...Kill A Colossus

When Shadow of the Colossus came out in early 2006 you would have been hard pressed to find many people (from my school at least) who knew anything about the game, let alone anyone who had pre-ordered a copy for its release. However, I was one of the few people that did. I had been looking forward to its release as soon as it was announced and always made sure to buy the monthly Gamesmaster magazine to keep up with the latest news and developments regarding this unique game.

And it was the unique concept which was the factor that sparked my interest in Shadow of the Colossus in the first place; the uniqueness of the game that transformed my interest into an obsession to know more about it. Any little tidbit would be welcome. I would carefully read an article and scrutinise the possibilities of any information revealed and then re-read it again. This would include gameplay previews describing the mechanics of the game, the multiple ways of tackling a colossus and screenshots showing the expansive world and art direction - you name it, I knew about it.

THE GAME

Shadow of the Colossus actually has a fairly straightforward premise. A youthful man called Wanda comes to a seemingly empty and baron land with a deceased young lady. Wanda then talks to a voice, in a tower, that offers him a deal to bring his loved one back to life, but there's a catch - Wanda must kill 16 Colossi. These Colossi are behemoth 'beasts' - some the size of skyscrapers - that roam this 'Forbidden Land'. Some are small and fast moving, some big and slow, some fly and some swim, but the task is the same in every case - they must be killed. 

How are you meant to kill something that is 100 times bigger than Wanda? Don't worry, you come well equipped. Along with your trusty steed - Agro - you first have to locate the colossus and then make the journey through the Forbidden Land, which despite its baroness, has a real beauty to it, thanks to Team Ico's art direction which made it one of the most beautiful games of the PlaysStation 2 era. Once the colossus is found, its weak spot must be located by reflecting a beam of light - from your sword - onto the colossus. Then the hard part; with Wanda's - at first - limited grip and stamina, you must figure a way of scaling each colossus and stab the monolithic creature in its weak spot(s).

"Simple enough" I hear you say. It is anything but...

'The Swordsman' as I affectionately call this colossus. I wonder/Wanda how he got that name...

The game is in essence 16 boss fights; 16 puzzles that must be solved - 16 different challenges posed by 16 different colossi. There are no smaller enemies to fight in between the colossi. All of the games energy is focused towards these 16 epic battles. However, unlike most games that involve killing the enemy, you actually start feeling guilty for killing these majestic creations. They haven't done anything to you to warrant killing them. Most of them don't attack you until you either (a) disrupt them, (b) enter their territory or (c) attack them first. The only reason you are killing them is because some mysterious voice from the sky told you to do so in exchange of bringing the girl back to life.

As each colossus falls, the feeling of success when killing each colossus slowly wanes away and you start to question why the voice - who's name is Dormin - has asked you to kill these innocent creatures and whether killing 16 times is worth the life of a loved one.

It can be argued that the sympathy that we have for the colossi stems from their eyes. That's a strange thing to say for a video game which is nearly eight years old, but the change in colour and shape when they fall is affecting. Through them you can see the gentleness and peacefulness in which the colossi lived their lives, roaming the Forbidden Land - before you disrupted it.

This is the genius of the game and is partly what makes it number one on my list of the greatest games ever made: the ability to make the player question why they are killing and making the player feel guilty for doing so. Add to this great art direction, sound and innovative gameplay, clever game design and a story (though minimal in information) that you are invested in but question, then you have all the attributes of a game that will go down in history next to the likes of The Legend of Zelda: Ocarina of Time, Mario 64, Metal Gear Solid, Half-Life 2, GTA III and Resident Evil 4 - all games that were unique and pioneers of what was possible in gaming. 

GAME AS ART

Literally, game as art...

Team Ico, the developers behind Shadow of the Colossus and Ico, have helped elevate the gaming industry to something that can now be considered an art form - if it wasn't already. In fact, the legendary film critic Roger Ebert had to retract his previous view on the matter and admitted that games can be art. He duly followed this up by saying that he had been encouraged to start with Shadow of the Colossus and Ico - models of video games as art. Recently, Guillermo Del Toro has gone on to say that these two titles are, so far, the only forms of art produced by the medium. You would think Del Toro, a keen gamer himself, would know what he was talking about; after all, he did create Pan's Lambrinth - one of the most imaginative and fantastic film ever made.

