Abzû

Abzû is an adventure game very similar to the last title directed by Matt Nava, Journey, which also they aimed to tell a touching story almost exclusively through exploration, traversal, and interactions with the environment.

In Abzû, the player controls a mysterious diver (their face is hidden in shadows inside a mask) who is alone in the open sea, right at the entrance of the ruins of an ancient civilization. Our goal is to uncover the history of the place and discover information about the protagonist’s identity.

Here, Matt Nava follows closely the formula used in his previous game, adopting a cel-shaded graphic style to present an environment rich in color while making great use of linearity to turn the orchestrated soundtrack into an important part of the experience: it’s dynamic, reacting exactly to what’s happening onscreen to create a more immersive experience.

The narrative combines mysticism with technology, showing a kind of symbiosis being formed between the protagonist and the environment. There is a mutually supportive relationship between the aquatic animals and the diver: while one of the few actions available to us is to “activate” small corals that “release” new fish into the ocean, bringing life back to it, the animals often return the favor, guiding the diver through the endless vastness of the ocean – there’s a beautiful moment when the protagonist will swim alongside enormous whales, following their path undersea while the music soars on the background.

The minimalist story is told through careful exploration of the environments, which are mostly composed of submerged ruins, filled with dilapidated paintings and structures. By analyzing what these paintings depict, for example, we can start to form our own theories about what happened to that civilization. The themes discussed here leave room for many interpretations: it seems to discuss the cycle of life, the power and dominion of nature over men, and even more surprising subjects, such as the existence of souls in machines.

The soundtrack being dynamic is one of the most important elements in the narrative, adding emotion to the protagonist’s journey. At a certain moment, after following a group of orcas, the diver jumps out of the water in perfect synchrony with them… exactly when the music reaches its peak. And when they return to the water, and the orcas disappear, leaving the diver in a place devoid of animal life, color, and energy, the soundtrack accompanies the movement of the scene and vanishes alongside the orcas, intensifying the effect of sudden desolation.

As in Journey, Matt Nava also deserves credit for working well with the surreal, creating impressive images: after crossing certain portals, for instance, the diver arrives at a mystical place, where animal spirits move by their side and the surface of the ocean is below them instead of on top. The character seems to float in a void, surrounded only by stars and spirits. The imagery is just like Keanu Reeves, simply breathtaking.

In contrast to these almost transcendental moments, there are those when the diver comes across strange technological devices – they have almost an alien look – that pose a serious threat: they can hurt the diver if we are not careful. The dramatic core of Abzû is the war between technology and nature, a conflict that becomes even more complex when we start to understand the protagonist’s real motivations and identity, and the symbol behind the connection between them and a great white shark.

The only big problem with Abzû is that it barely gives us ways to interact with marine life. We can ride bigger fish, letting them take the diver around for a spin and we can “meditate” at certain spots, which takes the camera away from the protagonist, allowing us to observe the shoals, and the sharks, all swimming around in their full glory. But there’s little point to these actions: we are just observing them, nothing more, which goes against the symbiotic relationship the narrative is trying to build. The game, then, would have benefited from some light, simple puzzles: anything that would require us to work together with the animals or push us to understand the environment better.

By removing Journey‘s multiplayer component without offering anything in its place, the developers make Abzû a simpler experience that doesn’t reward repeated playthroughs. It’s true that that multiplayer element added much more to the theme of that game’s story than to this one, but its absence only reinforces the feeling that there’s something missing in Abzû.

Finally, it’s worth pointing out the notable difference regarding the connection between player and protagonist in both games. In Journey, the silent character served as an avatar to us, with their narrative arc being built in general terms while they learn about that universe alongside the player. Abzû’s diver, on the other hand, is a mystery to us from the very start: they have their own secret identity and particular story. The diver doesn’t serve as an avatar to the player but is a properly defined character – even if still a silent one.

Abzû closely follows Journey’s structure, albeit with a much simpler design, and presents a story as fantastical and fascinating as the one in that game. It’s a great follow-up with some mesmerizing moments.

December 14, 2024.