Schlagwort: atreus

  • God of War Ragnarök – Hands-on gameplay report

    God of War Ragnarök – Hands-on gameplay report

    Reading Time: 9 minutes

    Our return to Midgard and the rest of the nine realms is nearly here. God of War Ragnarök launches on PS5 and PS4 on November 9, and I’ve had the lucky opportunity to scout ahead and go hands on with the PS5 version of Kratos and Atreus’ continuing journey.

    No big story spoilers lie ahead in this article – and that’s just fine because there’s tons to talk about in terms of pure gameplay, visuals, inventive new enemies, locations, and more. Without mentioning specific characters or moments, I will say this sequel doesn’t wait long to deliver memorable, unexpected moments with a diverse cast of mythical characters.

    Read on to learn about God of War Ragnarök’s familiar-yet-fresh combat, deadly new enemies, exotic locales, and more.

    Mythical immersion on PS5

    Winter wonder – The world of Midgard sparkles on PS5 thanks to crisp 4K visuals and fluid framerates (I played in Performance mode). Fimbulwinter is creeping across the lands, including Kratos and Atreus’ homestead. Snow crumbles and parts as characters trudge through it, with light catching tiny ice crystals on its surface. Frozen waterfalls stand like intricate, towering art pieces. The atmosphere of this snow-covered Midgard captures the serene vibe of a winter walk in the woods perfectly.

    Haptic immersion – Santa Monica Studio has taken full advantage of the DualSense wireless controller’s haptics. One sequence involves dogsledding away from a violent avalanche. The DualSense controller’s haptics thrummed in my hands, conveying both a deep rumble of rushing land and lighter clumps of snow tumbling about. In combat, the Leviathan Axe packs an extra visceral punch, and when the boomeranging weapon is recalled the haptics gradually swell until the axe lands in hand with a meaty thud The range of haptics also brings texture to subtle moments, like Kratos laying his weary body down in his cot to sleep.

    Versatile combat options

    Settling back in – I’ll admit it took me until the back half of God of War (2018) until I felt proficient with the new combat mechanics. The intimate camera position, ranged and melee Leviathan Axe, and abundant combat options overwhelmed me a bit. In contrast, picking back up Kratos’ axe and Blades of Chaos at the beginning of God of War Ragnarök filled me with confidence and a lust for battle. Wielding both weapons at the outset encouraged me to make more complete use of Kratos’ arsenal, and it’s a blast.

    Death From Above – Kratos can now take a sprinting leap off a cliff and slam into enemies below – a furious intro to any group fight that stuns enemies. The new combat option is a potent example of God of War Ragnarök’s increased focus on verticality in the environment.

    Stay frosty – The triangle button, used for equipping and recalling the Leviathan Axe, can be pressed when held to apply a Frost Awaken effect to your next melee or ranged attack. Pressing R1 during Frost Awaken executes Frozen Breach – a wide swing and applies Frost to nearby enemies. Aiming while pressing R1 during Frost Awaken executes Frozen Spike – a quick throw of the Leviathan Axe that creates a Frost explosion on impact. Kratos’ expanded range of elemental attacks injects refreshing new options into each encounter.

    Flaming Blades of Chaos – Similar to the Leviathan Axe’s Frost Awaken, you can mash the triangle button with the Blades of Chaos equipped to perform a Flame Whiplash. This charges Kratos’ chained implements with fire, great for melting enemies’ icy defenses. More importantly, Kratos looks undeniably cool spinning the blade’s chain to stoke the flames.

    Huldra homestead – Kratos and Atreus visit Brok and Sindi’s shop and home to gear up. While there, I upgraded my Leviathan Axe to level 2, boosting damage significantly and unlocking a new tier of skill tree abilities. Atreus was also outfitted with new armor. My favorite detail is the inclusion of a chest containing lost loot, where the Huldra brothers store any resources that players may have accidentally left lying on the battlefield.

    Customizing gear – Once again, you can customize your weapons and armor, including slottable gems for Kratos’ Leviathan Axe. After a battle with a ferocious stalker named The Huntress, I acquired Winter’s Bite, a light runic attack that forms a mass of ice around Kratos’ axe for extra damage. Another applies a flaming uppercut-style attack to the Blades of Chaos. I found both moves handy as quick get-out-of-jail-free cards when surrounded by enemies. Just mind that cooldown timer.

    Shield of choice – Kratos’ Guardian Shield is damaged during battle, and Brok offers to craft an additional defense while he works on repairs. Players can pick from two new shields to start with: the Stone Wall Shield, specializing in soaking up attacks and striking back, and the Dauntless Shield, which is all about high-risk, high-reward parries. Eventually players can scrounge up enough resources to craft all shields.

    Dauntless Shield test drive – I opted for the Dauntless Shield, hoping that my experience mastering narrow parry windows in action games like Sekiro: Shadows Die Twice may come in handy. It did! A carefully timed tap of L1 against an incoming strike parries attacks and produces a flash of light, stunning foes for a generous length of time. I found this immensely helpful for crowd management and relish the incentive to better study enemy attack patterns.

    Threats of the realms

    Thor throwdown – If you loved the bombastic Baldur encounter at the start of God of War (2018), look forward to clashing axe and hammer with Thor in a similarly spectacular battle. Thor unleashes a combo of grabs, lightning-infused Mjölnir blasts, area-of-effect volleys, and more. The two gods grapple and fly through the air as the battle rages across multiple frozen landscapes. Thor’s assault is nonstop, peppering in cutting insults against Kratos’ parenting skills when he’s not outright attacking. It’s a memorable encounter that left me eager for a rematch against the God of Thunder.

    Raider rumble – Hardy, violent Raiders wander the Wildwoods, attacking Kratos because they know he’s responsible for bringing on fimbulwinter. These melee and ranged foes are easy fodder for sharpening your melee skills and satisfying test dummies to boot.

    Björn battle – A mighty bear attacks in one of the first boss battles. The burly animal begins with predictable swipes for Kratos to parry, but also introduces additional cues, like yellow circles that indicate Kratos can block but will still receive damage, and red circles indicating unblockable attacks. The bear’s attack pattern is a ferocious yet forgiving onramp, hinting at tougher battles to come.

    Dreki brawl – One of my favorite fights from this slice of the game pits our duo against the Dreki, a crocodile-like dragon beast. The quadrupedal creature snaps with its massive maw, swipes with its scaley tale, and dishes out electrical attacks that force players to keep moving. Using the Dauntless Shield to parry a volley of attacks while dodging zaps feels natural and satisfying – a well-tuned fight that perfectly tests players’ growing skill with tough-but-fair intensity.

