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Template:Infobox VG Shadow of the Colossus, released in Japan as Template:Nihongo title, is a Japanese-developed action-adventure video game developed and published by Sony Computer Entertainment (SCEI) for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL territories in February 2006.[1] The game was created by SCEI's International Production Studio 1, the same development team responsible for the cult hit[2] Ico.[3]

The game focuses on a young man named Wander who must travel across a vast expanse on horseback and defeat sixteen beings, simply known as colossi,[4] to restore the life of a girl named Mono. The game is unusual within the action-adventure genre in that there are no towns or dungeons to explore, no characters with which to interact, and no enemies to defeat other than the colossi.[5][6] Shadow of the Colossus has been described as a puzzle game, as each colossus' weakness must be identified and exploited before it can be defeated.[7][8]

Shadow of the Colossus was well-received by the media and met with strong sales when released. The game's soundtrack was widely praised and referred to as one of its stronger aspects. It also won several awards for its audio, design, and overall quality.



Progression through Shadow of the Colossus occurs in cycles. Beginning at a central point in an expansive landscape, the player seeks out and defeats a colossus, and is then returned to the central point to repeat the process.[7] To find each colossus, Wander must raise his sword while in a sunlit area to reflect beams of light, which will converge when the sword is pointed in the right direction of the next encounter.[9] The journey to a colossus is seldom a straightforward matter: stretches of varied terrain often require that a detour be taken along the way. Most colossi are located in remote areas, such as atop cliffs or within ancient structures.[7][10]


Once a colossus is found, the player must discover its weaknesses to defeat it. Each colossus dwells in a unique lair, and many colossi cannot be defeated without making use of the surrounding environment.[11] Every colossus has at least one weak point, indicated by a glowing sigil[12] that can be illuminated and identified by the sword's reflected light.[9][13] Each colossus has areas covered with fur or protruding ledges, which the player may use to grip and scale the colossus while it thrashes about in an attempt to dislodge the player.[7] While scaling a colossus, the player must act quickly, as Wander has a limited grip gauge that decreases while he hangs onto the creature.

Wander and the colossi have life bars to indicate their remaining health. A colossus' health will decrease significantly when its weak points are attacked, while Wander can be harmed by a colossus' attacks or a fall from great height. Throughout the game, Wander is equipped with only a sword and a bow.[12]

Agro and the environmentEdit

Wander's horse, Agro,[14] plays a large role in the game. In addition to serving as a means of transportation, Agro is vital in defeating some of the Colossi.[15] There are, however, many places that Agro cannot reach. Colossi often inhabit areas beyond deep water or obstacles that must be scaled. Agro cannot travel beyond these, and when separated from Wander by such obstacles, cannot participate in the following battle.[9] During such times, Agro waits faithfully for Wander to return from the battle.

The environment must be used to the player's advantage more often as the game progresses. The first two battles take place on simple, large, flat areas of land, with the only goal being to discover how to scale the colossi and attack their weak points.[9][11] However, the majority of the fourteen battles that follow require that some aspect of the battlefield be used.[8][16]

Plot and settingEdit

During Shadow of the Colossus, the player receives little information concerning the backstories of the characters and their relationships with one another.[7] The game takes place in a fantasy setting,[17][18] with most of the game's events occurring within a vast and unpopulated peninsula, known as the Forbidden Land, separated from the outside world by a mountain range to its North and sea to the South and East. The presence of ruins and other ancient structures indicate that the area was once a settlement.[19][20][21][22]

The region is only accessible via a small cleft in the mountains to the north, leading to a massive stone bridge. This bridge spans half the distance of the landscape and terminates at a large temple called the "Shrine of Worship" located at its center. It is, however, forbidden to enter the land,[23] which is characterized by diverse geographical features, such as lakes and deserts, in addition to human-made structures.[7][16]


File:Mono and Wander.JPG

The protagonist of the game is Template:Nihongo (voiced by Kenji Nojima), a young man whose goal is to resurrect a girl named Template:Nihongo (voiced by Hitomi Nabatame). Little is known about Mono other than that she was somehow sacrificed because she was believed to have a cursed destiny.[24] Assisting Wander in his quest to revive her is his loyal horse, Template:Nihongo, who serves as his only ally in defeating the colossi.[25] Wander also receives aid from an entity called Template:Nihongo (voiced by Kazuhiro Nakata and Kyōko Hikami). The story revolves around these characters, but features a small supporting cast including Lord Template:Nihongo (voiced by Naoki Bandō).

