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By Nick Suttner

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But the main thing I loved about Ico was that relationship; that hand-holding mechanic that helps build a bond. ” Games are special and unique because of those interactions; taking Yorda’s hand has an exceptional power, one that couldn’t be replicated in a movie, or a book, or a song. Ico, before most, and with a bold confidence, understood that. By simply trying to make something different, Team Ico planted a seed that would quietly help the medium to grow to new heights—even if it was never the intent.

Within most games, I try to act how the characters would act in a given situation. I’m not Nick playing as Wander, I’m simply Wander. Some of that comes with making judgment calls about a character to decide how they would react, but it’s typically an unconscious decision. In the open-world Western Red Dead Redemption, I was John Marston, a rugged gunslinger just trying to get back to his family. I was vicious if provoked but fair when I could be. Once I found out that there was a button to doff your hat, I simply had to do so to everyone I met—it’s the polite thing to do, really.

Maybe I’ll even pinpoint the enigmatic quality that grants the game it’s enduring appeal. Or maybe not, and instead just get lost in the roar of the earth once again. Ico Before we go galloping off across the plains of Shadow of the Colossus, it’s important to look back at its genetic destiny—embodied in its deafeningly quiet predecessor Ico, humming just outside the periphery of gaming history. Ico (pronounced “EE-koh”) released on the PlayStation 2 in September of 2001, engineered for uniqueness by an ambitious new team led by an imaginative young animator.

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