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Sword of the Sea review
Movement, meaning and mindfulness combine in Giant Squid's latest, a game of free-form expression and flow.
I want to say there's a smidge of Sayonara Wild Hearts in here too - nothing to do with Zelda now - if only in the way your occasionally tunnelled movement is carried on a bit of signature score from Austin Wintory, developer Giant Squid's long-time collaborator on Abzû, The Pathless, and before that with studio head Matt Nava on Journey. If you've ever had that urge, when you were a kid, to try and leap over the edge of a map, to break the confines of the game, to get on top of the unscalable wall, round the back of the walled-off castle, Sword of the Sea quietly, subtly encourages you to do it. A couple of moments where you change what you're riding, which I won't spoil, are maybe the only times where Sword of the Sea's controls feel a tad skew-whiff, an attempt at temporary hyper-responsiveness actually coming back a little too responsive.
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