The Last Guardian: When The Video Game Becomes A Great Poetic Escape

The world of video games is definitely very surprising. While the end of the year promises to be very hardcore with Call of Duty (to find out more), Battlefield (see the test), Gears of War and other FPS with great hemoglobin reinforcements, here is a rare pearl that arrives in a video game universe for some too formatted. The Last Guardian is one of his small moments of pleasure that remind us that video games can also be a source of poetry and lightness. We have already experienced this recently, especially with Life is Strange (see the test) or Journey. But with The Last Guardian, the player reconnects with old memories linked to the PS2, and to the production of a man like no other, the Japanese Fumito Ueda. To his credit, Ico and Shadow of The Colossus, two titles that marked players in the early 2000s. Two works on consoles which definitely remind us that video games do not only rhyme with relaxation and fun and that like any artistic work, it can bring emotions.

With Ico (2001), the player slipped into the skin of a young boy of the same name, banished from his village because of his horns and who had to save Yorda by taking her by the hand, and managing to get out of a fortress abandoned and given over to a horde of chimeras. The Japanese designer returned four years later with Shadow of the Colossus. This time around the hero, Wander, had to defeat 16 Colossi to bring his beloved Mono back to life. Both stand out for their destitution, their simplicity, but above all their artistic beauty and their emotional strength.

A memorable slap

Fumito Ueda is a perfectionist. Its third title, The Last Guardian, endlessly postponed, finally materialized at E3 in Los Angeles in June 2015. Those in the Memorial Sport Arena for the Sony conference still remember the public outcry. from the first images of the game and the reception given to Fumito Ueda. A year and a half later, the game is finally available and it’s a slap in the face again.

There again, the player slips into the skin of a child who will meet in an abandoned fortress a gigantic creature with false airs of cat, bird and griffin mixed. Her name? Trico. This unlikely partner will make himself indispensable to be able to progress in the adventure. It will allow him to overcome the many obstacles that present themselves to them. In exchange, it will be necessary to feed and care for it and why not stroke it. The whole game is based on the relationship that will be established between the young man and Trico. And if, graphically, The Last Guardian can sin at times, the player will be constantly amazed by the creator’s ability to bring this animal to life, to make it endearing and to create an unsuspected bond. Any cat owner will be amazed by the accuracy of Trico’s expressions. What work on artificial intelligence!

The Last Guardian is in every way a memorable game, as could be Ico and Shadow of the Colossus. Hats off to the artist!

The Last Guardian, Japan Studio, Sony Interactive Entertainment, only on PlayStation 4, from 69.99 euros