Speaking with two voices at once (one male and one female), Dormin is a mysterious, disembodied entity. Its physical form was severed into sixteen components many years before the beginning of the game, and became sealed within the colossi for unexplained reasons.[26] In legends of the game's world, it is said that Dormin has the power to revive the dead,[23][25] and it is for this reason that Wander enters the forbidden land, seeking its assistance in reviving Mono. Dormin offers to revive her in exchange for Wander destroying the sixteen colossi.[27]

Lord Emon is a shaman who narrates a vision in the game's introduction, vaguely explaining the origin of the land Wander has come to, and emphasising that entry to this place is forbidden.[23] He is portrayed as having extensive knowledge regarding the containment of Dormin, and the ability to use powerful magic. He has a small group of warriors at his command, and is pursuing Wander to prevent the use of "the forbidden spell", the ritual involving the destruction of the sixteen colossi and the restoration of Dormin's power.[28]

The colossi are armored, most often enormous creatures with forms ranging from various humanoids to predatory animals, and live in all manner of surroundings and environments including beneath water and flying through the air. Their bodies are a fusion of organic and inorganic parts such as rock, earth, fur, and architectural elements some of which are weathered or fractured. Some Colossi ignore Wander and will only attack when provoked, while others will attack on sight.[7][29] Inhabiting specific locations in the forbidden land, they do not venture outside their own territory. Once slain they will remain where fallen as a mound of earth and rock vaguely resembling the original colossus.[30][31]


The story of Shadow of the Colossus begins as Wander enters the forbidden land, traveling across the long bridge at its entrance on his horse, Agro. According to Lord Emon later in the game, prior to entering the forbidden land Wander had stolen a magical sword perhaps of Emon's possession, which is the only weapon capable of slaying the colossi of the forbidden land.[32]

Led to the massive Shrine of Worship at the center of the region, Wander carries with him a body wrapped in a cloak, which he lays upon an altar in the shrine. Removing the cloak, the body of a maiden named "Mono" is revealed. A moment later, several shadow-like creatures with humanoid forms appear and prepare to attack Wander, but he easily dismisses them with a wave of the ancient sword in his possession, which emits strong beams of light. After vanquishing the shadow creatures, the voice of the disembodied entity known as "Dormin" echoes from above, expressing surprise that Wander possesses the weapon. Wander requests that Dormin return Mono's soul to her body, which it states may be possible, but only if the sixteen idols lining the temple's hall are destroyed. It explains that this task can only be accomplished by using the ancient sword to kill sixteen colossi located throughout the land. Each contains a portion of Dormin's own essence, though this is not revealed until late in the game.[26][27]

Despite a warning from Dormin that he may have to pay a great price to revive Mono,[33] Wander sets out to search the land for the colossi and destroy them. With the death of each colossus, his physical appearance deteriorates - his skin becoming paler, his hair darker, dark streaks growing across his face, and there even appears a slight growth of horns on his head. Meanwhile, Mono's complexion improves and her voice can be faintly heard after each colossus has been killed. After the death of the twelfth, it is revealed to the player that Wander is being pursued by a group of warriors led by a shaman called "Lord Emon".

Urged to hurry with his task by Dormin, Wander soon heads off to defeat the sixteenth and final colossus. On the way to this confrontation, he travels on horseback across a long bridge, which begins to collapse as he is halfway across. As Agro jumps over the last gap in the bridge, the portion he lands on begins to separate from its foundation, causing Agro to nearly lose his footing. Sensing the impending fall, Agro jerks forward to throw Wander to safety on the other side, sacrificing himself as the bridge finally gives way and he falls into the river hundreds of feet below. Wander goes on to defeat the final colossus, and Lord Emon's company arrives in the Shrine of Worship just as the last temple idol crumbles; Wander appears soon afterwards, his eyes and skin now both entirely pale, and two small horns protruding from his head. Declaring that Wander has been "possessed by the dead", Lord Emon orders his warriors to kill him.[34] While he struggles to reach Mono, one warrior shoots Wander in the leg with a crossbow, while another stabs him through his heart with a sword. Black blood sprays from the wound as Wander's body becomes covered in darkness and falls to the floor — a death identical to those suffered by the colossi.

