After a protracted final boss battle against Zeus, the world in shambles all around them, Kratos drops his Blades of Chaos to the ground and starts punching his father in the face. God of War III changes that script right at the very end. You follow a short script and then you get your gory reward - Kratos killing someone or something in especially spectacular fashion. These explosive finishers have always been a defining trait of God of War, one of its chief selling points in the overcrowded marketplace of hyper-violent action games that love to describe themselves as “visceral.” It’s still part of the franchise today, even with all that changed in 2018’s reboot.
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It’s all punctuated by quick-time events (QTEs), where the game presents you with a series of button prompts to, say, jump onto the head of a cyclops and tear his eye out.
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Combining light and heavy attacks in various sequences makes Kratos execute ever-more elaborate feats of balletic violence, prancing around his enemies while his signature “Blades of Chaos” spring out from his hands and zip through the air to slice into their targets. God of War III overcomes this with its rapid, frenetic gameplay that emphasizes combos and frantic button-mashing. Or maybe he just can’t control himself enough to stop.Ĭinematic, story-driven games often struggle to make their gameplay comport with their narrative and thematic elements. Every time this happens, we see small glimpses of the waves of innocent people doomed to die along with Kratos’s targets.īut he doesn’t care. Helios’s decapitation blocks out the sun. Poseidon’s death causes the oceans to bleed onto land. And he does these gruesome deeds while his victims implore restraint with ever-deepening anguish.Īs he brings down Poseidon in the game’s earliest moments, it’s clear getting rid of the gods is Kratos’s way of taking out the rest of the world, too. He severs Hermes’s legs while dangling the sprite upside-down by his feet like some hapless turkey. He tears the head off Helios with his bare hands. He finds and dismembers every available member of the Greek pantheon one by one, piece by piece. His journey in God of War III, which is very conspicuously no longer that of a hero, is a fever dream of bilious, all-consuming rage. Mad that someone, anyone, would have the audacity to not die at his hand.
Mad that he still hasn’t managed to kill Zeus, now revealed to be his father. But God of War II doesn’t explore this in any particular depth.īy God of War III, Kratos is just mad. There’s a kernel of an idea here that Kratos refuses to submit to divine authority and the proscriptions of fate so he - and, by extension, everyone else who lives under their domain - can instead chart his own path in life. Kratos was mad at Zeus for killing him, even though Zeus did so because Kratos wouldn’t stop wreaking havoc. By God of War II, that premise was starting to come apart at the seams. He’s mad at the original Greek god of war, Ares, for tricking him into killing his wife and son. In the first, it’s framed sympathetically. His motivation in all three original games is the same: revenge. Kratos was never a particularly nice guy.
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