Here are the factors that make me agree with Del Toro and help argue that Shadow of the Colossus (in my opinion) is art:

The Story
As said earlier, the story is sparse on information. However, this factor makes the story stronger as the gamer's own imagination is needed to fill in the gaps of the back-story. Also, the gamer's own interpretation is required to understand the motives of certain characters, thus how the story plays out.

And there are many things we don't know. We don't know how the young lady died, who she is and what relationship she had with Wanda. Is she his true love, sister or something else entirely? Why is the Forbidden Land, well, forbidden? Why can we not see Dormin and was he, maybe, a dark figure in the past? All of these unanswered questions in fact add a huge amount of depth to the story, very subtly. As a result of not knowing certain pieces of story, we, the player, fill in the gaps with our own ideas and back-story, which gives us our entry into the game through our intrigue and emotional connection with the characters. It also doesn't hurt that the end isn't a straightforward 'good triumphs and beats evil'. It leaves you with a lump in the throat, a heavy feeling in the stomach and a lot to contemplate and discuss with others; exactly what a lot of the best films do.

Gameplay & Structure
Similarly, the structuring of the game is subtly implemented. The fact that there are no other smaller opponents to defeat, other than the 16 boss battles that are the colossi, means that the encounters between them are elevated in importance as they are the only foes the player will face. In turn, this builds the tension for the encounters with the colossi. This is cleverly done as the player must travel through the Forbidden Land to get to the colossus' location. And there is no distraction from the main event, as there are no smaller and weaker enemies which would have detracted from the solitary journey to the battle. Also, minimal music is used; often the only sound heard is of the wind and the odd eagle as you gallop towards your destination. It is a melancholic build up to the battle as you travel through the ancient, wind ravaged land.

The beautifully rendered world of Shadow of the Colossus

Then, as you get closer to the colossus, a little groan of moody music is introduced. And when you arrive in the colossus' habitat, a clash of music is released and the steady build up to the battle is complete.

Once the battle is won, the music swells to a somber note, indicating that what you have done could be wrong. Questions start to raise in your mind. Am I in fact the the real monster?

It is the reflection that you encounter after defeating a colossus that is as much a part of the game as anything else. The game gives you an uneventful travel to each colossus on purpose, in order to allow you to reflect on the battle that you were just in. It gives you the opportunity to think about the consequences of your actions.

Also, if you carefully look at Wanda after each battle, it is noticeable that his appearance becomes more gaunt and worn as he defeats more and more colossi. This must be an indication that you are committing a crime, surely? Little details like this just help add that little more depth to the game and its story and show how much thought and hard work has been put into it. With the added environmental storytelling that is in abundance throughout the world and some emotional and tear inducing events that occur, they help elevate the game to the echelon of what is possible in games as a form of art.

"THY END IS NIGH"

It is suffice to say that experiences like this don't come around very often. Sure, it's not perfect by any means. The graphics have aged (though, the art direction and the high definition re-release have helped soften the blow in this area), the frame rate is not the best and the camera can be a pain to control when holding on for dear life on the top of an angry colossus, but these are minor quibbles in what is an unforgettable experience that stays with you long after you have finished it.

Eight years after its release, there is still nothing like Shadow of the Colossus in the gaming industry. Of course you could say that the God of War series allows you to fight against titans and other giant monsters; that the Elder Scrolls series provide a mythical land to navigate; that Uncharted weaves a cinematic narrative into a playable package, but you'd find it hard to find a game that has all of this and more. Shadow of the Colossus does. What other game actually gives the player the control to climb a 100+ foot creature? (Answer: nothing)

Nonetheless, long after you have completed the game, you will remember how you thought of a way to jump from your galloping steed on to a colossus, ran along its back and had the world fly past you while clinging on for dear life. Yes, you can actually do this and yes, it is as magical as it sounds. I think I was justified in my anticipation of Shadow of the Colossus back in 2006. Now, if you will excuse me, Agro is waiting for me.





The Last Guardian is the latest game that Team Ico is working on. It is another puzzle game in the vein of the Team Ico's previous two efforts. The game marks the relationship between a boy and a giant bird-cat creature and their combined efforts to make their way through a crumbling castle. It was scheduled for release in 2009, but has since been delayed. Shuhei Yoshida, President of Sony's Worldwide Studios, has recently gone on record to say that it still exists and that Sony are looking to "reintroduce" the game soon. Here's hoping that it makes the light of day.

