Tales of Shadows - The aggregator of everything ICO and Shadow of the Colossus

Team ICO Part II

Alex Rowe — Mon, 06 Aug 2007 10:23:12 -0500

Below you'll find all changes in personnel that happened in-between the development of ICO and that of Shadow of the Colossus:

Staff members who worked on ICO and stayed for Shadow of the Colossus - including SCEJ staff members (16)

Ahira Sato
Atsuko Fukuyama
Fumito Ueda
Fumiya Takeno
Hajime Sugiyama
Jinji Horagai
Junichi Hosono
Katsuhiko Abe
Kazuhiro Numata
Kenji Kaido
Masatsuka Saeki
Mitsuhiro Shimooki
Nanako Omura
Takuya Seki
Toshihiro Ito
Yasuhide Kobayashi

Members who left after ICO (15)

Atsuhi Morioka
Chika Fukui
Chikara Ueno
Fumiaki Hara
George Asahi
Kaihei Hayano
Kei Kuwabara
Keiichi Kitahara
Masaaki Kaneko
Mikiko Takeda
Mizuki Muramatsu
Shotaro Omori
Taijurou Hachiya
Takeshi Ambe
Tsutomu Kouno

Staff members who joined the team working on Shadow of the Colossus - including SCEJ personnel (27)

Atsuhiko Terada
Daisuke Uchikawa
Hironobu Nakano
Hitoshi Niwa
Jun Tsubuku
Kayoko Sato
Kazutomo Sasaki
Kibi Wakisaka
Koji Hasegawa
Makoto Yamaguchi
Masanobu Tanaka
Masanori Kajita
Masashi Kudo
Nao Yamasaki
Rory Little
Shunpei Suzuki
Sousuke Honda
Takashi Izutani
Takashi Kawashima
Takeshi Asano
Takeshi Nakagawa
Takeshi Ochiai
Takeshi Okazawa
Tatsuhiko Tachibe
Teppei Ikeda
Tomikazu Kirita
Yuta Kimura

Click here for a photo with the names of the staff members as at 2002.

Interview #8: God of the Colossus

Alex Rowe — Mon, 06 Aug 2007 08:23:52 -0500

Interview #8: God of the Colossus
Source: Cory Barlog's Blog
Date: August 2007

Q: Have you finished Shadow of the Colossus yet?

A: Yes. When I first picked the game up, we had an early copy floating around the office, I played through a large portion of it in one sitting, but then things got kind of hectic at work so my play time had to slow down a bit. After a month or so I got the retail copy of the game and started over, playing sporadically over the course of a few weeks. Then I stopped for a while, went back to it, and got to the final boss which proceeded to kick my ass. I knew exactly what to do, but I kept falling off when I would finally get to the head. After a few times of that I got frustrated and stopped, knowing I would come back again at a later time when I was fresh and finish it off. What I didn’t know is that wouldn’t be for like 8 months. But now, I can say I have finished the game and I loved it.

Q: What was your first impression of Shadow of the Colossus?

A: Unlike my first experience with ICO, Shadow of the Colossus grabbed me right away. With ICO my first experience did not grab me right away, I needed to step away from that game and come back to it to really appreciate what it was they were doing with the development of the relationship between Ico and Yorda. Once I did I was blown away with how much the ending of that game affected me as a player. It was quite possibly one of the strongest moments I have ever seen in a game.

With Shadow of the Colossus I was more prepared for what to expect, and I was immediately pulled into the experience. I was in awe of the scope and scale of the world. It felt like my little playground. The presentation and art style really sparked something in my imagination and I immediately felt connected to this world. It took me a while to find my first Colossus since I really did not understand the whole gleaming sunlight off the sword mechanic. I kind of wandered around on the horse for a long time marveling at the scope of the world. I found the forest, and got off Agro and walked around a bit. I played with calling the horse mechanic, which was really simple but it was doing something on such a subtle level I almost missed it. During all of this exploration I was establishing my relationship with Agro. As cheesy as it sounds, we were discovering these things together. When I would run him at full speed towards an upcoming cliff he would come to a skidding stop. He was telling me his limits, which served to flesh him out as a real character to me. Perhaps I am overanalyzing this, but I really do think this kind of interactive character development that Ueda and his team do is second to none. Very few games can get you to care about a bunch of polygons without using words.

Finally Agro and I stumbled on an area that looked like I could platform on. So I got off Agro, and left him down below as I ascended up into the unknown. As I was climbing up I was struck with mixed emotions. It was the first time I felt a small hint of concern for leaving Agro behind, as well as being the first time that I really felt that I was onto something. For the first time in a long time, I really felt like I was exploring in a game world, and it was amazing. Making the final jump up I knew something big was about to happen, but I was totally unprepared for what did happen. Seeing that first Colossus has been burned into my brain. The music swelled perfectly as this gigantic Colossus lumbered out through the fog. I was feeling the same sense of discovery that the character was feeling. That same sense of discovery I had when I played the original Tomb Raider, or when I was wandering around the various areas of Morrowind III. This sense of discovery was immediately followed with a smile when I realized I could run up to this thing and actually climb on it.

The mechanics for the climbing were perfect, simple and somewhat intuitive. I say somewhat because the grip meter took me a bit of time to really adjust to but once I figured it out it was no problem. That is the thing about this game; so much of it is about the players’ discovery of not only the world and its characters, but the mechanics and play as well. There is a patience to the design and pacing that, to me, is hard to do right. If you do it wrong it makes the game feel boring and uneventful, but if you do it right it is really something spectacular. The Shadow of the Colossus/ICO team has a sensibility, a subtly to their approach that may take a little patience to see but is so unbelievably worth it.

Q: Perhaps this sensibility opened your eyes, right?

