Steven Wells Project 2: Shadows of the Beach Introduction

The world of gaming and the world of literature are often times viewed as two separate entities. This paper looks to examine, compare, and contrast Team ICO’s game Shadow of the Colossus and the novel The Beach by Alex Garland. These two different forms of media will be examined by their thematic and narrative elements, as well as the strengths and weaknesses of both forms of media. Both works deal with the theme of utopian society and its destruction from the presence of the main protagonist. The way the narrative presents the destruction of these utopian societies will then be explored, as the works are compared and contrasted on how each media guides the player/reader though the narrative. Both books and games immerse the player/reader in different ways, and how they handle this level of immersion of the viewer/reader is different. However, at the same time they also share common ground, not only in the narrative elements but also in the way that each work presents these narrations. The content of each work will be analyzed from the perspective of story, character, setting, and the way that each work presents these elements. The media of game and book will also be explored at how each media immerses the player/reader into the narratives, settings, and themes of the works.

Shadow of the Colossus by Team Ico

In 2006 Team ICO released the spiritual successor to their cult classic game ICO, Shadow of the Colossus. Shadow of the Colossus, was wildly regarded as an influential title in the video game industry and often during the debate of video games as art Shadow of the Colossus is referenced. “Few games match the interplay of visual aesthetic, mood and action to elicit the sort of emotional response that SotC does.” (UGO Team) Shadow of the Colossus is unusual in the action-adventure genre in that the main protagonist, Wander, does not interact with other characters, he explores no towns, and he defeats only 16 enemies throughout the entirety of the game. Narratively Shadow of the Colossus is the tale of the boy Wander trying to resurrect a deceased girl, Mono. Stealing an ancient sword and venturing to “The Forbidden Land,” Wander is greeted by a disembodied entity, Dormin, at “The Shrine of Worship” who instructs Wander to destroy 16 colossi in order to resurrect the girl Mono. He is warned, however, that the destruction of these colossi may come with disastrous consequences to Wander. Wander has been followed to “The Forbidden Land” by Lord Emon and a group of his followers. As each of the colossi is destroyed, black tentacle shadows are expelled from the colossus, and are absorbed into Wander causing the deterioration of Wanders physical state. As more colossi are destroyed the deterioration becomes more apparent, but the complexion of the girl Mono begins to brighten. At the conclusion of Shadow of the Colossus, the disembodied Dormin is released and possesses Wander, as each colossus secretly held a portion of his essence. Wander is then destroyed by Lord Emon’s menreleasing Dormin. The freed Dormin is imprisoned once again by Lord Emon. Before his destruction however, Dormin fulfills his promise to Wander and resurrects Mono, who then finds an infant boy with horns protruding from his forehead. The story uses this subtlety to allow the player to make these connections, instead of the more western approach of storytelling where everything is explained. The games use of subtly in its storytelling, visuals, character relationships, and relation to Team ICO’s previous game ICO make it a unique gaming experience and a true work of art.

“The Beach” by Alex Garland

In 1996 first time author Alex Garland released the novel The Beach. Garland’s novel, influenced by other works such as Heart of Darkness and Lord of the Flies, has been called “A furiously intelligent first novel ... a book that moves with the kind of speed and grace many older writers can only day-dream about.” (Washington Post) The narrative of The Beach tells the story of Richard, who goes to Thailand looking for adventure. In a hotel on the Khao San Road, Richard meets Daffy, a man who is staying in the neighboring room. Daffy (or Mr. Duck as he is called later in the novel) begins talking incoherently about a secret beach. The next day Richard awakens to find Daffy dead. However, a map to the beach is pinned to Richard’s door. Richard sets off with Etienne and Francoise, his befriended French neighbors at the hotel, to find the secret beach that Daffy had mentioned. Along the journey to the beach Richard meets two Americans, Zeph and Sammy and unbeknownst to Etienne and Francoise, Richard leaves them a map to the beach, along with a note to meet him there. Upon arriving at the beach the trio discovers a utopian society, where the people of the beach live in a community that seems idyllic and everyone has their place. However, soon after the arrival of Richard, Etienne, and Francoise the utopian society starts to unravel as the community of the beach is stricken by a series of unfortunate incidents. At the climax of The Beach the Americans Zeph and Sammy arrive, guided by the map that Richard had left with them. The Americans are killed by drug lords, who share the island with the beach community. Associating the Americans with the beach dwellers, the drug lords begin attacking the secret beach. The community of the beach then turns on Richard, blaming him for the attack by

the drug lords. The community begins attacking him with knives while mutilating the corpse of the deceased Americans. Richard, Etienne, Francoise, and a few others from the beach community barely escape on the boats that the Americans arrived on.

Something slippery was wrapped around my neck. Intestines. Mine, I thought, my brain convulsing with fright, and tore them off. The strangers laughed and more objects were thrust at me. A hand that pawed my chest. An ear, clamped to the side of my head. Feeling my knees about to buckle, I bunched up my arms. A last time, I looked up at howling figures and their knives. I called for Sal again. I asked her to make them stop. I told her that I was very sorry for whatever I'd done, but I didn't know what it was any more. I only knew that I'd never wanted to do anything bad. (Garland)

Utopia: The Road to Ruin

Narratively, Shadow of the Colossus and The Beach share a common element, the destruction of utopian society brought on by the protagonist. While the utopias offered in The Beach and Shadow of the Colossus greatly differ, the universal understanding of utopian society exists in each work. The “Forbidden Land” in Shadow of the Colossus and the secret beach in The Beach are both formed differently in each work, due to the medium, but their destruction is a common element. Shadow of the Colossus establishes utopia with technology while, The Beach establishes utopia with vocabulary. Both narratives have a similar road to ruin for the utopia that each establish. A road to ruin that is created from a selfish protagonist.

What I mean by Shadow of the Colossus establishing utopia with technology is that actual technology, in our actual world, is used to generate this fictitious world. Narratively in Shadow of the Colossus the “Forbidden Land” lacks any technology that is similar to our own technology. It is not a technological utopia, instead actual video game technology has allowed Team ICO to sculpt the utopia “The Forbidden Land” and allow the player to physically see this digital land. Video games borrow from film aspects such as color, lighting, and angles to help us understand subtle information. “The Forbidden Land” is a vast environment that Wander (and the gamer) must explore, and ultimately destroy. In this land the utopia is established using these filmic aspects to understand that this is an ideal world, a utopia. The “Forbidden Land” is a peaceful society where everything, animal or otherwise, lives in a perfect ecosystem. There is a sense of harmony and a sense of peace that the gamer feels when first exploring the “Forbidden Land,” even as he encounters his first colossus, who either does not notice Wander, or acknowledge that his presence is threatening. Throughout most of the game, most of the behemoth colossi will not attack Wander until he provokes and enrages the colossus, usually by shooting a barrage of arrows at tender spots of the colossus. As idyllic as utopia seems, utopia is to blame for the downfall of the colossi. The colossi have been peaceful creatures living in utopian society with no fear of their destruction. It is only because of the selfish presence of Wander that these creatures are destroyed. The colossi die because of you, the gamer. “The failure of utopia might point to nothing so much as the inadequate properties of the lines employed to make it operational.” (Wark 108) The narrative of Shadow of the Colossus leaves room for interpretation of the backstory of “The Forbidden Land.” During the climax of the storyline it is revealed that Dormin was fragmented and a portion of his essence was stored in each of the colossi. The story leaves only a few clues as to who defeated and fragmented Dormin, why they fragmented Dormin, or when they fragmented Dormin. Through the use of subtle storytelling, the gamer is lead to believe that perhaps Lord Emon’s people were the keepers of this knowledge. However, it is known that this land was ‘forbidden’ and that this imprisoning of Dormin, and forbidding entrance into this land, is what created the utopia. Left alone this utopia thrived, its destruction was

brought on by the presence of the main protagonist, the presence of you the gamer. Through the destruction of the colossi, utopia is destroyed. As soon as Wander (you the gamer) fights the first colossus utopia has begun its disintegration. The peaceful world that the “Forbidden Land” has been for an unknown number of years has become dystopia.

