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Superbrothers: Sword & Sworcery EP was created from 2009 to 2011 in Toronto by Superbrothers, Capy and Jim Guthrie. The core team size was around five people. For a more thorough list of credits tap the infobutton at the title screen inside the App. Superbrothers Sword & Sworcery EP has been around for a few years and publisher Capybara has made the wise decision to port it to a device that combines the best aspects of consoles with mobile convenience. I’ve wanted to play it for a while now, based mostly on the reputation of its soundtrack. Commercial (2 Vinyl (12' 33⅓ rpm)) published by iam8bit on Jun 2019 containing original soundtrack, remix from Superbrothers: Sword & Sworcery EP with compositions by Jim Guthrie.

Superbrothers: Sword & Sworcery EP is an indieadventurevideo game created by Superbrothers and Capybara Games, with music by Jim Guthrie. It was initially released for iOS devices, with a version for Microsoft Windows via Steam coming later. Mac OS X and Linux ports were included with the release of Humble Indie Bundle V,^[5] while a port to the Android platform was released as part of the fourth Humble Bundle for Android. Additionally, a port to Nintendo Switch was released, combining both mobile and computer-like control schemes, as well as adding controller support.^[6] The iOS and Android versions make use of device orientation during gameplay.^[7]

Gameplay[edit]

The user taps where they want the character, a Scythian warrior, to go. The accelerometer is incorporated into the gameplay, with the user turning the device 90 degrees to make the character take out their sword (the PC version uses the right mouse button). The player taps the shield button or the sword button to use them. Most of the dialogue is done through thoughts, once the user has acquired the 'Megatome', a magic book that lets the character read people's minds. The character can jump between two worlds; the 'real' world and the 'dream' world. The user jumps from one world to the other by letting the character sleep, which is done through making them sit down at a specific place in the game. If the Scythian's health is diminished during a conflict, it can subsequently be restored by finding and consuming small, red mushrooms. Eating these mushrooms also activates a special musical track, only played in such an event.

Certain events and passages of play are only allowed to occur if the moon is in a certain phase, thus real world time affects the gameplay. However, moon phases can be skipped by visiting the 'moon grotto'. This is a hidden cave that is unlocked late in the game. Entering this cave will also play a unique musical track that can not be found on the official soundtrack. The Scythian can talk to the girl at the beginning of the second 'session', and in turn she will tell the Scythian how to sing a 'song of sworcery'. The user can activate this ability by tapping and holding on the Scythian (clicking and holding on PC), this will initiate the 'song'. Songs of sworcery can be used to find sprites and change the world around the Scythian in order to find trigons.

Plot[edit]

In the game, there are 4 'sessions'. In Session I, The Scythian travels through the countryside near the Caucasus Mountains on a quest. She meets a black-haired girl, colloquially called Girl (Samae in the Switch version^[8]), tending to some sheep in a meadow near the start of her journey. Eventually she comes upon a man cutting wood named Logfella, and a dog named Dogfella. Logfella reluctantly agrees to lead them to the mountain Mingi Taw. The path ends at a canyon, on the other side of which is a massive face carved into the mountain, the mouth being an entrance to a cave.

The Scythian raises her sword under a rainbow near the canyon and a 'tongue' extends from the mouth. The Scythian crosses into Mingi Taw alone. The Scythian arrives at her goal deep under the mountain: a book of powerful 'sworcery' known as the Megatome. The Scythian's sword reacts to the presence of the Megatome, and she uses it to cut the book free from the skeletal hands that hold it in place. Suddenly, the hands and an antlered skull hovering above it come alive and chase the Scythian through the caves of Mingi Taw. The Scythian escapes, but the eyes and mouth of the face on Mingi Taw close and exude black smoke, and a thunderstorm begins overhead. A wolf-like creature with three eyes pursues the Scythian, the dog, and Logfella as they make their way to Logfella's cabin. The first 'session' ends with the Scythian triumphant having obtained the Megatome.

Afterwards, the player is presented with the second session by 'The Archetype'. He monitors the Scythian's progress throughout the story, calling her journey a series of tests, or sessions. Shortly thereafter, the player returns to the Scythian, teleporting to a platform east of Logfella's cabin. The Scythian makes it back to Logfella's cabin, where Girl suggests awakening several nearby sylvan sprites – mystical creatures that grant miracles to those who summon them – to break up the thunderstorm. She reminds the Scythian that these sprites emit bubbles (which could be interpreted as a scent) and a specific sound whenever they are around. The Scythian travels the countryside, locating the three sylvan sprites and breaking up the thunderstorm. To reach the third sylvan sprite, the Scythian traverses to the side of Mingi Taw, but the door to the path leading there is locked. Logfella, who holds the key, tells the Scythian that he lost it while dreaming. He explains that by sitting near the hearth of the fire inside the cabin one enters a dream space.

Inside the dream, the Scythian watches a Boor who's dancing about. Approaching it, the Boor begins to run away. Following it, she reaches the side of a lake, where Logfella's key is. With it, she travels to the side of Mingi Taw to awaken the third sylvan sprite and break up the storm. When all the sylvan sprites are awakened, Girl and Logfella see this event as a 'time of miracles', as told in tales between folks of the Caucasus. Once the storm has passed, a mysterious light emanates at a maze-like structure in the meadow near Logfella's cabin. After chanting a song of sworcery, a geometric figure appears. This geometric figure, an upside-down triangle, is recognized in the Megatome to be the 'Golden Trigon', a piece of the Trigon Trifecta. Approaching the Golden Trigon, the Scythian readies her sword and shield as it begins to attack. The Trigon's attacks begin with a projectile-like beam before progressing to lasers being shot out of an eye-like figure which the Trigon assumes, all of which follow the pattern of the song being played during the battle. After defeating the Golden Trigon, the Scythian stores it in the Megatome, and the session ends.

The Scythian searches the dreams of Girl and Logfella and finds the remaining two Trigon pieces. This allows her to be teleported to Mingi Taw to vanquish the antlered being (referred to as the Gogolithic Mass), but at great cost to herself, which the Archetype warns is fatal. After a final showdown with the three-eyed wolf, the Scythian activates the Trigon trifecta and the Megatome at the summit of Mingi Taw, sacrificing herself and vaporizing the Gogolithic Mass. Logfella and Girl somberly cremate the Scythian's body.

Development[edit]

A trailer was released for the game in February 2011,^[9] and the iPad version was released on March 24, 2011. Superbrothers: Sword & Sworcery EP won the Independent Games Festival Mobile Achievement in Art award in 2010.^[10] The developers initially stated that they had no intention of creating an Android version of the game.^[11] However, on November 8, 2012 it was announced that Sword & Sworcery will come to Android initially through the release of a beta version within the Humble Bundle for Android 4 package. It later was widely released on Google Play on December 21, 2012. On November 30, 2018, a port of the game was released on Nintendo Switch via the Nintendo eShop.^[12]

Reception[edit]

The game has sold over 1.5 million copies.^[17]Superbrothers: Sword and Sworcery EP won the Visuals award at IndieCade 2011.^[18] It was also featured as a free download on the 5th Anniversary of Apple's Appstore.

References[edit]

1. ^Hinkle, David (2011-03-21). 'Superbrothers: Sword & Sworcery EP comes to iPad on Thursday'. Joystiq. Retrieved 2011-03-22.
2. ^Buchanan, Levi (2011-04-27). 'Sword & Sworcery EP Micro iPhone Review'. IGN. Archived from the original on 2011-04-30. Retrieved 2011-04-30.
3. ^'s:s&s ep – NEWS – point & click?'. 2012-04-02. Retrieved 2012-04-03.
4. ^Life, Nintendo (2018-11-27). 'Superbrothers: Sword & Sworcery EP Releases On Switch eShop At The End Of This Month'. Nintendo Life. Retrieved 2018-12-05.
5. ^'s:s&s ep – NEWS – get up-to-date on ipad 3'. 2012-04-26. Retrieved 2012-04-27.
6. ^GameCentral (2018-12-04). 'Game review: Superbrothers: Sword & Sworcery EP is a strange concept'. Metro. Retrieved 2018-12-05.
7. ^'GDC 10: Sword & Sorcery EP Hands-on'. IGN. 2010-03-10. Archived from the original on 2011-07-13. Retrieved 2011-03-14.
8. ^Dale, Keith (2018-12-01). '@CAPYGAMES Playing #Sworcery on #NintendoSwitch and Girl now has a proper name! I'm confusee but excited at the same time! ^.^pic.twitter.com/phic9ez2qo'. @AwesomeKeifers. Retrieved 2018-12-05.
9. ^Groen, Andrew (2011-02-28). 'SuperBrothers' Creepy New Trailer for Upcoming Sword and Sorcery EP'. MacLife. Retrieved 2011-03-14.
10. ^'Trailer: Superbrothers – Sword & Sworcery EP (Capybara)'. IndieGames.com. 2011-02-26. Retrieved 2011-03-14.
11. ^'s:s&s ep – helpemail'. Retrieved 2012-04-27.
12. ^Life, Nintendo (2018-11-27). 'Superbrothers: Sword & Sworcery EP Releases On Switch eShop At The End Of This Month'. Nintendo Life. Retrieved 2018-12-05.
13. ^'Superbrothers: Sword & Sworcery EP for iPhone/iPad Reviews'. Metacritic. CBS Interactive. Retrieved 2018-07-03.
14. ^'Superbrothers: Sword & Sworcery EP for PC Reviews'. Metacritic. CBS Interactive. Retrieved 2018-07-03.
15. ^'Superbrothers: Sword & Sworcery EP for Switch Reviews'. Metacritic. CBS Interactive. Retrieved 2020-03-24.
16. ^Hodapp, Eli (2011-03-23). ''Superbrothers: Sword & Sworcery EP' for iPad Review – An Incredible Pixel-Powered Audio Visual Experience'. TouchArcade. Retrieved 2018-07-03.
17. ^Matulef, Jeffrey (27 July 2013). 'Superbrothers: Sword & Sworcery EP has sold over 1.5 million units'. Eurogamer. Gamer Network. Retrieved 27 July 2013.
18. ^'The Official IndieCade 2011 Award Winners in All Categories'. indiegamereviewer.com. October 9, 2011. Archived from the original on April 10, 2013. Retrieved 2013-03-06.

External links[edit]

Superbrothers: Sword & Sworcery EP was released on Steam two weeks ago. The game’s move to a new platform was met with all-around praise. But its change from iPad to PC, from tap to click, deserves more attention.

Unlike many other canyons, caves, and mountains in videogames, the game’s landscape is made beautiful through mellow colors and minimal visual details. The game feels like a folktale, rather than a realistic and meandering epic like Skyrim. The original version of Sworcery came together around its interface, which worked in harmony with sound, visuals, and text to create something magnificent. It’s the same as rocks forming together to create a mountain. This is where land art comes in.

Off the shore of the Great Salt Lake, near Rozel Point in Utah, exists a 1,500-foot-long, 15-foot-wide, counterclockwise coil made of mud, salt crystals, basalt rocks, and water. The coil, known as Robert Smithson’s Spiral Jetty (1970), is one of the best-known works of land art, also known as earth art and earthworks.

Land art is organic, raw, and inseparable from the earth. It can be indoors or outdoors. The purpose is to bring inside something from nature, or to leave behind the white walls of a gallery. Natural materials like metal, concrete, or trees are favored over artificial and synthetic ones. Scale, site, and change are important principles in earthworks.

Videogames are not land art, but neither are they anti-land art. Videogames can make a deeper connection between player and virtual landscape if they experiment with scale, site, and change. Too often do we explore generic glaciers, vapid volcanoes, or awkward panda-filled communities from the “mysterious” Far East without any pause or hesitation.

Superbrothers writes that the PC edition of Sworcery, “is intended to be a faithful representation of the original S&S: EP experience.” But its land and lore can’t be given respect on a PC. The touch interface of Sworcery is what makes its virtual world different and more intriguing than other game worlds. It does this through small scale.

Scale

As Smithson points out in a memorable quote, “A crack in the wall if viewed in terms of scale, not size, could be called the Grand Canyon.” Spiral Jetty might be massive in person, but there is a value in dirt, whether it is viewed from afar or grasped in the palm of your hand.

Like Spiral Jetty, Sworcery is focused, central, and minimal. The game is not laden with stats, world maps, or experience points. These aspects would only get in the way of the interface and virtual landscape. Revelation, discovery, and reaction are created from a pinch to zoom, or an unpinch to zoom out. The pinch becomes a tool for experience, exploration, and investigation.

But in many games, landscapes are transitional non-places. The generic glaciers only serve as a means to an end, as a stepping-stone. There is little point to the generic glaciers if the glacial goblins are not worth killing. In massively multiplayer online games like Final Fantasy XI or World of Warcraft, entire landscapes are devalued if the monsters drop worthless items or provide low experience points. An entire ecosystem is killed off because it does not fit some sort of gratification. A player might enter a certain area only once or twice, just to complete a quest. Once players reach level 99, entire locations are forgotten in favor of camping in one or two spots where particularly enticing monsters appear.

Why are there so many Grand Canyons in games, and not more cracks in the wall? The land gets tromped on, rather than strolled through. In Sworcery, the world might need saving, but that does not mean any traversed space is wasted. Immersion occurs without pointless enormity. Touch aids the experience. The first encounter with a ghost is frightening on a small screen. Quickly tapping and zooming out to escape is intense. It is the constraint of the screen size, and a relationship to touch, that makes the moment special. The familiar and unemotional click of a mouse can take that experience away.