A: Yeah it did. I think a lot of people would say that God of War is a bit more of the in your face 'Hollywood' movie style presentation, which for the most part is considered a western style of presentation. Although I don’t think that is totally accurate since there are so many great eastern films that have the same intensity and over the top quality. I mean, look at Hard Boiled; I wouldn’t say that is very 'Hollywood'. It’s a style all its own, one which westerners immediately began incorporating or copying.

What they did with Shadow of the Colossus, the sheer simplicity of their approach really made me take a harder look at how I approach various aspects of making a game. I don’t think I will ever make a game in the same way that they do, because that is really just not my style. But there is so much I learned, and am still learning, from what they do.

With God of War, we want the player to always feel like they are experiencing something new, and that everything you are doing is clearly part of the bigger picture. In that respect, we will tend to try and find clever ways to guide or lead the player without them knowing that is what we are doing. Essentially we are leading the player along by a thread, once which we try hard to be as invisible as possible. Sometimes this works, and sometimes it does not. With Shadow of the Colossus and ICO, there is a sense of cutting that thread and empowering the player to freely explore, while still remaining on a somewhat straight narrative path. It’s not sandbox but, especially with Shadow of the Colossus, it kind of feels like it. I loved that. Even though our games are not that similar, there is something to be learned there.

Q: Has Shadow of the Colossus inspired you in any way?

A: Very much so. I mean the opening of God of War II was partially inspired by what I saw in Shadow of the Colossus. We knew we were not going to be able to do the full on climb on the Colossus thing, but the sense of scale, the whole David vs. Goliath thing they captured so well in Shadow of the Colossus, was something I wanted to achieve in the opening of the game. But I wanted to do it with our own sensibility, our own style.

Another thing they did so brilliantly is, with very few words, they made me care more about a character than I ever have in a video game. In that regard, I am so completely inspired. I hope that I can evoke the same emotional response that they did with Yorda and Agro in all the games I do in the future. To me that is the holy grail of games right now - getting players to feel something other than fear or anger.

I have to say that as much as I admire those guys, and feel I have so much to learn from them, I don’t think I could make the same type of games they make. Perhaps it is because I have such a 'western-short-attention-span-need-some-ridolin' mentality? Probably not though, I love to play their games, but I love to make a very different type of game. You know, the type that punches you in the stomach in the first five minutes, as opposed to one that slowly creeps up on you. Both are very effective, the latter is especially effective when handled in the way Ueda and his team do it.

Colossus #16 Concept Art

Alex Rowe — Mon, 06 Aug 2007 08:21:52 -0500

Straight from the SotC official Guide and Artbook comes this early image of Colossus #16 in its concept stage. Click the link below for an enlarged picture.

Colossus #16 during concept stage

Download Shadow of the Colossus Font

Alex Rowe — Mon, 06 Aug 2007 08:21:23 -0500

The font used for the Shadow of the Colossus logo is now available for download. Link below:

Download SotC Font

Comments are now allowed

Alex Rowe — Mon, 06 Aug 2007 08:18:26 -0500

I'm glad to let you all know that comments are now allowed so everyone is welcome to leave feedback to any of the posts.

Please user proper grammar when writing your comments.

Don't forget that Tales of Shadows is visited by people from over 30 different countries so if you do not use proper grammar you'll make it even more difficult for visitors to understand what you're trying to say.

Also, feel free to use any of the following languages: Chinese, English, French, German, Italian, Japanese, Portuguese and Spanish.

You will get a reply in your language and the comment will be translated into English for everyone to understand.

Those wishing to contact me via e-mail may do so by using this address.

Thank you!

ICO High Quality Art Re-Hosted

Alex Rowe — Mon, 06 Aug 2007 08:17:39 -0500

I have uploaded this piece of artwork to the new host. There shouldn't be any bandwidth problems now.

Download ICO HQ Art

Download ICO Font

Alex Rowe — Mon, 06 Aug 2007 08:15:44 -0500

Those interested to further their studies of Yorda's language can download the ICO font by clicking the link below:

Download ICO Font

Interview #7: Ico of War

Alex Rowe — Mon, 06 Aug 2007 08:14:34 -0500

Interview #7: Ico of War
Source: Weekly Famitsu
Date: August 2007

Famitsu: Have you finished God of War 2 yet?

Fumito Ueda: Yes, of course I have. However, at first when I was playing God of War 1, I thought "This kind of game is rather cool". The player's character is on the screen, and he can move on both the X and Z axis. Also, it's the type of game where you have to be up close and personal with your opponent, and it's quite interesting but there have been so many games that have the same style that I was sick of it. So, I had kind of a negative image about the game to start off. But as I progressed through the game it really opened my eyes and I was like "wow this game is pretty cool!". The guys who developed this game have such enthusiasm that I really felt like they were saying "dude I want you to see all of this awesome stuff!" on purpose. Usually with sequels the tension and excitement goes down but I felt with God of War 2 that was the complete opposite, and the excitement factor was definitely higher than the first game.

Famitsu: What was your first impression of God of War 2?

Ueda: The way the game first grabbed me was pretty awesome. The way the game started off, it made me think about how in Japanese games that would never happen. It wasn't a matter of "how many explosions can we have on the screen in a short amount of time", but it definitely felt like a Hollywood movie. The way that everything was changing and expanding, I had never thought of that, I had never gotten tired of it, it constantly pulls in the user into the game's universe. Everything from the combat, to the programming, to the way of thinking is totally different from a Japanese game. For example, when you see the stage where you're flying, and you see another stage, the more someone says they're two different games, the more varied the game becomes. The game's contents change, and if too many elements are thrown into a game you can quickly lose the interest of gamers, and it'll end up costing you. When I talk about Shadow of the Colossus, the whole game is consistently based around the system of "the climb and the battle", and if you really say that we only made that kind of system, then it really was a success. However, when making God of War 2, because of the ideas, the programming of the stages and the numerous ways of capturing gamers, it became something really different. Each part was specially created, and the parts were all consistent with each other. That's a really extravagant way of creating things. But having so many different elements in a game makes me feel a little uncomfortable, and it's expensive too. If it was me, I guess I would use things multiple times.

Famitsu: Perhaps the amount of volume kind of opens your eyes, right?

Ueda: Even more than before, the modulation, and even though you push, it's still advantageous, I think. However, I think the service is a little excessive. However, talking about the flying stage I mentioned before, it's a little bit hard to put into words but I got this really old feeling when I played it. You can't really fly around like you could in newer games, and you could only attack on the Z Axis... But, even though the game design isn't totally new, the powerful imagery doesn't make me feel like it's an old game. With the CS Attack, the tension and the imagery's power is vast, I think. You could easily say that it copies a game like Made in Wario with its numerous mini-games, but it's a type of game where you can enjoy the varying tempo. Not only that, but the game also has a wonderful sense of direction.

Famitsu: As for the graphics, from the way it looks like it's done by hand, did it surprise you?

Ueda: I think the way that Japanese people handle it is a little different. It's only my impression, but perhaps Japan would say it's a little low poly? It's a minute detail of course, but usually in Japan we use textures to cover up for the low poly, I think. The edges of the polygons aren't all that conspicuous so it has that soft look to it. On the other hand, God of War rather than use textures they use polygons to represent their characters, so it seems very hard to Japanese people. So, like a rock's hardness, that's how God of War looks. So in God of War II, even if you arranged ICO or Shadow of the Colossus' objects in that game, they wouldn't match at all, since the way we made all three games are different.

Famitsu: Do you think there's a relation between the way the game looks and how late it came in the PS2's lifetime?

Ueda: Yes, perhaps. With PS2 games, right now you can get a lot of power out of the system. In God of War 2, there's almost no loading time, and how fast it reads your save games is really fast. That's because you only have to look for procedures on one hardware, which makes things easy.

Famitsu: So everything rests on a higher foundation then, and that's why everything looks so good, right?

Ueda: As for the ideas, even though they are very common, the way everything is represented makes it interesting and fun to play, I believe. And yet, the action, puzzles, graphics, everything was realized on a higher foundation, that was my impression. From the start, everything was put in with care, and nothing was really neglected. Basically, like how a Japanese game carries itself. But with japanese games, the really interesting parts are kind of sparse....

Famitsu: It's not fresh but...

Ueda: That's right, the attacks, system and ideas have been done before, I think. However, when you try to play the game, you have a usual sense of tension, but the graphics and the reactions become better and better. Perhaps, starting now, Western games are advancing quickly, you know.

Famitsu: Has God of War 2 inspired you in any way?

Ueda: Well there are certainly a lot of ideas and such in the game, and they're all really fun things. I haven't had a lot of time to think about it though. If there are things that I can really absorb from the game I think I will absorb it, but God of War 2 is such a high value game that I don't think I can really copy it. Perhaps with this kind of game, we'll leave it to the Western designers to make them, hah.

Famitsu: Why would you do that?

Ueda: Well, I think it'd be kind of difficult to do things like that. The reality is that costs to develop a game is different between Japan and Western studios. One year ago I observed how things were going with God of War 1, and I was really surprised by the number of people on staff. With one team they made a lot of programs that couldn't be used more than once. It's the kind of trouble I hadn't thought of. Also, everything took a lot of time too. Perhaps they were implementing a lot of elements into their game. When you have a lot of stages, the player won't get bored and it's really interesting. However, with Japanese style, when you apply that kind of thinking, I don't think it'd be cheap at all. I don't think our schedule or budget would be enough for that kind of project. However, budgeting and scheduling is difficult, but more than that, focusing on the scope of the game is important. Within our team, and within a workable scope, the best ideas will eventually win out and be something we can work with. Up until now I've held that idea and I've made games with it. However, right now when I play God of War 2, I think that if I don't think things clearly and with a level head, I may create something that's only halfway finished. That's the kind of impression I get.

Interview #6: Tsutomu Kouno with Joystiq's Jem Alexander

Alex Rowe — Wed, 01 Aug 2007 15:15:40 -0500

Interview #6: Tsutomu Kouno with Joystiq's Jem Alexander
Source: Joystiq.com
Date: August 2007

As big fans of Loco Roco we couldn't leave the Develop Conference in Brighton last week without having a natter with Tsutomu Kouno. Thankfully, we got the opportunity to sit down and, via his translator, Masaaki Doi, ask him about what he plans to do after Loco Roco PS3 is released.

Jem Alexander: How do you feel about the reception that Loco Roco received in Europe and America, considering it's such a Japanese style game?

Tsutomu Kouno: Originally my target was not only the Japanese market, but the entire world. So I really appreciate that people in other territories have accepted and enjoy my design.

JA: The PS3 version of Loco Roco was announced at the PlayStation Premiere event, but there's still some confusion about what form it will take. Will it be a full game? A screensaver?

Nancy Gatehouse (Sony Studio Communications Manager): I'm afraid we're not able to talk about anything to do with the PlayStation 3.

JA: Nothing about the PlayStation 3? [Laughs]

Nancy: I'll get skinned alive by our PR department if we do!

JA: That's most of my questions shot down right there then... Ok. Will there be a Loco Roco 2 for the PSP?

TK: Yes, there will. I'm thinking about a sequel for the PSP right now. I got a lot of feedback from players that they bought a PSP just to play Loco Roco so I feel like I have to make a sequel for them.

JA: Will any future versions of Loco Roco have a level editor of some kind?

TK: Actually, in the first version of Loco Roco there is the ability to do something like that. People can create their own stage, however it's really hard to understand how to create them. I am currently thinking about creating some kind of customization for the users in an upcoming project. Unfortunately, I cannot talk about it right now.

JA: Will you be doing any work for Team ICO on any of their upcoming projects?

TK: I have already graduated from the ICO team! However, they are working on the same floor in my building so sometimes I stop by and see what they are doing.

JA: Do you have any information on their latest project, by any chance?

TK: [Laughs] I know they are doing something.

JA: [Laughs] People have drawn similarities between your work and Katamari Damacy's Takahasi-san. You share similar, interesting art styles. Would you ever considering working together on a future project?

TK: I have never spoken to Takahashi-san, but in the future I would love to have a discussion with him. Not necessarily about work. A personal chat where we can share our experiences.

JA: Do you have anything on the horizon that isn't to do with Loco Roco?

TK: I'm working on Loco Roco PS3 right now. Then I will start a new project. I have a lot of ideas in my mind for projects post-Loco Roco. I haven't yet shared them with anyone else.

JA: Excellent! I look forward to that. Thank you very much for your time!

TK: Thank you!

Dormin Concept Art

Alex Rowe — Wed, 01 Aug 2007 13:36:31 -0500

As with every other thing during the development cycle, Dormin went through various stages of design. Below you can find the version which ended up appearing in the game, and an earlier one showing Dormin under a more earth-like form:

Dormin's Final Form
Dormin during concept stage

(Un-official) Heights for Colossi

Alex Rowe — Sun, 29 Jul 2007 15:23:02 -0500

To measure these heights I have used the table in the SotC official Guide and Artbook, also available above:

Player Character: The Wanderer
Metres (m): 1.70m
Feet (ft): 5.6ft

Colossus #01: Valus
Metres (m): 41m
Feet (ft): 134ft

Colossus #02: Quadratus
Metres (m): 63m
Feet (ft): 206ft

Colossus #03: Gaius
Metres (m): 61m
Feet (ft): 201ft

Colossus #04: Phaedra
Metres (m): 61m
Feet (ft): 201ft

Colossus #05: Avion
Metres (m): 87m
Feet (ft): 284ft

Colossus #06: Barba
Metres (m): 49m
Feet (ft): 162ft

Colossus #07: Hydrus
Metres (m): 184m
Feet (ft): 602ft

Colossus #08: Kuromori
Metres (m): 10m
Feet (ft): 34ft

Colossus #09: Basaran
Metres (m): 46m
Feet (ft): 151ft

Colossus #10: Dirge
Metres (m): 167m
Feet (ft): 547ft

Colossus #11: Celosia
Metres (m): 6m
Feet (ft): 22ft

Colossus #12: Pelagia
Metres (m): 58m
Feet (ft): 190ft

Colossus #13: Phalanx
Metres (m): 357m
Feet (ft): 1171ft

Colossus #14: Cenobia
Metres (m): 6m
Feet (ft): 22ft

Colossus #15: Argus
Metres (m): 46m
Feet (ft): 151ft

Colossus #16: Malus
Metres (m): 124m
Feet (ft): 407ft

Click here for an enlarged picture.

Saving Shrine Designations and Co-ordinates

Alex Rowe — Sun, 29 Jul 2007 09:43:36 -0500

I have listed designations and co-ordinates for all twenty five saving shrines in Shadow of the Colossus:

C1: Umbral Glade
E1: Dried Marsh
G1: Desert Fortress

D2: Stone Arch Gorge
F2: Northern Span
G2: Misty Falls

E3: Ravine Entrance
E3: Round Stone Hill
G3: Half-Moon Canyon

B4: Lair to the Mesa
C4: Western Plain
E4: Stone Bridge Cliff
F4: Shrine of Worship
G4: Cliff Path

B5: Lair to the West
B5: Western Cape
C5: Arch Bridge Plain
D5: Blasted Lands
E5: Autumn Forest

G6: Eastern Bluff
H6: Valley Plain

D7: Southwestern Cape
F7: Southern Plain
G7: Geen Cape

F8: The Broken Seal

Click here for a bigger map.

The Mystery behind Yorda's Language explained

Alex Rowe — Sun, 29 Jul 2007 09:43:02 -0500

Have you ever wondered how Yorda's mysterious language works? In-game Language Creator, Kei Kuwabara has spent a good deal of effort making sure Yorda's language sounds as etheral as possible but by using a very simple method we can now decipher anything the ghastly princess says in the game.

In the downloadable tutorial below you'll be using the above picture as your first example.

Download The Mystery behind: Yorda's Language (PDF, 241kb)

GDC 2004 and GDC 2006 Talk Recordings

Alex Rowe — Sun, 29 Jul 2007 07:49:15 -0500

Yesterday I have obtained full audio recordings of the talks held by Fumito Ueda, Kenji Kaido and other members of the team at both GDC 2004 (Game Design Methods of ICO) and GDC 2006 (Postmortem: The Emotional Character Control of Shadow of the Colossus).

Now, I am not allowed to distribute the recordings, for obvious legal reasons, but nothing is stopping me from writing full transcripts of the talks so be on the lookout for the reports on this blog, very very soon.

Side note about the blog

As you can see from the posts of this past month, Tales of Shadows has been a collecting point for exclusive material, and I have no intention of changing that or even slowing down. On the contrary there's so much more coming your way.

I've also acquired a host which I'll be using to upload media of all sorts. Consider it a token of thanks to the so many visitors the blog already had.

So, make sure to bookmark the blog or add the feed to your favourite reader. I'll be sure to make it worth the effort.

Alex

The Chanting of Guardians

Alex Rowe — Thu, 26 Jul 2007 08:55:41 -0500

The Chanting of Guardians, an in-depth guide to the music score in "Shadow of the Colossus" is now available for download.