If the digital world of Team ICO’s Shadow of the Colossus is a world that is created and described through the use of technology, then the utopia of the secret beach in Alex Garland’s The Beach is a utopian society that is created with vocabulary. While video games can borrow aspects of film and other media to incorporate narrative storytelling and depictions of utopia through physically seeing an environment, the medium of books uses the author’s skills with vocabulary to describe and present the narrative and depiction of utopia. The utopia that is the secret beach is a utopia where in a tourist destination, no tourism exist. The secret beach exists on an inaccessible island in a National Park near Koh Samui, a popular tourist location. Richard, Etienne, and Francoise access the island by using their clothing as floatation devices to swim from Koh Samui to the inaccessible island. There they follow a path that leads to a waterfall that the three must jump off of to access the beach. Upon arriving at the secret beach they are greeted by the community and join the utopian society. Each member of the beach community has his role, or job. The three newcomers quickly fall into beach community routine, and enjoy the utopia. While the main protagonist Richard enjoys his stay at the secret beach he is haunted by the knowledge that he has endangered the utopian society by leaving a map for two Americans. After the arrival of Richard the utopian society is stricken with a series of unlucky occurrences. The community simultaneously becomes affected by an outbreak of food-poisoning. Shortly after a shark attack kills and injures several members of the community, and this starts the downfall of utopia. While it could be argued that these events start the destruction of the utopian society of the beach, which has been unstable since Daffy left, the destruction of the utopia begins with Richard getting the map from Daffy. This is the true moment in the narrative that utopia starts to disintegrate. Much like in Shadow of the Colossus there is a pivotal moment in the storyline of complete destruction of utopia. In Shadow of the Colossus it is the release of Dormin from the possessed Wander and in The Beach it is the arrival of the Americans, Zeph and Sammy, and their deaths by the drug lords. Much like in Shadow of the Colossus the destruction of utopia in The Beach comes from the selfish nature of the protagonist.

Fate

Fate plays a key role to Wander, Richard, and the destruction of the utopia that both game and book convey. The narrative of both The Beach and Shadow of the Colossus contains characters that drive the protagonist to their destiny to destroy utopian society. The protagonist’s fate has been sealed upon meeting these characters. In Shadow of the Colossus this fate dealing character is Dormin, the disembodied entity that Wander encounters at “The Shrine of Worship,” upon entering the “Forbidden Land.” In search of life being restored to Wander’s love Mono, Wander makes a pact

with Dormin to restore the life of Mono, even though Dormin warns that this may have great consequences. In The Beach this fate delivering character is Daffy. At the beginning of the novel Richard, by happenstance, gets roomed next to Daffy, a man who rambles about a secret island and secretly leaves a map with Richard before committing suicide. Throughout the novel Richard is ‘visited’ and prodded towards the destruction of utopia by Daffy in his dreams and in visions from his deteriorating mental stability. This is very reminiscent of Dormin prodding Wander to destroy the colossi to resurrect his love Mono. Wander destroys utopia by the destruction of the colossi, Richard destroys utopia by his act of betrayal (even if it was an unknown betrayal). It is perhaps the fate of Wander and Richard to destroy utopia. It is also perhaps a human quality that destroys utopia. Utopia exists in Shadows of the Colossus until Wander, a human, arrives. In The Beach the utopia has been weakened with the loss of Daffy and is very fragile and is easily destroyed by added human elements. Perhaps then humans are not meant to know utopian society. Perhaps, humans are only meant to create, then destroy utopia. It is implied in Shadow of the Colossus that humans created the utopia “The Forbidden Land” by trapping Dormin in the 16 colossi. After creation of this utopia (or destruction of dystopia), the humans leave. It was not until Wander re-entered the “Forbidden Land” that this created utopia was destroyed. In The Beach, the utopian society lasted as long as it could possibly have lasted under the influence of humans. This is expressed to Richard by Daffy in one of Daffy’s ‘visits’ to Richard.

