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* SmallRoleBigImpact: They're only their for the prologue to kidnap Ico, but they also kick off the plot.

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* SmallRoleBigImpact: They're only their for show in the prologue to kidnap Ico, but they also kick off the plot.
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* ArtificialBrilliance: Unusual for a DistressedDamsel or an EscortMission game, Yorda hints at puzzle advancement by pointing to the place or object of interest and saying Ico's name (though this was left out of the original NTSC version). It varies depending on the location-level: On the windmill, she walks right to the place that you can climb and points at it, while in the cemetery she points at the cube on high grounds that you need so both Yorda and Ico can pass the gate. Furthermore, Yorda sometimes walks around and looks for a way before she points to the object/area of interest, giving the impression that she's helping you look for a way out. In some occasions (like the first level that introduced the stick-lighting mechanic) if you call to her while she's away, Yorda will face (even run) at the direction of where you need to go instead of trying to get to you. Just as how Yorda trusts Ico to navigate her around the castle, you can trust Yorda to find what you need to advance the navigation. It's the biggest reason as to why their bond is as endearing as the fans remember it to be.

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* ArtificialBrilliance: Unusual for a DistressedDamsel DamselInDistress or an EscortMission game, Yorda hints at puzzle advancement by pointing to the place or object of interest and saying Ico's name (though this was left out of the original NTSC version). It varies depending on the location-level: On the windmill, she walks right to the place that you can climb and points at it, while in the cemetery she points at the cube on high grounds that you need so both Yorda and Ico can pass the gate. Furthermore, Yorda sometimes walks around and looks for a way before she points to the object/area of interest, giving the impression that she's helping you look for a way out. In some occasions (like the first level that introduced the stick-lighting mechanic) if you call to her while she's away, Yorda will face (even run) at the direction of where you need to go instead of trying to get to you. Just as how Yorda trusts Ico to navigate her around the castle, you can trust Yorda to find what you need to advance the navigation. It's the biggest reason as to why their bond is as endearing as the fans remember it to be.
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* LightsOffTheirEyes: You know they're dead when the blue light in their head goes out.
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* BarefootCaptives: She is held captive in a steel cage hanging on ceiling until Ico letting it down, and she does not have any footwear in the entire game.

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* BarefootCaptives: She is held captive barefoot in a steel cage hanging on ceiling until Ico letting it down, and she does not have any footwear in the entire game.
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* BarefootCaptives: She is held captive in a steel cage hanging on ceiling until Ico letting it down, and she does not have any footwear in the entire game.
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Does Not Like Shoes has been renamed and redefined to focus on characters that explicitly or implicitly state a preference for going barefoot. Removing misuse


* DoesNotLikeShoes: Yorda is never seen having shoes on.

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Contralto Of Danger has been disambiguated


* ContraltoOfDanger: Has a very deep, echoing voice, which only elevates how terrifying she is.


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* EvilSoundsDeep: Has a very deep, echoing voice, which only elevates how terrifying she is.
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* InfinityMinusOneSword: The Spiked Club is a pretty nifty weapon for Ico, as he can kill everything in two hits, tops. That being said...
* InfinityPlusOneSword: The Shining Sword is definitely much better, as it slaughters everything in one hit, period.
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* PunchedAcrossTheRoom: Ico endures a magical version of this from the Queen. ''Twice''. The first time is [[spoiler: in the cutscene before his BossBattle with her, where he attempts to strike her with her sword and gets repelled across the throne room by her magic barrier, which results in the loss of his right horn.]] The second time is [[spoiler: after he deals the killing blow to the Queen, causing her to die in a powerful blast that sends him flying across the throne room yet ''again'', causing the loss of (you guessed it) his left horn and also rendering him unconscious.]]

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* PunchedAcrossTheRoom: Ico endures a magical version of this from the Queen. ''Twice''. The first time is [[spoiler: in the cutscene before his BossBattle with her, where he attempts to strike her with her sword and gets repelled across the throne room by her magic barrier, which results in the loss of his right horn.]] The second time is [[spoiler: after he deals the killing blow to the Queen, causing which results in her to die dying in a powerful blast that sends him flying across the throne room yet ''again'', again, causing the loss of (you guessed it) his left horn and also rendering him unconscious.]]
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* PunchedAcrossTheRoom: Ico endures a magical version of this from the Queen. ''Twice''. The first time is [[spoiler: in the cutscene before his BossBattle with her, where he attempts to strike her with her sword and gets repelled across the throne room by her magic barrier, which results in the loss of his right horn.]] The second time is [[spoiler: after he deals the killing blow to the Queen, causing her to die in a powerful blast that sends him flying across the throne room yet ''again'', causing the loss of (you guessed it) his left horn and also rendering him unconscious.]]
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* NowLetMeCarryYou: [[spoiler: After spending the game being led by the hand by Ico, Yorda, by this point a LivingShadow, picks him up and carries him to the boat after he's injured from fighting her mother.]]


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* GrandTheftMe: [[spoiler: The reason she keeps Yorda under her thumb is to get a new body and presumably continue to BodySurf.]]
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* SheWasRightThereAllAlong: When Ico first enters her throne room, she doesn't appear to him until he tries to leave it, after initially seeing her throne unoccupied. It's a pretty creepy moment that only adds to her menacing nature.
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* EvilMatriarch: To Yorda without a doubt.

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