Template:Short description Template:About Template:Featured articleTemplate:Use mdy dates Template:Main other{{#invoke:infobox|infoboxTemplate | child = | subbox = | bodyclass = ib-video-game hproduct {{#ifeq:|yes|collapsible {{#if:|{{{state}}}|autocollapse}}}} | templatestyles = Infobox video game/styles.css | aboveclass = fn | italic title =
| above = Ico
| image = {{#invoke:InfoboxImage|InfoboxImage|image={{#invoke:WikidataIB |getValue|rank=best|P18 |name=image |qid= |suppressfields= |fetchwikidata=ALL |onlysourced=no |noicon=yes|Ico cover - EU+JP.jpg}}|size=|sizedefault=frameless|upright=1|alt=|border=|suppressplaceholder=yes}}
| caption = {{#if:Ico cover - EU+JP.jpg|Cover art of the European and Japanese versions, painted by director Fumito Ueda, and inspired by the Italian painter Giorgio de ChiricoTemplate:'s The Nostalgia of the Infinite|Cover art of the European and Japanese versions, painted by director Fumito Ueda, and inspired by the Italian painter Giorgio de ChiricoTemplate:'s The Nostalgia of the Infinite}}
| label2 = Developer(s) | data2 = Sony Computer Entertainment Japan
| label3 = Publisher(s) | data3 = Sony Computer Entertainment
| label4 = Director(s) | data4 = Fumito Ueda
| label5 = Producer(s) | data5 = Kenji Kaido
| label6 = Designer(s) | data6 = Fumito Ueda
| label7 = Programmer(s) | data7 = Template:If first display both
| label8 = Artist(s) | data8 = Fumito Ueda
| label9 = Writer(s) | data9 = Template:If first display both
| label10 = Composer(s) | data10 = Template:Ubl
| label11 = Series | data11 = Template:If first display both
| label12 = Engine | data12 = Template:If first display both
| label13 = Platform(s) | data13 = PlayStation 2
| label14 = Release | data14 = Template:Video game release
| label15 = Genre(s) | data15 = Action-adventure
| label16 = Mode(s) | data16 = Single-player, multiplayer
| label17 = Arcade system | data17 = Template:If first display both
| data30 =
| below = Template:EditOnWikidata
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Template:Nihongo foot is a 2001 action-adventure game developed and published by Sony Computer Entertainment for the PlayStation 2. It was designed and directed by Fumito Ueda, who wanted to create a minimalist game based on a "boy meets girl" concept. Originally planned for the PlayStation, Ico took approximately four years to develop. The team employed a "subtracting design" approach to reduce elements of gameplay that interfered with the game's setting and story in order to create a high level of immersion.
The player controls Ico, a boy born with horns, which his village considers a bad omen. After warriors lock him in an abandoned castle, he frees Yorda, the daughter of the castle's Queen, who plans to use Yorda to extend her life. Ico must work with Yorda to escape the castle while protecting her from enemies and assisting her across and solving puzzles.
Ico introduced several design and technical elements that have influenced subsequent games, including a story told with minimal dialogue, bloom lighting, and key frame animation. Although not a commercial success, it was acclaimed for its art, original gameplay and story elements and received several awards, including "Game of the Year" nominations and three Game Developers Choice Awards. Considered a cult classic, it has been called one of the greatest video games of all time, and is often brought up in discussions about video games as an art form. It was rereleased in Europe in 2006 in conjunction with Shadow of the Colossus, the spiritual successor to Ico. A high-definition remaster of the game was released alongside Shadow of the Colossus for the PlayStation 3 in The Ico & Shadow of the Colossus Collection in 2011.
GameplayEdit
Ico is primarily a three-dimensional platform game. The player controls Ico from a third-person perspective as he explores the castle and attempts to escape it with Yorda.<ref name="g4tv review">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The camera is fixed in each room or area but swivels to follow Ico or Yorda as they move; the player can also pan the view a small degree in other directions to observe more of the surroundings.<ref name="method development"/> The game includes many elements of platform games; for example, the player must have Ico jump, climb, push and pull objects, and perform other tasks such as solving puzzles in order to progress within the castle.<ref name="gamespot review"/>
These actions are complicated by the fact that only Ico can carry out these actions; Yorda can jump only short distances and cannot climb over tall barriers. The player must use Ico so that he helps Yorda cross obstacles, such as by lifting her to a higher ledge, or by arranging the environment to allow Yorda to cross a larger gap herself. The player can tell Yorda to follow Ico, or to wait at a particular spot. The player can have Ico take Yorda's hand and pull her along at a faster pace across the environment.<ref name="eurogamer review"/> Players are unable to progress in the game until they move Yorda to certain doors that only she can open.<ref name="g4tv review"/>
Escaping the castle is made difficult by shadow creatures sent by the Queen. These creatures attempt to drag Yorda into black vortexes if Ico leaves her for any length of time, or if she is in certain areas of the castle. Ico can dispel these shadows using a stick or sword and pull Yorda free if she is drawn into a vortex.<ref name="g4tv review"/> While the shadow creatures cannot harm Ico, the game is over if Yorda becomes fully engulfed in a vortex; the player restarts from a save point. The player will also restart from a save point if Ico falls from a large height. Save points in the game are represented by stone benches that Ico and Yorda rest on as the player saves the game.<ref name="eurogamer review"/> In European and Japanese releases, upon completion of the game, the player has the opportunity to restart the game in a local co-operative two-player mode, where the second player plays as Yorda, still under the same limitations as the computer-controlled version of the character.<ref>Template:Cite conference</ref>
PlotEdit
Template:Nihongo, a horned boy, is taken by a group of warriors to an abandoned, desolate castle and locked inside a stone coffin to be sacrificed.<ref>Template:Cite video game</ref> A tremor topples the coffin and Ico escapes. As he searches the castle, he comes across Template:Nihongo, a captive girl who speaks a different language. Yorda is magically linked to the castle and has the mystical ability to open various gates, made out of statues resembling Ico, with white energy that emanates from her body. However, she is physically incapable of defending herself. Ico helps Yorda escape and defends her from shadow-like creatures. The pair makes their way through the castle and arrive at the bridge leading to land. As they cross, the Queen, ruler of the castle, appears and tells Yorda that as her daughter she cannot leave the castle.<ref>Template:Cite video game</ref> Later, as they try to escape on the bridge, it splits up and they get separated. Yorda tries to save Ico but the Queen prevents it. He ends up falling off the bridge and losing consciousness.
Ico awakens below the castle and makes his way back to the upper levels, finding a magic sword that dispels the shadow creatures. After discovering that Yorda has been turned to stone by the Queen, he confronts the Queen in her throne room, who reveals that she plans to restart her life anew by taking possession of Yorda's body.<ref>Template:Cite video game</ref> Ico slays the Queen with the magic sword, but his horns are broken in the fight and at the end of it he is knocked unconscious. With the Queen's death the castle begins to collapse around Ico, but the Queen's spell on Yorda is broken, and a shadowy Yorda carries Ico safely out of the castle to a boat, sending him to drift to the shore alone. Her final phrase "Nonomori" (the only dialogue not translated in the game) is spoken by her to Ico as he drifts away from the castle.
Ico awakens on a beach shore to find the distant castle in ruins, and Yorda, in her human form, washed up nearby.<ref name="method development"/> She wakes up and smiles at Ico.
DevelopmentEdit
Lead designer Fumito Ueda came up with the concept for Ico in 1997, envisioning a "boy meets girl" story where the two main characters would hold hands during their adventure, forming a bond between them without communication.<ref name="method development"/> Ueda's original inspiration for Ico was a TV commercial he saw, of a woman holding the hand of a child while walking through the woods, and the manga series Galaxy Express 999, where a woman is a guardian for the young hero as they adventure through the galaxy, which he thought about adapting into a new idea for video games.<ref>Template:Citation</ref> He also cited his work as an animator on Kenji Eno's Sega Saturn game Enemy Zero, which influenced the animation work, cinematic cutscenes, lighting effects, sound design, and mature appeal.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ueda was also inspired by the video game Another World (Outer World in Japan), which used cinematic cutscenes, lacked any head-up display elements as to play like a movie, and also featured an emotional connection between two characters despite the use of minimal dialog.<ref name="ueda interview">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="ueda interview translation">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He also cited Sega Mega Drive games,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Virtua Fighter,<ref>Watch The Last Guardian’s spectacular new CG trailer Template:Webarchive, PlayStation Blog, PlayStation Network</ref> Lemmings, Flashback and the original Prince of Persia games as influences, specifically regarding animation and gameplay style.<ref name="ueda interview"/><ref name="ueda interview translation"/> With the help of an assistant, Ueda created an animation in Lightwave to get a feel for the final game and to better convey his vision.<ref name="method development">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the three-minute demonstration reel, Yorda had the horns instead of Ico, and flying robotic creatures were seen firing weapons to destroy the castle.<ref name="method development"/><ref name="beta video">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ueda stated that having this movie that represented his vision helped to keep the team on track for the long development process, and he reused this technique for the development of Shadow of the Colossus, the team's next effort.<ref name="method development"/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Ueda, at the time an employee at Sony Computer Entertainment Japan, began working with producer Kenji Kaido in 1998 to develop the idea and bring the game to the PlayStation. He was granted his own unit as the studio primarily assisted on games from other Japanese developers, with notable exceptions including the Ape Escape series.<ref name="hg101">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> IcoTemplate:'s design aesthetics were guided by three key notions: to make a game that would be different from others in the genre, feature an aesthetic style that would be consistently artistic, and play out in an imaginary yet realistic setting.<ref name="method development" /> This was achieved through the use of "subtracting design"; they removed elements from the game which interfered with the game's reality.<ref name="method development" /> This included removing any form of interface elements, keeping the gameplay focused only on the escape from the castle, and reducing the number of types of enemies in the game to a single foe. An interim design of the game shows Ico and Yorda facing horned warriors similar to those who take Ico to the castle. The game originally focused on Ico's attempt to return Yorda to her room in the castle after she was kidnapped by these warriors.<ref name="beta video" /> Ueda believed this version had too much detail for the graphics engine they had developed, and as part of the "subtracting design", replaced the warriors with the shadow creatures.<ref name="method development" /> Ueda also brought in a number of people outside the video game industry to help with development. These consisted of two programmers, four artists, and one designer in addition to Ueda and Kaido.<ref name="method development" /><ref name="hg101" /> On reflection, Ueda noted that the subtracting design may have taken too much out of the game, and did not go to as great an extreme with Shadow of the Colossus.<ref name="method development"/>
After two years of development, the team ran into limitations on PlayStation hardware and faced a critical choice: either terminate the project altogether, alter their vision to fit the constraints of the hardware, or continue to explore more options. The team decided to remain true to Ueda's vision, and began to use the Emotion Engine of the PlayStation 2, taking advantage of the improved abilities of the platform.<ref name="game design ico">Template:Cite conference</ref><ref name="game design ico slides">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Character animation was accomplished through key frame animation instead of the more common motion capture technique.<ref name="nytimes review">Template:Cite news</ref> The game took about four years to develop.<ref name="method development"/> Ueda purposely left the ending vague, not stating whether Yorda was alive, whether she would travel with Ico, or if it was simply the protagonist's dream.<ref name="method development"/>
Ico uses minimal dialogue in a fictional language to provide the story throughout the game.<ref name="g4tv review" /> Voice actors included Kazuhiro Shindō as Ico, Rieko Takahashi as Yorda, and Misa Watanabe as the Queen.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ico and the Queen's words are presented in either English or Japanese subtitles depending on the release region, but Yorda's speech is presented in a symbolic language.<ref name="g4tv review" /> Ueda opted not to provide the translation for Yorda's words as it would have overcome the language barrier between Ico and Yorda, and detracted from the "holding hands" concept of the game.<ref name="method development" /> In the non-North American releases, playing through the game again after completing the game replaces the symbolic text with appropriate language subtitles.<ref name="gamespot cheats">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Unreliable source?
ReleaseEdit
The game was released in Japan on December 6, 2001 alongside Yoake no Mariko, developed by another unit of Sony as a collaboration with Spümcø.<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref> The North American version was released two months earlier; due to time constraints caused by Sony's planned release date, it lacks the cover art intended by Ueda as well as additional features such as the two-player mode.<ref name="gamespot cheats" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ueda drew a cover inspired by the Italian artist Giorgio de Chirico and his work The Nostalgia of the Infinite; it was used for the releases in Japan and PAL regions as Ueda was able to complete it for those regions' release dates. Ueda believed that "the surrealistic world of de Chirico matched the allegoric world of Ico".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Since release, the North American cover has been considered one of the worst pieces of cover art for video games in contrast to the game's quality.<ref name="gr cover">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="poly na cover">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On reflection, Yasuhide Kobayashi, vice-president of Sony's Japan division, believed the North American box art and lack of an identifiable English title led to the game's poor sales in the United States, and stated plans to correct that for the release of The Last Guardian.<ref name="tlg name">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> For its original release, a limited edition of the game was available in PAL regions that included a cardboard wrapping displaying artwork from the game and four art cards inside the box.<ref name="extrasandico">Template:Cite magazine</ref> The game was re-released as a standard edition in 2006 across all PAL regions except France after the 2005 release of Shadow of the Colossus, IcoTemplate:'s spiritual sequel, to allow players to "fill the gap in their collection".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Despite the positive reception by critics, the original title did not sell well. By 2009, only 700,000 copies were sold worldwide, with 270,000 in the United States,<ref name="tlg name" /> and the bulk in PAL regions.<ref name="hg101" /> Ueda considered his design by subtraction approach may have hurt the marketing of the game, as at the time of the game's release, promotion of video games were primarily done through screenshots, and as Ico lacked any heads-up display, it appeared uninteresting to potential buyers.<ref name="wired influence">Template:Cite magazine</ref>
Other mediaEdit
SoundtrackEdit
IcoTemplate:'s audio featured a limited amount of music and sound effects. The soundtrack, Template:Nihongo, was composed by Michiru Oshima and sound unit "pentagon" (Koichi Yamazaki & Mitsukuni Murayama) and released in Japan by Sony Music Entertainment on February 20, 2002. The album was distributed by Sony Music Entertainment Visual Works. The last song of the CD, "ICO -You Were There-", includes vocals sung by former Libera member Steven Geraghty.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
NovelizationEdit
A novelization of the game titled Template:Nihongo was released in Japan in 2004.<ref>Template:Cite book</ref> Author Miyuki Miyabe wrote the novel because of her appreciation of the game.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A Korean translation of the novel, entitled 이코 – 안개의 성 (I-ko: An-gae-eui Seong) came out the following year, by Hwangmae Publishers,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> while an English translation was published by Viz Media on August 16, 2011.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Cross title contentEdit
On June 11th, 2009, costumes (including Ico and Yorda), stickers, and sound effects from Ico were released as part of a paid downloadable add-on pack for the game LittleBigPlanet, titled Team Ico, which was available for download as DLC on the PlayStation Network store alongside similar materials from Shadow of the Colossus, after being teased by the game's developers Media Molecule about two weeks prior.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ico makes cameo appearances in Astro's Playroom and Astro Bot, Yorda also appearing in the latter.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
ReceptionEdit
Ico received critical acclaim, becoming a cult hit among players.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The game has an aggregated review score of 90 out of 100 at Metacritic.<ref name="MC">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In Japan, Famitsu magazine gave the PlayStationTemplate:Nbsp2 version a score of 30 out of 40.<ref name="Famitsu">Template:Cite magazine</ref> The game is considered by some to be one of the greatest games of all time; Edge ranked Ico as the 13th top game in a 2007 listing,<ref>Template:Cite magazine</ref> while IGN ranked the game at number 18 in 2005,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and at number 57 in 2007.<ref name="ign top 100 2007">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ico has been used as an example of a game that is a work of art.<ref name="telegraph art"/><ref>Template:Cite news</ref><ref name="gamespy review">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ueda commented that he purposely tried to distance Ico from conventional video games due to the negative image video games were receiving at that time, in order to draw more people to the title.<ref name=":0">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Some reviewers have likened Ico to older, simpler adventure games such as Prince of Persia or Tomb Raider, that seek to evoke an emotional experience from the player;<ref name="Edge review">Template:Cite magazine</ref><ref name="telegraph art">Template:Cite news</ref> IGNTemplate:'s David Smith commented that while simple, as an experience the game was "near indescribable."<ref name="ign review">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The game's graphics and sound contributed strongly to the positive reactions from critics; Smith continues that "The visuals, sound, and original puzzle design come together to make something that is almost, if not quite, completely unlike anything else on the market, and feels wonderful because of it."<ref name="ign review"/> Many reviewers were impressed with the expansiveness and the details given to the environments, the animation used for the main characters despite their low polygon count, and the use of lighting effects.<ref name="g4tv review"/><ref name="gamespot review"/><ref name="ign review"/> IcoTemplate:'s ambiance, created by the simple music and the small attention to detail in the voice work of the main characters, were also called out as strong points for the game. Charles Herold of The New York Times summed up his review stating that "Ico is not a perfect game, but it is a game of perfect moments."<ref name="nytimes review"/> Herold later commented that Ico breaks the mold of games that usually involve companions. In most games these companions are invulnerable and players will generally not concern with the non-playable characters' fate, but Ico creates the sense of "trust and childish fragility" around Yorda, which leads to the character being "the game's entire focus".<ref name="wellplayed">Template:Cite book</ref>
The game is noted for its simple combat system that would "disappoint those craving sheer mechanical depth", as stated by GameSpotTemplate:'s Miguel Lopez.<ref name="gamespot review">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The game's puzzle design has been praised for creating a rewarding experience for players who work through challenges on their own;<ref name="ign review"/> Kristen Reed of Eurogamer, for example, said that "you quietly, logically, willingly proceed, and the illusion is perfect: the game never tells you what to do, even though the game is always telling you what to do".<ref name="eurogamer review">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ico is also considered a short game, taking between seven and ten hours for a single play through, which GameRevolution calls "painfully short" with "no replay outside of self-imposed challenges".<ref name="gamerev review">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> G4TV's Matthew Keil, however, felt that "the game is so strong, many will finish 'Ico' in one or two sittings".<ref name="g4tv review" /> The lack of features in the North American release, which would become unlocked on subsequent playthroughs after completing the game, was said to reduce the replay value of the title.<ref name="g4tv review"/><ref name="ign review"/> Electronic Gaming Monthly notes that "Yorda would probably be the worst companion -she's scatterbrained and helpless; if not for the fact that the player develops a bond with her, making the game's ending all the more heartrending."<ref>Jeremy Parish, "Best Buddies & Foul-weather Friends: A history of co-op games, good and bad", Electronic Gaming Monthly 234 (November 2008): 92.</ref>
Francesca Reyes reviewed the game for Next Generation, rating it four stars out of five, and stated that "Intensely involving and wonderfully simple, Ico, though flawed, deserves to find its niche as a quiet classic."<ref name="NG">Template:Cite magazine</ref>
AwardsEdit
Ico received several acclamations from the video game press, and was considered to be one of the Games of the Year by many publications, despite competing with releases such as Halo: Combat Evolved, Metal Gear Solid 2: Sons of Liberty, and Grand Theft Auto III.<ref name="ign top 100 2007"/> The game received three Game Developers Choice Awards in 2002, including "Excellence in Level Design", "Excellence in Visual Arts", and "Game Innovation Spotlight".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The game won two Interactive Achievement Awards from the Academy of Interactive Arts & Sciences in 2002 for outstanding achievement in "Art Direction" and "Character or Story Development"; it also received nominations for "Game of the Year", "Console Game of the Year", "Console Action/Adventure Game of the Year", "Innovation in Console Gaming", and outstanding achievement in "Game Design" and "Sound Design".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It won GameSpotTemplate:'s annual "Best Graphics, Artistic" prize among console games.<ref name=bestworst2001>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was one of three titles to win the Special Award at the sixth CESA Game Awards.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
LegacyEdit
Ico influenced numerous other video games, which borrowed from its simple and visual design ideals.<ref name="wired influence"/> Several game designers, such as Eiji Aonuma, Hideo Kojima, and Jordan Mechner, have cited Ico as having influenced the visual appearance of their games, including The Legend of Zelda: Twilight Princess, Metal Gear Solid 3: Snake Eater, and Prince of Persia: The Sands of Time, respectively.<ref name="hg101"/> Marc Laidlaw, scriptwriter for the Half-Life series, commented that, among several other more memorable moments in the game, the point where Yorda attempts to save Ico from falling off the damaged bridge was "a significant event not only for that game, but for the art of game design".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Naughty Dog team used Ico as part of the inspiration for developing Uncharted 3.<ref name="wired influence"/> Vander Caballero credits Ico for inspiring the gameplay of Papo & Yo.<ref>Template:Cite magazine</ref> Phil Fish used the design by subtraction approach in developing the title Fez.<ref name="wired influence"/> The developers of both Brothers: A Tale of Two Sons and Rime have Ico as a core influence on their design.<ref name="wired influence"/> Hidetaka Miyazaki, creator and director of the Dark Souls series, cited Ico as a key influence to him becoming involved in developing video games, stating that Ico "awoke me to the possibilities of the medium".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Goichi Suda aka Suda51, said that IcoTemplate:'s save game method, where the player has Ico and Yorda sit on a bench to save the game, inspired the save game method in No More Heroes where the player-character sits on a toilet to save the game.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Ico was one of the first video games to use a bloom lighting effect, which later became a popular effect in video games.<ref name="1up bittersweet"/> Patrice Désilets, creator of Ubisoft games such as Prince of Persia: The Sands of Time and Assassin's Creed, cited Ico as an influence on the game design of The Sands of Time.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Cbignore</ref> Jenova Chen, creator of art games such as Flower and Journey, cited Ico as one of his biggest influences.<ref name="JSint">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ico was also cited as an influence by Halo 4 creative director Josh Holmes.<ref name="wired influence"/> Naughty Dog said The Last of Us was influenced by Ico, particularly in terms of character building and interaction,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Neil Druckmann credited the gameplay of Ico as a key inspiration when he began developing the story of The Last of Us.<ref name="failure">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Film director Guillermo del Toro cited both Ico and Shadow of the Colossus as "masterpieces" and part of his directorial influence.<ref>Template:Cite magazine</ref> Jonny Greenwood of Radiohead considers it one of his top ten video games of all time, saying it "might be the best one".<ref name="Dead Air Space">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Other Team Ico gamesEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}
Shadow of the Colossus was developed by the same team and released for the PlayStation 2 in 2005. The game features similar graphics, gameplay, and storytelling elements as Ico. The game was referred by its working title "Nico" ("Ni" being Japanese for the number 2") until the final title was revealed.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ueda, when asked about the connection between the two games, stated that Shadow of the Colossus is a prequel to Ico.<ref name=":0" />
The team's third game, The Last Guardian, was announced for the PlayStation 3 at E3 2009. The game centers on the connection between a young boy and a large griffin-like creature that he befriends, requiring the player to cooperate with the creature to solve the game's puzzles. The game fell into development hell due to hardware limitations and the departure of Ueda from Sony around 2012, along with other Team Ico members, though Ueda and the other members continued to work on the game via consulting contracts. Development subsequently switched to the PlayStation 4 in 2012, and the game was reannounced in 2015 and released in December 2016.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ueda has said that "the essence of the game is rather close to Ico".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
HD remasterEdit
Template:Further Ico, along with Shadow of the Colossus, received a high-definition remaster for the PlayStationTemplate:Nbsp3 that was released worldwide in September 2011. In addition to improved graphics, the games were updated to include support for stereoscopic 3D and PlayStation Trophies. The Ico port was also based on the European version, and includes features such as Yorda's translation and the two-player mode.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In North America and Europe/PAL regions, the two games were released as a single retail collection,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> while in Japan, they were released as separate titles.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Both games have since been released separately as downloadable titles on the PlayStation Network store.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Patch 1.01 for the digital high-definition Ico version added the Remote Play feature, allowing the game to be played on the PlayStation Vita.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
ReferencesEdit
Template:Notelist Template:Reflist
Further readingEdit
External linksEdit
- Ico at MobyGames
- Early development video assembled by GenDesign
Template:Portal bar Template:Team Ico Template:Authority control