David Bridges
Sword of the Sea offers an exhilarating gaming experience centered around the concept of letting go. At its core, the game’s primary mechanic allows players to surf across expansive desert dunes on a sleek blade, skillfully slicing through shimmering sands and ascending ancient towers in a compelling quest to uncover the secrets of lost civilizations. To truly enjoy the game, players are encouraged to forget about the controls, surrendering to the fluid physics that allow the character to flow seamlessly through the environment. Through exploration, players will discover glowing orbs and radiant gold gems, transforming the sandy landscape into vibrant, crystal-clear seas populated by fish gliding through the air, creating wet trails in the terrain. Your character, donned in flowing robes and a striking gold mask, navigates the orange hills and blue waves with remarkable athleticism, responding instantly to every input from the controller.
To enhance your surfing experience, you can charge up a jump to perform impressive tricks with a few rapid inputs or unleash a sonic energy bubble to shatter nearby vases, revealing precious bits of currency within the fragments. The protagonist exhibits precise movement in whichever direction you steer, halting immediately when you release the analog stick. Players will encounter giant chains for grinding, a hover capability in specific areas, and conveniently placed half-pipes scattered throughout the stunning environments. Initially, control prompts appear to guide you through new abilities, but these instructions fade quickly, leaving you alone in the vast desert. While Sword of the Sea lacks explicit waypoints, the environment itself narrates a rich story, inviting players to engage with puzzles hidden within the enigmatic temples that pepper the landscape. Seek out glowing orbs perched atop rooftops or concealed in secret passageways to unlock the mysteries of these ancient structures, thereby opening up new and exciting areas.
During my 20-minute gameplay session with Sword of the Sea at the Summer Game Fest, I found myself wanting to delve deeper into the enchanting dunes long after my time was up. This game creates an immersive atmosphere where the chaos of the real world fades away, allowing players to escape into a realm built on rhythm and tranquility. From the very first moments, it fosters a meditative flow state, encouraging players to learn the controls and then instinctively forget them; playing with pure intuition often leads to the most rewarding experiences.
“The game is fundamentally about surfing, but it also delves into the journey of mastering that skill, becoming comfortable with riding the waves, and daring to try challenges that stretch your capabilities,” shared Sword of the Sea creator Matt Nava in an interview with Engadget at the SGF show. “Ultimately, surfing is about harnessing the power of something greater than oneself. You’re not just paddling; the waves propel you forward. The zoomed-out camera perspective, along with the character’s design, shifts the focus from the character to how they interact with the environment. This theme resonates throughout many of our games.”
Nava, who serves as the creative director and co-founder of Giant Squid, is also known for his previous works, including Abzû and The Pathless. Despite his success with these titles, he remains widely recognized for his role as the art director of Journey, thatgamecompany’s groundbreaking multiplayer experience that debuted on PlayStation 3 in 2012. Over the past decade, Nava has worked diligently to create games that intentionally diverge from the style of Journey. Although Abzû and The Pathless bear his signature visual style, they contrast sharply with Journey in numerous ways. While Journey immersed players in a dry, desert landscape, Nava’s subsequent project, Abzû, transported players to a mesmerizing underwater world, and The Pathless primarily featured lush green environments instead of dusty orange ones.
With Sword of the Sea, Nava embraced a liberating creative process. He set aside all preconceived notions about what he should be developing and boldly declared a shift in his approach. “This game represents a personal evolution for me,” Nava expressed. “I created Journey, and now I’m revisiting the vibrant orange palette. I’m returning to the desert because I have countless ideas that were left unexplored in that earlier game. It feels as though I’ve been living in the shadow of my past work, and I realized I shouldn’t confine myself. I should fully embrace my artistic voice and continue to explore the art that resonates with me.”
Sword of the Sea stands out as a unique and captivating game, even though it features an orange desert backdrop reminiscent of Journey. The game also features an evocative musical score composed by Austin Wintory, the Grammy-nominated composer known for his work on Journey, Abzû, and The Pathless. Together, Nava and Wintory form a formidable creative partnership that enhances the gaming experience.
“In many video game scores, the music is composed to match the setting, producing repetitive tracks for different locations,” Nava explained. “However, in Sword of the Sea, the music evolves alongside your story, reflecting your progress and the character’s development throughout their surfing journey. This approach ensures that the music aligns with the player’s unique experience as they advance through the game.”
While Nava and I discussed the game, I noticed a nearby player engaging with Sword of the Sea on another screen. Upon glancing over, I was intrigued to see them gliding through a section I had missed during my own gameplay. This area featured a colossal animal skeleton half-submerged in sand, its bright white vertebrae glistening with gold gems that players could collect. Nava assured me that Sword of the Sea is filled with secrets waiting to be uncovered, and the most effective way to discover them is to simply let go and immerse yourself in the experience.
Sword of the Sea is scheduled for release on PlayStation 5, Steam, and the Epic Games Store on August 19.
Daniel Mercer