...Make A Rubbish Demo

I recently downloaded a few demos from the PlayStation Network to try out on my PlayStation 3, as you do. That's the great thing about demos: despite all that you may have read or heard about a game, actually playing it yourself can establish if you like it and whether you are willing to spend your hard earned money on purchasing the full version. On the flip side, it can also put you off buying a game that you were excited about and heard good things regarding - precisely the thing that happened to me recently.

So, the games in question, that I downloaded initially, were FIFA 14 and Pro Evolution Soccer (PES) 2014. Yes, sports games! Now, I haven't purchased a football game since 2010 so I was not biased in my assessment of either demo that is to follow. These two series have long been going head-to-head against each other for the millions of football fanatic gamers around the world; feeding their thirst for the ultimate footballing experience. However, for the whole length of the current console generation, FIFA has been the undisputed champion, leaving PES to come up second best and with a dwindling market share. And this pattern appears as if it will continue...

The annual, albeit one-sided, rivalry has returned. 

FIFA 14 was the slicker, shinier and better to play demo - it was the complete package. Unfortunately PES was lacking in all departments, ie. graphics, menu responsiveness and commentary, but what was most disappointing was the gameplay, which I actually thought was worse than the 2013 edition. This was a crushing blow for me as I had read from various previews that the gameplay would be able to challenge what the highly successful FIFA has been able to offer. The talk about the implementation of the new FOX engine from Hideo Kojima's production company had given me hope that this series could return to the past glories of the PlayStation 2 games, which hit a high in 2005 with PES 5, but I couldn't find anything to laud about it.

As a result, the experience of playing the demo for PES 2014 has actually changed my mind in wanting to purchase the game. Maybe it was the unrealistic expectation I had put on PES 2014 that led to this U-turn, but one thing is for sure: the demo was nowhere good enough.

There could be reasons for this but then comes the argument of not releasing a demo if all it's going to do is inhibit sales. I have acknowledged the possibility that the PES 2014 demo may not play like the final released product will do (I hope so) and that small changes could be made to the gameplay that would change my thoughts on the game - as gameplay is king (to me). But then why would Konami take the risk of hurting the game before it has even been released? It's a strange one.

Electronic Arts, or EA to you and me, are already a well oiled machine when it comes to releasing anything FIFA related. I had already expected the FIFA series to progress from the previous - highly polished - iterations, but I have never truly enjoyed playing the games despite their quality. Nonetheless, the demo was better in every facet compared to FIFA and, undoubtedly, will help sway the undecided gamers who are torn between both series. This is where the demo makes an impact. If you, as a games developer, can get the production of a demo - which takes the developer's time, effort and resources - right then it can lead to huge sales through word of mouth regarding how good the demo is, even before the game comes out.

However, you don't need to have a huge amount of money or resources to make a great demo.

Remember: a demo is meant to give you a small but appetising taste of what the game is about. Sort of like when you go to an expensive restaurant and you order dessert and it comes, but only in a small portion; then you taste it and its delicious, however, before you know it it's finished and you want more - just like that! Anyway, a few very good demos that I have tried out in the past by smaller studios and developers are Journey, Limbo, and for the PC gamers out there, To the Moon. And they are each very good demos in different ways.

Limbo: I hope you're not an arachnophobe like me!

What each of the above three games do is allow you to play the opening part of each game. With Journey, you are able to 'experience' the game through the music and serene imagery that the game has in abundance. Limbo sets up with an eerie backdrop and an environment littered with dangers, all portrayed with beautifully haunting silhouette graphics and the demo cuts on a cliffhanger. To the Moon sucks you in through the charming dialogue and beautifully told story.

Journey: That light is you and your companions' destination.

In each demo, it is the unique way that the games charm us that ultimately makes them a success. It is no coincidence that each of these games have sold relatively well and to high critical acclaim from the gaming community.

Therefore, the key to a good demo is not to rush the release and to give an enticing snippet of the game that you are going to sell - basically don't suck! If need be, don't release a demo. Sounds simple but many studios still get this wrong, and to their own detriment. Here's hoping Konami get this right next year!

