, which is in no way helped by the awkward controls and combative camera. Nothing quite boils the blood like getting shaken off one poke away from felling your foe. If the sheen of the spectacle wears off somewhere between scene one and scene sixteen, there isn’t much left for you here. Aside from one or two little secrets, this world is just as empty as it feels. Thus, if the idea of exploration for exploration’s sake doesn’t grab you, then you will find very little reason to persist. And as previously suggested, the framerate does chug at times. I doubt this will be too much of an issue for most, but it is worth mentioning.
What will probably make Shadow of the Colossus hardest to stomach for some, though, is the moral ambiguity surrounding its protagonists and the nature of your charge. Wander is not some righteous and just warrior facing off against an unquestionably dangerous villain. Dormin may or not be a benevolent entity and is decidedly not a beloved one. The religious enforcers that pursue you might seem to be wantonly zealous at worst, but what if they have very good reasons for rushing to stop Wander? As to your targets - the sixteen colossi seem perfectly content to exist in perpetual solitude, peacefully milling about until you arrive. Even then, some of them only seem to attack out of animalistic instinct, some pay you no heed at all until you actively threaten them, and some outright flee from you. Video games have long been centered around the simple task-reward structure of giving you a treat and a pat on the back for completing your objectives before urging you on to the next stage. This transactional nature is very much present in SotC and is mirrored in the narrative, as each titan you topple puts you one step closer to saving a life in addition to making Wander just a touch more able. However, the intrinsic feeling of triumph that is typically associated with these experiences can potentially be snuffed out by the tragic tone that underscores each encounter. While you might be capable of understanding your character’s loss and their desperate desire to right what has gone wrong, you might find it much harder to accept that the ends justify the means. You are not a hero in this tale. You are a hunter. You may end up questioning if any of this is truly worth the blood you’ve shed. You might wish for an alternative.
Maybe you don't need to slay the colossi at all. Maybe you can abandon your quest, find a nice patch of grass and quietly sit with Agro while taking in the bloom and gloom. Maybe you can eke out a living riding to and fro and subsisting off fruit and lizard tails. Maybe you could just turn off the console. Loss is a natural part of life. Your beloved is gone. Shouldn’t you accept that and move on? Shouldn’t you leave this forbidden land - the denizens of which are seemingly guilty of no crime under man or god – to continue to exist forgotten and undisturbed?
But then I guess there wouldn’t be a game.
The simple fact of the matter is that this is Wander’s story, and he didn’t steal a magic sword and travel untold miles with his girlfriend’s cadaver in tow to just give up the second he started feeling a tinge of guilt. Once that first colossus hits the ground, there’s only one path left. The dying groans of your unwilling victims and the somber music that accompanies their demise might leave a bad taste in your mouth, but if Wander is having second thoughts at all, he doesn’t let it show. And maybe you can stop playing any time you want, but I get the distinct impression that if it was somehow possible to turn control over to your avatar, he’d jump right back into his killing spree without an ounce of hesitation. The game never asks you to take a side; it’s been chosen for you already. It may be that Dormin has nothing but ill will for humanity, and perhaps they will betray you in the end. Perhaps they were never capable of fulfilling your wish in the first place. None of that matters. Opportunities to cheat death don’t come every day. If life isn’t worth living without her, then what alternative do you really have?
Ultimately, pyrrhic is the only word that can be used to describe your eventual victory. The true nature of the ending is left as uncertain as everything that came before and may raise just as many questions as it provides answers, not only unto itself but also with regards to Team Ico’s namesake and maiden title. For me, at least, the mood was intensely somber but not without a spark of hope. After playing so many games with endings that are bittersweet at absolute worst, having those sentiments flipped on their head was definitely something that I needed at the time.
Shadow of the Colossus did not attempt to offer what I think most would consider a broadly enjoyable gameplay experience. Strip away the story and aesthetics and all that remains is a clunky, choppy collection of boss fights preceded by lengthy hallways. However, while some may be able to fully divorce in their minds the game proper from the package it’s wrapped in, to do so for a title like this one is to perform a disservice. They are deliberately and irreversibly intertwined. To me, SotC is a game that feels like one of the rare opportunities for an industry-backed developer to turn their nose up at convention and make an experience that conveys their intended vision. Many critics considered it a success, and many players have similar feelings. Maybe you feel it’s a masterpiece or just another overrated piece of artistic intrigue, or anywhere in-between. In my opinion, if nothing else, it’s an experiment that definitely left a mark on both me and my hobby, and one that I think we gravely need to see more of.
great storytelling techniques, great bosses, wish dark souls was more like this
the blinding bloom adds to the experience
bão
e-eu to jogando esse jogo com a dublagem nordestina...
pq eu nunca zerei isso no ps2 até hoje
The best game i ever played
I hate that i dont click with this game but i just dont. I did not enjoy this game much at all. The best part of it was the design of the world and collosi. Tge atmosphere and sense of scale was amazing. The controls and waiting game many of the collosi ended up as bored me to no end unfortunately. For me this whole game felt like the saying style vs substance.
Rejugado por enésima vez. Vaya juego increíble.
Shadow of the Colossus was a bit of a love-hate experience for me personally, but overall, I quite loved playing through it. Mostly some amazing boss fights, with innovative and great mechanics, and breathtaking setpieces. In terms of complaints though, some of the mechanics frustrated me to no end. Besides the inherent gameplay jank that comes with the game's age (I can excuse this), I disliked how little the game hardly conveyed information to you on the things you need to do.
I feel a bit ashamed to admit I needed to look up guides to a few of the bosses, but seriously, some of these mechanics I never would have guessed unless I was directly told of them. It made progression sometimes very frustrating. I'm not really talking about navigation and exploration either, those were some of my favorite parts of the game. Most of my complaints lie in the bosses, but besides those complaints, as I don't really feel like getting super specific, when the bosses mechanically clicked, coming out on top at the end of a fight really did feel incredible. It felt triumphant in a way I haven't gotten from a game in a hot minute.
On another note though, it's really cool to think about how influential this game went on to be in the years following its release. Much of said influence went into several of my favorite games ever. Breath of the Wild of course, but besides the obvious, climbing the colossi and following set-out mechanics to come out on top, I was even reminded of my time playing things like Destiny, fighting raid bosses through epic setpieces I still think about almost three years since quitting the game. The comparison may be a bit out there, but it's still a connection I think holds at least some merit.
To put my feelings about this game in more general terms, this is one of those touchstone-type games that people have and will continue to look back on as the start of so many exciting things in the medium. Now that I've played the game, I look at my catalog of everything I played and wonder how many of them wouldn't be there if it weren't for what this game did. Very happy I found a copy and got around to playing it. And that ending was spectacular.
Also posted on my blog :)
I feel a bit ashamed to admit I needed to look up guides to a few of the bosses, but seriously, some of these mechanics I never would have guessed unless I was directly told of them. It made progression sometimes very frustrating. I'm not really talking about navigation and exploration either, those were some of my favorite parts of the game. Most of my complaints lie in the bosses, but besides those complaints, as I don't really feel like getting super specific, when the bosses mechanically clicked, coming out on top at the end of a fight really did feel incredible. It felt triumphant in a way I haven't gotten from a game in a hot minute.
On another note though, it's really cool to think about how influential this game went on to be in the years following its release. Much of said influence went into several of my favorite games ever. Breath of the Wild of course, but besides the obvious, climbing the colossi and following set-out mechanics to come out on top, I was even reminded of my time playing things like Destiny, fighting raid bosses through epic setpieces I still think about almost three years since quitting the game. The comparison may be a bit out there, but it's still a connection I think holds at least some merit.
To put my feelings about this game in more general terms, this is one of those touchstone-type games that people have and will continue to look back on as the start of so many exciting things in the medium. Now that I've played the game, I look at my catalog of everything I played and wonder how many of them wouldn't be there if it weren't for what this game did. Very happy I found a copy and got around to playing it. And that ending was spectacular.
Also posted on my blog :)
I would say that I like this version better than the 2018 remaster, even though I've played that version more times than I can count, but there's just too much bloom and it was starting to physically hurt my eyes.
Note that this is just a minor critique. I still think this game is a masterpiece and am more than grateful that I got to experience both versions.
Note that this is just a minor critique. I still think this game is a masterpiece and am more than grateful that I got to experience both versions.
That grip strength is insane
Jokes aside, beautiful game, like just beautiful. Made me feel some type of way. The OST, the world design, everything.
The story is also emotional despite being very mysterious, and despite the ending being slightly nonsensical I still love how it's presented and it overall does work
Game sure does have it's flaws, but it's one of the best experiences I've had without a doubt
5-star meal, Team Ico indubitably cooked
Jokes aside, beautiful game, like just beautiful. Made me feel some type of way. The OST, the world design, everything.
The story is also emotional despite being very mysterious, and despite the ending being slightly nonsensical I still love how it's presented and it overall does work
Game sure does have it's flaws, but it's one of the best experiences I've had without a doubt
5-star meal, Team Ico indubitably cooked
How this game was able to run on the Playstation 2 is black magic.
The world is flawless, the puzzle mechanics to each boss is satisfying, and there's atmosphere for days. I'll never forget jumping onto the wing of the fifth colossus and the epic sense of grandeur that ensued as you fly through the air, desperately hanging on.