“You have to see, with these places, with all these places, you can't protect them. We thought you could, but we were wrong. I realized it when Jed arrived. The word was out, somehow out, and after that it was just a matter of time... Not that I acted on it at first. I waited, hoping he was a one-off, I guess. But then the Swedes arrived and I knew for sure. Cancer back, no cure, malignant as fuck..." He stood up, dusted the earth off his legs, and flicked his bark zero into the waterfall pool. "Terminal." (Garland)

However, perhaps the loss of human element saved utopia. What I mean by this is that at the end of both Shadow of the Colossus and The Beach, utopia has been restored. Restoration has occurred by removing the human element from the dystopia that the protagonists have created. Dormin has been re-imprisoned at the conclusion of Shadow of the Colossus and the beach community has been removed from the utopian beach. However the paradox exist that, what is utopia if you cannot live there? As humans we seek utopia and unknowingly destroy it, as is proof in the narrative in both Shadow of the Colossus and The Beach. Perhaps the destruction of utopia is our fate as humans.

The destruction of utopia may be the fate of both Wander and Richard; however, one key difference between the two protagonists is their realization of utopia. While the secret beach may be less subtle in providing the idea of utopia, “The Forbidden Land” is a utopia that the protagonist Wander never realizes. Throughout the storyline of Shadow of the Colossus Wander blindly follows Dormin’s orders, and destroys the colossi thus destroying utopia. Richard, however, realizes that the

secret beach is utopia. Paradoxly, even though Richard realizes that the beach is on the verge of destruction, he still feels it needs protection from humans, and ultimately brings about its downfall. In this passage from The Beach, Richard realizes that he is in a utopian society where humans do not belong.

For the first time I understood the true preciousness of our hidden beach. To imagine Hat Rin's fate unfolding in the lagoon made my blood run cold. I began scanning the dark bodies that lounged around me as if I were photographing the enemy, familiarizing myself with the images, filing them away. Occasionally couples walked near me and I caught snatches of their conversations. I must have heard twenty different accents and languages. Most I didn't understand, but they all sounded like threats. (Garland)

Richard feels the threat of the community on the beach. At this point in the storyline Richard’s mental stability is starting to unravel. His visions of Daffy stop coming only in his dreams, and they are starting to manifest in his daily life. His subconscious is telling Richard of his betrayal to the utopia, by leaving the map for the Americans.

Technology vs. Vocabulary

As I stated earlier Shadow of the Colossus contains a utopia created by technology and The Beach contains a utopia created by vocabulary. The medium of the video game is a newer medium that borrows from other mediums such as film, video, and written word. These two mediums, book and game, share similar aspects, but differ greatly. The video game medium is a combination of both digital and analog parts. The game itself is a digital game. The coding in the game doesn’t really exist. But we must interact with the game in an analog way. The book medium is completely analog, we can hold the book and we can physically turn the pages as we read the words contained inside.

To say that video games are a unique medium that is completely original would be a wrong assumption. Video games, while unique in their own way, borrow many aspects from other mediums. When we play video games they may seem to blend seamlessly together, and we may not notice them, but elements from books and video exist. Perhaps that is what draws into a game. Perhaps video games contain aspects of all the things we love from other media. When it comes to establishing the ‘mood’ of the game, or story, or certain locations, video games can borrow from film and video. Developers Team ICO definitely used aspects of video to convey the mood of “The Forbidden Land.” Lighting plays a key role in conveying this utopian realm. The lighting in Shadow of the Colossus helps to control the emotions that are felt while playing the game. We are so enthralled in the game that we do not notice how this lighting effect controls our emotions. This is a deliberate effect that Team ICO has used to control us. When exploring the beautifully rendered world that is “The Forbidden Land,” sun shines down upon us. We hold our stolen sword into the air and rays of light reflect off the sword. We look around, the light rays reflecting off the sword, start to pinpoint the next colossus that we must destroy. We follow the

pinpointed ray. As we get closer to the colossus the sky darkens, this effect is established so seamlessly we hardly notice it. The brightness of utopia has darkened as we start to kill off its inhabitants. We kill the colossus. The dying beast falls to the ground and a giant beam of light shoots out of the colossus’s corpse and into the air. Dark shadows that look like tentacles come writhing out of the colossus. Wander tries to run but the darkness catches up to him. The screen goes black. You wake up in the bright light of the “Temple of Worship.” Repeat this emotional torture.