...Come back from a lengthy injury lay-off to win a couple Grand Slams

Rafael Nadal capped of a remarkable return, from a seven-month injury lay-off, to win the US Open against world number one Novak Djokovic 6-2 3-6 6-4 6-1 in Monday's final at Flushing Meadows. It marks the Majorcan's latest title in an ever growing list of tournament wins since his come back from a debilitating knee problem.

The match was observed by a star-studded audience at the Arthur Ashe Court, including the former James Bond, Sean Connery - who has been an omnipresent figure throughout the championships - looking in an upbeat mood whilst sharing some words with Alec Baldwin. The real stars, though, were the two best tennis players in the world, going head-to-head in their second Grand Slam final against each other this year. And, at times, the audience were treated to a match that more than lived up to the occasion.

The peak of competitive sport was showcased in the second and third set, which were encapsulated for their quality by a mesmeric 54 shot rally. This wasn't a passive 54 shot rally either. This was an aggressive point played with hard hitting and superb retrieving from both men.

Watch the 54 shot rally below - it's a must if you haven't.

However, this was to be as good as it would get for Djokovic as Nadal fought back, after losing the second set, to secure his second US Open title and 13th Grand Slam in total. And this from a man who has suffered from a potentially career threatening knee injury, on a surface that does not help alleviate the stress that is placed on his knees, against the world number one who was playing on his favourite surface - it is simply remarkable.

This just helps illustrate what kind of person Rafael Nadal is and the mental toughness that he obtains. Along with the support of his family and coaching team, Nadal has been able to all but secure his return to world number one in the coming months (due to the points scoring system that determines player rankings). Even before the final, Djokovic had already admitted that Nadal was the best player in the world, and the Spaniard's 22-0 record on hard courts this year further supported that hypothesis.

It is hard to put into perspective what Nadal has achieved since his return to the Tour on 6 February against Argentina's Federico Delbonis. I can't even think of an example to liken his return to.It is, for all purposes, incredible and inspiring; showing how much drive and passion Nadal must have for tennis and his will to be the best in the world. This is not an easy feat and is made doubly hard in an individual sport that favours the physically superior and fit, and in an era of tennis that has some of the best to play the game battling it out every week.

Save for further injury, Nadal could even surpass Roger Federer in the list for most Grand Slam titles. Presently, Nadal is only four behind the Swiss maestro. On Federer's recent showings it seems that his powers seem to be on the wane and it is questionable whether he can put a run together to beat his younger rivals - like Nadal, Djokovic and Murray - day after day. Federer's recent experimentation, with trying out a different racquet that has a bigger frame, does not inspire the confidence that he can add to his Grand Slam tally, especially as all of his Grand Slam successes came with the same racquet. The fact that he is fiddling with his racquet could be indicative that Federer's time is up. Something that Nadal acknowledges will happen to him one day. He has said so much to Sky Sports, after defeating Djokovic, that he probably has a three year window where he will have opportunities to win the big prizes in tennis. His recent trials and tribulations have made him only too aware that sporting immortality doesn't last forever.

What is Nadal's next goal now that he has won the last Grand Slam of the year? Ending the year as world number one? Winning the Australian Open in January next year? Nope. When asked, he smiles and modestly responds "the Davis Cup tie." That pretty much sums up the man: taking on challenges one step at a time and with humility.

Vamos Rafa!

...Release A Trailer For A Book

Well, hasn't J.J. Abrams been a busy person of late. You'd think that someone who is directing a little independent film called Star Wars Episode VII wouldn't have enough time for much else, but he continues to defy us all. 

It was revealed yesterday that Abrams, along with award-winning novelist Doug Dorst, have conceived a new book called S. It is about the relationship that ensues between Jennifer, a college senior, and Eric, a disgraced grad student. However, the twist is that they communicate to each other by writing notes in the margins of a (fictional) book and leave newspaper clippings and other ephemera between the pages for each other to read. The book will come shrink wrapped so that none of this extra material falls out, so rest assured.

S., therefore, contains two stories. First, the book within the book - Ship of Theseus - which is the final novel by the prolific but enigmatic writer named V. M. Straka. Secondly, it contains the story between Jennifer and Eric. 