Afterward, Dormin's spirit possesses Wander's body, transforming it into a shadowy giant. They explain that their body had been separated to sixteen pieces—the colossi—to seal away their power,[26] and that they have now borrowed Wander's body and born anew, each freed component of Dormin's essence having been stored within Wander's body.[35]. While his men flee, Lord Emon casts the ancient sword used to kill the colossi into a small pool at the back of the temple's hall, creating a whirlwind of light that consumes Dormin and, ultimately, Wander. Emon and his men flee the forbidden land as the bridge connecting to the temple collapses behind them. As they safely arrive at the entrance to the forbidden land, Emon expresses hope that if Wander survived, he will someday be able to atone for his crimes.[36]

In the temple, Mono awakens, restored by Dormin in accordance with their agreement with Wander, and Agro limps into the temple with an injured hind leg. Mono follows him to the pool into which Wander and Dormin were pulled by Emon's spell, finding a male infant with tiny horns on his head. She takes the child with her, following the horse to higher levels of the Shrine of Worship, and arrives at a secret garden within the shrine as the game ends.

Connections to IcoEdit

Shadow of the Colossus is considered both a spiritual successor[37] and prequel to Ico.[5] For several months during and after the game's release, the game's director and lead designer, Fumito Ueda, maintained that the game's status as a prequel was simply his personal take on the game and not necessarily its canon nature, as he largely intended for players to decide the specifics of the story for themselves. However, during an interview in March 2006, Ueda revealed that a specific connection between the two games exists: the world featured in the two is the same, with Shadow of the Colossus taking place at an unspecified time before Ico. He revealed that Wander sires the line of horned boys of which Ico's protagonist is a descendant.[6] Moreover, the shadowy figures which appear in the Shrine of Worship are connected to the shadows which the player must fight in Ico.[25] Both games use unique fictional languages as well.[38][39]



With a team of thirty-five people, Shadow of the Colossus began development in 2002 under the project name Nico (a portmanteau of "Next Ico")[40] and was intended to be a sequel to Ico.[3][41] An early technology demo for the project shown at the DICE Summit in 2003 depicted a group of masked, horned boys riding horses while attacking and defeating a colossus.[3][41] However, Fumito Ueda expressed that, at the time, it was simpler to reuse the character design of Ico's protagonist, and that he never explicitly desired a sequel to Ico.[42] Japanese pre-orders of Shadow of the Colossus later included a bonus DVD with the concept video, a trailer describing Nico's plot, and an introduction the development team states they wanted to use in Shadow of the Colossus.

Ueda and producer Kenji Kaido held their team to a high standard throughout production. An admitted perfectionist, Ueda felt that only one or two out of 500 artists who applied to work on Shadow of the Colossus met his criteria, and often demanded thorough changes in design until it matched his vision.[41] For his part, Kaido challenged the programmers to meet the concept of realistic physics in relation to the movement of the colossi and the subsequent effect this movement would have for Wander, both in terms of how he might be displaced and how he may be able to use this movement to his advantage. For instance, if a colossus were to shake, Kaido wanted Wander's position to shift realistically in response. Additionally, if a colossus' limb was currently horizontal, Kaido wanted the player to be able to run across the limb as though it were any other flat surface. He referred to these two concepts as "player dynamics and reactions" and "organic collision deformation".[41] The realistic physics engine produced as a result required that faster colossi had to be smaller as well.[42]