Lighting is not the only aspect of gaming that is borrowed from film. In Super Mario 64 the game establishes that a camera is following Mario around. Video games use a digital camera that follows the main protagonist around. The use of this camera, and the terminology used to convey how you can see the character, is borrowed from video. Using an in game ‘camera’ Team ICO was able to again borrow from film to establish feelings, and relay information. Technically speaking we must see our character to guide him on his journey. But looking closely at how angle is used in the ‘camera’ of the game, we see a correlation to film and video. When encountering a colossus the camera shifts to move under Wander looking up at the colossus. This is to show the scale of the creature compared to Wander. With this angle you feel helpless. How could such a small person take down such a gigantic creature? This feeling is established quickly and seamlessly with one quick movement of the camera. Wander find some fur, he grabs on and starts to climb the colossus. As Wander begins his climb up the colossus the camera follows him. However the angle shifts slightly, no longer is it looking up at the colossus. The camera has become even with Wander. You start to grow more confident, as you and the colossus start to be equals in the angle of the camera. You reach the top of the colossus and again the camera shifts. This time it is looking down on you. You are on top of the beast and this angle gives you power over the creature. This same technique is used in film as the angle of shots gives more or less importance to the subject matter.

The Beach, however, cannot rely on these visual aids to help establish mood, setting, or feelings. Books must rely on the vocabulary of the author. Through this use of vocabulary the authors conveys these feelings to the reader. In some sense this hinders as well as frees the author. Books rely less on letting the reader form his own opinion on how a scene should feel. While the psychology of using angles, lighting, and other film techniques can guide the gamer into a certain emotion, different people and cultures may react differently to these aspects. Books however can be more precise in the emotion that they author is conveying. This preciseness is established because in books the author can tell you how to feel, not just subtly swaying you into feelings. The Beach doesn’t use tactics of visual representation to relay the information of mood and feeling. It tells you.

Lying on my bed, listening to the morning noises, the tension of the previous night became unreal and distant. Although I couldn't understand what the staff were saying to each other, their chattering and occasional laughter conveyed a sense of normality: they were doing what they did every morning, their thoughts connected only to routine. I imagined they might be discussing

who would go for kitchen supplies in the market that day or who would be sweeping the halls. (Garland)

Using his vocabulary Alex Garland expresses the emotions and actions of Richard. Through this use of vocabulary the inner thoughts of Richard become more obvious to the reader. In Shadow of the Colossus the inner thoughts of Wander are not relayed to the gamer. With the use of vocabulary we are able to get a better understanding of our main protagonist. We are able to understand more about his actions and his decisions and why Richard makes them, because we are not the one making the decisions. We are told about the decisions and the emotions that are contained in the book through the use of vocabulary and imagination only.

In games we must make choices that progress the story. But in books, we have no control over the character. While playing Shadow of the Colossus we can stop the storyline and look around. We are not forced to participate in the storyline. We can take our time and finish the game at our own speed. In The Beach, we have no control over time and we move at the pace of the character. What I mean by ‘moving at the pace of the character’ is that in The Beach the character is static in his story. Every time we read the novel, the character’s progression is always the same. We have no control over where the protagonist slows down to enjoy the view; we have no control in what part of the island we discover first. This is a key difference in the mediums. In Shadow of the Colossus we have control over time, or at least, more control over time. If we want look over a ledge and stare at the distant land, we are able to do that in the game at almost any time, due to game mechanics. In a book, we progress as the author intends us to do. In The Beach Richard will always follow his set path. In Shadow of the Colossus there are many paths that may be taken. Wander may hunt for lizards, which strengthen his grip, or shoot down fruit to increase his health. Richard has no such luxuries. He is static and contained to follow one set path which is the same path every time.