The purpose of this project was to gather every piece of information about the soundtrack of “Shadow of the Colossus” and compile it into a single, complete document, giving a better understanding of the music score to novices and experienced players alike. Please, do understand that because this guide covers each battle and every single sequence in the game, including the epilogue, it might contain minor and/or major plot spoilers. We suggest that before skimming through this guide you take your time, complete the game and enjoy its amazing ending, which would otherwise be inevitably spoiled. Please also note that the PAL version of the game was used as reference to the information collected herein. There may be some differences between the three versions. Such variances will be obviously noted.

Thanks for reading and enjoy.

Download The Chanting of Guardians (PDF, 444kb)

Interview #5: Fumito Ueda Interview with OPS2

Alex Rowe — Thu, 26 Jul 2007 07:45:19 -0500

Interview #5: Fumito Ueda Interview with OPS2
Source: Official PlayStation2 Magazine – UK
Date: April 2002

Set in a bewitching yet austere castle, ICO brings a rare beauty to PlayStation2 gameplay. Official PlayStation2 Magazine met the man behind the critically acclaimed masterpiece to unlock the secrets behind the castle walls.

Talking about what is amazingly the first game he has directed, Fumito Ueda remarks that in ICO he sought to create "a real fantasy experience". The result is so much more - ICO is original, beautiful and utterly unforgettable. During his forthcoming trip to Las Vegas for the AIAS Achievement Awards (ICO has been nominated in several categories) Ueda-san is planning to visit the Grand Canyon to research his next PlayStation2 game. Given ICO's reception, it will definitely be one to look out for.

OPS2: What inspired ICO's original concept?

Ueda: When I was in high school I saw a TV commercial with a lady holding the hand of a child, walking through the woods and the image just stuck with me. When I came up with the pairing concept I had a woman and a young boy in mind. There's also a famous manga called Galaxy Express 999. It's about a woman named Maetel who's a guardian for the young hero Tetsuro as they adventure through the galaxy. I thought that even though it was an old story, it could be adapted into a new idea for videogames.

OPS2: Did you have any other ideas?

Ueda: Originally, ICO was meant for PlayStation and it was the girl who had horns. She was trapped in a small room and the boy was one of the slave workers in the castle, who found the room and helped the girl escape.

OPS2: When did the game development start?

Ueda: It began in February 1998. We originally used pre-rendered backgrounds and then switched to real-time 3D. All the animation was done by hand and I used Simon and Garfunkel's Scarborough Fair for the music - this later became the inspiration for ICO's theme. We were halfway through development when PlayStation2 came along. As a planner, I wanted to release the game on PlayStation because, at its launch, the PlayStation2 didn't have many good games - they were all rushed to be released on time. But as a designer, I was attracted to the PlayStation2 high specs because you can achieve so much more, graphically.

OPS2: Both Ico and Yorda are endearing and original characters. How did you go about designing them?

Ueda: I wanted to achieve a look somewhere between a Japanese and foreign style. It was a long process of trial and error - actually I wasn't sure what to do with them myself! For Yorda, I eventually asked one of the female team members to refine the character. It kept on changing things from the start, right up to the day before the master was due. I gave Yorda a haircut just at the last moment.

OPS2: Players comment that they really care about Yorda. How do you create a character that provides players with such a strong sense of attachment?

Ueda: The core team members and myself concentrated on characterizing her. For instance, outside of the gameplay Yorda often makes strange movements: she strolls around, follows birds and points to things. Some of the team members wondered why they were working on this stuff [laughs]. We are attracted by the quirks of girlfriends, right? We didn't just want to use Yorda as an element to proceed through the game, we wanted to encourage the idea that the two are sharing an adventure, co-operating together. By putting in those particular movements, a player can feel that connection. Actually, I wanted to include more variations as these things were actually planned for the PlayStation version, but time was an issue.

OPS2: The design of the castle and the various puzzles are amazing. How were they planned and created?

Ueda: It started off as just a bunch of puzzles without textures, in a vaguely castle-like form. When the puzzles were okay'ed they were handed to the designers who would then add more details. It took a lot of work to have it all make sense because the stages were created individually. Occasionally, when we put the different stages together they didn't fit too well, so we'd have to cut or shuffle areas around. It was a constant process of building and fixing that went on for about two years. The reason why I concentrated on this so much was that the castle had to be realistic in terms of architecture.

OPS2: What kind of research was involved in creating the architecture?

Ueda: I've never been to a real castle before and was inspired by the work of Giovanni Battista Piranesi, an artist from 18th Century Italy. Japanese rural scenery was also inspirational, things like deserted cars near rice fields and semi-built-up areas near the countryside.

OPS2: Are there any technologies or graphic techniques in the game that you're particularly proud of?

Ueda: It's kind of hard for our team to compete with, say, Square or Namco in terms of realism, so we used different techniques to make big contrasts within the environment. When you look at the castle, for instance, there are shadowy places and bright, sunlit areas for a more dramatic expression. Of course, you could present a colourful, vibrant world, but ICO has a subtle and reserved style. Take movies as an example: even with modern technology available, some movies opt for a grainy effect for the visuals as a means of expression. ICO is lo-fi (running at 30 frames) and the modeling is in low-resolution. The team intentionally avoided using the maximum graphic specs in order to give the game something different and make it stand out.

OPS2: Will there be a sequel?

Ueda: At this point we're not planning one, but I'd like to create a game that shares the same kind of atmosphere and concept. I'm actually in the midst of preparing another game at the moment, but I can't really talk about it yet.

OPS2: What's your view on the state of the videogame market?

Ueda: I'd compare movies to cars and motorcycles to games. The motorcycle market is smaller than the car market, which is similar to games versus movies. But when you think about it, riding a motorcycle is more practical in a city than a car. It’s cheaper and more maneuverable, but people still prefer cars because of the image: they're more luxurious. Games still have an image of being for 'gamers', or the younger generation; I want to change that image. I also want to avoid the situation where producers make games that only target the core players.

Colossi Designations and Latin Translations

Alex Rowe — Wed, 25 Jul 2007 08:09:42 -0500

Below I have listed all sixteen Colossi in Shadow of the Colossus along with their Latin names and translations:

Colossus #01: Valus
Latin Name: Minotaurus Colossus
Translation: Large Minotaur

Colossus #02: Quadratus
Latin Name: Taurus Magnus
Translation: Mighty Bull

Colossus #03: Gaius
Latin Name: Terrestris Veritas
Translation: Terrestrial Knight (vowed to uprightness)

Colossus #04: Phaedra
Latin Name: Equus Bellator Apex
Translation: Unsurpassable Warhorse

Colossus #05: Avion
Latin Name: Avis Praeda
Translation: Bird of Prey

Colossus #06: Barba
Latin Name: Belua Maximus
Translation: Ferocious Ancient

Colossus #07: Hydrus
Latin Name: Draco Marinus
Translation: Marine Snake

Colossus #08: Kuromori
Latin Name: Parietinae Umbra
Translation: Shade on the Ruins

Colossus #09: Basaran
Latin Name: Nimbus Recanto
Translation: Revoking Storm

Colossus #10: Dirge
Latin Name: Harena Tigris
Translation: Sand Tiger

Colossus #11: Celosia
Latin Name: Ignis Excubitor
Translation: Sentinel of Fire

Colossus #12: Pelagia
Latin Name: Permagnus Pistrix
Translation: Tremendous Whale

Colossus #13: Phalanx
Latin Name: Aeris Velivolus
Translation: Sky-sailing Vessel

Colossus #14: Cenobia
Latin Name: Clades Cantor
Translation: Purity Scourge

Colossus #15: Argus
Latin Name: Praesidium Vigilo
Translation: Vigilant Guardian

Colossus #16: Malus
Latin Name: Grandis Supernus
Translation: Celestial Greatness

Click here for an enlarged picture.

Feature #2: The Method of Developing ICO

Alex Rowe — Sun, 22 Jul 2007 15:37:43 -0500

Feature #2: The Method of Developing ICO
Source: 1UP.com
Author: Not Listed
Date: March 2004

A 1UP.com feature in which Fumito Ueda and Kenji Kaido discuss the evolution of their cult hit from its genesis to release.

It's been a couple years since ICO's release, but the lush, unique adventure game has won enough converts to be able to still fill a room with a talk on its development, as shown by Fumito Ueda's GDC talk last night. Along with producer Kenji Kaido, he discussed the philosophy behind the game's development, the struggles along the way, and how he kept his vision intact from the project's beginning to end.

In 1997, he got the idea to create a game with the universal theme of "boy meets girl," with the two main characters hand-in-hand during an adventure. To express the imagery behind this vague concept, he took an assistant and made a 3-minute movie using Lightwave. In it, a young (normal-looking) young boy in a red shirt gazes from an inclined step at a horned girl sitting on a couch below, cloaked in shadow. There follows some un-ICO-like footage of armored robots flying around and firing energy blasts, destroying part of a castle, and then an end to the trailer as the girl reaches out and touches the boy's cheek.

Already a number of ICO's elements were in place, and Ueda began to work with Kaido at this point to turn the concepts expressed in the movie into a game design for a PSone title. Their three key points were "differentiation" (to make a game unlike any other), "artistic presentation" (a level of aesthetics such that any still screen of the game would be artistic), and a "non-realistic reality" featuring a vivid heroine who would make the player want to be heroic.

They began to accomplish this using a method they referred to as "subtracting design:" every element of the game that took away from its reality was removed. Instead of having a varied cast of enemies with unique strengths and weaknesses, for instance, there would be only one enemy type; instead of a castle, its environs, and nearby settlements, there would only be the castle and an escape from it. They also used unconventional hiring techniques: to put together a team capable of realizing Ueda's vision, they hired mostly outside of the industry to put together an initial staff of two programmers, four artists, and one designer in addition to Ueda and Kaido.

A movie Ueda put together during this period shows what they had so far on the PSone version. The lone enemy type is one of the masked, horned soldiers present in the final game only during a cutscene, though the horns are now on Ico rather than Yorda. Some locations are already familiar even at this stage; the outdoor sluice gate puzzle is clearly recognizable, as is the waterfall area.

Full production on the game began in October 1998; the team had made the decision to go with hand-done key frame animation rather than motion capture. Ueda claims that actors weren't able to understand the situation and move appropriately, while the key frame method allows for smoother transition between motions. Some of the fruits of this time are visible in a second PSone clip, where the horned guards now have a kick maneuver and Ico's stick weapon is in place. A couple of elements not present in the game also appear briefly: Ico dodges blowgun traps in the wall at one point, and has a visible health meter while battling the guards.

September 1999 marked a turning point for the project. Ueda wasn't satisfied with the results they were achieving, and became frustrated that the hardware wasn't capable of realizing his initial vision. He considered three options: either canceling the project outright, altering the design to try and finish the game on PSone, or changing platforms. After some deliberation, the team began converting the project for the PS2 hardware. It had a dramatic effect on the project: their graphical problems were over, with a new engine capable of 60 frames per second, particles, cloth movement, and a unique lighting system.

The first movie from the PS2 era of the project shows that lighting right off the bat, as it filters through the trees in an outdoor scene. The character design for Ico is mostly finished at this point, though Yorda (sporting a purple dress and pigtails) is still a ways off from her final design. A few rooms of the castle (such as the large indoor bridge room with chandelier) are now recognizable in their final forms.

