Kaido: As for the controls, you can cling to a colossus with the R1 button. This is the cling button. You can then climb over the body and attack where it seems to be a vital spot to inflict damage. There are also colossi whose bodies themselves are mazes, so you can enjoy both action and puzzle elements.
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Kaido: The body of the colossus itself is the game field. Moreover, the colossus is always moving. I hope you will enjoy the new sensation of playing the game. The game has changed considerably from the previous "ICO," but the way we created the game has not. We want to deliver the game in a good form so that you can fully enjoy the sense of fear and realism of fighting a huge enemy. Please look forward to it!
FU: I can't explain the scenario in detail, but it is about a young man who brings a girl who has lost her soul to a long-forgotten place, where it is said she can regain her soul. He is guided by a sort of divine voice, which explains to him that he must awaken the colossi and defeat all of them to succeed. We are designing a strange language, different from Ico's, to keep t his mythical feeling about the game's world. There will be subtitles to understand the dialogue. Some questions we will not provide any answers to, even at the end of the game, like Ico. For example, you will have no explanation about why the girl lost her soul. We want players to imagine the reason behind some elements of the story. But you will learn about the nature of the colossus and their place in that world at the end.
FU: We are testing this key feature of the game, and I believe we have found the right balance so it will not be that difficult, letting the player focus on understanding each colossus' body's configuration and nature. Of course, you will fall many times as you challenge the enemy's body. But when you get a good knowledge of its configuration and especially the locations of its weaknesses, then you will go for it. I think the first exploration is challenging, but it will not be a barrier for the game experience.That's what we're working to achieve, and when we perfect it, I think the game will be successful.
FU: It is definitely the way we managed to animate the surface on the colossus' body. As it moves, like any living being, its hide distorts and extends. This represents one of the game's main challenges for the player - it is like the levels are constantly evolving. The situation is always changing, so progression on his enemy's body will be hard for the hero. Hairs offer the best grip but other surfaces can be slippery, or even offer no grip. In addition, there are obstacles, these sort of 'accessories' the colossus wears.
And, finally, the colossus will not let the hero climb freely on its body - it will try to dislodge him, adding to the stage's difficulty. Now, you may have a very active colossus so the game will be very much action-oriented. Others may be more peaceful, but just moving around the body will require a lot of thinking. This tactical aspect is not just limited to the body configuration: the environment is another key component. Its shape provides access points to certain forms of colossus. Higher ground combined with the use of the horse will give a jumping point to catch a flying colossus. Bringing another colossus to a certain location might limit its mobility. We are thinking about this kind of uses of the environment to amplify the importance of the horse, and also provide more depth to the game. But the body animation and the vast landscapes are the biggest challenges we are facing in development right now.
KK: The feature that we talked about before, "organic collision deformation", means that while you are fighting, the field you are on is actually the colossus itself. Because it is a sort of living being, it's constantly moving and changing. You can't stand still on the field, you have to keep moving. The horse, also, has its own AI. The horse essentially becomes the main character's partner. The Colossi are really, really huge and you have to move across them - they are part building, and part living creatures.
KK: If you've played "ICO", you might think you'll need to solve a lot of puzzles and take a lot of actions to defeat the colossi. But in "Wander", all the puzzle-solving from "ICO" is integrated into the battle against the colossi. It's no exaggeration to say that finding the colossus' weak point and getting to it is already a huge puzzle in itself.
FU: Yes, they were. The stamina meter in particular was something we knew we would need no matter which other ideas were rejected. Thanks to the stamina meter, I was able to create a sense of tension when Wanda was desperately trying to hold on to the colossus that was trying to shake him off.
KK: You can also try looking at the colossus from a bit further away. It's also important to use the terrain and other features. Also, the hints that will be given to you over time will give you clues.