The world is flawless, the puzzle mechanics to each boss is satisfying, and there's atmosphere for days. I'll never forget jumping onto the wing of the fifth colossus and the epic sense of grandeur that ensued as you fly through the air, desperately hanging on.
A good deal of my brain space is devoted to thinking about this game.
Atmosfer olarak mükemmel olsada 4.bossu bulamadım ve at sürme mekaniği gerçekten rezalet remake i yapmaları tam isabet olmuş.
Nossa como esse jogo é branco.
Misericórdia, a luz toda estourada no ps2.
Mas o jogo tem muito uma vibe só dele, a versão antiga não tem muita ambientação, é tudo muito flat. Mas pela idade do jogo e pelo tamanho do mundo aberto é bem compreensível e não diminui a experiência do jogo. Mútuo bom!
É um jogão do ps2 (e do ps4 tbm)
Misericórdia, a luz toda estourada no ps2.
Mas o jogo tem muito uma vibe só dele, a versão antiga não tem muita ambientação, é tudo muito flat. Mas pela idade do jogo e pelo tamanho do mundo aberto é bem compreensível e não diminui a experiência do jogo. Mútuo bom!
É um jogão do ps2 (e do ps4 tbm)
Jogaço do caralho
É tão misterioso... e lindo
the twist in retrospect seems so obvious but i swear when it clicks i felt like i had the wind taken out of me.
Mate colossos para completar seu objetivo, e é isso, o jogo não tem mais nada para se fazer, e mesmo assim é incrível. Explorá-lo, sentir o mistério e se fazer várias perguntas, principalmente: Oque estou fazendo é o certo?
Trilha sonora perfeita, combina com a vibe do jogo.
No fim você olhará para trás e refletirá sobre sua jornada, você é um héroi?
Trilha sonora perfeita, combina com a vibe do jogo.
No fim você olhará para trás e refletirá sobre sua jornada, você é um héroi?
Shadows of the Colossus, released in 2005 by Team Ico to the ever popular PS2, is a game that I cherished as I child, playing it on my sibling and I's own console. After procrastinating to find time for a good moment in which to do it, I finally decided that it was time to relive an old game, and it did not disappoint at all. I certainly have some issues with this game such as the controls for Agro being infuriating to the point I would sometimes just walk to places in annoyance, or my complaints on 2 of the Colossi this game makes you fight (12th & 15th) in which they would seemingly elongate the fight beyond what it should've taken by simply not doing the attack they were meant to do for extended periods of time, though this may just be a me issue and something in which my patience or lack there of takes the reigns and makes me dislike the bosses more than they may be experienced by others, however even with these complaints or critiques I still don't believe them to be something worthy of reducing my score on this game or ruining my thoughts, simply because of how easily those 'flaws' can be counteracted by the absolute positives of this game, which include basically everything else: from the amazingly beautiful 'show don't tell' type story surrounding Wanderer and others, an absolutely enthralling atmosphere, and clunky controls that at least to me with SoTC, are quite charming.
Speaking of positives in this game to counteract the negatives, beyond the 2 negative Colossi this game provides, the rest of the boss cast are either of average ranking or something I'd consider good (5th, 14th, and 16th) and even beyond those, one fight in particular stands out to me as being probably one of the best fights I've done in a game before. That boss referenced previous is Colossi 13, Phalanx, a seemingly simple fight of shooting them down to board their wings and stab them down turns into an absolutely mesmerizing fight when taken into account with its beautifully composed melody tunes in as you soar through the sky.
Overall this experience has been an absolutely fantastic one and one I'm happy I got back to replaying.
Speaking of positives in this game to counteract the negatives, beyond the 2 negative Colossi this game provides, the rest of the boss cast are either of average ranking or something I'd consider good (5th, 14th, and 16th) and even beyond those, one fight in particular stands out to me as being probably one of the best fights I've done in a game before. That boss referenced previous is Colossi 13, Phalanx, a seemingly simple fight of shooting them down to board their wings and stab them down turns into an absolutely mesmerizing fight when taken into account with its beautifully composed melody tunes in as you soar through the sky.
Overall this experience has been an absolutely fantastic one and one I'm happy I got back to replaying.
insane
I played this game in 2022, and I think it aged poorly. Maybe the concept was innovative in 2005, but I wasn't impressed when I played. The story and "moral" aspect to the game are its best qualities and the only reason that got me through the game. I found that fighting the bosses was boring and easy, and the exploration of the map felt the same. I didn't want to play it past the endgame...
muito muito único
Marceline jogou e eu assisti
Marceline jogou e eu assisti