The project was going well, though Ueda had a couple of new concerns. The enhanced graphics made the content seem too dark – originally, the storyline had Ico trying to return Yorda to her room after she'd been kidnapped by the horned soldiers. Ueda felt that the extra detail made such themes too vivid, and rethought the story to fit more with the new graphics engine. Accordingly, in the next movie clip, the shadow enemies have replaced the horned warriors. Apart from a short-lived white cape that Ico sports in this movie, it's not far from the final version, represented in the presentation by a clip from a PlayStation Underground CD.

After reviewing the history of the project, Ueda noted that though the 4-year development history was a long one, creating the various concept movies along the way was an invaluable tool for keeping his vision pure throughout the project. Visualizing his ideas at each stage, he says, gave the development team a reference to understand the concept and work toward making it concrete.

Once the presentation was over, Ueda took questions from the audience. Standout responses included his opinion that "maybe in ICO, I think we subtracted too much!" when asked how well the "Subtraction Method" worked. Explaining why he opted not to include subtitles for Yorda's dialogue, he said that it was critical to the physical contact and "holding hands" concept that the two not be able to communicate and talk to each other all the time during gameplay.

The game's camera was accomplished by setting the camera to fixed positions and changing the angle as players reached certain points, using pans rather than cuts so as not to disorient the player. When asked what inspirations he drew from in making Ico, Ueda said "Influences … since I was born, every TV, comics, movies."

Regarding the ending, Ueda said that "I want to have a happy ending, but it's not sure that [Yorda] is alive, or if she'll stay with Ico, or if she wasn't a dream. I wanted a happy ending that was still a little bit vague." And in keeping with that desire, he issued a firm "no comment" to questions about a possible sequel.

SotC Press Release (2006)

Alex Rowe — Sun, 22 Jul 2007 07:30:05 -0500

Sony Computer Entertainment Europe is pleased to announce the Q1 2006 release of Shadow of the Colossus™, an epic new action adventure from the creators of ICO™ available exclusively on PlayStation®2. Developed by Sony Computer Entertainment Japan (SCEJ), Shadow of the Colossus is an atmospheric, brooding tale set in mysterious lands.

As a lone horseback traveller, your destiny is entwined with that of a lifeless young girl who lies on an altar within a vast temple. The girl is helpless, her soul has been lost and there is only one way to retrieve it…

Following a voice from the heavens, you embark on a dark and dangerous quest to seek out and slay the enormous wandering monsters that roam this strange world. Only you can defeat these formidable Colossi, and in doing so, only you can bring life to the girl who lies waiting on the altar.

Each beast is immense in size and strength, the team’s new and unique motion control system giving an incredible depth of motion density. The ‘Organic Collision Deformation’ system enables the player to grasp and climb the Colossi with precision, stealth is also essential in navigating these ever changing, moving and dangerous terrains. You must climb these terrifying beasts and strike the deathblow that will bring them crashing to the ground. However, slaying such fearsome opponents is no easy task – before these enemies can be toppled, you must first discover how to defeat them. And the challenge does not end there; after you have slain one monster you must begin the demanding task of finding the next…

The monsters in Shadow of the Colossus present the game player with one epic terrain but another is the world they inhabit. With only your trusty horse, Agro, for company, you must explore lonely plains, mountains, lush countrysides, sinister lakes, great caves and ancient ruins. Each Colossus is unique, organically reflecting the environment in which they reside. Each one you track down takes you one step closer to discovering your destiny and the fate of the girl who remains motionless and oblivious throughout.

An intense journey of exploration, puzzle solving and eerie battle, Shadow of the Colossus also includes the distinct, highly-acclaimed graphic style that came to prominence in ICO, making this an absorbing voyage of discovery with some of the most picturesque landscapes and formidable enemies ever to be seen on PlayStation 2.

ICO was one of the most critically acclaimed PlayStation 2 titles, renowned for its thoughtful and involving gameplay experience, hailed by many as one of the best games ever created. Oozing atmosphere and depth, Shadow of the Colossus is set to challenge perceptions and push the borders of action adventure gaming even further. Beautiful, unusual and absorbing, Shadow of the Colossus sets subtlety within a cinematic scope and creates a new standard in mythical action adventures.

More information about PlayStation products can be found at: http://www.scee.com/

ICO Wallpapers on I-c-o.net

Alex Rowe — Sat, 21 Jul 2007 17:56:08 -0500

If you're looking for more ICO wallpapers, look no further; I-c-o.net, the official Japanese ICO website, has four additional wallpapers up for grabs. Download links below:

Wallpaper 01
Wallpaper 02
Wallpaper 03
Wallpaper 04

Courtesy of I-c-o.net

Team ICO with SotC at GDC 2006

Alex Rowe — Sat, 21 Jul 2007 17:55:46 -0500

In 2006, Shadow of the Colossus walked away from the Game Developers Choice Awards, voted for by members of the IGDA (International Game Developers Association) with five titles:

Game of the Year
Best Game Design
Best Character Design
Best Visual Arts
Innovation Award

Amusingly, director Fumito Ueda was so modest, he failed to have an English acceptance speech ready, clearly not expecting so much acclaim for the game.

Click here for an enlarged photo.

Interview #4: Q&A Session with Fumito Ueda and Kenji Kaido

Alex Rowe — Sat, 21 Jul 2007 17:55:23 -0500

Interview #4: Q&A Session with Fumito Ueda and Kenji Kaido
Source: SCEE Press Kit
Date: February 2002

Q. Why is the 'mood' of ICO so different from most other games on the market? What prompted the more contemplative style that ICO entails?

