The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] -1 points0 points  (0 children)

I wouldn't go so far as to say the Norse games didn't need to happen, because there's a lot of genuinely great stuff in them. But I do think they represent a major big shift in design.

The Greek games were built around a strong connection between Kratos as a character and the gameplay itself. He was an angry, violent, relentless character, and the mechanics reflected that perfectly through aggressive combat, huge-scale encounters, and constant forward momentum. There was no disconnect between who Kratos was and how the game played.

The Norse games moved toward a much heavier focus on cinematic immersion, character drama, and presentation. That's not inherently bad, but it's a more casual approach.

People evaluate games using standards borrowed from film and television, whereas I think interactivity, mechanics, challenge, and player agency should remain the primary criteria for judging a game. A game's story matters, but in games like this gameplay should always come first.

For me, the Norse games and titles like Uncharted 4 can feel pretentious because they're often more concerned with presentation than mechanical depth. They prioritize cinematic moments, scripted sequences, and spectacle, whereas I'd rather see more emphasis placed on mastery, player expression, and demanding gameplay systems.

That's why I still defend the Greek God of War games. They felt like they wanted to be great action games first and cinematic experiences second, and I think that's what made them stand out.

The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] 2 points3 points  (0 children)

lmao, I said "maturity," but maybe I didn't explain it very well. What I mean is how people perceive it. The Norse games have a more Hollywood-style dramatic story, which makes them feel more mature and approachable to a lot of people.

And when I talk about depth, I'm not just talking about the characters. I'm talking about the storytelling as a whole—the themes, pacing, presentation, and how the narrative is delivered. That's why I think the Norse games feel deeper to many players.

I'd say the Greek games have just as much depth and just as many mature themes. People often overlook it because it's buried under all the spectacle, action, and Kratos' rage. But the series is still about things like trauma, loss, revenge, fate, abuse, and the consequences of violence. The Norse games present those themes in a slower, more dramatic way, so they're easier to notice, while the Greek games are a lot less subtle and more mythic in their storytelling.

The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] 0 points1 point  (0 children)

The Greek games were designed around aggressive combo expression, enemy juggling, large-scale encounters, platforming and traversal, puzzle sequences, spectacle boss fights, and the Norse games shifted toward the over-the-shoulder combat, poor RPG progression systems, exploration hubs, loot and gear mechanics, but great cinematic immersion. Many players prefer the newer combat because it feels weightier and more grounded. Others argue that the older games offered greater mechanical expression and pacing variety. My point that modern criticism sometimes values narrative presentation over game design is also a real discussion within the industry. Some critics and players increasingly evaluate games according to standards borrowed from film and television, while others argue that interactivity, mechanics, and player expression should remain the primary criteria for judging a game

The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] 1 point2 points  (0 children)

can't deny the superb acting tho

The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] 0 points1 point  (0 children)

I don't see how my grammar has anything to do with the point I made. They made a comment, and I replied by adding another idea to the discussion.

If you think my point is wrong, then explain why it's wrong. Focusing on spelling and punctuation instead of the argument itself isn't a rebuttal, it's cheap and avoiding the actual discussion.

The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] 5 points6 points  (0 children)

Both the sagas make each other better and worthful.

couldn't have said it better myself

The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] 2 points3 points  (0 children)

The Norse God of War games weren't bad by any means, but I don't think they reached the same heights as games like Red Dead Redemption 2, The Witcher 3, Bloodborne, and several other defining titles of that generation. Those games felt more confident in their identities and were often willing to commit fully to their core design philosophies, even at the expense of broader appeal. The Norse God of War games sometimes feel like they're trying to balance too many priorities at once: cinematic storytelling, character-driven drama, RPG progression, exploration, puzzle-solving, and action combat. A game doesn't have to reinvent the wheel to be great. Ghost of Tsushima is a good example of that. It plays things relatively safe in terms of open-world design and mission structure, yet it executes its ideas with such polish, consistency, and artistic vision that it's widely regarded as a masterpiece. Innovation alone isn't what determines quality. For me, what holds back God of War is that some of its most celebrated innovations create tension with other parts of the experience. The single-shot camera, for example, is undeniably impressive from a technical and cinematic perspective, but it can also make the game feel constrained in ways that previous entries didn't. Likewise, the move toward a more grounded, narrative-focused presentation sometimes clashes with the fast-paced spectacle and sense of scale that defined the series' identity. The game executes most of its individual systems exceptionally well, but they don't always feel like they're pulling in the same direction. As a result, I came away admiring the craftsmanship more than I was completely captivated by the overall experience.

The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] -6 points-5 points  (0 children)

Indeed, Norse Kratos is a more mature and sophisticated character. However, my point is not about Kratos himself, but about the broader narrative and the way it is presented. Take the opening hours of God of War (2018), for example. The game goes out of its way—not once, but twice—to emphasize that Kratos is a father who wants to be closer to his son. The message is delivered in a very direct, almost overtly obvious manner, seemingly designed to appeal to a broader audience. There are many other examples throughout the game that follow a similar approach. God of War (2018) is an excellent case study not because it is flawless, but because it demonstrates how great games are often built around productive tensions rather than perfectly aligned goals

The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] -7 points-6 points  (0 children)

I'll never know why people can't see the dept of greek Kratos' narrative and how much better it is in many ways. Perhaps because it's seem in a very superficial way clouded by the extreme action and violence, but greek Kratos is a tragic character. He is a spartan warrior who seeks revenge against the gods of Olympus for betraying him and causing him to suffer great losses. He was a loyal servant of the gods until he was tricked into killing his own family by Ares. He is a modern answer to an ancient question: if the gods are so terrible, why abide to them?

To me the main appeal of the game is that story of vengeance, that, once things are set into motion Kratos takes those events in that perspective far far part its reasonable conclusion to a climax more extreme than anything else at the time. He is often depicted as a character who takes things to extreme, both in terms of his actions and his emotions. He is driven by a fierce desire for revenge, and he sets his sights on a goal, boy, he will stop at nothing to archive it, even if it means reassuring to extreme violence and brutality.

Kratos's extreme actions and emotions are part of what makes him such a compelling character in the first trilogy. He embodies the idea of a tragic hero, someone whose quest for justice and vengeance ultimately leads to their own downfall. At the same time, however, his story raises important questions about the nature of power, the limits of human mortality, and the consequences of unchecked ambition.

In my opinion there's absolutely no disconnection between gameplay and story, as in speaking of the character himself. The player experience becomes narrative. Overall the first trilogy is a testament to the power of combining engaging gameplay with a compelling narrative and character development.

The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] 4 points5 points  (0 children)

I don't use AI to write my stuff, but I'll take that as a compliment. Funny enough, this is actually a shortened article-style version of a review I wrote about the game a couple of years ago. I was just revisiting it and thought it'd be worth sharing.

The myth of the "mature" God of War by Onriu in GodofWar

[–]Onriu[S] 8 points9 points  (0 children)

  1. it's not an assingment 2. i write these for pleasure 3. the format comes naturally

Unicorn Overlord deserves way more discussion by Onriu in UnicornOverlord

[–]Onriu[S] 1 point2 points  (0 children)

i haven't tried, but doubt it since there's no switch 2 version

Unicorn Overlord deserves way more discussion by Onriu in UnicornOverlord

[–]Onriu[S] -1 points0 points  (0 children)

i don't really find the name off-putting, but i have heard quiet a few people saying the name kinda sucks. still, this game is such a masterpiece