Excited to see The Last Guardian reappear. But after five years, I may have expected too much… That and it has been an…eventful week.
The game is fully-working with puzzles, which is a good sign. Similar in design to Ico. But the one puzzle shown here was a ‘videogame puzzle’ rather than environmental… Moving objects on rails to push them off a cliff is something from Ico’s playbook, but is somewhat artificial.
Note the glowing eyes and horns of Trico – features of the Colossi and Ico, respectively. Also the fur and body climbing are from Colossus. Nice narrative and thematic connections.
The boy has lots of tattoos, and his communication with Trico is like Yorda. Getting the AI right must be a royal pain in the ass. I suspect now it may be a bit frustrating to play, and I hope that isn’t the case with the final version, since the player will want to do millions of unexpected things. It is a year away, so they have lots of time to get it right.
The timing of events and communication with the player must also be very difficult – how does the player know to climb up Trico’s back and push the vase? If they struggled along to climb and figure out what to do, would Trico just fall? Or would the tense music just continue to play as the player gets frustrated?
Struck by the draw distance and the stone space – there is an incredible amount of weight here. All the overgrowth and crumbling structures attest to its age, and the style is somewhat reminiscent of Angkor Wat. Actually, it is probably not architecturally sound because of all that weight (crumbling features notwithstanding). I am more interested in just looking at the scenery and all the places you might be able to explore in this game, including the details of the weird windmill thing (are those ‘voodoo dolls’ on it?). Odd how I am more interested in the WORLD of TLG rather than the gameplay…
Going from PS3 to PS4 with such a long development time, TLG is clearly not a game that will make up for its development costs. However, ti does attest to Sony’s commitment to producing games that have such a high artistic and expressive content. We must not have heard anything about it last year because the development staff (now including gen DESIGN) was converting all the code over to PS4.
I will certainly be pushed to getting a PS4 when this game comes out, and the 2016 release means I don’t have to worry about finding the funds for another year or more, which is good.