The final adventure

During the last days a possible way to understand operating with pointers has messed up my mind. I need a little break, I'll think about something sweeter.
An orchestra. Hundreds of instruments playing the same song, coordinated brilliantly but with a lot of spare skills. That's because great solo players do not need an orchestra to be famous, they perform on their own, someone will go and listen to them anyway, paying.

A cuople of days ago this article http://www.gamecareerguide.com/features/898/game_narrative_review_shadow_of_.php caught my sight. It explains how Shadow of the Colossus plays a fundamental role in defining new play mechanics for adventure. To put it down clearly, the plot is not unveiled through the usual cut scenes or dialogues, but through the game appearance. Music, character interaction, art and the plot itself let the user guess what is lying behind the journey of Wanda and Agro. I would like to thank Nicholas Rotondo, the original writer, for the really interesting article.

One of the last colossi. Announced by a melancholy song.

This particular way of creating the title led thousands of people to interpret the narrative aspects of SOTC, its probable link to Ico, the roles of the lady and Dormin. But also led superficial players to snub the game, because they want to be guided, not to be challenged philosophically. That's why hardcore gamers label SOTC as 'sixteen bosses then a disappointing ending' and I label it as 'the best adventure on PS2'. Fumido Ueda needed something to add hardcore gamers to his crowd of praisers, but failed.

SOTC didn't have poor graphics. The technical side of the Sony game is exceptional, maybe the best on the console. The land in which the characters wander is infinite, the colossi are huge and challenging, the control system is almost perfect. The sensation of facing an excellent product, on the level of the other PS2 blockbusters, was real. So, nobody in the technical team is to be blamed, and neither Ueda himself who signed a masterpiece in terms of game design.
We now know that Shadow of the Colossus has an incredible amount of design and technical aspects that redefine a genre. It's not an actual action game, it's a mixture and usually a mixture leads to success. But SOTC is not a great success, at least compared to his enormous value. All the aspects concur to create an unique experience.

We were speaking about orchestras. SOTC is the song, well played by a lot of different instruments (art, plot, music effects, design concepts). Ueda and his team are the musicians. So, where are the solo musicians?
Maybe, to reunite the best orchestra in the World we could ask to the best viola player in the world to join us, and so we could do whith flute, piano, drum, guitar. Is this model applyable to videogames?
What if we put the producer of GTA to manage a new project by Ueda? The new idea would sell more. We'd be able to reunite all the players under the same flag. The producers would edit the storyline in a suitable way to let it be either fascinating and able to keep button-breakers close to the game. We could do the same thing with the technical department, with the marketing one, etc.

Then, everybody will be able to play that game, to reach its end and feel in the same way I felt finishing SOTC. These are the most important things: a genius in the game design and someone who can direct his team in a market-favorable way.

SPOILER:
The secret garden

Yes, you're right, I should get back to pointers now...