    Bifröst damage – Near the very end of the preview session, a new bloodthirsty enemy type emerges to protect something deep in a dwarven mine. The pale, tattooed Einherjar unleash fierce attacks that deal Bifröst damage to Kratos – represented by a purple section of the HP bar. Bifröst damage is harmless at first but when these foes hit a second time it detonates the affliction and slices a significant chunk off your HP. Watch your back, dodge readily, and be ready to parry to survive weaponized Bifröst.

    Exploring the realms

    Realm lockdown – Odin has the realms cut off at the beginning of God of War Ragnarök, so Kratos is unable to use the Bifröst to travel. Thankfully, Brok and Sindri have reconfigured the mystic gateways as an alternate means of travel.

    Wintering in Svartalfheim – While Fimbulwinter has enveloped Midgard in cold and snow, it’s had different effects on other realms. In Svartalfheim for example, subterranean pressure has increased, pocketing the land with powerful geysers. Mimir (the wise, talking head strapped to Kratos’ belt) also mentions a potent odor has spread across the land.

    Puzzling platforming – Navigating the realms requires clever use of Kratos’ implements. In one instance I needed to move a pillar blocking the path. This required me to first toss the Leviathan Axe to shatter a log bracing the pillar down, then brandish the Blades of Chaos to wrangle the pillar from the path. Another example involves crafty use of the Leviathan Axe’s elemental properties to manipulate watery obstacles in the realm of Svartalfheim… but I’ll leave that to you to discover.

    Sonic arrows – In the dwarven town of Niðavellir, Sindri equips Atreus’ bow with a new sonic-powered string. This enhancement is attuned to blast apart objects pulsing a light blue green around the environment, like passages leading to new areas and alcoves hiding chests filled with Hacksilver. Atreus’ ability to destroy this glowing material injects a deeper layer of joint environmental puzzle-solving and navigation for the pair.

    Exploration and side quests – Fans who adore turning over every stone in the realm can rest assured that exploration is abundant and rewarded in this sequel. While venturing through a charming yet uninviting dwarven town, Kratos and Atreus cross paths with a dwarf who has history with Mimir. The dwarf mentions mining rigs that Mimir once championed have caused a mess in these lands. If players choose to pursue this Favor, they can correct Mimir’s past wrongs for a reward. Later, while navigating a canoe across a vast, brilliant blue lake I spot pillars of black smoke billowing from these mines. I chose to forge ahead on the main quest path but was reassured when Atreus organically mentioned we could return to complete the Favor later.

    Dwarven Compass – Sindri bestows a “beautiful gift” upon Kratos – a compass that allows players to track objectives on the map, then follow a compass at the top of the screen towards their destination. Perfect for efficiently tracking objects like Favors and other side quests.

    The opening hours of God of War Ragnarök are jam-packed with exciting story moments and top-notch combat encounters. These are just a few moments and details from the outset that have me so excited to dive deeper into combat, explore the realms, and learn what the fates have in store for our heroes.

    Not long to wait now – God of War Ragnarök launches on PS5 and PS4 November 9.

    Website: LINK

  • God of War Ragnarök Animated Family Portraits highlight 5 key relationships

    God of War Ragnarök Animated Family Portraits highlight 5 key relationships

    Reading Time: 5 minutes

    Since the Family Portrait series began five weeks ago, we’ve had the great pleasure of showcasing works created by a fantastic group of artists.  These portraits showcase key relationships that are foundational to God of War Ragnarök. 

    Now that the series has wrapped, we’ve put together a gallery featuring all five works on the God of War Ragnarök website and sized them for desktop wallpapers so you can bring the gallery to your home(screen). You can download them together here or get them individually below. 

    But that’s not all! 

    We wouldn’t conclude the series without adding an extra special touch. Not only have we animated each of the works, but we also borrowed Mimir to provide some of his keen insights into our portrait’s subjects!

    Drew Merritt – The Bear and the Wolf   

    Drew Merritt’s portrait of Kratos and Atreus, the bear and the wolf, captures the familial relationship of our heroes. The father and son pair have endured many trials together on their quest to scatter the ashes of Faye (Kratos’ wife and Atreus’ mother) atop the highest peak in all realms. After the events of God of War (2018), Kratos and Atreus become the close family unit that Faye always hoped for 

    But Atreus is no longer a child in God of War Ragnarök. Training relentlessly under the watchful and protective eye of his father, he has grown to be a skilled fighter with the quickness and cleverness of the wolf.  Atreus knows some questions have answers that can only be reached beyond their frozen home in Midgard. 

    The snows of Fimbulwinter herald the coming of Ragnarök and signify an ever-increasing danger to all inhabitants of the Nine Realms. Now more than ever, Kratos must prepare Atreus to fight and survive as he was once taught. Protective and cautious like the bear guarding its young, Kratos would do anything to keep his family safe. 

    Download a wallpaper version of Drew Merritt’s The Bear and the Wolf here. 

    Emma Ríos – The Dwarves 

    Emma Ríos’ portrait of the Dwarves gives you a glimpse at some new faces alongside the familiar Huldra brothers, Brok and Sindri. 

    While they have had their differences in past, Brok and Sindri mended not only their business relationship, but their brotherly bond as well. Both master smiths, they have provided Kratos and Atreus much needed gear improvements countless times along their journey. While not without their quirks, Brok and Sindri’s steadfast support earned them the trust and, dare we say friendship, of Kratos and his son.     

    Emma’s piece also provides a peek into Svartalfheim – home realm of the Dwarves. Known for their brilliant engineering and craftsmanship, the denizens of this realm are proud and skilled in equal measure.  

    The Dwarves have built vast structures of watermills, mines, and forges – expertly harnessing the environment around them to create the finest tools, weapons, and armor across the Nine Realms. 

    We’ve shown Durlin and his squiggly little companion Dínner before – but we’ll wait until a bit later on to introduce you to our mysterious new lady friend and her very cute, very wrinkly dog. 

    Download a wallpaper version of Emma Ríos’ The Dwarves here. 

    Romina Tempest – Heroes of Midgard  

    The coming of Ragnarök may have prophesized an apocalypse, but that doesn’t mean our heroes can’t enjoy the quiet(ish) moments between battle. 

    Romina Tempest’s work depicts an uncommonly common scene, that of dinner amongst friends and family. When danger lurks around every corner, it is moments like this filled with laughter and comfort that become the most precious and extraordinary of all. 

    The relationship between father and son is the heart of our story, but Kratos and Atreus no longer fight to keep only each other safe. As the classic saying goes, sometimes a family is the Blue One, Dwarf, Head, Son, and a God (or two) of War!  

    Download a wallpaper version of Romina Tempest’s Heroes of Midgard here. 

    Jae Lee – Mother and Son 

    Jae Lee’s portrait depicts the goddess Freya holding the body of her lost child, Baldur. The events of God of War (2018) saw Freya not only as an ally to Kratos and Atreus, but eventually a friend too. Offering her guidance and mastery over powerful Vanir magic, it was only because of her aid that father and son were able to complete their quest. 

    The end of the last game posed Kratos with a choice: kill Baldur and end the cycle of child killing parent or respect Freya’s wishes and allow Baldur to take the life of the woman who saved his son. Though Kratos is familiar with the pain of losing a child, he could not stand aside as Baldur tried to kill his mother. 

    While father and son saved Freya’s life, they did so at the cost of her friendship. Swearing vengeance upon Kratos in her grief, the goddess vowed that the price of her son’s death would be paid in blood. 

    Though stripped of her wings and title – Queen of the Valkyries – by her former husband Odin, Freya’s anguish and anger have made her a force to be reckoned with. 

    Download a wallpaper version of Jae Lee’s Mother and Son here. 

    Sui Ishida – The Aesir 

    From the realm of Asgard, Odin and his family rule the Nine Realms. Despite all his hoarding of knowledge and power, the death of his son Baldur and the arrival of Fimbulwinter mark the All-Father’s failure to prevent the start of a prophecy he long sought to circumvent. Such a failure he is not like to tolerate a second time. 

    Sui Ishida’s portrait depicts the Odin positioned in the background, shrouded and protected by the warriors of his family that stand between him and any who challenge their cause. 

    While some of these faces we have yet to meet, there are several Aesir that Kratos and Atreus have already fought as they made their way to Jötunheim. The father and son pair eventually killed Baldur as well as Thor’s sons Magni and Modi. These acts not only drew blood from the most powerful family in the Nine Realms, they also removed significant pieces from the board that served as extensions of the All-Father’s will. 

    Despite those losses, Odin’s most powerful piece remains in play: the fiercest warrior in all of Asgard, Thor. With the legendary weapon Mjölnir in hand, the God of Thunder’s infamy is rivaled only by the brutal power he wields against any who would stand against his family.

    As Ragnarök looms on the horizon, the Aesir prepare for war and the lives Kratos and Atreus took years ago may yet have a greater price to pay. 

    Download a wallpaper version of Sui Ishida’s The Aesir here.

    —– 

    We want to give a huge thank you to each of the artists who worked with us to bring the Family Portrait series to life! We hope you’ve enjoyed seeing new and familiar faces alike represented expertly in the unique style of each piece. 

    For the latest updates around God of War Ragnarök, make sure you follow Santa Monica Studio on Twitter, Facebook, and Instagram. To join the conversation with other fans, head to the official Santa Monica Studio Discord
    God of War Ragnarök launches November 9th, 2022. Pre-order your copy here.

    Website: LINK

  • From Concept Art to Cosplay: Creating Kratos and Atreus’ new looks for God of War Ragnarök

    From Concept Art to Cosplay: Creating Kratos and Atreus’ new looks for God of War Ragnarök

    Reading Time: 10 minutes

    At Santa Monica Studio, one our guiding phrases is “we’re fans of our fans.” Whether it’s a reaction to a trailer, a deep-dive lore video, or cosplay – knowing that there is an audience that appreciates all the details in our work motivates us to create something worthy of God of War fans. 

    Cosplayers are a huge part of our community and have been since the very first game released in 2005. Over many years we’ve seen how much time, love, and dedication it takes to create a single character. God of War characters especially have many different materials, layers, and details to account for. One thing we’ve learned is that the best starting block for any cosplayer is a good reference of the character they’re portraying!



    Once you’ve taken a peek at the new guides, make sure you check out the interview below with Santa Monica Studio Art Director Raf Grassetti on how the team updated the designs of Kratos and Atreus in God of War Ragnarök! 

    Official Kratos and Atreus cosplay guides

    To show our appreciation for all the God of War cosplayers who have taken on Kratos and Atreus over the years, we wanted to make their updated guides for God of War Ragnarök even more comprehensive than the ones we did for God of War (2018).

    We’re worked with our fantastic character artists and writers at SMS, as well as B is for Boy artist Romina Tempest, to create guides that not only give the in-depth references necessary for cosplayers, but also let us play more in the world of God of War by looking at these designs through the lens of our characters.

    Community cosplay partners

    This image shows cosplayers portraying Kratos and Atreus in front of a stream. Kratos has his axe raised looking off at an unseen target while Atreus points his bow towards it, ready to fire.

    Photo Credit: Carlos Adama Photography

    While we know visual references are key, we also wanted to bring in the expertise of two of our community cosplayers to provide how-to resources and tips they put together while making the cosplays themselves! 

    This image shows cosplayers portraying Kratos and Atreus emerging from a forest. Kratos They look ready for battle with their weapons drawn.

    Photo Credit: Laughing Orc Photography

    We’re thrilled to have partnered with Opal Ink Cosplay (Atreus) and Jonny Mathers – Baldsasquatch (Kratos), who both did fantastic versions of Kratos and Atreus back in 2018. 

    They have put together a wealth of resources for cosplayers to reference alongside the official cosplay guides, not to mention they’ll be releasing videos documenting key parts of their creation process on their own channels.  

    Interview with Art Director Raf Grassetti

    The new designs for Kratos and Atreus you’ve seen for God of War Ragnarök are a culmination many months of iteration among the talented character and concept artists here at Santa Monica Studio. Atreus especially posed a unique challenge and opportunity for us with several years having passed since the last game. 

    To discuss the Fimbulwinter-ready looks of our heroes in God of War Ragnarök, Art Director Raf Grassetti walked us through some of the key choices that were made along the way. 

    — 

    Grace Orlady: Let’s start at the beginning with the early development phase of God of War Ragnarök. When you found out there was going to be a time-skip for the characters between the games – what first went through your head in terms of what that meant for Kratos and Atreus’ visual looks? 

    Raf Grassetti: It was amazing to revisit our heroes and design their costumes thinking about what they have been going through since we last saw them. Since we knew they were training on their own and without the help of the Huldra Brothers, we went back to more simple and iconic costumes, from the way they would have made their own armor. 

    You can see that reflected in the way things are stitched, the choice of materials, and being more thoughtful on how they are surviving the extreme weather conditions.

    Concept art of Kratos by Santa Monica Studio Art Director Raf Grassetti.

    Kratos Concept Art by Rafael Grassetti 

    We’ve established that God of War Ragnarök begins during the event of Fimbulwinter. Midgard, where Kratos and Atreus live, looks to be covered in snow and ice. How did that influence the design choices the team?   

