In Shadow, for example, we see an excellent example of leaving the player to discover his own way, without extensive hand-holding. While the rerendered graphics and stereoscopic 3D support help both games look and feel newer than their ages (10 years and 6 years, respectively), these are still clearly a product of a previous generation. Shadow, on the other hand, isn't as able to fully commit in that way, and players end up spending too much time listening to long-winded exposition provided by the mysterious force behind your monster-hunting task. Ico in particular has a silent film quality, and part of the game's iconic appeal is its ability to tell a story with a bare minimum of plotting or dialogue. The visual language is completely different (and there's a much stronger narrative element), but these games remind me of the otherworldly, nightmarish quality of experimental films such as Meshes of the Afternoon or Un Chien Andalou. While it's a common enough device in games, these are still a pair of excellent examples of environment-as-character, from the castle ruins of Ico to the stone temples and open plains of Shadow of the Colossus.īoth games are genuinely unsettling in their use of characters and locations that hint at the familiar, yet feel almost completely foreign at the same time. These games share an ethereal atmosphere that hovers between dreamlike and nightmarish, with muted colors, blooming lights, and a repeated juxtaposition of frail characters against imposing architecture. These are a pair of cult favorite games that will likely remain cult hits, but it's pleasing to see them have a chance to find a new, younger audience. While both games were critical favorites, this is not like rereleasing old Halo or God of War games, though Shadow did find some mainstream success.
The new versions of sister-games Ico and Shadow of the Colossus are a rarity in the interactive entertainment industry-a rerelease project that feels like it's being done for the right reasons.
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