Site

Smithson’s destination was chosen for several factors. The briny reddish hue in Salt Lake symbolizes blood and connects us to the primordial microorganisms floating in the water. The spiral is a symbolic shape of growth and reduction. This echoes the salt crystals in the lake, which grow in a spiral formation.

Site specificity for a videogame should not only refer to an in-game location, but also to the entire interface and platform. The touchscreen is the true site of Sworcery. An iPad and a tiny iPhone keep the game tactile. Intimacy is gained from the strum of a waterfall or the tap of a wiggly bush. Console-exclusive games may be site-specific, but the term “console-exclusive” can feel more corporate and gridlocked than instinctive and natural.

For a time, Sworcery was site-specific to the iPad and iPhone. The game’s interface and its virtual environment were deeply intertwined, through actions like shaking the iPhone to stir up a lightning bolt and rotating the device to open a book or enter into battle.

Sword And Sworcery

Site goes even deeper when considering where the game is played. Playing on a small screen, at night, and with headphones on becomes a mystic experience, especially in the dream world. Jamming with musician Jim Guthrie, tapping trees to make them glow, or swiping a cloud to make it hum—these all meld with the intimacy of Sworcery. The change from tap to click makes this a mechanical experience rather than an organic one. It adds an unnecessary third party to the intimacy.

Preserving intimacy all comes down to intentions. The point-and-click structure of Sworcery did originate with PC adventure games, and it does make sense to want the game to reach multiple audiences. However, maybe moving the game to the mouse is a step backward for the point-and-click genre. Point-and-touch can’t emerge until “click” is out of the picture.

A defining conclusion to our experience is lost because of how easy it is to transfer data. And plenty of ports don’t survive the transition. The newest memory and experience of Marvel vs. Capcom 2 is now a poorly ported iPhone version—the illustrious Dreamcast version fades further into the past.

Change

Change and transition was a natural event to Smithson. Entropy was a key factor. No two people see Spiral Jetty in the same way, whether by viewpoints or when they arrive. A flood or drought can submerge or raise the jetty. Aspects like global warming, oil drilling, and Mother Nature all affect the artwork with time.

Superbrothers Steam

Smithson embraced change and wanted it to happen. But all types of art face issues in longevity. Recently, even Keith Haring’s graffiti mural in Australia underwent debates on repainting. Spiral Jetty faces similar issues in ownership and preservation. Change, however, does not mean Smithson would have been okay with a Spiral Jetty gallery reconstruction, with the exact same rocks and dirt—or even an outdoor reconstruction of new rocks to make the artwork look exactly like it did back in 1970.

How then should videogames age? What is sacred and unchangeable about the landscapes we traverse? A port can extend play to all sorts of people, but it veers from original intentions; scale and site-specificity, as values, are diminished. Videogames, in their entry into museums and the realms of art history, now face these issues.

The move from platform to platform is an avoidance of death for a videogame. Nothing really dies off, nowadays—at least visually. But if a videogame’s interface is unique and special, it should not be left behind in the passage of time. The game’s move to Steam will fundamentally alter our long-term perception and understanding of Sworcery.

These issues are ultimately tied to memory. How many glaciers in MMOs have melted away from our minds, and what will Sworcery be like in five or 10 years? Nothing is set in stone, but in the end all you’re really left with are stories.

In this regard, Spiral Jetty and Sworcery cross paths once more. Smithson understood that not everyone could make it to Utah to witness Spiral Jetty, so he made a film. He spiraled around the artwork by helicopter—zooming and flying in, out, and all around. The perspective is impossible to experience from land. Once Spiral Jetty erodes to dust, the land will be remembered through the film. The tweet mechanic of Sworcery works in a similar way. Throughout the game you are given the option to record your experience by sending the character’s thoughts and opinions to Twitter. Not every piece of text requires a tweet, which allows for a bit of customization in detailing the quest. Your experience lives on in an archive of sorts. This online archive serves only as a reminder of the experience. In the video of SpiralJetty you cannot feel the wind at your back, or the heat from the sun; and in the tweets of Sworcery all that’s left is lore.

Superbrothers Sword & Sworcery Ep

This allows the work to live on in a special way. But if the interface defines the landscape, it too should be maintained. Mother Nature can whittle away Spiral Jetty, but this was part of Smithson’s intention in placing his work out in the real world. Sworcery can be ported and remade forever, but the experience will always change. In our consumption and reproduction, let’s not forget where the myth began.