The soundtrack by Takeshi Furukawa, while not being as showy as the music that accompanied the magnificent battles in Shadow of the Colossus, is sparingly used but memorably nostalgic, and knows exactly when to tug at the heartstrings.
It's a beautiful, frequently picturesque visual package to bask in, showing few signs of its beginnings on PS3 hardware. An ironclad bond is established early on precisely because Trico is such a believable presence, and because of this, everything else falls into place. A creature of almost intoxicating cuteness and charm, Trico feels like a real comrade thanks to a combination of fluid and expressive animation and A.I. This slow-burning story of love and companionship, helmed with a typically deft and understated hand by its auteur director, registered on a deeply meaningful level for me, due in no small part to the game's centrepiece Trico. It's as simple as this: The Last Guardian is the most invested and attached I've ever been in regards to the plight of a video game protagonist and his overall goal. Was it worth enduring years of radio silence, mod trolling and false reports of cancellation to eventually hunker down and play Fumito Ueda's third directorial project from beginning to end? My personal answer is a resounding "yes." The Last Guardian Given how stressful, nerve-wracking and downright emotionally-draining it was to follow the development cycle of The Last Guardian, it seems all too appropriate that the finished product itself would end up being equally as stressful, nerve-wracking and emotionally-draining.
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