This is very interesting stuff and I cannot think of anything similar having been done before, but Abrams has always been one to think of exciting new ideas. After all, no ordinary person gets chosen to direct a Star Wars film and this is the guy that came up with the TV show Lost. You can check out the trailer for Abrams' latest project below. Who knows, releasing a mysterious teaser trailer might become the next 'thing' to do to get people talking about new book releases.

“I could not be more excited for people to get their hands on this book,” Abrams tells EW. “It is difficult to describe because while it is a compelling mystery and love story, it is also much more than that. The work that everyone has done on S. is unlike anything I’ve ever seen. Frankly, I’m amazed it was even possible to do this project at all.” Me too J.J. and here's a pat on the back for piquing my interest. The novel is scheduled for release on October 29. 

...Watch Studio Ghibli Films

There’s something to be said about watching a lot of the usual suspects at the cinema or on your television these days; they all seem to be pretty routine on the whole. Either the world is saved by the hero or the boy gets the girl – you get the gist. That’s not a criticism from me, but most of the films I watch do tend to under-whelm rather than excite or fill me with wonder. Don’t get me wrong, some gems do come along with originality and ambition; The Lord of the Rings and Inception to name a couple, among others. Maybe I’m hard to impress; maybe it’s due to my age or maybe movie studios are leaning away from unique concepts and taking less risk on story. Maybe I was just easily impressed when I was a kid…

“Baby of Mine”

Disney used to be one of those studios that took risks with darker storytelling at times.

Do you remember classic Disney? I’m talking about most things before the Lion King like Snow White, Sleeping Beauty and Bambi. All of those films that you used to watch over and over again throughout your childhood that would take you on an adventure and just fill you with excitement, enchantment and even terror.

My overriding memory is how these films felt much longer than they actually were. For example, I remember Dumbo being a mammoth of a film when I was seven, only to watch it now and find that it’s a mere 64 minutes short; it still packs a punch, though. Man, when Dumbo gets rocked to sleep by a chained Mrs. Jumbo; you'd have to be an android not to well up, but I digress. 

What I'm trying to say is that when you get older, you have a different perception of what films were actually like from when you watched them as a kid. Even when I look back at my experiences throughout childhood, my memories of them feel heightened and at times they have an almost dreamlike quality – a romance to it you could say. Whereas now, having grown up (hopefully) everything just seems to be flying by at warp speed with a mundane clarity about it. Only a small amount of films stand out and fill you with those childlike feelings. 

Turning Japanese

So recently, thanks to Film4, I've been lucky enough to have found myself watching a lot of films produced by a Japanese studio known for making original and unique stories. These are films about our childhoods and the vibrant imaginations, dreams and passions of children. They are the creators behind Jonathan Ross' favourite film, Spirited Away - don't let that be a turn off (sorry Wossy!) – and My Neighbour Totoro which was the film that introduced the west to Hayao Miyazaki in the first place. They are Studio Ghibli.

For those of you who don't know, Hayao Miyazaki is often referred to as 'the Walt Disney of Japan', but he and Studio Ghibli are much more than that. They are the wizards that conjure and construct a lot of these magical stories and characters. And it is the characters that really hit a nerve with me; they are real and believable, and act just like you and I did at whatever age we were whilst growing up.

Hayao Miyazaki with some of his cast

I’ve seen a lot of films where child characters are often an afterthought, written solely to serve as a plot device for an adult protagonist or written more mature than they would be in real life. In reality, most kids can be loud, energetic, stubborn, and yes, annoying – I hope I haven't put you off having kids! It is important to note that kids can also be thoughtful, brave, happy, adventurous and carefree too. What Studio Ghibli, and in particular Miyazaki, manage to do is incorporate some of these characteristics into their protagonists, who are always children. They do this more often than any other producers of film, with great success – and I am forever indebted for it. Let me explain...

Watching a Studio Ghibli film is simple: you find your way into the movie through the main character(s) and then they go on their own journey. This could be as complex as a grand adventure to save their parents from being eaten by a witch (yes, grim!), or as simple as the trials of growing up, figuring out what to do with the rest of their life and finding love.

However, none of this would matter if we, the audience, did not care about the characters, and this is what Studio Ghibli does so well. Their protagonists are as human as any person you have ever met; with traits that you and me have in abundance; experiencing situations and emotions that we have all experienced at one point or another in our lives. This ability to make the audience empathise and, as a result, care about the character through this familiarity of our own past ‘lives’ – like our childhoods – is what makes watching a Studio Ghibli film stick with you long after you have seen it. It is possibly the factor that makes every film of theirs a success in my eyes and what many other studios and filmmakers spend less time developing.

