Ragnarok God of War Is Intended To Be In God Of War

Ragnarok God of War: Nothing else in my gameplay of God of War (2018) came close to matching the intensity and emotional wonder I felt when Kratos retrieved his Blades of Chaos. Several such instances can be found in God of War: Ragnarök. Not since God of War: Ragnarök has a video game’s narrative completely knocked me off my feet. Like I’d had a cathartic crying session that lasted for thirty or more hours, my emotions were exhausted and wrung out.

Questions have been raised as to what exactly merits the coveted perfect score of 10/10 in video games. We don’t provide scores here at The Verge, but I’ve come up with some criteria for determining whether or not a game deserves a recommendation: it doesn’t have to be perfect, but its mechanics, plot, and overall playing experience should be more memorable than its flaws. Even if Ragnarök has the usual problems plaguing major action titles, those aren’t what has lingered with me long after the credits rolled. Rather, I’ll be reflecting on the feelings I experienced while playing it for a long time to come.

Before I get into the game’s emotional roller coaster, I want to address the game’s only (and, to be fair, minor) flaws: the lack of any truly innovative combat, and the RPG components that are excessively overloaded. When major game developers wrongly determine that Assassin’s Creed-Ifying the shutout of a game is the only way to keep a player involved without live servicing the game to death, the result is games like God of War 2018 and Ragnarök.

The non-story components of Ragnarok are like a modern upgrade to the classic formula. There are far too many optional objectives, such as killing enemies, opening chests, solving environmental puzzles, and collecting relics, that serve a little function beyond filling out a checklist in Kratos’ diary.

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Ragnarok God of War

There were several humorous moments. In fact, the part I enjoyed the most was working out how to reach a previously inaccessible place in order to complete a quest. As the tale required, I loved aimlessly exploring an area until I came upon one of the realms’ ubiquitous green spectral ravens and figured out the best way to dispatch it with an ax throw. I didn’t have any major issues with the objectives themselves, but I did feel that the Banjo-Kazooie-Esque “grab the jaggies” quests were just a cheap way to make the player care about the lovely but otherwise empty landscape that Sony Santa Monica spent so much time creating.

The structure of the world might also be completely baffling. Environments are a jumbled maze of complex pathways that can only be navigated with the appropriate equipment or tactics. Due to the path’s twists and turns, I frequently lost track of time and ended up going in the wrong direction. Alternately, I might have been equipped with everything I needed to advance, but I wasn’t using it in the way the game specified, so I spent a lot of time scratching my head and wondering what the heck I was supposed to do.

I’d like to expose you to the game’s two most frustrating elements: Vanaheim and sigil arrows. The dense jungle of Vanaheim made it easy to become lost, and I wished there was some way to leave breadcrumbs like Hansel and Gretel. You have to keep coming back to the same spot in Vanaheim, one of the nine realms you explore, but there’s no way to tell you’re actually “here” until you’re standing on top of it and see a button prompt.

I had the worst problem going in and out of that spot since it is basically a dark hole in a jungle wall that looked like every other hole. Because the liner tracks frequently loop back on themselves, the map is obviously useless because the navigation marker will constantly warn you that you are heading in the wrong direction.

In this new game mechanic, Atreus can use Sigil Arrows to clear obstacles in his way. Fire a sigil arrow at an obstacle, and Kratos will be able to slice through it with his swords. That simplicity, however, is not always the case. Complexity is added by aligning sigil arrows to set off a domino effect in the desired direction. Let’s pretend you’ve found a Nornir chest that necessitates the use of braziers in order to open.

The first two may be destroyed with relative ease by hurling Kratos’ blades at them until they ignite. The third one, however, is too far away for Kratos to reach. One arrow at the brazier, another at a surface within Kratos’ blades’ range, and a third arrow linking the two will do the trick. When the bomb goes off, a spark is created.

If you think it’s complicated now, just wait till you try to put it into practice. The amount of time I spent fuming over the fact that a clogged passageway wouldn’t clear is proportional to how many times I convinced myself I was doing everything correctly when, in fact, I was either not shooting closely enough together or waiting too long between shots, causing the arrows to decay before I could explode them.

Kratos and Atreus have an abundance of useless items at their disposal, including clothing, weapons, and tools. To strengthen your weapons in the first God of War games, all you had to do was collect the blood of your foes and pour it into them. It’s not too different from Ragnarök (swapping blood for simple experience points because, hey, Kratos is a changed man now). However, there is so much more than necessary that it becomes complicated to manage.

Not only may you strengthen your primary weapons through upgrades, but you can also equip them with a wide variety of weapon modifications, each of which is also upgradeable. The same is true of your armor, each piece of which can be customized to your preference. You have your choice of blades, ax, shield, and a brand new spear, each having its own heavy and light rune attacks, and if that weren’t enough, there’s an amulet with nine slots that can be filled with essences from each of the nine realms.

Similar to the gear system in World of Warcraft, albeit with a slightly less cruel twist. Then multiply that number by two because, oh yeah, you have most of those choices for Atreus, too.

The ability to tailor one’s experience is a positive aspect. Kratos 1.0 didn’t give you a lot of control over his combat style. However, the upgrade mechanism in Ragnarok was so convoluted that it was mostly disregarded. I, too, am a plain Jane like Kratos. If my foes are passing away while I remain unharmed, then whatever I have is doing its job just fine.

