ইয়োকো তারো, নিয়ারের উদযাপিত স্রষ্টা: অটোমেটা এবং ড্রাকেনগার্ড , সম্প্রতি একটি শৈল্পিক মাধ্যম হিসাবে ভিডিও গেমগুলিতে আইসিও এর গভীর প্রভাব নিয়ে আলোচনা করেছেন। Released in 2001 for the PlayStation 2, ICO achieved cult status due to its minimalist aesthetic and evocative, wordless storytelling.
Taro highlighted the game's innovative core mechanic—guiding Yorda by holding her hand—as a revolutionary departure from established gameplay norms. He noted, "Had ICO required carrying a suitcase the size of a girl, it would have been incredibly frustrating." This emphasis on leading another character was groundbreaking, challenging conventional game interaction models.
সেই সময়ে, সফল গেম ডিজাইন প্রায়শই সরল ভিজ্যুয়াল সহ আকর্ষণীয় গেমপ্লেটিকে অগ্রাধিকার দেয়। ICO, however, prioritized emotional depth and thematic resonance over purely mechanical innovation. Taro believes ICO demonstrated that art and narrative could be integral to gameplay, rather than mere supplementary elements.
Calling ICO "epoch-making," Taro lauded its influence on game development. He praised its ability to convey profound meaning through subtle interactions and atmospheric world-building.
Beyond ICO, Taro cited Undertale (Toby Fox) and LIMBO (Playdead) as similarly influential titles. These games, he argued, expanded the expressive potential of interactive media, proving video games' capacity for profound emotional and intellectual resonance.
Taro's appreciation for these games offers valuable insight into the creative wellspring of his own work, further emphasizing the evolution of video games as a powerful and versatile art form.
