Ultimately, the reboot will, without question, expand the game’s audience, if for no other reason than Sony has pushed 70 million PS4s into homes and offices across the world, and this is the company’s big exclusive game of the season. If given a choice between the original and the remake, I can’t imagine that a young person, unfamiliar with or simply uninterested in game history, would choose the comparatively blurry classic. I suspect, in terms of accessibility, they may be right. Naturally, the company brass would assume a classic could be improved upon, or at least made more accessible, with a flashy paint job. This belief, that better graphics make better games, has for decades been central to big video game publishers it’s a belief that Sony itself extolled alongside the announcement of the PS4. There’s a conflict between what’s seen and what’s felt Where the original is drawn with straight lines and rough edges, a collection of empty valleys and barren caverns, the remake is lush and vibrant, brimming with detail, light trickling through branches, seafoam lapping against the shoreline. What appears to be non-essential to the original game - that is to say, what can be heavily modified or outright reimagined - is visual fidelity and graphical detail. Taken as a whole, we’re left with a conflict between what’s seen and what’s felt.Īs a result, the Shadow of the Colossus of 2018 makes a statement (intended or not) on what its creators deem fundamental, even foundational, to a video game. The scale of the land, the beasts, the emotions - it still stands above the majority of the competition. What’s stunning, today, is that Shadow of the Colossus retains that sense of inventiveness, magic and awe. Of course, this familiar “feeling” isn’t all bad. To call the quality-of-life improvements subtle would be an understatement.
Even a slightly revised control scheme (no longer must you push two buttons to perform a simple dodge roll) feels anachronistic. The remake purposely retains the mechanical defects that were inescapable in the era of its predecessor. However, you still feel - in the stuffy controls, the fussy camera, the unforgivable usage of the Papyrus font - the Shadow of the Colossus of 2005. This Shadow of the Colossus is its own uncanny thing
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