After about 5 hours of gameplay, one notices that the creature does respond more keenly to your cries. This turning point, from PS3 to PS4, is actually noticeable in-game.
So much so that a whole other platform - a whole other approach - was needed. As we know from TLG's prolonged development, the boy/Fumito really and literally struggled with getting the beast/the game to go where he wanted it to go. The boy *is* Fumito Ueda, and the beast *is* the game itself. It seems to have completely soared over the heads of these people that that the boy's frantic, flapping (and yes, non-video gamey) and anxious animations, As well as the stop-start, sometimes incongruous, and ultimately unknowable (in the same way that we could never fully control or predict the behaviour of a cat, for instance) behaviour of the creature, Were not only designed intentionally that way, But serve double-duty as powerful metaphors for the development of the title itself. Sadly the most common critique for this title is that 'it does not control well'. No other arc is as important, or effective, as that of two beings learning to trust each other. To this day, The Last Guardian is my favourite work of art/entertainment/storytelling for one simple reason: The realism with which the process of trust-building is portrayed and implemented into the core mechanics and narrative.
