yeah it was early 94 and a big part of the marketing for the av famicom
cool ad
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Losing a game on purpose is actually pretty funny. I think the most fun Iâve had in GTA games has been when I go against the (Terrible, awful) script and kill obnoxious NPCs that are leading me into a terrible mission. This gets funnier as you repeat the same lines and cutscenes over and over, and is especially funny in the GTA games, who donât want you to ever stray from the tightly choreographed crime drama with dick jokes.
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I did this far too often with Fallouts 3&4 either before/after I am given ethically-challenging tasks before deciding on which XP bonus is greater, and was always fun to see how high they could jump with a grenade between their legs
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i would not have anticipated that i find ICO and Shadow of the Colossus kinda off-putting and way less interesting now vs. when i was younger. at the time they were positioned as like the pinnacle of artistic achievement in games. esp i remember the rapturous discourse around Shadow of the Colossus as this deep super important game. now i see them as kind of like the pinnacle of a certain kind of White Elephant Art that like several of the big prestige indie games embody now. also⊠maybe they werenât actually very deep to begin with? maybe the director of those games saying pretty sexist stuff was part of what revealed that for me. i guess thatâs why now iâm a lot more interested in just like random weird jank esp when looking at games from that era.
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Dunno if youâre watching the speedrun of Ico right now, but was just thinking how I never finished Ico, should go back and play it, and then realised I wouldnât get much out of it all in 5 minutes of watching the run. Dragging Yorda around looks kinda mean.
I still think Shadow of the Colossus has some good scenarios. I think The Last Guardian mightâve become my favourite along the way despite the incredible jank.
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partly, yeah. ICO was actually the first PS2 game i owned so i played it back in the day. at the time i thought it was neat but it didnât really stick with me like a lot of other stuff. never got super duper far into Shadow of the Colossus but iâve absorbed enough of the game over the years to get what itâs all about. i do like the sort of otherworldly weirdly painterly lo-fi dreamscape visual theme of the original ps2 versions of both⊠but thatâs about as far as my love goes.
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the correct way to play ico is to walk very slowly and carefully while holding hands and take lots of naps on the couch when you find somewhere nice to rest, which is also the correct way to live life
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whenever I meet a cute lady, I like to pinwheel my arms in huge exaggerated circles 3 feet from her face while intoning âYOOOOOOOAAANSâ
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Iâll never stop calling it eye-co
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I havenât played Ico but Shadow of the Colossus still seems like a more novel game than it. I liked SotC back then and I bet it would be cool to play again, a richly phenomenological experience of stone silence and dust. It seems games like Tunic, HLD, and so many âoof right in the feels!â story games have drowned out a lot of Icoâs novelty, personally.
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honestly i think the ânoveltyâ of ico stands up way more than sotc does when looking at contemporary indie games
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none of those games even remotely resemble ico. i think you might have the wrong impression about what kind of game it is?
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I feel like itâs there in the silent ponderous adventure thing, but not in action. I guess that is share by both SotC and Ico.
I always liked Ico/Sotc and even The Last Guardian because they had huge crumbling ruins you got to explore and that always fascinates me. People can say what they want about the games but thatâs the big draw for me.
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Yeah the star of Ico is the giant crumbling castle which your path through often doubles back upon itself so that you always have a great sense of it as a place.
Also as someone who really loves the emotional beat that is the final battle of Super Metroid, the penultimate scene in Ico really works as a half-step beyond it.
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Put me down in the âtheyâre both at least as good as they were on release and, in the context of what âart gamesâ have become since, probably better than they ever wereâ camp
What often gets lost in the discussion of the Ueda PS2 games is that they are very good videogames in addition to being all the other things they are. Climbing and fighting colossi is an unparalleled kinesthetic experience that still really hasnât been replicated or bettered, and the castle in Ico is one of the best puzzle-adventure environments ever created. These things matter very deeply to what make the games worthwhile and they are so often lost in the worship of light bloom and quietude and whatever other aesthetic markers make the games unique. As Iâll never tire of saying, the puzzles in point and click adventure games matter!
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I donât know that Iâll ever play it again, but ICO is still my favorite modern video game. However, Iâve learned in trying to recommend it to others both when it was new and more recently that itâs not for everyone.
But for me, it just did everything right. The atmosphere, the structure (See that tower in the distance? Youâll be able to reach it eventually.), the puzzles, the water effects, the subtlety of the story, the dramatic moments, the music, etc.
Also, From Softwareâs Hidetaka Miyazaki decided to try making video games after playing ICO. And the influence on Demonâs Souls is obvious.
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from a puzzle-environment design standpoint ico is like a really good early resident evil game in the way it unfolds its architecture and leads you to move through and engage with its spaces. it even started life as a psx game and came out in europe the same day REmake came out in japan!
zzzzzzz
absolutely
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Thatâs a good comparison and it reveals how theyâre different. Team Ico, founded by an animator, establishes an otherworldly maiden or stone god or fox, and itâs all about how the player can touch and pull and prod these characters.
The Souls games establish the maiden but theyâre very static, still, calm. They exist but donât move or interact outside of the playerâs internal state. The most active state is to slowly, slowly reach out and give the player one touch, the only non-violent touch represented, I think. Though the player has a similar ant-like routing through the world, tracking across every face and opening every door, they donât touch it, they donât jump or clamber and even just being in the world often burns.
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