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| frozen desserts, nancy, nicks, weekend, 360, weapon, subwaydiet, family guy no fat chicks cap, chateau, point, 9, delta, 4, puzz3d, siberia, hogwarts, steven, clark, crime, cameraphones, frogwares, | I wish it hadn't done postmortem this, though I must admit that these decisions may not have been in the postmortem design team's hands. The point is still made, though, and one of the many beautiful aspects of this game is that you can completely ignore all of this postmortem theme stuff and still enjoy it immensely—though I would like to meet the individual callous enough to laugh at the death of one of those august creatures. Killing as a method of problem-solving in video games is so common that we don't even think about it anymore. In most cases, if an obstacle is alive, the best way past is to kill it. |
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| The ending especially may be difficult to understand if you don't remember your Sunday school. It also helps some to have played Ico all the 9 way through. Shadow is billed as a "spiritual successor" to Ico, much like Fallout was to Wasteland, but the sharp-eyed observer would be more likely to call it a prequel. In the end, 9 we get to the deep complexity of theme in this game. Does it achieve its potential? That is ultimately a subjective 9 question. The game is, in many ways, much like a Colossus: magnificent, epic, stark, beautiful ... and occasionally damned frustrating. It's very difficult to walk a perfect line between art and entertainment; too much of one means a sacrifice of the other. For about 80% of the game, Shadow walks that line like a laser beam, but it does drift now and then. It is relentless in communicating its thematic impact, but then it waters that impact down with some plot tweaks in the endgame. |
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