A. It's often said that ICO appears to be influenced by movies. But we rather feel its style is more documentary and nonfictional. Though some plots and in-between explanations are prepared in the game, they are not the main things; we'd like players to enjoy the environment where they are in. This attitude would prove the significance why ICO uses real-time graphical expressions. Maybe contemplative, but at the same time ICO entails the solid goal; you must escape from the castle, which is a player's motive.

Q. Although ICO looks to be more about mood and gameplay than anything else, it definitely does a few things that push the PS2 farther than most games. Can you give some examples that we may not know about yet?

A. Expressions of Light and Shadow. ICO describes not only lights themselves: lens reflection and flare, but also their reactions towards the objects in the atmosphere. Ex. A stage floor gets gradually filled with light or shadow, sometimes in combination. Adjusting sets of lighting is not good enough to depict the realistic Light and Shadow.

Q. Just how big is the gameworld (centred around the castle) in ICO? How much play-time, roughly, will most gamers get out of it?

A. It usually takes at least 10 hours for the first trial.

Q. How about the 'pick up and play' qualities of the game? Is this one that people are going to have to decipher, or will most be able to jump into the game and do well without outside instruction?

A. We would say the latter.

Q. The game's graphical style and world design is as unique as its mood. Where did the inspiration come from, other than the obvious European influences?

A. We aimed at fusion between European scenery and that of Japanese rural or suburban town. Design-wise, we laid stress upon ICO's picturesque quality in colours and density.

Q. What prompted the 'language barrier' in the game, where Yorda and Ico speak entirely different languages? Was it done for gameplay reasons or more because of the style?

A. The main character never understands what Yorda speaks. The reason why we set up the language barrier is that we would not be able to express 16 years old Yorda's AI naturally even if we used the maximum power of the PS 2 hardware ability. If she speaks eloquently with so much ready-text, the player helps but feel it sounds cheap. Also we wanted to fill the gap between the cinematic scene and the gameplay in characters' "acting". So we concluded that subtle expressions such as holding hands and calling for name are more natural way of communication. And it somehow added philosophical meanings.

Q. What sort of added bonuses, if any, will there be in the game for the hardcore 'completist' gamer?

A. There will be some great added features in the PAL version.

Q. What kinds of people are you hoping to entice with ICO? It's definitely a low-key title compared to other Sony releases; just who is it angled at?

A. Those who feel hesitant toward or bewildered by complicated games.

Q. Does the difficulty of the game adapt to the player's skill level, or is it at a set level (or levels)?

A. It is at a set level.

Q. Finally, any chance of some news on upcoming projects from the same folks?

A. We can't tell you now, however, we'd like to create games with more interactive and human touch.

ICO Press Release (2002)

Alex Rowe — Sat, 21 Jul 2007 17:54:51 -0500

Sony Computer Entertainment Europe is pleased to announce the forthcoming release of ICO a unique, heroic 3D adventure role-playing game (RPG) available exclusively for PlayStation®2.

Hailed by gaming enthusiasts as one of the hottest software titles to look out for, ICO will astound gamers of all ages with its beautiful graphics, immersive storyline and a complementary blend of adventure, role-playing, fighting, puzzle and strategy elements.

The heroic adventure of ICO will captivate players as they wander into a mysterious forgotten world, where every generation a young boy is born with horns. Ico, this generation’s boy born with horns, is consequently kidnapped from his village and taken to an isolated castle where he is placed in a tomb to be sacrificed.

Surrounded by solitude, Ico rocks the tomb, causing it to tumble and break open, freeing him on the floor below. In the fall, Ico is knocked unconscious and dreams of a young princess trapped inside the castle, calling out to him to rescue her. Ico awakens, and is astonished to find out his dream has become a reality. Realising his fate, Ico sets off to save the princess and himself from the wicked queen and evil spirits that reside within the castle.

ICO prepares gamers for a perilous escapade through a vast environment of challenging puzzles, from complex brain teasers to simple mazes. As he leads the princess through the secluded castle, murky dungeons, shadowy corridors and magnificent river scenes, Ico, not easily deterred or intimidated by the evil elements lurking throughout the adventure, must battle spine-chilling monsters and confront the sinister queen.

ICO takes full advantage of the technological capabilities of the PlayStation 2 to deliver stunning graphics, interactive backgrounds, intriguing character interaction and cinematic cut-scenes, guaranteed to excite and capture the attention of gamers.

Key Features

- Inviting and vibrant worlds each have their own true-to-life architectural style.

- Players embark on a heroic journey that will challenge both hard core and casual gamers.

- Solve a wide variety of puzzles from simple mazes to complex brain twisters.

- ICO incorporates elements from puzzle, adventure, strategy, fighting and RPG genres.

- Deep, mysterious storyline will captivate gamers for hours.

- Beautiful, realistic graphics take full advantage of the capabilities of the PlayStation 2 computer entertainment system.

- Run, jump, climb, swing and fight in brilliant interactive backgrounds that come to life with spectacular lighting effects and immersive gameplay.

Please visit our website: http://www.scee.com/

SotC Wallpapers on the Official Japanese website

Alex Rowe — Tue, 17 Jul 2007 13:35:41 -0500

The official Japanese Shadow of the Colossus website is host to five great artsy wallpapers. Download links below:

Wallpaper 01
Wallpaper 02
Wallpaper 03
Wallpaper 04
Wallpaper 05

Courtesy of the official Wander to Kyozo website

SotC Official Guide and Artbook at Play-Asia.com

Alex Rowe — Tue, 17 Jul 2007 12:22:17 -0500

Play-Asia.com have recently restocked on their Shadow of the Colossus Guide and Artbook supplies. The book is now available again for purchase at $27/20EUR.

Purchase SotC Guide and Artbook

You may also find the ICO Japanese Guide Book on the very same website.

One lucky reader will get a $5 discount on any purchase of value over $50 by using this coupon code: CA-VKE-TDA when checking out, thanks to Play-Asia.com