The game instills a great "do with what you've got" attitude, and as such rewards you with a greater sense of accomplishment as you never really receive any extraneous help from the game via new items or the like. As your sword is said to be the only thing in the world that is capable of taking down the colossi you're after, it's pretty evident from the get-go that your small inventory is all you'll ever need and likely ever have access to throughout the game. You want to bring her back to life not only to complete the game, but to figure out who she is, why she had her life taken from her, and why she's so very important to you.įrom the start of the game, you're armed with your sword, a bow, your horse and the clothes on your back.
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Doubt apparently matters not though, as you're determined to do whatever it takes to bring her back, which helps install an even greater sense of purpose for your actions as the player. The setup is pretty cool in that you're told that things may not end up exactly as planned and that your loved one may or may not come back to life, giving you doubt as to whether the massive task you're about to set out on is worth it or not. You're told that it "may not be impossible" for her to come back, and you're sent on your way. You're then given the ominous task to defeat each of the sixteen colossi that roam the land, after which your female companion may or may not actually be brought back to life - don't worry, this isn't a spoiler you're told this at the outset.
But, great power also lies within this land, including the power to restore life to the dead. You're then given a voiceover that explains that the land you're in is a cursed one, forbidden for any living creature to enter. You're seen traveling across the game's exterior world before arriving upon an enclosed wasteland, setting forth within its central castle - one of the game's few man-made interior environments - and placing a clearly deceased girl upon a pedestal. You begin the game with very little setup. Shadow practically redefines the term "cinematic" in videogames, especially the sort where the player is in control during the entirety of the game. No game has done so much with so little, and no game has focused so much of its design and gambled so much of its experience on what essentially comes down to sixteen boss battles, the traveling to them between each fight and very little else.īut even with as simple a setup as this sounds, Shadow of the Colossus is an experience that is not to be missed. In this, Shadow excels more so than possibly any title in the history of gaming. Whereas most games rely on scattering their environments with living and breathing creatures, intricate structures, various types of foliage and the like to bring their worlds to life, the near-complete lack of any of these in the world of Shadow of the Colossus forces you to essentially paint your own picture of how the world came to be as it is, why it is essentially a wasteland, or even a prison if you will, for the colossi that inhabit said land. One thing that Shadow of the Colossus shares with ICO is its sense of solitude, one that overwhelms you with simultaneous feelings of calmness and despair.
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