Although these criticisms exist, they are so slight as to be easily overlooked when considering the game as a whole. After Balder’s death, a harsh winter descends upon Midgard, and Ragnarök begins with Kratos and Atreus fighting for survival. (There’s a great summary of God of War you can view whenever you like to refresh your memory if you don’t recall Balder or the events of the game.

This is something that must be implemented in every future game sequel. Sony Santa Monica earns ten points. Kratos and Atreus are dispatched on an unplanned voyage after a fortuitous encounter unsettles them both, and they must decide whether they wish to stop or bring about Ragnarök, the end of all realms.

I thought 2018 was a good narrative, but I didn’t think it was particularly moving. At a time when the media was overflowing with stories about abusive fathers, this one was yet another “bad parent” story (paging The Last of Us). The plot was very different from the original God of War, but it still wasn’t particularly ground-breaking for its era. And to be honest, I have my doubts about stories that try to redeem monster males just because they’re weak and pathetic.

The 2018 God of War game made an attempt to humanize Kratos by having him care for a young infant, despite the fact that Kratos himself did little to merit pity. He was so notorious for yelling at his son and refusing to call him by his name that the incident became a running gag.

Kratos’s sacrifices for Atreus were meant to demonstrate his love, but instead, they made me think of parents who make sure their child’s material wants are covered while emotionally neglecting the shutout of them. And certainly, Kratos is terrible and clueless, but games that want me to care for their grizzled male protagonist in a sea of grizzled male protagonists are going to have to do more than make him a sad hot dad.

Ragnarok provides a stronger argument for why we should support Kratos than the original game did by showing him actively working toward his goals of improving as a human, deity, and parent. Hard-voiced cries of “boy” have subsided. Kratos, despite his natural hesitation, now encourages Atreus to develop into his own person while taming the rage that made him Greece’s god of war.

At one point, Atreus flees from Kratos because of his stubbornness. Kratos, while he’s out, realizes without any urging from his friends that he made a mistake. “I pushed him away,” he admits regretfully. When Atreus returns, he freezes in place, half-flinching in anticipation of what Kratos could say to him for having provoked him.

When he doesn’t, Atreus rushes for comfort in his dad’s arms, and Kratos’ expression changes to one of astonishment and shock. His surprise at Atreus’s embrace and his own lack of retaliation both come as a shock to him. Kratos never actually cries in the game, but there are multiple instances where he looks like he could lose it and his lip will tremble like that. Seeing the expression on that realistic, aged, and bearded face is enough to convince me that the PlayStation 5 is worth buying.

Kratos is a changed man in Ragnarok, one who seems sincere in his desire to make amends for his wrongdoings. Still, Kratos is Kratos. He shows no signs of happiness or amusement, and he doesn’t seem to appreciate Mimir’s jokes or puzzles. But he will comfort his son by placing his hand on his shoulder, and he will help a friend in need. It’s touching to see him interact with his son.

Ragnarok is also a story about Atreus becoming an adult. The times when his father steps back and lets him be himself were my favorites. Also, it’s cute to see him try to figure out his emotions or approach girls; I really wanted the game to let Kratos give him some paternal guidance, but that never happened. (Yes, let’s hear what the guy who used to be renowned for sleeping women for EXP in icky mini-games has to say on how to court a lady.) The longer Sony waits to release the Kratos and Atreus Have The Talk downloadable content, the more money it will lose.

Atreus must face some difficult truths regarding his family and his connections. In most games, the conclusion to a dispute is too simple. A bad thing happens to a minor character because of the protagonist.

They argue for a while, even though it wasn’t the main character’s fault, but in the end, the supporting character shows up at the climactic battle and admits they were wrong to be angry. Ragnarök deviates from this norm, artfully demonstrating how irreparable damage may be done by even the most well-meaning of errors in judgment to otherwise healthy interpersonal bonds. The friendship Atreus had damaged was irreparable, and it was not his fault. Nothing in life ever seems fair.

The game’s refreshing portrayal of women was an added bonus. As my fellow Kotaku alum, Gita Jackson pointed out, motherhood (and femaleness more generally) sucked ass in the original God of War series and has continued to do so up until the present day. The only positive interaction Kratos has ever had with a female character ended with her death.

God of War made no attempt to stand out by having Kratos’ wife Faye killed off at the beginning of the game. Freya’s introduction gave players hope that the game will feature a female character of substance who does not die or sleep with Kratos, but their hopes were dashed when Kratos killed Freya’s son.

The way that women are treated in Ragnarok suggests that the creators heard and considered the feedback they received. To begin, and this is something of a feat considering the series’ past, all of the female characters survive! Hooray! The women, especially Freya, are well-developed and not just stereotypes there to forward Kratos and Atreus’ story. I won’t say much more because I think some of the game’s twists and turns are wonderful surprises, but I am pleased with the way the tale dealt with female characters.

When I think back on God of War and compare this game to it, I realize that Ragnarok is the game I wish God of War had been. Ragnarok does a better job of reflecting the story of a villainous father seeking to protect his son from following in his footsteps on this epic voyage. There were countless breathtaking moments, both big and tiny, that made me feel like I had witnessed the pinnacle of video game storytelling and gameplay.

When individuals who don’t play video games find out that I’m in this industry for a job, they often ask what they should play. Video games cover such a wide range of topics that answering this question would be impossible for me; what Sonic, Mario, or Joel mean to one individual, for example, is unlikely to resonate with another. God of War: Ragnarök joins that list, despite certain design issues and serviceable, if unremarkable, combat.

Final Words

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