Hellblade: Senua’s Sacrifice (2017)
Hellblade: Senua’s Sacrifice is worth reading about almost as much as it is worth playing. Ninja Theory, the developer which independently published at the time, was very open about their process. From my perspective, I only knew that Hellblade addressed mental health in some way. Research outside of the playing experience is by no means necessary, though, because the game does an incredible job immersing you in the struggle of someone living with psychosis.
Booting up the game presents you with a warning: “This game contains representations of psychosis” which could be found disturbing. It’s the first of many ways Ninja Theory shows respect to the topic they are about to portray and one that sets the tone. They could have been less explicit, but choose not to be. I tensed up reading this screen even though I don’t suffer from any serious mental health issues. If this doesn’t unsettle you, though, the game is sure to do so along the way. That’s the point.
The opening moments are intimately dramatic. Senua, a young Pict (1) woman, paddles through misty waters on a makeshift boat. You hear a narrator, seemingly a few actually, providing commentary that breaks the fourth wall and eventually through to Senua (headphones are a must!!). A close up of her reaction is the beginning of the brilliant motion-captured acting by Melina Juergens. This tension between Senua and those voices is key to depicting her psychosis.
Before delving into the story, which I don’t plan on spoiling beyond the first of about eight hours, let’s talk gameplay. The core loop switches between environmental puzzle-solving and arena combat. The environment is beautiful and I’m fortunate to be playing years after release on a PC that can handle the highest settings. Ninja Theory refers to Hellblade as a “ AAA Indie “, which apart from how gamey that sounds, is quite accurate. I applaud the art direction that embraces a more realistic look as to greatly unsettle you when the imagery becomes increasingly disturbing.
I say all of that because the puzzles are plain in comparison. You come upon a door obstructing your path, locked with a seal represented by Norse letters or symbols, then need to find those letters/symbols in the environment to unlock it. Senua has the ability to focus, where the camera pans and zooms in, to acknowledge the shapes. The game has some variety in how you ultimately reach the right spot to focus but does not do so in a way that makes you feel clever.
I can admit that these sections were not always fun per se. They still succeed in thematic reinforcement and narrative progression. The voices in Senua’s head are unreliable narrators and, as a player, you can’t tell what is real and what isn’t. This works particularly well in a game because you have to interact with the world. You have to accept what Senua sees and the focus mechanic drives that home.
Combat, on the other hand, was something I truly enjoyed. Hellblade doesn’t reinvent the wheel but takes core pieces from established systems to generate real tension. I mentioned arenas earlier and it is not hard to tell when you are approaching one. They are uniquely open spaces compared to the more narrow paths the rest of the game has you follow. The transition can catch you by surprise, though.
Enemies apparate (2) like creatures formed from ash in the air. They seem human in stature, but their faces are covered and their bodies are bloodied with wooden or metal stakes poking out every which way. They represent Senua’s twisted interpretation of Northmen warriors, which menaced her life before and now during the events of Hellblade.
Senua pulls out her sword, which is not usable outside of these encounters, and fights back against the charging Northmen. Light and heavy strikes can combine for powerful combos that cut through any foe. A block can turn into a parry with the right timing, but I found myself evading as a greater means of defense. Kicks and running strikes add some engaging depth, but other than the occasional satisfying spartan kick off a bridge, I rarely utilized these.
What makes combat such a highlight is what is at stake. After your first fight, the game provides another warning: die too many times “and all progress will be lost” (3). I tensed up this time, even more than before, desperate not to repeat everything I accomplished. This feeling stuck with me the entire game, a very intentional design decision to induce anxiety. Before a death blow, Senua is knocked to the ground. You can get back up by mashing any of the buttons and boy did I mash to stay alive.
A final note on fighting is how claustrophobic it all feels. Throughout the game, you fight an increasing number of enemies simultaneously. 1v1 is ez. 1v5+ not so much. Enemies are aggressive and you’ll have to avoid incoming attacks while beating down others. You can find a rhythm where you are not focused on anyone for too long, but the more tactical approach involves listening to the voices in Senua’s head. They often share their perspective as you travel, like irrationally calling something out as a trap and telling Senua to turn back. During fights, they truthfully signal incoming attacks from out of view.
The story of Hellblade focuses on Senua’s quest to save the soul of her beloved, Dillon. It is powerful and picks up momentum as it goes. The final moments are more than worth the time it takes to get there. I admit that I was pleasantly surprised to hear a sequel is on the way. I’m not sure what direction it will take considering the intangible nature of this tale, but Senua’s continued growth as a character is something I’m excited to see.
I feel obliged to make a comparison to God of War (2018) before my closing thoughts. The direction, themes of addressing one’s past, and of course the setting all share similarities. God of War is one of my favorite games ever and is a true AAA, but Senua deserves the comparison.
COMPLETED ON: 11/14/2020 PLAYED ON: PC w/ PS4 controller
- Apparently Pict. I’m ignorant of the cultural specifics, but this GameInformer article will fill you in on some details. Also, don’t confuse the Picts with Vikings — a mistake I made before reading this bit of history.
- Apparate isn’t a real word. It’s from Harry Potter. After typing it, spell check was quick to correct me, but I’m going to keep it in since it gets my point across.
- This was a controversial design decision, and even more so when you find out what really happens. I won’t spoil what I mean by that, but look it up after you beat the game. I think it is brilliant.
- FMV = Full Motion Video, or in other words live-action recording shown during the game. I associate the term most with its prevalence in LaserDisc games from the ’80s. It was a smart decision to include in a game where perception plays such a significant role.
I hope to improve as a writer with every post. I also want to make valuable content for those that take the time to read :). If you have any feedback or thoughts, please comment below. Thank you!
Originally published at http://brothersaint.wordpress.com on December 2, 2020.