    We incorporated a lot of elements to illustrate the characters journey from the end of God of War (2018) to the beginning of God of War Ragnarök. The cold weather was definitely a very important factor, you can see on Atreus’ costume, for example, the inverted pelt to protect him from the cold and Kratos using a bear pelt as well.  

    This image is an excerpt from the Cosplay Guide showing full-body Kratos standing from four different angles with his bear fur cloak on.

    God of War Ragnarök Cosplay Guide – Pg. 5

    In God of War (2018), the team significantly changed Kratos’ look to match the new setting while still maintaining the iconic elements of the character that make him instantly recognizable. 

    With the Norse era Kratos design now established in players’ minds, what considerations or challenges did you face with updating his look for God of War Ragnarök?  

    Since God of War Ragnarök is a sequel, we knew we didn’t want to completely change Kratos, a lot of the choices made were to update his look to reflect the new setting. We decided to preserve his right pauldron and keep his iconic tattoos visible. 

    Even though Kratos looks similar to the version of him in God of War (2018), his 3D model was completely re-done to improve quality for the PS5, all detail maps and costumes were made from scratch.

    This image is an excerpt from the Cosplay Guide showing full-body Kratos standing from four different angles.

    God of War Ragnarök Cosplay Guide – Pg. 4

    When it comes to visual storytelling, what aspects of Kratos’ character are most important to convey through his design and how did you do so?  

    Kratos has been through a lot and his design always reflects that. He cares about function more than visuals, so a lot of the decisions made on his design serve a practical purpose. Several pieces are there based on their utility in battle, for example, the pauldron with metal pieces protects his dominant arm and the bracers can be used to shield him if necessary. 

    We also include touches of his past, such as the red Spartan skirt material, that are reminders of where he has come from. All the design elements together are deliberately chosen to make Kratos believable as a character.

    Is there any aspect of Kratos’ design for God of War Ragnarök that you are especially proud of or want players to notice?   

    At the end of God of War (2018), Kratos removes his bandages and sets them free into the winds of Jötunheim, revealing his scars to Atreus. That was such a powerful moment for the character, so we decided to put a piece of the bandages that Kratos kept at his home on his new gear as a visual callback. On his right bracer, you can see him using them to keep the armor together.

    This image is an excerpt from the Cosplay Guide showing multiple angles of Kratos’ right arm.

    God of War Ragnarök Cosplay Guide – Pg. 15

    Enough of the dad, let’s get to the son! Atreus has hit a growth-spurt or five since God of War (2018), he’s obviously had a few birthdays and got some new digs since we last saw him. Can you take us through how that initial design brainstorm for older Atreus went?   

    Atreus is always so much fun to work on, being able to collaborate with the writers and see the character grow gives us much to play with as artists and reflect those choices in his look. 

    More than on Kratos, we knew that the training would have a big impact on him, so he needed to have better gear to protect himself. With Atreus, we can also play a bit more with design elements just for visual interest and make him look cool. 

    This image is an excerpt from the Cosplay Guide showing full-body Atreus standing from four different angles.

    God of War Ragnarök Cosplay Guide – Pg. 31

    Are there any unique challenges the team faced when iterating on Atreus’ new design? 

    Kratos is so iconic that we needed to make sure we found what made Atreus unique so that he could stand next to the big guy and be recognizable. That’s never an easy task. We ended up focusing on the elements that we felt made his design special from God of War (2018) and built upon those pieces.

    What made you settle on going with the final direction we see in the Atreus cosplay guide?  

    We knew we needed to keep the pieces that symbolize his parents, specifically Atreus’ yellow scarf representing Faye and his red skirt piece from Kratos’ Greek outfit. 

    We also wanted to keep the “X” shape on his chest, as that was one of the most memorable visual elements from his outfit as a kid. From that base, we explored a lot of different variations. 

    Dela Longfish (Lead Character Concept Artist) had some amazing designs for Atreus and the one we see now is an evolution of many iterations to find the perfect version.

    Concept art of Atreus by Santa Monica Studio Lead Character Concept Artist Dela Longfish.

    Atreus Concept Art by Dela Longfish

    When it comes to visual storytelling, what aspects of Atreus’ character are most important to convey through his design?  

    Atreus is a teenager and we wanted to make his outfit an avenue in which he could express himself, especially since he makes a lot of his own clothing. It’s important to us that our character designs reflect the times they are living in, so the use of materials, stitching, and coloring of the costume need to be grounded, but not so much as to be overly limiting. 

    We always try to find the balance between realism and interesting designs that make the characters in God of War so iconic.

    Atreus in the last game had some pops of color. In God of War Ragnarök he looks to have leaned in a lot more to bright colors. What made the team want to go this direction with his design? 

    At this point in his life, Atreus is trying to find out who he is and the color choices play with that theme. The yellow from the Giants is very strong and something we have used since God of War (2018) to hint at what was to come regarding his heritage. 

    The influence of his father is shown in the red waist cloth piece, the aggressive red arrows, and the red in his bow – you will be able to see how that influence impacts his future upgrades in God of War Ragnarök.

    This image is an excerpt from the Cosplay Guide showing the front angle of Atreus’ waist. The page also has several close-ups of his armor.

    God of War Ragnarök Cosplay Guide – Pg. 36

    Is there any aspect of Atreus’ design for God of War Ragnarök that you are especially proud of or want players to notice?   

    Atreus is a product of his environment and the people around him. A very interesting detail that most people won’t notice is the hint of Kratos’ tattoos coming through his armor design. 

    You can see on his left arm/shoulder the cuts of Kratos’ tattoo coming through the costume –  like father, like son.

    This image is an excerpt from the Cosplay Guide showing the front angle of Atreus’ chest. The page also features Lúnda’s sketch of Atreus’ mistletoe necklace.

    God of War Ragnarök Cosplay Guide – Pg. 34

    Any message for our God of War cosplayer community?  

    One of the most rewarding things as an artist is to see cosplayers do such an amazing job recreating these characters. We do this with all our hearts to give fans characters that seem believable and it’s incredible to see people relate so much that they decide to cosplay them. 

    I know the amount of work that goes into making things this complex, so I thank you and appreciate every single one of you.

    If you decide to cosplay a character from God of War, make sure you tag Santa Monica Studio on social or use the hashtag #GodofWarRagnarok! We always love to see your work. 

    —– 

    For the latest updates around God of War Ragnarök, make sure you follow Santa Monica Studio on Twitter, Facebook, and Instagram

    To join the conversation with other fans, head to the official Santa Monica Studio Discord

    God of War Ragnarök launches November 9, 2022. Pre-order your copy here

    Website: LINK

  • Game developers explain what makes God of War (2018)’s combat tick

    Game developers explain what makes God of War (2018)’s combat tick

    Reading Time: 9 minutes

    Innovation is king when it comes to video games, especially when reinventing a beloved franchise. Developers are challenged with balancing what fans loved about the series’ origins while modernizing the experience and providing surprising gameplay enhancements that players didn’t even know they wanted. Few developers understand this task better than Santa Monica Studio, which reimagined Kratos’ mythological melee in 2018.

    The sequel God of War Ragnarök launches November 9. This new entry is poised to deliver more of the satisfying combat introduced in God of War (2018), including Kratos’ trusty Leviathan Axe and the Blades of Chaos, increased verticality in combat, versatile shield options to customize play, a host of new mythical beasts to battle, and more.

    Ahead of God of War Ragnarök’s release, we invited talented game developers from PlayStation Studios and third-party studios to reflect on God of War (2018)’s impactful combat. These creators dive into everything from Kratos’ crunchy, boomeranging Leviathan Axe to the intimate camera perspective, while also sharing their personal perspective on what makes for satisfying melee combat.


    “God of War 2018 was hugely inspirational. It took many aspects of action-focused games and merged them to establish a new standard that directly impacted how we approached combat when creating Ghost of Tsushima.

    For example, the yellow and red ‘rings’ in God of War that indicated required player actions were highly influential and inspired the blue and red ‘glints’ in Ghost of Tsushima for unblockable/parryable attacks.

    Valkyrie boss design was also a huge inspiration for us and had a major influence on the ‘Six Blades of Kojiro’ mission in Ghost of Tsushima, which involved tracking down and fighting duelists across the island. Each duelist had a unique move, but the final duel incorporated all of the various moves of the previous duelists, just like the Valkyries. I will say Sigrun the final Valkyrie kicked my butt more times than I would like, and my secret hope is that Kojiro in Ghost of Tsushima defeated many players in the same way!”

    – Ted Fishman, Lead Combat Designer, Sucker Punch



    “When players use heavier weapons [in Monster Hunter World] that have slower movement and attack speeds, it’s more difficult to hit monsters. An important part of designing combat for us is to create a mechanism that converts the stress of slow movement into a sense of accomplishment when the player successfully hits a target.

    There are a number of ways to achieve this, and it is obviously important to have a special move that feels satisfying when you hit the target because of its heavy weight. But what is even more important, is giving players the movement options necessary to precisely position themselves in order to land that hit. These can even be small things such as taking a few steps closer to attack/taking a step back after the attack.

    The combat in God of War (2018) is simple but profound. The basics of an action game are carefully implemented into this game, like your attacks becoming more effective if you respond appropriately to your opponent’s attacks. There are many options for what you can do to your opponent, such as directing projectiles and arrows even at long ranges, and switching to bare hands or [Spartan] Rage mode.

    In addition, you can switch to powerful attacks depending on the state of your opponent, like when they are stunned. The amount of controls doesn’t increase, but the reaction varies, so players don’t get bored. I am amazed at the careful work that has gone into the game.”

    – Yuya Tokuda, Director, Capcom



    “The Last of Us Part II had a unique challenge to keep the sense of weight and impact that Joel brought to the combat in part I but translate it to a now 19-year-old Ellie all while keeping the actions realistic and fidelity extremely high. We used techniques including tight camera work, camera shakes, controller vibration, geometrical blood effects, and more to get this right. This holistic set of feedback is required to achieve the weight, impact, and general brutality The Last of Us demands.

    God of War (2018) takes different approaches but is equally considered in all of these feedback vectors. One of the biggest contrasts is the different approach in camera work. God of War utilizes a further pulled back camera to enable greater field of view of the combat space. This allows the player to better track multiple targets. Camera shake is also significantly reduced. While this can hurt impact perception, it greatly improves legibility of targets and aids gameplay. What is reduced by these camera choices is made up for in audio and animation. Hit impact sounds are huge. Kratos’ axe doesn’t sound like it simply slices through, but rather has a brute force slam with lots of low end effort that ends with a high frequency slash. This is reinforced by the animation style. Swings have very large arcs with powerful follow throughs. Enemy reactions are allowed to break reality with huge pose changes, flips, and even air juggling is all used to sell the power fantasy. God of War also employs a rather subtle but powerful technique called ‘hit stop’ which on hit actually pops the target to the hit pose and holds both Kratos and the target in that first frame for a short duration. This is not realistic, but it strongly emphasizes the connection of the swing and can also simulate a sort of resistance on the follow through of the attack. And honestly, when you’re chasing weight and impact in your game, sometimes it just really helps when your protagonist is the Greek god of strength.”

    Christian Wohlwend, Principal Game Designer, Naughty Dog



    “What God of War (2018) has achieved is nothing short of spectacular and a lot has already been said about Kratos’ axe and how it came to fruition – mostly thanks to exemplary openness of Cory Barlog and the whole Santa Monica Studio about their design process. But aside from all of the neat tricks inspired  by Street Fighter and other beat ’em up games, the secret of God of War is hard work and relentless iteration. It’s the action-reaction loop ruthlessly polished till it’s absolutely golden. Kratos deserves nothing less and I’m sure God of War Ragnarök will deliver.

    Creating a good combat system is always a long bout against time and resources, but you’ll never land the triumphant final blow unless you invest all of your focus and attention to the feedback loop of hitting your enemy and him reacting to that powerful hit. [Similarly to God of War] we have spent a lot of time on fine-tuning every hit animation [in Dying Light 2], every weapon parameter to make sure it just feels right.”

    – Tymon Smektała, Lead Game Designer, Techland



    “God of War was always a franchise that gave players spectacle and a sense of power like nothing else out there. When the game returned in 2018, it managed to change up the formula while staying true to the pillars that originally made it great. Pushing the camera in brought a new perspective to the carnage Kratos dealt, and with it, new weapons, abilities, and a partner to help you along the way. New innovative ways to string together combos between the different pieces of your arsenal kept you feeling like the God of War while taking the time to master the game elevated the combat even further and showed the gods of Asgard that Kratos hadn’t missed a step with his time away.”

    – Adam Coriglione, Senior Combat Designer, Insomniac Games



    “I believe the key to designing close combat is all about tension and release. The player should experience tension while executing attacks and feel a sense of balance as well as foreshadowing from the motion on-screen. [In Resident Evil Village] we then look to release that tension and create a liberating feeling through animations and special effects when attacks connect successfully. Although this may be a general answer, simple and crisp design is what I emphasize when developing games.

    I thought it was wonderful how the melee and ranged combat elements [in God of War (2018)] were mixed together at a high level with the new Leviathan Axe weapon. This design allowed for two different approaches to the action. You can both take out enemies who are far away and execute strong attacks in close quarters utilizing the same weapon. This is something I felt was revolutionary combat design!”

