This was doubtlessly a calculated decision on the part of Vander Caballero, Creative Director of Minority Inc., who aims to tell a serious tale through the thematically light-hearted medium of video games. Believable landscapes imbue Papo & Yo's implausible events with a sense of importance their presence in a real-at least seemingly-world implies real relevance. When placed into the context of realism, these flights of fancy take on a different character. In game with a more abstract style such events evoke a sense of levity and playfulness. The world of Papo & Yo is one that is highly subject to the whims of imagination.
However it wasn't long before Quico began issuing orders to his autonomous toy robot attendant, Lula, creating matter from chalk scribbles, and moving entire houses by picking up cardboard boxes. Quico, the boy hero, looks like a real boy, and the area covered by the demo evoked the imagery of real favelas, the terraced shanty towns stacked high and deep next to Brazil's largest cities.
In my first moments with Papo & Yo I was struck by its visuals.
Papo & Yo's charms are deceiving, and those expecting a playable version of Disney's Pete's Dragon are in for a rude awakening. Early trailers suggest that the title has all the right ingredients to become gaming's next downloadable darling: a spindly young boy hero, a fantastical landscape, and heartwarming interactions between the protagonist and his over-sized pet/companion. Papo & Yo is a PlayStation Network exclusive set for an early 2012 release. I didn't go into the convention thinking about winners and losers, but Minority Inc.'s Papo & Yo was a definite winner for me, one that has stayed on my mind continuously since the show's end. Now that E3 is a few weeks cold, I'd like to write a little about my personal game of the show, and the man behind it, Vander Caballero, who is inextricable from his pet project.
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