This post was inspired by Kow Otani’s soundtrack to Shadow Of The Colossus, in combination with beholding the magnificent Colossi displayed on the cover of the soundtrack album, which I am truly honoured to own on vinyl.
The world of SOTC was conceived by Fumito Ueda, and the colossi themselves where developed into their final form by Shunpei Suzuki and Hitoshi Niwa, whose work was later rendered in High Definition by Daryl Allison, Howard Tang, Randall W. Lowe and Steven Schaefer of BluePoint Games.
The stunning Sound Design of the original 2005 Version is the achievement of Keiichi Kitahara, Kōji Niikura, Noburō Masuda, Tsutomu Fuzawa and Tsubasa Ito, whose work was later remastered by BluePoint (I was unable to find the names of BP’s Sound Engineers).
These contemporary individuals may have ‘made’ this art, but if you’re like me -
especially in cases when such a trite explanation as that doesn‘t quite seem enough -
you can’t help but feel that this art wasn’t so much made, but discovered, fully formed, in the universal human subconscious itself.
In my opinion,
Awe is not created - It is unearthed.
These colossi seem drawn out of the human unconscious, figures that evoke both nature (moss, grass) and failed human industry (rock and ruins).
They are dream-figures of Nature’s inescapable wroth and retribution.
The psychology of awe is one of the most powerful forces in art, and to me, truly defines the most worthwhile examples of it.
Arising from pre-existing, ancient Neurological places within us...
Not created, but uncovered, by those who seek in the right places.