The sea is a stage when you’ve mapped every current, every echo, every ripple. I treat the tide like a tempo—slow at the start, building, then a sudden surge that drops the beat. I lock the perimeter, let the crew know only the essentials, and let the waves do the rest. That way the audience—whether it’s enemy ships or a sensor array—never sees the cue, only the impact, keeping them on edge the whole time.