File:Kaido Kenji And Fumito Ueda.jpg

Ueda wished the game to have a unique presentation[5] and change how both players and developers perceived the idea of what bosses should be in video games. To achieve this, he ensured that the game's only enemies would be the sixteen colossi, that they could only be approached one at a time, and that they would have various behavior patterns.[42][43] Though limiting the presence of enemies to only bosses was partly intended to differentiate the game from others, Ueda also expressed that it was to ensure that the programmers' focus was entirely on the colossi so that their quality would be as high as possible.[6] In accordance with this focus upon the colossi—and his preference for simple controls—he intended that one button on the game controller be used solely for targeting the colossi during battles.[43]

A theme of companionship between the player and an AI-controlled partner was a concern for Ueda.[43] In Ico, this theme was presented through the protagonist and the character Yorda, whom the player was required to work with and protect while navigating the game's environments.[44] As such, another key element in Shadow of the Colossus is the relationship between Wander and his horse, Agro.[15] Intended to be a realistic representation of a horse, Agro does not always respond to commands. In Ueda's words, "a real horse ... doesn't always obey. It's not like a car or a motorcycle, it won't always turn when you say 'turn!'" However, he has admitted that the team had to seek a balance in how often Agro didn't respond to commands so as to not sacrifice playability in the pursuit of realism.[43]

All elements of the game—including audio, gameplay and visuals—were used to achieve an atmosphere of a "lonely hero", which Ueda considered important in the development of the game. Lighting, in particular, was used to establish a dark, fearsome setting for the forbidden land, while the protagonist's sword would provide a means of navigation that was "direct and only expressible visually".[44] Like Ico, Shadow of the Colossus uses a distinct style of lighting. The game's engine uses elements such as desaturated colors, motion blur and partial high dynamic range rendering, with a heavy emphasis on bloom lighting.[8][45][15]


Template:See While the game has an extensive orchestral soundtrack, the music is only heard during cut scenes and colossus encounters, while time spent at the Shrine of Worship and traversing the landscape is silent save for the sounds made by the protagonist, his horse and their surroundings.[46] The open nature of the game world and lack of life, coupled with this limited use of music, aids in establishing an atmosphere of solitude,[44][47] similar to that of Ico.[16]

Roar of the Earth, a soundtrack album containing music from Shadow of the Colossus, was released in Japan on December 7, 2005. There are currently no announced plans to release the album in other territories. The game's score was composed by Kō Ōtani (credited in-game as "Kow Otani"), whose previous video game work included the soundtracks to the PlayStation 2 flight simulator Sky Odyssey and the PlayStation shooter Philosoma. He has also worked on several of the 1990s-era Gamera films, as well as a variety of anime. Roar of the Earth won the award for "Soundtrack of the Year" in the US-based video game magazine Electronic Gaming Monthly.[48]

PAL releaseEdit

The PAL version of the game was released in February 2006. Much like the PAL release for Ico, the game came in cardboard packaging displaying various pieces of artwork from the game, and contained four art cards.[49][50]

The game also came with a "making of" documentary, a trailer for Ico and a gallery of concept art, accessible from the game's main menu.[49] Sony Computer Entertainment also re-released Ico in PAL territories at the time of Shadow's release, both to promote the game through Ico's reputation, and to allow players who did not buy Ico during its original limited release to "complete their collections".[49][51]

Some confusion has arisen in PAL regions concerning the official name of the protagonist, due primarily to the manual's usage of "Wanda", while the North American manual and the game itself uses the name "Wander". In fact, the Japanese version of the game spells the name "Wander" as ワンダ (Wanda), which is also the common transliteration of the English name "Wanda", hence the mistake in the manual.


