This complete focus is part of what makes Shadow of the Colossus so powerful. Wander has a sword and bow, along with his horse Agro, and that’s it. There are no other enemies to defeat, no experience points to gather, and no gear to unlock and equip. After each kill, you’re sent back to the temple, where the voice details your next target.
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You spend the entirety of Shadow of the Colossus searching for these 16 creatures, and then figuring out how to destroy them.
Shadow of the Colossus was always ahead of its time, and now the technology has finally caught up.įumito Ueda Sony Interactive Entertainment “I think that when you try too hard to explain everything, it doesn’t work well.” - director Fumito Ueda on creating The Last Guardian The result is a game that looks as groundbreaking as it felt a decade ago. There are a few tweaks that streamline the controls, but otherwise this remake slavishly follows the blueprint laid down by director Fumito Ueda and the developers at Team Ico. Texas studio Bluepoint Games has rebuilt the decade-old game from the ground up for today’s hardware, but it hasn’t used the opportunity to change much about Shadow of the Colossus aside from how it looks. Though it’s technically a remake, the new PlayStation 4 version of the iconic 2005 game Shadow of the Colossus performs that same kind of introductory role.
Sometimes the goal is simply to introduce a classic song to a new audience, making a few small changes to make it more palatable to modern ears. But covers don’t always have to be so transformative. Think of when Sinéad O’Connor completely transformed Prince’s “Nothing Compares 2 U” into a heart-wrenching power ballad, or when Johnny Cash imbued NIN’s “Hurt” with the fierce kind of honesty that comes from a long, difficult life. On the more extreme end, they re-envision what a song is, taking it in new directions that the original never even hinted at. Cover songs tend to serve one of two main purposes.
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