    – Morimasa Sato, Director, Capcom



    “I loved the original God of War games, the flow and ferocity of the combat for me gave them hands down the best combat in any game developed outside of Japan. When the 2018 version came around, I was trepidatious – would this attempt to ‘remake’ the formula and screw that lovely combat up?

    It didn’t, of course, and instead delivered a fantastically crunchy third-person combat experience. Early in the game I knocked a bad dude off his feet with a deftly thrown axe, sent him flying into one of his horde buddies who got launched into the air too – a moment of true delight! and I knew the game was going to live up to expectations.”

    – Anna Marsh, Associate Game Director, Firesprite


     


    “Chivalry 2’s combat design paradigm is: Let players do the awesome thing. Full control over a weapon’s swing arc and the player character’s body positioning, alongside mechanics such as dodging, feinting from one attack type into another, or countering, allow players to perform dazzling symphonies of action.

    By comparison, God of War (2018)’s combat is forceful, kinetic, and bombastic. It is about giving players the opportunity to live out a clear power fantasy that feels rewarding and powerful. Lots of attention is paid to hit reactions and impact kinetics, and Kratos’ axe becomes a natural extension of the player’s hands. Animation responses and input handling ensure that every action feels rewarding in itself – and combined, they lead to combat sequences that would rival those of Hollywood blockbusters.

    God of War also leverages its nature as a single player game to expand the player’s toolset throughout the player’s journey, keeping the experience fresh and allowing players to define their own playstyle based on their preferences.”

    – Leif Walter, Design Director, Torn Banner Studios



    “God of War (2018) was an astonishing accomplishment. We can all likely agree (and discuss at length why) the Leviathan is amongst the greatest implementations of an axe in a video game, but for me it was the buddy combat behavior that really grabbed my attention.

    An initial concern was the game may be one giant escort mission but Atreus was never a burden and a rare shining example of a buddy companion who dramatically improved the combat experience. I did not expect Atreus to contribute so much to the core combat, but he was fully autonomous and never passive, able to instigate and encourage combat mechanics through crowd control, distraction and air juggles. My only gripe was the uncontrollable urge to punctuate every sentence with ‘BOY’ for the months following.”

    – David McMullen, Lead Systems Designer, Guerrilla



    “In the Nioh series, we wanted to convey the contrast of stillness and motion in samurai battles, so we designed the game such that the player and their enemy had stamina bars, and they would have to be aware of the timing of their offensive and defensive maneuvers. Additionally, being able to utilize a Ki Pulse after an attack in order to regain your stamina is something that is very distinctive of close quarters combat in the Nioh series.

    Fairness and the game having a unique feel to it is not only a feature of the Nioh series, but these are also points that Team Ninja puts the most importance on when creating close quarters combat in our games.

    [In God of War (2018)], the animation and sound effects were all very high quality, but the camera work was a step above everything else and it felt incredible. When designing close quarters combat, there is a dilemma that arises on how to set up the camera in such a way that the visuals and gameplay both equally have a lot of impact to them.

    However, the camera in God of War (2018) was very close to Kratos while also keeping the force of the attacks and allowing the players to feel the pain of their enemies. This was done all while the UI and effects had a lot of work put into them, without the player ever feeling the outrageousness of the camera work. The combo attacks with Atreus and the series’ staple QTEs also were implemented seamlessly, and the way this all came together was really astonishing. I am really looking forward to seeing how all of this evolves in God of War Ragnarök.”

    – Hiroyuki Nishi, Combat Designer, Team Ninja



    God of War Ragnarök launches on PS4 and PS5 on November 9, 2022. Brush up on your Norse mythology (by way of Kratos) with a look back at God of War (2018)’s story.

    Website: LINK

  • God of War Ragnarök Family Portrait Series featuring guest artists announced

    God of War Ragnarök Family Portrait Series featuring guest artists announced

    Reading Time: 5 minutes

    In God of War Ragnarök, the relationship between Kratos and Atreus is the heart of what defines our story. Though they are our central family, there are many others across the Nine Realms that will also place their marks on how the events leading towards Ragnarök unfold. 

    We’re very happy to announce a new collaborative partnership that will feature five immensely talented artists capture a selection of the most prominent relationships in the story with their unique styles in the God of War Ragnarök Family Portrait Series. 

    Over the next five weeks, Santa Monica Studio will be releasing one of the portraits every Tuesday. 

    Drew Merritt – The Bear and the Wolf   

    Drew Merritt is a contemporary artist based in Los Angeles, California. Working across a variety of mediums, his style blends classic realism that capture the emotional nuance of the subjects. 

    Drew has painted the heroes of our story, Kratos and Atreus, for his work – focusing on the core family of God of War Ragnarök. 

    “The complexity of the storyline and characters is hands down what really wrapped me into this project. I’ve also always loved Norse mythology and try to tie it into my work as much as possible, which basically made this franchise a dream for me to work with.” 

    Portrait Reveal: Tuesday, September 13  

    Emma Ríos – The Dwarves 

    Emma Ríos is a Spanish comic book artist and illustrator whose cover art has earned her a 2020 Eisner Award and work with many of the heavy hitters in the comic book industry. Her style organically blends environments and subjects into fluid compositions with a whimsical, colorful quality. 

    Emma’s work focuses on the Huldra Brothers, Brok and Sindri, alongside two dwarves you will meet during your journey in God of War Ragnarök. 

    “I enjoy action and hack and slash games, so it was easy for me to find it appealing. The last game, God of War (2018), has a touching story that plays very smoothly and has beautiful art direction.” 

    Portrait Reveal: Tuesday, September 20  

    Romina Tempest – Heroes of Midgard  

    Romina Tempest is an illustrator and character designer who we had the great pleasure of working with on B is for Boy, an illustrated retelling of the events in God of War (2018). Her cartoon style captures the heart and expression of her subjects with dynamic backgrounds that create a scene that draws you into the moment of the scene. 

    Romina’s piece will feature the found family that Kratos and Atreus have gathered to them on their travels through the Nine Realms.

    “I’ve been playing God of War ever since it first hit the PlayStation in the early 2000s. What originally appealed to me was the combination of the hack and slash genre (my absolute favorite genre at the time thanks to games like Devil May Cry) which paired so well with fantastical characters and creatures from Greek Mythology. 

    What really struck me at the time was the scale of everything, from the creatures, which were often physically huge and fantastical to the plot and orchestral score.”

    Portrait Reveal: Tuesday, September 27

    Jae Lee – Mother and Son 

    Jae Lee is a legendary comic book artist with award-winning work for many of the biggest names in comics. His style captures movement, light, and emotional depth in high contrast portraiture that lend to his expertise on adeptly conveying the headspace of even the most complicated characters. 