Another contrast in information relay, in part, comes from cultural differences, as well as medium differences. The Beach is a more western influenced novel, as Alex Garland is British and writing for western audiences who grew up in the late 80’s / early 90’s. Shadow of the Colossus is eastern in its storytelling, feel, and progression. The use of subtly is used more, whereas The Beach uses information more blatantly. Western cultures seem in their storytelling more blatant and to the point. We conclude our endings, and try to answer every question. In eastern style storytelling, symbolism and subtlety is used far more greatly in storytelling. Conclusions are not always ‘concluded.’ While a few cultural differences have a hand in the storytelling of the works the medium differences are the greatest effecter on the relay of information to the reader/gamer.

Immersion

When playing Shadow of the Colossus the gamer takes physical control of Wander. The gamer guides Wander, they call for his horse Agro, they shoot arrows, they pick fruit, they climb on colossi, they grab onto ledges, they physical control the action of

the protagonist. Wander becomes an avatar, an empty shell for the gamer to inhabit. The success of Wander as an avatar is due largely in the fact that he is easy to inhabit. Wander has no real backstory, other than at some point he stole a sword and Mono died. Even the connection to Mono is never established in the game. We are given enough information to make our quest worthwhile. As we become absorbed into the world created by Team ICO, Wander becomes the gamer. No longer is this Wander’s story, this is your story. Wander does not kill the colossus, you kill the colossus. That is the beauty of Shadow of the Colossus. This is not a story of a protagonist and his decision to destroy the 16 colossi; this is a story about your decision to destroy the 16 colossi. When playing the game for the first time, you set out on your quest; you think nothing of the utopia. Sure you might stop to be amazed at the rendering, the open land, and the places you can explore. But eventually you destroy all 16 colossi. Wander is your entry point into this world, a world you destroy. Wander is a narrative vessel that you inhabit.

Richard is a narrative character. While Richard is our entry point into the world of The Beach we never assume we are Richard. We follow Richard in third person. This is his journey, it is a story that he is telling us. While we imagine the beach, we imagine what the characters look like; we never get to exist in this place. The narrative of The Beach is secondhand information. The narrative of Shadow of the Colossus is firsthand information. Richard is a fleshed out character, whose emotions, fears, desires, and actions are explained to us. All of Wanders emotions, fears, desires, and actions are our own. Richard is stuck to his narrative, Wander is stuck

to you. “The gamer is a function of an algorithm.” (Wark 148)

If these characters are our entry points into the narrative of the works, then how does each character effect our immersion? When playing Shadow of the Colossus I was totally immersed into the game. Finding each colossus, locating its weakness, and taking it down was totally captivating. As the story progressed, I found myself starting to feel large arrays of emotions. In the beginning of the game you feel as Wander does (should), you will stop at nothing to restore the life to this girl. You have faced consequences in games before and you have overcome them all. You are already pre-programmed to accept your task. This game makes you feel. It doesn’t tell you how you should feel, but it brings emotions out regardless. By doing this you are immersed into the gamespace. By allowing you to become the avatar Wander, the game allows you to become part of the gamespace. While in the cave nothing else matters. As Wark says in Gamer Theory, “The gamespace escapes all checkpoints. It is an America without qualities, for everybody and nobody. All that is left of the nation is an everywhere that is nowhere, an atopia of noisey, righteous victories and quiet, sinister failures.” (Wark 12)

That is not to say that I was not also completely immersed into The Beach as well. At 428 pages, The Beach was a fast paced read. The pacing of the narrative completely draws the reader in. The book can be considered simple, yet complex. This book was written in mind for those who grew up in the 80’s and early 90’s. It is a novel that relates to this generation. Richard is left blank enough, to fulfill the role, of any male

from this generation, creating an easy portal into the world that Alex Garland has crafted. But, when compared to Wander, Richard becomes a friend telling you about his adventure. The Story of Wander is your adventure. What both Shadow of the Colossus and The Beach do well is make references to pre-existing information. In Shadow of the Colossus there are several references to Team ICO’s game ICO. The Beach makes reference to pop culture of the early 90’s. Alex Garland compares the realization of death with death in the game world.

