But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have non-stop action with no breathing space at all, it’s just busyness. After clapping his hands several times, Miyazaki said, “The time in between my clapping is ma. In an interview with Roger Ebert, co-founder of Studio Ghibli Hayao Miyazaki discussed the superlative nature of allowing concepts to breathe. Ma is not just mastery of what little there is to see and hear, it’s also a mastery of negative spaces.
The narrative components are weaved not by what is said, but rather by what isn’t. What little we’re told becomes a form within a sprawling formless canvas, the emptiness of which only highlights what little there is to know.
When told that killing sixteen colossi is the only way for Mono to regain her life and that it will exact upon Wander a deathly price, he simply states that “it doesn’t matter.” It’s these narrative beats that lend credence to the implementation of ma. When Wander places Mono on a stone slab within the mammoth structural improbability known as the Shrine of Worship, he bargains with the entity Dormin for the girl’s life. It’s also never explained why her fate was considered cursed. The player is not told why the lands they enter are forbidden, nor why Wander is willing to go to such great lengths to reclaim the life of the woman he carries. And, as its name suggests, Lord Emon concludes his brief monologue by stating that entering the Forbidden Lands is strictly prohibited. He quickly explains that the Forbidden Lands are an archaic place not fully understood by human beings, where legend suggests that the dead can be brought back to life.
There is nothing spoken as the game’s main character Wander makes his great journey to the Forbidden Lands to resurrect a girl by the name of Mono, who had previously been sacrificed because of her “cursed fate.” After showing Wander travel beyond treacherous cliffside passages, lavish forests and other murky terrains, we hear the voice of Lord Emon, a spiritual leader from Wander’s home. If you are interested, you can read more about Shadow of the Colossus Beta and see some of the removed colossi that were created during the development of the game.From the game’s opening, “ Colossus” refuses to bombard the player with exposition, and continuously withholds itself from convoluting the narrative with unnecessary dialogue. Japanese pre-orders of Shadow of the Colossus later included a bonus DVD with the concept video, a trailer describing Nico’s plot, and an introduction the development team states they wanted to use in Shadow of the Colossus. However, Fumito Ueda expressed that, at the time, it was simpler to reuse the character design of Ico’s protagonist, and that he never explicitly desired a sequel to Ico. An early technology demo for the project shown at the DICE Summit in 2003 depicted a group of masked, horned boys riding horses while attacking and defeating a colossus. The name “Nico” itself is a portmanteau of the Japanese word ni (“two”) and “Ico”. With a team of thirty-five people, Shadow of the Colossus began development in 2002 under the project name “Nico” and was intended to be a direct sequel to Ico.
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