Shadow of the Colossus

1) “[Like] so many wonderful moments in life and art, Shadow of the Colossus is defined by the space between its lines: the gulf between its quieter, contemplative moments and its tremendous spectacle. Strung end to end, its titanic battles would make for an amazing if exhausting barrage of action. But driving your horse across an imposing sunbaked expanse, twisting up through shade-mottled woods, only to find your ageless, unwitting foe at rest in the stillness of a lake gives the encounter exactly the breathing room it needs.”

2) “Valus is Ueda’s favorite colossus, a critically important introduction to the true meat of the game—one that took significant trial-and-error to get just right. It feels unfair until the moment it doesn't, all the accomplishment of fighting a ‘boss’ without the typical buildup. But at the same time I feel a bit conflicted by the violence of my actions and the reward of a solemn, uncelebrated death. It's clear even in this first victory that what I'm doing is wrong on some level, though I've journeyed too far to not continue at least a bit further down this road, into the depths of Dormin's deal.”

3) “As I clamber up his shoulder, there's a moment when Gaius seems to have forgotten me, looking out over the beauty of the sprawling lands, still and unthreatened. It doesn't last long, though, and he turns his attention back to the nuisance. These final moments of fighting Gaius are monumental—it feels like a fight to the death at the top of the world, a clear view for miles in every direction save for the writhing titan beneath me. It's also the first time that the scale of the game is truly communicated. Wander, as a relative ant, on the apex of a stories-tall giant, who's standing on an arena, on top of a towering column of rock, in a lake, in a crater. Somewhere far below, my speck of a horse runs back and forth nervously on the shore.”

4) “Andy Nealen, an expert on minimalist design and an assistant professor of computer science and game design at New York University, regularly uses Shadow as a reference point in his classes. He's also the co-creator of Osmos, a serene puzzle game (and early App Store success) about colliding with smaller objects and avoiding larger ones in a visual Petri dish. Nealen tells me via e-mail, ‘Minimalism allows a designer to have a strong vision, but not describe it in every single detail, thus leaving the player to explore the elements, their connections, and their dynamical meaning. It also means only leaving the best parts in the design: If one part is better than the others, the others become a liability, and need to be removed or radically improved. The best designs and design processes I have witnessed have a 'cutting foor’ that is ten times the size of the final game.’”

5 “[Before] I can fully stand he hits me again—and again—until I'm close to death. I finally manage to dodge one of his blows, luring him back across the courtyard and putting several obstacles between us as I climb back around and above him. He charges the column supporting the upper level that I'm now on and it comes crashing down, shattering off much of his armor and exposing a sigil on his furry back. Without his armor, Cenobia appears much smaller, and the impact of his charges now dizzies him, giving me a moment to jump onto his back. The rest is a messy, violent affair, as Wander is sprayed with the black blood of this bucking beast as its life is drained away. He's become vulnerable as I've become savage, and the city shortly falls silent again.”

6) ”It feels lonely sometimes, having such an intensely personal attachment to a piece of art. While Shadow has affected so many others, no one can really understand what it means to me. Just as I can never understand what it means to them. Or for that matter, anyone's favorite anything. There's a chemistry, possibly even a spirituality, in connecting so deeply with someone else's creation. In many ways, I define my life by relentlessly sharing the things I love with the people I care about. But that may ultimately come from a selfish place. Maybe it's less about wanting others to experience the same magic and humanity that I felt, and more about wanting to be better understood in some small way.”