The God of War series was an vital element of four generations of PlayStation consoles. But when in 2005 Kratos’s full revenge began to become a novel god of war, few could have predicted where the destroyer of the deity would be 20 years later. Where other prolonged franchises fought for remaining current for many generations of games, God of War survived thanks to readiness to change. The most vital change was, of course, the radical restart of 2018, which he pulled Kratos from historic Greece and immersed him in the world of Nordic mythology. This dramatically changed the style of presentation and the gameplay of the series. But even previously recognized by critics, restarting, Sony Santa Monica developer implemented many smaller ones, but still fascinating changes that ensured the survival of the series.
The re -creation will be the key to the further success of the god of war in the future. When the series moved to his Nordic scenery, the director Cory Barlog spoke about his wish “moving to Egypt and the May era and so on.” Last rumors Once again they moved the Egyptian surroundings. Even if it is all hopeful thinking, not real confidential information, it is understandable why people want to visit Kratos to visit the Pyramid Earth: Ancient Egypt has a clear culture and strongly opulent mythology. But the novel setting is just the beginning: wherever God of War goes on, it must be discovered again in the same way as when it took the components that worked so well in the case of the Greek trilogy of the series and updated (and in some respects improved) for very recognized Norse games.
Of course, the series has never avoided changes from the entrance to the entrance. Original Greek games have evolved within a decade, improving its hack and cutting of the game and polishing it into a mirror glow by releasing God of War 3. At the end of the trilogy, Kratos had access to the renovated magic system, which complimented the combination of combat combat in melee combat and faced even greater diversity of enemies. This last chapter was built for PlayStation 3, which provided a significant raise in power compared to PS2, for which the first two games were designed, so novel camera corners provided even better views of graphic power.
Many of those that defined these original games have been lost in restarting. The Greek trilogy has included many elements of platforms and logic systems to facilitate Kratos achieve their goals. These platform sections were withdrawn from Nordic games, partly due to the change in the camera-the novel perspective of the third person, it simply did not work for this type of approach. The puzzles remained, but were reformulated to match the novel God of War, the first adventure.
We see this type of re -fit used to many original concepts of the series. From God of War 2, the games contained battle arenas, which allowed players to set difficulty levels and choose opponents. They formed one of the most memorable moments of the original series, but were lost in the restart of 2018. But Valhalla, Roguelike DLC for God of War Ragnarök, contained the return of the arenas of battles that were adapted to the new Nordic mythology. This return to the feature of the past was poetically reflected in the history of DLC, who saw that the Nordic god of war Týr invited Kratos to Valhalla to confront the ghosts of his past. Returning to the series “Greek roots, both mechanically and narrative, the story of Kratos was full.
God of War Nordic games are not only reinterpretations of past ideas. This second franchise iteration includes a swath of novel add -ons, including the unique mechanics of throwing a leviatan ax, a parry system defined by a combat series enabled by a series of shield types, and in Ragnarök, Mabiego spear, which allows for a much faster, explosive style of attack. These are your tools for traveling through nine kingdoms, each of which has its own enemies, visualizations and other different features.
But although the mechanics of battle and exploration are obvious changes, the innovative gap between the original trilogy and the Nordic Duology is apparently observed in the approach to history games. In the second era, we feel that Kratos’s loss and heart pain for his deceased wife and how it drives the fire in him. He is bitter outside in relation to his son, Atreusz, and the restless relationship of the couple is at the heart of two games. They both discover unexpected hidden truths about themselves. All this is far from the more brutal history of the original trilogy, and the more emotional approach is almost certainly the key to the huge critical and commercial success.
The radical shift of God of War in the mechanical approach and story story is the result of a different kind of thinking when it comes to franchise. The creators of the series said that they do not perceive Nordic games as a continuation in a classic sense, but rather as an extension of Kratos’ travel. This approach should be fed in future installments.
Of course, radical reinvention is not a reliable way to generate escalation of success. Just look at Assassin’s Creed, another series that often changed the location and period. Although a consistently profitable, long -lasting Ubisoft series tried to protect the constant ornaments of fans in many console generations in the same way as God of War. After moving in 2017 to the open global RPG project with Assassin’s Creed Origins, the series is connected with the fundamental tradition of the guild of the killer becomes more and more brittle. What began as a series associated with the history of Dessmond Miles, lost many connective tissue narratives, and the novel era of RPGs eventually turned out to be more dividing with each passing part. General criticism was addressed to the series “The growing content of the bluattical-classic argument” bigger does not necessarily mean better “-but long-term fans are increasingly frustrated with a series of killing roots towards Spartan and Viking Power fantasy. Fantasies, which according to many believe that it would be better to serve as independent RPG games.
The series has now tried a few corrections, of course, starting from Assassin’s Assassin’s Creed Mirage; Soft restart and return to the roots from the Middle East of the series. It came to life and the structure of earlier games and offered a much shorter story, which was quite well received by both critics and fans. This year, Assassin’s Creed Shadows seems to be continued in a similar spirit thanks to the introduction of Naoe, a character completely dedicated to a hiding game that was fundamental to the original Xbox 360 games.
The mixed fate of Assassin’s Creed in style shows that abandoning what made the series succeed can cause a split in the fans database. This is something that Bog of War Series moves. On paper, the Nordic series is a radical departure, but she never lost sight of what caused Kratos to be a convincing figure or mechanical roots of the series. He identified the core of the Greek trilogy itself – this fiery, inexorable fight – and built something new at the top. And with each new game the Foundation supported new evolution. More Spartan Rage options. Cooler weapon. A stronger variety of combat and opponents options. The ability to play as another figure of a lot of history. All these add -ons strengthened what happened before and never diverted attention from the foundations that made previous games so success. They maintain a clear sense of identity for the series and deepen knowledge, not an annex. This is something, whether it has to do it in Egypt or elsewhere.
Regardless of whether the rumors about Egyptian surroundings turn out to be true, whatever happens, he must ensure that his evolutionary improvements have maintained what caused the god of war so success. In 2018, this meant focusing on the fight – new games had to meet the standards of the Greek trilogy when it comes to the sculpture of enemies. But the next god of war will certainly be judged by his history, a real precious stone in the heart of Nordic Dology. The development of Kratos’s character from the rage of a monster encountered in the original series in a gloomy, complex father and leader shows how important it was to write at the same time that games after 2018 were such a monumental success. Whatever the next happens, it must be built in this strength, while trying to make new changes, which (I hope) will be remembered as the peak achievement of the next era of the god of war.
Chris Connor is a culture of coffee and Whiskey Wordsmith, with works published in NME, Radio Times, Yahoo and others.
