Shadow Of The Colossus is about the guilt. Shadow Of The Colossus was released to greater sales than its predecessor, not to mention a rightfully positive reception from critics. Ico had built a dedicated audience in the meantime. While he perceived nothing wrong with this traditional design idea, Shadow Of The Colossus would be as much about the journey as the fight itself, with the environments designed to create a sense of foreboding as the players discover the Colossi for the first time. Ueda aimed to make each Colossus more than a mere boss battle, however. The game’s first public showing came in the form of ‘Nico’, presenting the game as a very different experience, involving multiple protagonists attacking a Colossus as a group – other aspects, such as the specifics of the hero, Wander, came later, yet the idea of a protagonist and his horse companion existed before the setting did. Shadow Of The Colossus defies any specific genre but can be summed up in its structure as 16 boss fights, divided by long stretches of exploration around a desolate land. Likewise, the Colossi, arguably the stars of the game, were designed using both natural and mechanical source materials, so players would be unable to discern whether they were animals or machines. Designer Fumito Ueda wanted to create a unique world so strange in its construction that it would defy any particular time or place. Like Ico before it, which started life on the PSone before mercifully jumping platforms, Shadow Of The Colossus spent a long time in the conceptual stages before release. The monstrous PS2 epic that pushed the console to breaking point
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