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I’ll refrain from making direct comparisons, but with a bevy of shortcuts there’s a clear amount of From Software influence afoot. It’s a great compromise because while there is some light bloat (the map constantly reminds you of missed riches and collectibles), it never reaches gargantuan radio tower levels. Shortly into the fray you’ll get a fast-travel item that works at specific doorways. There’s a legitimate endgame here after the credits roll, involving multiple optional areas, challenges, and bosses (the campaign took me roughly 20 hours to best, and I wrapped up every major quest minus a few collectibles in around 35).
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But after that individual bit is done, you’re free to come back and explore again, uncovering new secrets, sometimes with items you’ve picked up later in the story. For the critical path you’re moving from setpiece to setpiece, some of which are labyrinthine caves or quasi-large open zones, and then eventually you trigger a cutscene (which are nicely done with the in-game engine) or leap down from a ledge of no return. Progression isn’t chapter-based as the discovery of new areas is seamlessly linked. Without giving you any details, suffice to say this is not a self-contained story. The heavy-hitting moments (including one “oh hell yea” scene) are few and far between which is a good thing, as the pacing is even-keeled. If the narrative isn’t moving along there’s a subtle level of worldbuilding going on, frequently spouted in sections I call “story time,” when the player is rowing down a stream or walking toward a key destination. What starts off as a semi-grounded affair (minus some quick bouts with the undead, a few trolls, and a God) soon gets otherworldly. Far too often works in any form of media can screw up the kid angle - but a kid that can summon spirit wolves, talk smack on Kratos, and choke out Norse zombies sure beats the hell out of most video game companions. Very quickly he starts to come into his own in a way that doesn’t feel forced, and roughly five hours in he’s a badass in training that starts actively participating in combat with the player. I’ll be the first to admit that I was wary of the whole familial angle, but Atreus, at his worst at the absolute start of the tale, is merely a smartass. I’m still wrestling with it.Ītreus worms his way into combat and the game’s puzzles, mostly propelled by a square button prompt that initiates actions and commands him to fire arrows at enemies.
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Having played every game in the series it’s a little tough for me to truly reconcile Kratos’ new turn from “murderous genocidal asshole” to “stern father,” but some of that history is addressed, and it’s strongly hinted that the rest will make its way into the fold eventually. Kratos and his son Atreus have a tumultuous relationship at the start, and although you can guess where that setup is going, the way it gets there is organic. I’ve jokingly referred to the project as “Dad of War” since it was revealed, but that light ribbing slowly became more of a term of endearment as I wrapped myself around the narrative. Before you chop your first undead grunt in half, the table is set for a personal journey intertwined with an epic quest. The pacing, score, and the voicework are a hat tip at the level of effort that Santa Monica put into this labor of love, and can only be described as meticulous. With its muted intro of…gathering wood, it’s immediately clear that God of War is moving in a new direction. Publisher: Sony Interactive Entertainment I’m always willing to give something a shot, but taking the fast and frenetic combat of the original series and slowing it down to focus on a father and son relationship? It’s a bold and risky move.
I was highly skeptical of the soft God of War Norse reboot.
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