Video game music usually tries to make you feel like a god. You know the drill—swelling brass, fast-paced drums, and melodies that scream "you're the hero, go get 'em." But the Shadow of the Colossus OST is different. It’s weirdly lonely. It’s a soundtrack that spends half its time making you feel like a jerk for winning.
Kow Otani, the composer, basically reinvented how we think about "epic" music back in 2005. He didn't just write background loops. He wrote a dynamic, breathing entity that shifts based on whether you're clinging to a giant’s fur for dear life or standing over its corpse in a silence so heavy it actually hurts.
Honestly? Most games today still can't touch what this score accomplished.
The Sound of Guilt and Grandeur
When people talk about the Shadow of the Colossus OST, they usually bring up The Opened Way. It’s that iconic, triumphant burst of orchestral energy that kicks in when you finally find a way onto a Colossus. It feels great. It feels like victory. But have you ever noticed how the music changes the second the beast dies?
The music doesn't celebrate.
It collapses.
Instead of a fanfare, you get The End of the Battle. It’s a somber, mournful piece with high-pitched strings and a funeral-dirge tempo. This is where Otani's genius really shines. By stripping away the adrenaline and replacing it with grief, the soundtrack forces the player to realize they just killed something ancient and probably innocent.
It's a complete subversion of the "Boss Defeated" trope.
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Most game soundtracks are a reward. This one is a reflection. Otani avoided using too many electronic elements or standard "gamey" synths. He stuck to a massive orchestra—woodwinds, strings, and heavy brass—recorded in a way that sounds like it’s echoing through a massive, empty canyon. It fits the "Forbidden Lands" setting perfectly because the music feels as dusty and ancient as the ruins you’re exploring.
Breaking Down the Compositional Magic
The technical side of how Otani built this is fascinating. He didn't just write songs; he wrote movements.
Take Revived Power. It starts with a steady, rhythmic pulse that mimics a heartbeat. It’s the sound of Wander finding his resolve. But it’s not purely heroic. There's an undercurrent of desperation in the violins. It’s frantic.
That’s because Wander isn't a knight in shining armor. He’s a kid who’s way out of his depth.
Instruments That Tell the Story
If you listen closely to tracks like Silence, you’ll hear the absence of sound as much as the notes themselves. Otani used silence as an instrument. In the long treks between bosses, there is no music. Just the wind and the sound of Agro’s hooves.
- The Pipe Organ: Used sparingly but effectively to denote the presence of Dormin, the dark entity. It sounds massive, religious, and slightly terrifying.
- The Bouzouki and Acoustic Guitar: These give the "home base" music in the Shrine of Worship a grounded, folk-like feel. It’s the only warmth in the entire game.
- Dissonant Horns: When a Colossus attacks, the brass isn't always in harmony. It’s loud and scary, meant to make you feel small.
Why the 2018 Remake Soundtrack Divided Fans
When Bluepoint Games remade the game for the PS4, they didn't just up the graphics. They re-recorded the Shadow of the Colossus OST.
For some, it was a dream come true. The original PS2 version had some technical limitations—the samples could sound a bit thin or compressed due to the hardware of the time. The 2018 version added more layers, more instruments, and a much cleaner mix.
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But for the purists? Something was lost.
The original score had a "raw" quality. It sounded a bit rough around the edges, which matched the jagged, low-poly aesthetics of the original game. Some fans argue that the new recordings are too polished. When you make a soundtrack sound like a Hollywood blockbuster, you sometimes lose that lonely, haunting atmosphere that made the original so unique.
It’s the difference between an old, grainy photograph and a 4K digital image. Both are beautiful, but they tell different stories.
The Psychological Impact of "A Despair-filled Farewell"
The track A Despair-filled Farewell is perhaps the most emotional piece in the entire collection. It plays during a pivotal moment toward the end of the game (no spoilers, just in case you’re one of the three people who hasn't played it).
It doesn't use a full orchestra at first. It relies on a solo piano and soft strings.
It’s a reminder that at its heart, Shadow of the Colossus isn't an action game. It’s a tragedy. Otani’s ability to pivot from the earth-shaking percussion of Grotesque Figures to this fragile, broken melody is why this OST is studied in music schools today.
He understands that "epic" doesn't always mean loud. Sometimes, the most epic thing you can do is show the quiet breaking of a human heart.
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How to Listen Properly
If you’re going to dive into the Shadow of the Colossus OST, don't just put it on shuffle while you're doing chores. It’s a narrative experience.
Start with Prologue ~To the Ancient Land~. Listen to how it builds a sense of mystery. Then move through the battle tracks, but pay attention to the "Silence" and "Prayer" tracks in between. Those are the palate cleansers. They give the big moments their weight.
You can find the official "Roar of the Earth" album on most streaming platforms, but the vinyl releases are where the real magic is. The warmth of the vinyl suits the earthy, organic tones of Otani’s compositions better than a 128kbps stream ever could.
Actionable Next Steps for Fans and Composers
If you’ve been moved by this soundtrack and want to dig deeper into why it works or find similar vibes, here is what you should do next.
Analyze the Leitmotifs
Pay attention to the specific three-note or four-note patterns that repeat. You'll notice a specific melodic "seed" for Wander that changes keys and instruments depending on his state of mind. If you’re a musician, try transcribing The Opened Way. You’ll see it’s not as complex as it sounds—its power comes from the rhythmic "gallop" rather than complex harmony.
Explore Kow Otani’s Other Work
Many people don't realize Otani also scored Haibane Renmei, an anime with a similarly haunting, melancholic atmosphere. If you like the acoustic, "lonely" parts of the Colossus soundtrack, his work there is mandatory listening. He also did the music for the 90s Gamera trilogy, which shows off his ability to write for giant monsters long before the Colossi existed.
Compare the Versions
Go to YouTube and find a side-by-side comparison of the 2005 original tracks and the 2018 re-recordings. Listen specifically to the percussion in A Violent Encounter. See if you can feel the difference in the "room sound." It’s a great exercise in understanding how production and mixing change the emotional intent of a piece of music.
Apply the "Less is More" Philosophy
If you’re a creator, take a page out of the Shadow of the Colossus OST playbook. You don't need wall-to-wall sound to make an impact. Sometimes, the most powerful thing you can do for your project—whether it's a video, a game, or a story—is to let the silence do the heavy lifting until the exact moment the audience needs to feel something big.
The music of Shadow of the Colossus remains a masterclass because it respects the player's intelligence. It doesn't tell you how to feel with a bright yellow smiley face. It gives you the space to feel the weight of your own actions. That’s why, decades later, we’re still talking about it.