I'm not sure about this "The boy is shown sneaking past a guard in the trailer, and his companion dispatches another with a single swipe of his talon-like claws." Well, we don't see the boy sneaking past a guard in the trailer, but in the additional screenshots from PlayStation LifeStyle (the last four here ) The companion gets rid of a guard when he's actually running after the boy, so I don't see the link of the two ideas in this sentence. I think that should be changed into something like: "The boy is shown sneaking past a guard in some additional screenshots included with the trailer. The trailer then shows the boy being chased by the creature which dispatches a guard with a single swip of his talon-like claws."

And well, we could all wait until we have more info! :) --BahaFura 00:46, 28 May 2009 (UTC)


Mr. Fumito Ueda's use of visions and dream-sequences

In Ueda's first game, Ico, the character of Ico experiences a dream when he is knocked unconscious (after the stone coffin hits the floor). The cinematography used in the sequence lets the player view for themselves exactly what Ico sees in a way that draws out certain emotions, such as the fear and curiosity that Ico is expeirnencing at that same moment. Watching the cinematic you can't help but be curious to know what's in the cage and feel afraid as to what it might do.

In The Last Guardian, Ueda's third game, the Boy also experiences visions upon falling unconscious. But, instead of viewing events of other characters in the story, he views events of his own in (I personally think) a rather striking way. It is short and simple, but stirring; seeing the boy dreaming in fear, only then to wake and fall imediately unconscious by a trance is a little scary.

Mr. Ueda has a thing for these dream-sequences, using them to subtly reveal events of the plot and naturally aid in character development

Anyone else have any thoughts?             ~~HappyIphisAria~~ 5:12 PM, 02 August 2017

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