Developer: SCEA Publisher: SCEA
Some Classics Never Go Out of Style
Reviewed by Vansau on 6/5/04

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First Impressions:

The first time I played this game, I was walking through a K-Mart in Southern CA and decided I wanted to see what the graphics on a PS2 were like. I have to admit that I liked ICO’s imagery, but I had no idea what I was doing or why I had to navigate some brat with a horned helmet around a giant castle. After about five minutes, I was bored and left to buy some Hostess cupcakes.

About a year later, I read some old reviews for the same game; much to my astonishment, every one touted how amazing it was. After the sixth such review, I grudgingly decided to give it a second shot… I’ve never been so glad I gave something a second chance.

As I started a new game, I learned that ICO is all about Ico, a boy who is born with bull’s horns sprouting from his head. His village’s law states that he must be sacrificed when he reaches a certain age. The lengthy opening movie explains all this and shows him being imprisoned within a stone tomb, which in turn is inside an enormous castle, only to be freed by an earthquake. Soon after his escape, Ico meets and frees a young girl named Yorda who has also been imprisoned in the castle. Together, the two of them must escape the castle while avoiding malevolent beings in pursuit of Yorda.

Graphics:

Ico was originally intended to be released for Playstation, but Sony felt it would be better suited for the new PS2 console and its Emotion Engine. As a result, the graphics were given a major overhaul before it was released.

One of the first things you’ll notice about ICO is the incredible amount of detail that went into its environments; every area, particularly the castle’s interiors, seem so real that you will. Those interior’s are huge, too. No matter where he is, Ico is dwarfed by the sheer size of the castle. This is a simple yet effective method for reminding players that while Ico is the main character, he is also a fragile little boy trapped in a frightening place and he just wants to go home.

The camera in the game is fixed, like in Capcom’s Resident Evil series (although unlike in RE it never is awkwardly placed), but it does allow for players to pan about a bit with the right thumbstick to better view the environments. SCEA created a brand new particle physics engine to give a slightly grainy look (akin to film-grain from bright light hitting dark environments) which in turn makes the game feel rather cinematic.

The character models of Ico and Yorda are highly detailed, with the in-game rendered cut-scenes providing a startling amount of detail on facial expressions. Everything about the two’s appearance makes them believable; especially their animations as they move about the castle. The image of the two of them holding each other’s hand as they navigate their way past countless hazards is touching and believable, but the save point animations are what really make the players bond with the two protagonists. A small iron couch marks each save point in the game; if the player decides to save, then Ico and Yorda fall asleep on the couch while holding hands and resting their heads against each other. I have yet to see another game use its graphics to display tenderness, strength, and fragility in such an effective manner.

Sound/Music:

Sound in this game is rather minimal. In most cases, I would complain. This time, however, I think this is much more effective. The spoken lines are actually provided in a nonsensical language that is translated through subtitles. As a result, each character’s tone of voice becomes integral for conveying their words’ meaning. Usually, games that use such techniques will impart a feeling of cheapness on the part of the developer. In ICO’s case, though, it serves to make the game’s reality both more immersive and more alien at the same time.

Music is also kept to a minimum, again serving the game well. As Ico and Yorda run about the castle, the only sounds accompanying them are those provided by their movements or the objects they interact with. The lack of music keeps the player from ever feeling comfortable in any of the environments; instead, you are constantly aware that this place is not your home and there is something slightly sinister afoot. When the music does appear, typically during the game’s movies and cut-scenes, it is provided by various acoustic instruments (I’m pretty sure I heard a lute and a mandolin a few times… though I could be wrong) and is incredibly moving.

Game Play:

Ico is a puzzle adventure, but it doesn’t always feel like it. The puzzles never involve you talking to other characters, finding keys, or retrieving rare items. Instead, Yorda’s incredible fragility is the underlying factor to each riddle. As a result, you have to constantly find or create alternate paths so that she can continue following you towards eventual freedom. As the game progresses, you’ll find yourself lowering platforms for her to climb on, jury-rigging impromptu bridges for her to cross, and narrowing gaps so she can leap into your waiting arms.

The small amount of combat in the game feels almost as if it was added as an afterthought... perhaps as a way to appeal to more action-oriented gamers. As Ico, you use a small plank of wood to whack the occasional shadow demons who pursue Yorda, but since there is no health for players to lose in these sequences the only way to “die” is to let Yorda be dragged away by these creatures. The combat is pretty basic, but this simplicity keeps players focused on protecting Yorda instead of pulling off flashy combos.

Enjoyment:

This has become one of my favorite games to play over the years. Aside from the beautiful story, challenging puzzles, and amazing level design, I found myself especially happy when I played through the game a second time and discovered I could unlock a lightsaber to combat the demons with.

Multiplayer:

n/a

Overall Impression:

ICO reminds me of a rule that I have found equally applicable in movies and video games: flashy special effects are not necessary to create a masterpiece. While some people might complain that ICO is too short, I had no problem with its brevity: I never grew bored and I continued wanting more until the final movie.

This is not a game for everyone, though. If you are looking for an action-intense, special-effects laden, dialogue-filled game then you’ll probably want to pick up Jak II. If you are looking for a deep story with characters whom will engross you from beginning to end, however, then this is a game you can’t afford to miss.

Marketing Efforts Towards Women:

This game was marketed towards everybody, with no specific gender being targeted by SCEA. Ico and Yorda’s youth and innocence definitely remove them from the general populace of most protagonists in adventure games, which typically feature rather large and attractive adults instead. Yorda’s fragility is both a blessing and a curse for her. She does not provide a strong female character whom players will be impressed by, however it is her fragility and innocence which allows the players to care so much about this beautiful and delicate creature that they are protecting.

Web sites of interest:

Official game site: