Kratos’ latest outing delivers on all fronts — and gives us a game that’s truly an experience to behold.
What can be said about Sony Santa Monica’s latest God of War entry that hasn’t already been said? It’s gotten phenomenal critical acclaim, numerous perfect scores across publications, and is now the fastest-selling exclusive on the PlayStation 4.
I have to admit that even based on the marketing alone, the fresh coat of paint on the latest God of War was instantly intriguing. But now that I’ve finished it, and after having some time to mull over things, I’ve finally wrapped my head around what I want to say about this game.
Bravely eschewing the established Greek mythos of the previous games, Kratos now finds himself in the realms of Norse mythology, and with a new companion in his son, Atreus, who not only serves to add depth to the combat but also as a narrative catalyst for the journey.
The entire game plays out in a single continuous camera shot, one that begins in the opening title screen, and bleeds into one of the most compelling opening acts I’ve ever encountered in gaming — aside from Santa Monica flexing the PS4’s graphical capabilities (the weather effects, lighting and animations in this game are some of the best, if not the new pinnacle, of what the PS4 has to offer), the first few hours of the game is a wonderful introduction into the new lands Kratos calls home. As you walk around you notice that hidden treasures litter the landscape, encouraging you to explore, and you’re introduced to Kratos and Atreus’ dynamics as father and son, capping it off with one of the most raw and intense boss-fights I’ve come across.
If the latest God of War doesn’t have its hooks on you by the time you deal with The Stranger knocking on your door, I don’t know how else it will. After experiencing it for myself, I believe God of War’s opening act is something every gamer should try at least once, as it’s honestly one of my favorite gaming experiences to date.
It puts the game’s biggest strengths front-and-center: the way it manages to create an almost seamless marriage between gameplay and narrative.
While the presentation, camera angles, voice-acting, and sound design are all almost miraculously on-point the whole way through, the gameplay is the true star of the show here, with combat striking the perfect balance between fast and fluid, and deliberate and weighty. It’s a combat system that has to be experienced to be truly appreciated, as I never really felt like I wasn’t in full control of Kratos, and it never felt like a mindless button-masher or a mind-numbingly difficult challenge. The myriad of unlockable skills only serve to improve the experience even further. (Also I will probably never get tired of throwing his axe and summoning it back — the feedback just feels so, so good).
Aside from all of that, the game paints such a rich, detailed world that you can explore organically in your own time, enhanced by companion dialogue that prattles on as you explore, providing background lore and filling in the time you spend traversing the environment with some character development or narrative tie-ins. And while the game is structured as a semi-open world, it’s one filled with meaningful side-quests that either require a challenging fight, or interesting puzzles to solve.
As I spent more time with this new God of War, I felt a strong sense of confidence and constant polish — this was a game that wasn’t afraid to take risks, felt sure about what it wanted to be, and didn’t waste your time on fluff and padded content. It sets you free in a magnificently crafted world that you would want to get lost in (but one that was well-designed enough that you would never really lose your bearings). Everything felt like it mattered, and even going off on a tangent felt like a worthy enterprise.
Tying it all together is a gripping tale about redemption, family, and growth, finally allowing Kratos to be more than just a rage-fueled one-note character. Here, Kratos is seen struggling to be a good father to Atreus, wanting to care for him while also teaching him how to survive in a world where gods can make playthings out of men, and Atreus is shown to be a son torn between growing into his own person while simultaneously yearning for his father’s approval. It all culminates in a well-done final act. While it’s not as immediately impactful as the opening, it sets the premise well for future games, and I’d be lying if I didn’t immediately want to see more.
To be honest, I’m struggling to find anything to complain about aside from the occasional odd camera angle during environmental traversal, wishing there was more than one R3 finishing move animation for each enemy type, the sporadic frame rate dips, the way the trolls kind of just feel like the same enemy in a different color, and the sinking feeling that there are a little too many collectibles… but all of those seem irrelevant and nit-picky in comparison to just how well-made this game is — in comparison to what Sony Santa Monica has achieved with God of War.
If you’ve got the means to play through Kratos’ latest journey, don’t miss the chance. It’ll be worth it, I promise.