“To-to-ro? You’re Totoro!...”

Watching a Studio Ghibli film often requires patience, initially, but slow burners – in the hands of the right people – produce the most rewarding experiences once the originality of story kicks in and the characters blossom.

My Neighbour Totoro was the first Studio Ghibli film to catch me completely off-guard – and it will remain the only! I had heard of its quality from places like IMDB, Rotten Tomatoes and from the reliable people at Empire Magazine. Still, I did not heed their praise. I actually found the protagonist Satsuki and her younger sister Mei to be a little annoying. Yet, I found myself slowly warming to the characters as the story progressed. On reflection, I think it was how their all too familiar traits took a hold of me. It was to my surprise that I actually really cared for this duo by the end of the film when something worrying (that I won’t spoil here) happened.

Satsuki, Mei and Totoro waiting for a bus. Good thing they brought their umbrellas along.

Waiting for that train

What I've discovered about all of the Studio Ghibli films that I've seen so far is that they creep up on you and surprise you. The Oscar winning Spirited Away did that to me, as did the lesser known Whisper of the Heart and Ocean Waves, along with the rest of their catalogue of films. All you have to do is get on that train and give them a chance. Chihiro (the heroine of Spirited Away) took that train; you might find it rewarding if you do as well. 

Studio Ghibli films might not be perfect; they might take a while to get into; they might even be in subtitles (which I actually prefer), but they make me remember what it was like growing up. The feeling of disappointment and shame the first time you were told off by a teacher; the sense of excitement when going on an adventure in a mythical land that you imagined and defeated the bad guys in; that first crush and the thrill and embarrassment when someone found out. Ah, yes, that felt like a lifetime ago. Now, when is that next train coming along Miyazaki-san?

Hayao Miyazaki’s eleventh and final feature film, ‘The Wind Rises’, is a fictionalised biography of the man who designed Japanese fighter planes during World War II. No release date has been confirmed for the UK but expect it later this year.

...Walk into Mordor

Boromir, son of Denethor emphatically states at the Council of Elrond that it is not a simple task to take the One Ring to Mordor, to destroy it.

Now for those of you who are wondering what I am on about, I suggest that you do yourself a favour and watch the Lord of the Rings Trilogy. That's right, it's a trilogy. Take the whole day and watch arguably the best trilogy of, at least, the last 30 years. If you've already seen it - great! If not then do that ASAP and thank me later.

Still with me?

So, here I am, Manpreet Mahoon, beginning a blog. A blog which will be about 3 things in particular: Movies, Games and Sport. Yes, I hear you loud and clear. "One does not simply diversify what they write about, it is folly." (Pardon the 'borrowed' dialogue!) However, these are my main interests that I have a huge passion for.

What I aim to do with One Does Not Simply is to convey my aforementioned passion for these industries. I will write about and put up videos of the good, the bad and the downright ugly that each of these industries have to offer. And hopefully at the end of it, you will have enjoyed what I've had to say and spread the word of this little blog that you so happened to stumble upon.

But this is not only about me; it is about you as well. (I assure you that was not meant to sound sinister!) So if you have anything in particular that you want me to write about then let me know.

Also, constructive feedback is always a great thing; I've started this blog to get better at writing and producing content for an audience so please let me know how I can improve. However, if all is dandy then just sit back, relax, put your feet up and read away!

SPOILER ALERT ahead for those of you who have not heeded my advice and watched the Lord of the Rings.

So, how does what Boromir had to say, in no uncertain terms, have anything to do with this blog - One Does Not Simply? Well, it's this really: starting this blog is a tough and uncertain journey that I have not experienced before, but from it I want to be able to climb the stairs of Cirith Ungol, battle through a giant spider's lair and persevere to the fires of that infernal volcano - Mount Doom.

I think my path is the red one.

The diminutive hobbits - Frodo and Sam - make their way into Mordor, against all odds, and destroy the One Ring; thus defeating the bad guys. I may not be defeating any bad guys by writing this blog, but in essence, writing One Does Not Simply is about a journey and making it to a destination that at the moment feels very far away.

I hope to make it one day.

Manny