Every gamer knows that games have rules. Where you can go, what you can do, who you
can talk to. All of these things are commonly accepted and followed, albeit with a little
anger at times (damn you invisible walls!!). One of the big rules that we follow has to do
with what we can and can’t interact with. For example, background “props” aren’t usually
something we can interact with, no matter how much we try.

Well, what happens when a game forces you to disregard this huge rule to actually
progress? Confusion sets in. Frustration could possibly be a side effect as well. It also
creates a gaming moment that you’ll never forget.

Read on to see how ICO for the Playstation 2 does just this.

The Set-Up

Even if you haven’t played it, you’ve heard of it. ICO is one of those games that’s
often brought into dicussions of “games as art”, but that’s a whole other can of worms.
The basic premise for ICO is that you’re a boy with horns, something that is not taken
kindly to in them parts. You’re taken to a big, creepy castle and locked in what is
essentially a tomb to ward off the bad omen that is a boy with horns.

Cue an earthquake, and Ico (the boy) is set free.



From here on in, it’s solving puzzles room by room. Very soon after escaping from your
tomb, you’ll see a pale girl (who you later learn is named Yorda) in a cage, which is
hanging from the ceiling. After rescuing her, you’ll find she is an invaluable part of your
escape plan: only she can open certain magical doors.

You’ll continue going room by room with Yorda, solving puzzles that will ultimately lead to
your freedom from the ruined castle. After playing for a while, you’ll come to an area I’ll
call the water tower.

Up to this point, the game has been pretty standard fare. It told you what you could do in
the world at the beginning, and you used those things to your advantage. This puzzle starts
with a few jumps across some deadly gaps, normal. Then you have to cross another gap
on a rope, which is also normal.



Here’s where things get tricky. You see a switch that can be used in an unreachable area.
There’s no bridge you can extend, no rope you can swing across with, and there are
barriers restricting you from trying a long jump. It’s as it seems, unreachable. Here’s
where the moment occurs.

The Moment

Continuing along the path the game provides, you come to a room with a few objects
you’ve seen before: bombs and sticks. You know that sticks lit on fire are the only way to
light bombs. You remember passing a torch earlier on the path to get to this room. So
what the hell, lets try blowing stuff up.



The only problem is that nothing looks explode-able. Earlier, you had to blow up a weak
column, which was clearly shown as “weak”. This room has nothing so clearly labeled.
You’re left to your own vices to see what can and can’t be played with. The rules, as you
know them, have disappeared. Potentially anything in the area could explode to get you
across. The barrier? The big water tower? The smaller water tower...?

When I played, bombing none of these things seemed to work the first time. In a last
attempt before giving up in frustration, I tried bombing the small water tower once more.

I was vindicated for my efforts with a short cut scene and plenty of patting myself on the
back.

The game had actually forced you to forget what it previously taught you (things that can
be blown up will be shown as "weak") and forced you to think out a logical solution. And
what a solution it was.

Watch the moment on this video (the room starts at 3:27):



The Impact

This “type” of moment is different from what is usually shown - which is, a highly cinematic
point which evokes emotion. This moment is more of a quiet reflection on the nature of
video games. To this day, I haven’t found another game which forces you to think “out of
the box” like ICO did in that single moment.

With all the technology we have today (compared to early 2001 when ICO was
released), you’d think that game developers would do more of this. Gears of War is a
perfect example, although 2 years old now, of a game with superb technology driving the
visuals and gameplay but where “rules are rules”. Paths are set and your only choice to
progress is to take them.

I’m also rather thankful for this. Although ICO made this kind of mechanic work, I’m
not sure if it would be as successful in other games. What it might lead to is intense
amounts of frustration for everyone involved.

One could probably name several more “ah-hah” moments contained within ICO but
to me, this moment is the perfect example of all things that were done right within this
game. If you can find it, I suggest you pick it up. It isn’t too expensive anymore (I got my
copy for $14 2 years ago) and it’s a real gem.