STORY-TELLING is a spoken tradition, where people repeat tales once told to them.
The narrator usually focuses on a tightly-held structure; stories taking place in one location with a clear beginning and end, as seen from the protagonist’s viewpoint.
There are nine realms to explore.
This is the same structure we see in many stories today, even those told in video games.
The original God of War reboot did this too, as it tells the story of Kratos, in one long single take.
It mimics the tradition of ancient Greek story-telling, but this structure has its own issues.
You only see a narrow viewpoint of a vast world, like looking out on the Earth from an aeroplane’s window.
We knew that there were Norse God’s plotting their revenge somewhere unseen, but God of War Ragnarök changes this classic formula and puts them at the forefront.
The camera rarely cuts, but unlike the original, the focus isn’t placed solely on Kratos.
A roaming camera tells a much richer story, with more focus on the story’s other characters.
Ragnarök’s cast is twice the size of the original, and yet each character has a fully developed background and story arc.
Even throwaway lines have depth to them. The writing is touching, and often deep, which is difficult in a game about an overly angry bald man.
Christopher Judge does an incredible job of portraying a reflective, caring and yet still very dangerous Kratos.
Ryan Hurst, Richard Schiff, and Danielle Bisutti all do their part in bringing the Norse Gods to life.
The original story was simple — a father and son journey to the highest peak to spread the mother’s ashes.
While there were numerous road bumps along the way, the sequel removes these, instead giving you a number of objectives you can choose to explore.
Ragnarök reveals the truth about Kratos’ journey to raise his son in a world filled with dangers.
It was Kratos’ journey as much as Atreus’, as the demi-god grows as a person thanks to his role as a father.
This is reflected in both battles and the pair’s journey. Kratos no longer carries Atreus, no matter how difficult the terrain.
He can now chart his own path, both in the wild and in battle. He’s a more capable fighter, and to show this Kratos no longer calls him “Boy”.
The combat hasn’t had as big of a change as the story. You can switch between your frost axe and your flaming blades depending on the situation.
Grapple points give you the ability to jump up and slam down from greater heights, while the camera works to set the fantasy of each attack.
Double-tap rolls now cancel almost any move, which is vital in some of the more difficult late-game battles.
Dodges, blocks, and parries will all play a vital role as you whittle away at bosses imposing health bars.
Button mashers will have a harder time with this surprisingly tight system.
The lack of enemy variety has been addressed in the sequel. We were still finding new enemies 32 hours into our playthrough.
Even the most hardened God of War fan won’t be disappointed by the bombastic boss battles either.
Without spoiling too much, there are also new styles of combat, which are equally balanced as Kratos’ standard set-up.
Much like all of Ragnarök’s biggest reveals, these are better discovered for yourself.
It’s full of moments which surprise you. While the first few hours feel much like the original, it uses this expectation to pull a 180.
You’ll find yourself exploring all of the side quests just to find out more.
They link and overlap in ways that allow you to complete many in one sweep.
There are nine realms to explore in this surprisingly varied world, from green algae rivers to windswept deserts, and freezing glaciers.
There are some locations that return from the original, which give a pleasantly nostalgic twist.
Kratos is more reflective than his past self, though those who didn’t play the original trilogy won’t know the man blinded with vengeance that he was before.
While the God of War reboot was highly-revered, Ragnarök is the better game in every way possible.
It won’t be long before it’s spoiled by almost everyone on social media, so prepare yourself, as like Fimbulwinter, Ragnarök is a dish best served cold.
Written by Kirk McKeand and Georgina Young on behalf of GLHF.
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