    Jae has captured a mother’s grief and vengeance in his portrait of Freya and her lost son, Baldur. 

    “As an artist, I appreciate the sheer skill involved in building a world like [God of War]. These games represent a lot of blood sweat and tears that the people that built this up from nothing have sacrificed for us so that we can escape the suffering of our daily lives for just a little bit.”

    Portrait Reveal: Tuesday, October 4

    Sui Ishida – The Aesir 

    Sui Ishida is a Japanese manga artist behind the massive hit Tokyo Ghoul series. His stylistic approach melds a painterly aesthetic to traditional manga elements. His use of color brings a soft, almost dreamlike quality to his portrait work.  

    Ishida’s piece focuses on the Aesir, the most powerful family in the Nine Realms led by Odin, the All-Father. 

    “It’s a long-running series, and the setting changed a great deal from the last installment, so I think that part of God of War’s appeal is in how players can embark from the latest game and also dip into the series’ past and explore the series’ world.

    Also, I’ve been interested in mythology for a long time and do a lot of reading about it, so for me, seeing how the various gods feature as characters in the games is something else fun that God of War offers.”

    Portrait Reveal: Tuesday, October 11  

    —– 

    For the latest updates around God of War Ragnarök, make sure you follow Santa Monica Studio on Twitter, Facebook, and Instagram.
    God of War Ragnarök launches November 9, 2022. Pre-order your copy at PS Store.

    Website: LINK

  • Story details you need to know before playing God of War Ragnarök

    Story details you need to know before playing God of War Ragnarök

    Reading Time: 11 minutes

    God of War fans were introduced to a new side of Kratos when God of War launched on PS4 in 2018. If you haven’t yet experienced the tale of father and son traveling the realms of Norse myth yourself, or if it’s been a while, we’re ready to catch you up to speed.

    To prepare for the upcoming release of God of War Ragnarök on November 9, we’ve invited two of the best storytellers we know to recap the journey of Kratos and Atreus from God of War (2018): the amazing Felicia Day and the Smartest Man Alive, Mimir! 

    The new Myths of Midgard video is an animated storybook recounting the events of God of War (2018), with a goal of catching you up on the previous game. 

    Before you watch, beware – there are spoilers ahead! 

    Story details you need to know before playing God of War Ragnarök

    Of course, the best way to experience God of War (2018) is to pick up the Leviathan Axe and leap in yourself (available with PlayStation Extra and Premium membership plans*). You can also pick up the God of War (2018) Digital Deluxe Edition for $9.99 USD during the PlayStation Store Summer Sale through August 17.

    Hungry for an even deeper summary of God of War (2018)? Keep reading for a full recap.

    God of War (2018) Story Recap 

    Our story begins with an end, the funeral of Faye – mother to Atreus and wife of Kratos. Her last wish imparted to her family is to scatter her ashes on the highest peak in all the realms. This request begins a journey that forces father and son to work together as they face the dangerous Norse wilds filled with beasts, monsters, and less-than-friendly gods.  

    The Father 

    Kratos, despite trying to leave his bloody past as the Ghost of Sparta behind, is still haunted by the man – the god – he was. His relationship with Atreus has been distant, stern, and disciplined. Now coping with the death of his wife, Kratos must learn to be the father that his son needs so they can both survive their journey across distant realms to lay Faye to rest.  

    The Son 

    Atreus is a young boy dealing with the sudden loss of his mother and a cold, distant father. Despite being sickly as a child and only very recently recovering enough to travel, Atreus wants nothing more than to fulfill his mother’s final wish and prove to his father that he is strong. 

    Having been taught by Faye how to use a bow and hunt, Atreus hopes that he can show Kratos he will be an asset on their journey and that he is no longer the frail boy he used to be. 

    Arrival of the Stranger 

    After the funeral of Faye, Kratos and Atreus are visited by a mysterious stranger – one who seems intent on picking a fight with the legendary God of War from a distant land. Baldur says he is sent by Odin to investigate the home and its residents, indicating that perhaps he, and the rest of the Norse Gods, are much more aware of Kratos’ past than even his own son. 

    They clash, tearing through the earth and rock surrounding the home in a bloody brawl that reveals Baldur has lost the ability to feel anything – impervious to pain and pleasure alike. Though the battle is close, Kratos is able to harness his rage and finally beats Baldur into submission. While he has rid them of the immediate threat, Kratos realizes that his home, and his son, are no longer safe. They must make the journey now – whether Atreus is ready for it or not. 

    Unexpected friends in unexpected places 

    Thinking that they are looking for the highest peak in Midgard, Kratos and Atreus journey towards the tallest mountain in their realm. 

    Along the way they meet the Huldra Brothers, Brok and Sindri, who are renowned dwarven smiths. While the brothers are dealing with some familial tension, both Brok and Sindri provide their assistance and services after seeing that Kratos wields the Leviathan Axe, a weapon they had personally forged for their friend and Kratos’ late wife, Faye. 

    They also encounter the mysterious Witch of the Woods, who offers them her aid including knowledge of how to use the Bifröst, a magical tool that allows father and son to traverse between the Nine Realms. The Witch is later revealed to be the Vanir goddess Freya, mother of Baldur and exiled wife of Odin. 

    Mission accomplished! Or is it? (It’s not) 

    As Kratos and Atreus are finally able to reach the peak with Freya’s guidance, they arrive to see Baldur already there, flanked by two hulking accomplices, Magni and Modi – the sons of Thor. They spy the Aesir gods interrogating a man who has been fused to a tree, though they quickly leave after receiving little from the evasive prisoner. 

    Mimir, once an ambassador and advisor to Odin, is the self-described Smarted Man Alive and currently being punished on suspicion of betraying the All-Father. 

    He reveals that while our heroes have made it to the highest peak in Midgard, they have not yet reached the highest peak in all the realms. Their true destination resides in Jötunheim and will, by all accounts, be rather hard to get to considering all entry has been blocked. 

    Mimir knows of another way, but first gives Kratos the pleasure of decapitating him and pleading his case to the Witch of the Woods to magically revive his severed head so he can be free of Odin’s prison.  

    Finally learning of Freya’s godhood, Kratos distrusts her as he distrusts all of their kind. After reviving Mimir, she advises Kratos to tell Atreus that he is part god, just like his father. Freya warns that denying his son’s true nature will only bring the boy pain. 

    Ignoring her advice – Kratos, Atreus, and the freshly revived Mimir set off to find the tools needed to open a passage to Jötunheim. 

    Sons of Thor 

    Along their journey, the trio are ambushed by the two men they saw accompanying Baldur, Magni and Modi. They battle Kratos and Atreus fiercely, though Kratos is able to strike a killing blow on Magni. 