Game Over is my favourite thing about playing video games. Actually, I should qualify that. It's the split second before Game Over that's my favourite thing. Streetfighter II — an oldie but goldie — with Leo controlling Ryu. Ryu's his best character because he's a good all-rounder — great defensive moves, pretty quick, and once he's on an offensive roll he's unstoppable. Theo's controlling Blanka. Blanka's faster than Ryu, but he's only really good on attack. The way to win with Blanka is to get in the other player's face and just never let up. Flying kick, leg-sweep, spin attack, head-bite. Daze them into submission. Both players are down to the end of their energy bars. One more hit and they're down, so they're both being cagey. They're hanging back at opposite ends of the screen, waiting for the other guy to make the first move. Leo takes the initiative. He sends off a fireball to force Theo into blocking, then jumps in with a flying kick to knock Blanka's green head off. But as he's moving through the air he hears a soft tapping. Theo's tapping the punch button on his control pad. He's charging up an electricity defence so when Ryu's foot makes contact with Blanka's head it's going to be Ryu who gets KO'd with 10,000 volts charging through his system. This is the split second before Game Over. Leo's heard the noise. He knows he's fucked. He has time to blurt, "I'm toast," before Ryu is lit up and thrown backwards across the screen, flashing like a Christmas tree, a charred skeleton. Toast. The split second is the moment you comprehend you're just about to die. Different people react to it in different ways. Some swear and rage. Some sigh or gasp. Some scream. I've heard a lot of screams over the twelve years I've been addicted to video games. I'm sure that this moment provides a rare insight into the way people react just before they really do die. The games taps into something pure and beyond affectations. As Leo hears the tapping he blurts, "I'm toast." He says it quickly, with resignation and understanding. If he were driving down the M1 and saw a car spinning into his path I think he'd react in the same way. Personally, I'm a rager. I fling my joypad across the floor, eyes clenched shut, head thrown back, a torrent of abuse pouring from my lips. A couple of years ago I had a game called Alien 3. It had a great feature. When you ran out of lives you'd get a photo-realistic picture of the Alien with saliva dripping from its jaws, and a digitized voice would bleat, "Game over, man!" I really used to love that.

In Shadow of the Colossus several references to ICO exist. After the climax of the narrative and the resurrection of Mono, she finds a young boy in a pool. The young boy has horns protruding from his forehead. The main protagonist in ICO is a young

boy with horns. After completion of the game exist a time-trial mode where it is possible to unlock items from ICO. With these connections to the outside world the works allow us to relate more to them. They use the pre-existing knowledge that we come into the game with, to help better our immersion into the game and book space.

Conclusion

The world of video games and the world of written word are often times viewed as two separate entities. This is true, they are two separate mediums. Yes, both mediums share attributes, and often time borrow from each other. Shadow of the Colossus and The Beach are two excellent examples of using the narrative of utopian destruction. Both book and game deal with this narration differently, but share a common attribute here and there. Both works also immerse the reader or player differently. In The Beach you journey with the character Richard. In Shadow of the Colossus you journey as the character Wander. It would be hard to argue the supremacy of one medium over the other. Personally, I find both forms of media intriguing and find myself immersed in both. I enjoy certain aspects of one over the other, in certain instances. But I find no evidence that one media reigns supreme over the other. Both are excellent, and I shall continue to enjoy them both greatly. But I will say that I now have a greater understanding of how each medium affects me.

References

http://www.ugo.com/games/most-visually-distinctive-video-games- shadow-of-the-colossus

Ugo Tea. "Games As Art: The Most Visually Distinctive Video Games." Web.

Wark, McKenzie. Gamer Theory. Cambridge, MA: Harvard UP, 2007. Print.

Garland, Alex. The Beach. New York: Riverhead, 1997. Print.