Master, light or key-shaped: the capital importance of digital swords

Almost since its birth, the sword has been a core element in the imaginary of video games. The sword as a symbol of fantasy, as a battering ram against the darkness. The sword crystallizes the essence of action games that are based on hand-to-hand combat (the other half of action games are based on combat with firearms). But the interesting thing about this tool, beyond what it supposes in a certain game, is its meaning as a technological galvanizer. That is, as a tool not only within the work but also outside, as a technological and aesthetic springboard.

Let's explain it better. We said that the other half of the action games are shooters, which are based on ranged attack. In these games the basic mechanics are the aimed, and the animation that comes to us is that of the victim (the vast majority of these games are in the first person, so we do not see our character; or we see only his back, which does not flinch). In sword games, no: we must see the movements of our protagonist, with whom we identify better; We must see his attacks with his whole body, his way of moving and his expressions when brandishing the edge. That is, if in a game we have a sword, that requires not only another mental plane but another aesthetic conception.

In addition, there is the technological plane. Over the years there have been experiments to transfer the movement of our hand to the screen. Whether with the controls of the Nintendo Wii and Switch, the Sony Move Controller or the controls of the different Virtual Reality glasses, there have been numerous times when the form (the technological control) tried to approach the background (the story of swords of the game in question) to go a step further in the development of a new interactive calligraphy.

A moment from 'Star Wars Jedi: Survivor'.

Finally, there is the narrative part: the importance of the sword within the story they tell us. Within the world of video games, there are many, and very iconic, swords: there is the Masamune of Sephiroth (Final Fantasy VII), the Keyblade of Sora (Kingdom Hearts), The Swords of Kaos of Kratos (God of War) or the Energy Sword of Halo. But of all of them, if there is a sword that emerged from the world of video games that takes the cake, that is the Master Sword of The Legend of Zelda saga. And if there is a sword alien to video games but that has come to them through colonizing the entire popular culture, that is the lightsaber of Star Wars: the Jedi lightsaber. Both have been instrumental in the development of motion translation technology. The light, in virtual reality experiences such as Vader or Tales from the Galaxy's Edge. And, well, Beat Saber, in which we make music like Guitar Hero cutting the notes that reach us in the air with what is clearly a covert lightsaber.

Both, too, have had a capital importance in the imaginary of popular culture and both are in luck because they have returned to the fore. The Master, with the Tears of The kingdom (released last Friday), the latest installment of the Zelda saga, which we will soon talk about with the depth that deserves a serious candidate for Game of the Year. And that of light, with the release of Star Wars Jedi: Survivor on April 28. It's from the galactic franchise is a great game, and we're not exaggerating if we say it's the best Star Wars game of the last (10? 15?) years. Everything Star Wars Jedi: Fallen Order (2019) did well is made better by this sequel: gameplay, exploration (the worlds are ridiculously huge), the combat, the story (or rather, the twists and turns of that story). At a time of change in popular culture franchises, video games are once again demonstrating (in this case with Star Wars) that they are extremely important to the transmedia strategy of brands. Almost as much as swords are when it comes to defeating evil.

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