Yoko Taro, the visionary behind acclaimed titles like NieR: Automata and Drakengard, has openly discussed the profound impact of ICO on video games as a medium of artistic expression. Released in 2001 for the PlayStation 2, ICO swiftly gained a cult following due to its minimalist design and narrative conveyed through wordless storytelling.
Taro emphasized how the game's central mechanic—guiding the character Yorda by holding her hand—revolutionized gameplay conventions at the time. "If ICO had tasked you with carrying a suitcase the size of a girl instead, it would have been an incredibly frustrating experience," Taro noted. He stressed that requiring players to lead another character was a groundbreaking move, challenging traditional notions of interactivity in games.
During this period, game design success was often measured by how engaging the experience remained even when reduced to simple cubes. ICO broke away from this trend by prioritizing emotional resonance and thematic depth over purely mechanical innovation. According to Taro, the game demonstrated that art and narrative could transcend their role as mere backdrops to gameplay, becoming essential elements of the experience.
Describing ICO as "epoch-making," Taro credited it with altering the course of game development. He lauded the title for showing that video games could convey profound meaning through subtle interactions and atmospheric design.
In addition to ICO, Taro also mentioned two other influential games that left a lasting impact on both him and the industry: Undertale by Toby Fox and LIMBO by Playdead. He argued that these titles expanded the boundaries of what could be expressed through interactive media, proving that video games are capable of delivering deep emotional and intellectual experiences.
For enthusiasts of Yoko Taro's work, his admiration for these games provides valuable insights into the creative inspirations behind his own projects. It also highlights the ongoing evolution of video games as a powerful and versatile art form.
