L‘story : a young man wants to resurrect his beloved one ; he brings in a land of immense, distant and recluse, or a divine voice asked him to destroy the 16 “colossi” to fulfill his wish.
This minimalist scenario beneath the linearity of the program, a melancholy total, that will only reveal its true nature at the end of the trip. It is a true metaphysical reflection and the power, poetics of love in the face of death.
In the meantime, video-ludiquement speaking, it is to alternate between phases of exploration/contemplation with the times incredibly intense that we will be required to kill these beings is immense beings. Both organic and minérals, both static and incredibly perennials… They are the only inhabitants of this part of the country or the nature resumed its rights to a civilization that seemed to coexist, humans and gods, but long since disappeared. Each one brings us back to a status of ant facing the immensity of a divine being, each one expresses its own personality, their vision wants to be absolutely évocative of sensations and emotions.
You will have understood : in SHADOW OF THE COLOSSUS emotion premium clearly on the entertainment. What it feels like when playing is not to be explained by the technique. It is a succession of printed images in our consciousness, caused by our immersion in an enchanting world, and then printed in iron red with pure intensity peaks.
![[critique] SHADOW OF THE COLOSSUS (jeu vidéo)](http://penelopethemovie.com/wp-content/uploads/2018/08/critique-shadow-of-the-colossus-jeu-vid-o-2.jpg)
However, if one were to analyze the game from a technical point of view, there would also be things to mention ;
The gameplay of the game is to find these creatures fascinating, hidden in the middle of a world wide evoking a civilization wealthy but fallen in, where nature would resume its rights. Once found, watch them move, to embrace their presence, and finally, the pacing literally to find their weak point. The staging of each of these fights, is impressive. The giants hide in a place always specific (an arena, a cave, ruins overgrown by a lake, a canyon…), announced musically, first with delicacy and minimalism… and Then, when they reveal their majestic stature, via the power of orchestral compositions by Kow Otani. The artistic direction of the game (architectures inspired in great part, of the paintings of Giorgio di Chirico, in which it will borrow from the aesthetics of the beautiful cover art ofICO) and its bias videogame – minimalism of the gameplay, the realism of the animation, to succeed, in spite of the age of SHADOW OF THE COLOSSUS, in awe of literally the player.
![[critique] SHADOW OF THE COLOSSUS (jeu vidéo)](http://penelopethemovie.com/wp-content/uploads/2018/08/critique-shadow-of-the-colossus-jeu-vid-o-4.jpg)
In the end, SHADOW OF THE COLOSSUS is a nugget from the video game composed in corners with finesse and precision, provided that a challenge of staging the game. A work of striking, which leaves its imprint in the collective memory and which we can perceive the influence through other works such as Castlevania Lords of Shadows, Darksiders, God of War III.
An adaptation film produced by Sony, should be carried out by Andrés Muschietti.
Its creator, Fumito Ueda, was at work in 2001, another masterpiece, singular, more poetic, ICO. In it, A young boy with horns, intended to exile in a prison-fortress huge, to guide through the impressive bat, a young girl frail. In addition to the contrast between these two beings, ICO is a walk poetic in a world uninhabited and cold, but whose singular personality is, in the image of SHADOW OF THE COLOSSUS, symbol of a civilization which has disappeared, remains as much in memory as our two heroes.
When is a adaptation film of this universe ?