FU: We paid a lot of attention to the camera work so that we could show off the colossal size of them to the fullest. When the colossus attacks, it's an overwhelming mass that hits Wanda. That's why we made the arms and legs vibrate when they hit the ground, to create a sense of weight. We also made sure that the colossus' motion doesn't shift during the action, because if it does, it loses all its realism.
FU: It's true that it's useful to have a subjective viewpoint when moving around the field or aiming a bow at a colossus. Technically it's possible, of course, but there are many scenes in Wanda where you have to hold on to the hair on the colossus' body, and if you're holding onto the hair of the colossus from a subjective point of view, you're looking at a close-up of the hair and you can't see what's going on. But we didn't want to do something half-hearted, where you can't use the subjective view when you're holding onto the colossus. So we discussed it with the team and decided not to use the subjective view.
KK: When you're moving around on the field, there are only environmental sounds like the wind and sound effects like Wanda and Agro's voices. When you're fighting a colossus, you'll hear a different kind of background music. We used a similar technique in "ICO".
FU: We changed the BGM at "milestone moments", such as when you meet the colossi, or when you undo its tricks and hold on to their body. We also used different types of music for the same scene depending on the colossus' appearance, so I hope you'll pay attention to that as well. In fact, we wanted to change the tempo and type of music based on where Wanda is on the colossus, but we couldn't do it because of capacity. It's a shame, because the music was made to match the appearance of each colossi.
FU: We were actually going to prepare a colossus that you could use that to fight it, but for some reason we had to reject it. But the action itself was fun, so we kept it. There are a lot of "play elements" like this.
FU: Everything about "Wanda" is unprecedented, from the concept of actually climbing a colossus to the system. We had to create all the elements from scratch, so that was quite a challenge. But making a game from scratch is not only a bad thing, it's also a good thing because it means you're not bound by restrictions, so I think we were able to make a game that we were happy with.
FU: In "ICO", the HP in other action games was replaced by an AI-powered girl called Yorda. In "Wanda", the stage itself was replaced by an AI character called colossus, who is an ally in "ICO" and an enemy in "Wanda". It took us a long time to make Wanda, but we're just relieved that the game is now finished. I hope that people who haven't played "ICO" will also enjoy it, because the quality of the game is very high.
FU: Both. I made a few designs and then when I had a few more ideas, I chose from the ones I had drawn. I was very careful when I was making the selections, and I made sure that the strategy elements didn't overlap. We didn't go for the ones that looked different but had the same way of defeating as another colossus.
FU: The pillars of light will appear at the positions of the colossi that you have defeated. It's actually a reminder that you can fight the colossus you've defeated again. As you progress through the adventure, your stamina and strength will change, so we've prepared this mode to help you see the results of these changes. In "Reminiscence Mode", there is an old film-like noise effect, just like after clearing ICO.
FU: I often tell the animation staff that the bigger the colossus, the slower it moves. But the density of the information in the movement is the same whether it's small or large. That's why, even if the movement is slow, if you don't add more and more information, such as the reaction of the ground when it takes a step, or the way the reaction is transmitted to its knees and hips, people will only see it as something slow.
PSC: In a normal game, you'd have to use an arrow or a compass to point in the direction of the colossus, but in this game, you can hold your sword up to the sunlight and the light will point you in their direction. This kind of expression is also very natural.
FU: Conventional games have a cinematic feel to them when you're not in control of them, but when you are, they're often very bland. In the case of "Shadow of the Colossus", one of our concepts was to create a cinematic screen structure even during normal play. When you look at the colossus, you can see Wanda's back in the foreground, and the axis of the statue is properly offset. That's what we were trying to recreate.But it was a lot of work to recreate that. In a normal game, the ground where the character is standing doesn't move. However, in this game, the main character's position changes from moment to moment depending on the location, so we had to go through a lot of trial and error to make sure the camera didn't run out of control. For example, when you're about to be swept away by a colossus, if the camera doesn't follow them perfectly, the player will get drunk. It was very difficult to find the right balance. 2ff7e9595c
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