Shadow of the Colossus's commercial reception was positive, with sales of 140,000 copies in its first week at retail in Japan, reaching number one in the charts. Almost 80% of the initial Japanese shipment was sold within two days.[52] These figures compare favorably with Ico, which was well received by critics but failed to sell a significant number of copies.[53] The game was placed on Sony's list of Greatest Hits titles on August 8, 2006.[54][55]

Unlike Ico, Shadow received far more exposure, due in part to Sony putting its weight behind a massive advertising campaign.[56] It was advertised in game magazines, on television and on the internet, including a viral marketing campaign launched in October 2005. The site posted links to several websites claiming that the remains of five giants resembling certain colossi had been discovered in various parts of the world. The website has since been taken down. Some speculate that Ico's sales figures could have been improved if similar advertising efforts were made before its release.[57]

Critical responseEdit

Template:VG Reviews

Shadow was well-received by the media, with an average critic score of 92% at Game Rankings,[58] making it the 13th-highest rated game of 2005.[59] These include the Japanese magazine Famitsu, who rated the game 37/40,[60] the UK-based Edge, who awarded an 8/10,[61] and Electronic Gaming Monthly, who granted 8.8/10.[48] GameSpot's review gave it an 8.7, commenting that "the game's aesthetic presentation is unparalleled, by any standard",[7] while multimedia website IGN hailed the game as "an amazing experience" and "an absolute must-have title", rating it 9.7/10.[16] GameSpy described it as "possibly the most innovative and visually arresting game of the year for the PS2".[17] A retrospective Edge article described the game as "a fiction of unquestionable thematic richness, of riveting emotional power, whose fundamental artistic qualities are completely fused with its interactivity."[62]

Many reviewers consider the game's soundtrack to be one of its greatest aspects. In addition to Electronic Gaming Monthly's award of "Soundtrack of the Year",[48][63] GameSpot commented that the musical score conveyed, and often intensified, the mood of any given situation,[7] while it was described as "one of the finest game soundtracks ever" by a reviewer from Eurogamer.[8]

However, the game has been negatively criticised for its erratic frame rate, which is usually smooth while traversing the landscape, but often slows down in fast-paced situations, such as colossus battles.[7] Concern was also expressed about the game's camera, which was described by GameSpy as being "as much of an opponent as the Colossi", "manag[ing] to re-center itself at the worst and most inopportune times".[17] Reviewers are often mixed about Agro's AI and controls; while gaming website Thunderbolt insists the realism of his movement and behaviour "create[s] a videogame experience unlike any other",[64] Edge comments that the controls are "clumsy, crude, and unpredictable".[61] Other critics like Game Revolution[65] and Gamespot felt the game was too short-lived (average playthrough time estimated 6 to 8 hours), with little replay value given the puzzle elements to each colossus battle.[65][7]

Because of its artistic merit, Shadow of the Colossus has garnered some attention from literary theorists. In "'Play, Memory': Shadow of the Colossus and Cognitive Workouts," literary theorist Dave Ciccoricco applies the distinction of episodic and procedural memory from cognitive science to the game toward a richer understanding of how the game mechanics work along with the mechanics of the game's narrative.[66]


Shadow of the Colossus has received several awards, including recognition for "Best Character Design", "Best Game Design", "Best Visual Arts" and "Game of the Year", as well as one of three "Innovation Awards" at the 2006 Game Developers Choice Awards.[67][68] At the 2006 DICE Summit, the game won the award for "Outstanding Achievement in Art Direction" at the Academy of Interactive Arts & Sciences,[69] while it received one of two "Special Rookie Awards" at the Famitsu Awards 2005.[70][71][72] It was nominated for "Best Original Music", "Best Artistic Graphics" and "Best PS2 Game", yet also "Most Aggravating Frame Rate" in GameSpot's awards for 2005,[73][74][75][76] while it won "Best Adventure Game" and "Best Artistic Design" in IGN's Best of 2005 awards,[77][78][79] who cited Agro as the best sidekick in the history of video games.[80] Two years after its release IGN listed Shadow as the fourth greatest PlayStation 2 game of all time.[81] Games Radar awarded it Best Game Of The Year 2006 (being released in the UK in early 2006, later than the US),[82] while the game's ending was selected as the fourth greatest moment in gaming by the editors of GamePro in July 2006.[83]


In April 2009, it was reported that Sony Pictures would adapt Shadow of the Colossus into a film. Kevin Misher, producer of The Scorpion King, The Interpreter and the upcoming Dune film, is negotiating to produce. The script is being written by Justin Marks, who wrote Street Fighter: The Legend of Chun-Li.[84]



External linksEdit

Official sites
Media and interviews

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