bafrali said:
I didn't understand some of that, but anyway.
Bethesda games, despite their poor writing in general, can at least feel like they might be about something, particularly their last two titles. They are by far the worst example I would give of games with subtlety considering those are mostly small moments that have impact but no real thematic depth. I may remember the skeleton the toaster in the bathtub in
Fallout 3, and there may be a striking beauty to walking across snow-covered mountains whilst beautiful music plays in
Skyrim, but neither of those games can reasonably claim to actually be about anything. But I would still recommend them for that emotional impact of that subtlety.
Ico is a fairly simple coming-of-age story that just happens to have a particularly great way of attaching the player to Yorda, and probably the best example of controller vibration ever. Most games just use it to communicate the physical impact of an explosion or landing from a high jump. In
Ico, it's either one of two things, or maybe even both: the patter of Yorda's feet as she tries to keep up with Ico, or the beating of Ico's heart when he's holding Yorda's hands, which are both their own kind of poetry. I wouldn't call that game thematically complex, but it was the first game that made me cry in many years, so there ya have it.
Shadow of the Colossus has similar emotional impact for being as cold and unrelentingly bleak as
Ico is ultimately warm, uplifting, and human. The big, empty world filled with ruined structures that there is absolutely no reward for exploring and a constant howling wind. I wouldn't be able to be more specific without writing a lot more words than I already have, but it's about death, obviously, and that theme and that motif of death is woven through every element of the game. In essence, everything about the game is big, but really that's just proof that big can also be subtle.