The Physics of Video Games column is now onto soundtrack reviews. Why? Sound is physics. Also, the lovely Jeremy (the Gaming Futurist) told me to. We’ll review the horrendous, the masterpieces, and everything in between. If you have any suggestions, let me know. Obscure, popular, appalling, it doesn’t matter.
Shadow of the Colossus. This game truly is a masterpiece. Anyone who has read the book or talked to me, knows my immense love for this game. I beat the game 10 times in the week of its PS3 HD collection launch. I love this game too much even. Any flaws that I can think of in this game are tremendously overshadowed by its flawless execution of many aspects unique to this game alone, even to this day.
If you want a well written review, then look no further than the Zero Punctuation coverage. If you want a crummy and quick review, read the next couple of sentences. I cannot think of any game that uses juxtaposition so effectively; the isolation and silence as you traverse the lands with Agro, followed by the intensity and adrenaline of slaying the colossi is masterful in execution. This is also one of the greatest examples of story development in a game through no minimal forced dialogue, forcing the player to make his/her own connections, that I have encountered in a game. It is a very hard game to explain, and one that has to be played, not watched. I highly recommend checking out this masterpiece for yourself, and maybe the more in depth coverage of the soundtrack will be further enticing.
We’ll be listen to three types of songs that appear many times throughout this game (the soundtrack is extensive, it is one of the few video game CDs I own): moments of isolation, approaching each colossi, and slaying each colossi. Each being very distinct and appropriate in tone for each prelude and fight.
The moments of isolation have songs that I didn’t really remember due to them being overshadowed by the intensity of the colossi battle songs, but were extremely well done and convey the appropriate tones incredibly well. I can’t separate myself from the context in which these songs are used, but I feel like they fit the themes perfectly, and truly enhance the experience.
When I listen to this song, the pacing and the instruments used make me feel like there is a sense of wonder and curiosity for exploration. Things are not quite known, yet vaguely familiar in a strange way. Which I believe is exactly how the player should feel. But rather than focus on this aspect of the juxtaposition, let us give more attention to preparing for intensity and following through.
This is the first song you hear when encountering a colossi. This track has an impressive range, giving you a sense of something intense approaching, but safety is still manageable. I remember having the surround sound on, and inching closer to the edge of my chair as I saw the colossi in the distance, completely unaware of my existence. This song sends chills down my spine, as it appropriately lets players know that something monumental is approaching.
This is another example of the approach, but conveying a different tone. I believe the pacing and higher pitch are conveying more of a sense of mystery. The player knows that something is watching, but is unsure of the approach in which they will be attacked. This perfecting matches the colossi wandering aimlessly, until finally acknowledging your presence… which is following by attempting murder, but hey, no one is perfect. These songs preparing for attack are incredible and do their job, but they are not nearly as impressive as the intensity of the battle songs. Let’s focus on these incredible works of art.
This song is huge. It feels epic. Monumental. Colossal. Intensity to the max. This is the first song you hear when you are finally getting to climb a colossi in its entirety. This is how to set the tone for your game. I think the part that really ties this, and many of the other colossi themes together, are those drums. This track feels huge, just like the colossi. I will get to the next song once I finish dealing with my ear orgasms.
Some of the colossi are smaller, yet much quicker. Notice the change in instruments and pacing to reflect reality. Drums are bass are focused on much less, we just get to hear a rapid and intense orchestra, conveying the adrenaline of the moment.
Finally we have this lovely song from the final colossi fight. It is incredibly haunting, more intimidating and feels epic. Albeit a surprise, the colossi fits that description perfectly. This makes every other colossi feel small, it feels like the end, that this is the obstacle that is insurmountable (spoiler alert: it isn’t).
These are very few of the seemingly countless reasons as to why I love this soundtrack and this game.
If this game were food, it would be an elegant three course meal, where everything is cooked perfectly. You start off with a comforting roasted red pepper soup, where you don’t know what will follow, but you want more. It is followed by spicy crab croquettes and sundried tomato aioli, bringing some intensity, but not quite there. This is finished off with a large steak. It scares you at first, but you know if you leave room and get it just right, you can finish it off. Then if we are going to match the tone of the ending of SotC, you finish the lovely dinner by going home, only to get stabbed and have all your valued possessions stolen.
Dan
Comments? Suggestions?: physicsofvideogames@hotmail.com
Want the Physics of Video Games book?: www.facebook.com/PhysicsofVideoGames
Check out the awesome backlog of articles where we look at Physics in Video Games, only on RetrowareTV.com
Next time: