The Last Guardian (PS4)
By: Sony
AFTER a ridiculously long gestation period, Sony’s loins have finally been rent in twain to issue forth the most eagerly anticipated game of the modern era. In development since 2007, The Last Guardian is the finale of director Fumito Ueda’s epic trilogy, following on from the PS2’s ICO and Shadow of the Colossus. And while constant no-shows have made it the stuff of legend, the end result was worth every second of a nine-year wait.
A game of fantastic beasts and how to ride them, The Last Guardian carries many of the same themes and gameplay mechanics of Ueda’s previous titles along with his trademark sweeping vistas and bleached masonry. Playing as a young boy who wakes in a mysterious dungeon alongside a mammoth beast, Trico, the pair set off together to find a way out of the towering castle they’re trapped in.
With teamwork at its core, the platforming puzzler focuses on the bond between the boy and Trico alongside much mental jousting with the ingenious environments. A bit like welly-bound, well-to-do telly staple One Man and his Dog, success comes in how well you can wrangle your beast in a constant exchange of skills.
While the boy can throw switches and suchlike, Trico is a lumbering powerhouse ready to smash enemies and leap gaping chasms. Your f(el)ine feathered friend could perfectly be called a Catweazle, if the name weren't already owned by Children’s Film Foundation-era Britain.
Like a cheap chicken burger, it’s a mixture of bird, cat and rat with soulful eyes that flicker between colours to show curiosity or fear. And it’s The Last Guardian’s ability to sell this digital illusion as an organic companion that is perhaps its greatest success.
It’s easy to forget your wet-eyed buddy is a stinking bundle of cold computer code, needing to be nurtured, encouraged and shorn of post-battle spears to earn your trust. Best of all – although occasionally infuriating – Trico is a wild animal and doesn’t always do what you want it to. In fact, it can be a fickle git at times – cat owners will empathise.
Backing up this marvellous bestial creation is a beautiful Ghibli-esque art style that the wee ‘uns will love watching and a wonderful score from Takeshi Furukawa with the London Symphony Orchestra and Trinity Boys Choir.
Unfortunately, players will suffer some quirks of PS2-era game design, such as mechanically primitive controls and an occasionally wobbly camera, but the game’s sheer charm washes away such minor stains. Slow-cooked till the gameplay is falling off its bones, The (At) Last Guardian may have been the game PlayStation fans bought their PS3 for, but it’s the game they’ll love their PS4 for.