    Modi flees, but later finds the pair again. By killing Kratos, he hopes to regain his honor and prove that he is worthy of Thor’s legacy. Modi subdues Kratos, but seeing his father in peril, Atreus instinctively triggers what appears to be his own Spartan Rage ability.

    Not knowing his own godhood, Atreus is overwhelmed by the sudden surge and falls unconscious, his childhood illness seemingly returned and worse than ever. Kratos fends off Modi, who quickly departs knowing his life is in danger. Seeing that Atreus is barely alive, Kratos takes his son to Freya in the hopes her magic can help save his son.   

    The price of secrets 

    Freya reveals that Atreus’ sickness is caused due to the conflict between his nature as a god and his ignorance of that fact. She believes she has a treatment that can wake him but requires the heart of a creature in Helheim, the realm of the dead.

    Knowing the frost-attuned Leviathan Axe will be of little help to him in the frozen wastelands of Hel, Kratos returns to his home and retrieves a part of his past he had hoped to leave behind – the Blades of Chaos. 

    The Blades were once a tool of fiery bloodshed and a symbol of Kratos’ servitude to the Greek gods, many of which he killed in his life as the God of War. Knowing they are the key to saving his son, Kratos chooses to acknowledge his past for the sake of saving Atreus and equips the Blades of Chaos once again. 

    Kratos successfully retrieves the heart for Freya, allowing her to save his son. After he regains consciousness, Kratos reveals to Atreus their true nature as gods. 

    Despite Atreus’ illness fading with this secret now in the open, the boy grows increasingly arrogant. Modi finds the pair again, desperate to try and finish them off to regain a scrap of respect from Thor. Badly beaten by his father for failing to kill Kratos and letting his brother Magnai die, Modi proves to be little threat. Atreus stabs the weakened Modi in direct defiance of Kratos’ order, killing the god once and for all. 

    Seeing that Atreus’ newly revealed godhood has caused his son to become increasingly cruel and arrogant, Kratos knows he must teach his son to be better before it’s too late. 

    Sins of the Mother 

    Having gathered the tools to make a portal to Jötunheim, Kratos, Atreus, and Mimir return once again to the peak of Midgard to travel to the realm of the Giants. 

    As they arrive, they are ambushed by Baldur. Instead of following his father’s directions and jumping through the just-opened portal, Atreus, in his arrogance, tries to fight Baldur alone. 

    Kratos intervenes, but during his clash with Baldur, the portal to Jötunheim is destroyed. Baldur incapacitates and captures Atreus when the boy tries to attack him single-handedly again and takes off towards the Lake of Nine. Kratos follows, their battle eventually leads to the Realm Travel Room, where Baldur attempts to take them to Asgard. At the last moment, Kratos diverts the Bifröst to another realm instead, Helheim. 

    In the realm of the dead, they are faced with specters of not just Kratos’ past, but Baldur’s as well. While father and son overcome the trials of this frozen realm, they discover the source of Baldur’s invulnerability was a spell cast by his mother.

    At the time of his birth, Freya had learned that her son was fated to be killed. To prevent any harm coming to Baldur, she casts a spell to protect him from all magical and physical threats. Despite Freya’s mastery of the art, Vanir magic is notoriously slippery and hard to control. The spell had a single weakness she could not prevent, Baldur would not be impervious to mistletoe. 

    As Baldur grew, the effects of the spell became clear. While the god was invulnerable to everything, it also rendered him completely numb – unable to feel pain, and all of life’s pleasures too. Even though he begged Freya to undo the spell, she would not for fear of the prophecy coming true and her son dying. Baldur grew to hate and resent his mother for denying him the ability to feel. 

    After Baldur’s relationship with Freya and the truth of his condition is revealed, Kratos and Atreus escape back to Midgard having reconciled and made amends to each other following the events of Modi’s death and Baldur’s attack. 

    Death of a god 

    After the destruction of the portal to Jötunheim, Mimir shares one last solution: they can try to get to the realm of the Giants. Before they can attempt it, Kratos and Atreus are attacked again by Baldur who also escaped Helheim, but this time Freya intervenes. 

    Incensed by his mother’s arrival, Baldur seeks to kill not only Kratos and Atreus, but finally exact revenge on his mother for the spell placed on him at birth. 

    Having worked together over the entire journey across the realms, father and son now fight in unison. Together they push back Baldur, only to see Freya once again try to stop the fighting by subduing Kratos. As Baldur moves to strike a finishing blow, Atreus protects his father, placing himself between them which causes the Aesir god to punch the mistletoe arrowhead Atreus kept as a binding for his quiver. 

    With the arrowhead impaled through his hand, the spell finally breaks and Baldur, for the first time in his life, is finally able to feel everything – the pain of an injury, the cold snow below his feet, the sun on his face. 

    Reveling in the new sensations, Baldur recommences his attack with a mad vigor – relishing in all the feelings he had never been able to experience before. 

    They fight again, but through their shared strength, Kratos and Atreus are finally able to beat the newly vulnerable Baldur, who demands they kill him and end his life while he is still able to feel. Freya pleads with them to spare her only son, and Kratos relents – knowing all too well the pain a parent feels at losing a child. 

    As they turn to leave, Baldur uses his remaining strength to try and strangle Freya as payment for his years of numb torment. Freya accepts her death, hoping it will give her son some semblance of peace in his life to know she’s gone. 

    Kratos, seeing his own bloody mistakes about to be repeated by Baldur, steps in to save Freya’s life by killing her son. Unable to accept his death, Freya cradles the dead body of Baldur while swearing vengeance upon Kratos for taking away her only child, even if it meant that she would live. 

    The highest peak in all the realms

    Finally able to make the journey to Jötunheim with the help of Mimir’s Bifröst eyes, Kratos and Atreus reach a Giant temple – one that has their entire journey carved into the walls. The Giants had seen what would come to pass, as well as what had come before. 

    They discover that this was all left for them by Faye, who was a Giant herself – a secret she had kept from her husband and son. Atreus finally uncovers the full truth of his heritage, that he is not only part god and part mortal, he is part Giant as well. 

    Atreus had two names, one was given to him by his father and the other, his mother. The name Faye had bestowed upon him was Loki. 

    Together Kratos and Atreus scatter the ashes on the peak of Jötunheim, finally fulfilling their quest. 

    Fimbulwinter has fallen 

    As they return home to Midgard, Mimir warns them that the death of Baldur means that the first event said to mark the arrival of Ragnarök has come to pass.  

    Kratos and Atreus now find themselves at the center of a prophecy that has foretold the complete upheaval of the Nine Realms and a battle so great it results in the deaths of many Aesir gods including Odin and Thor. 

    Father and son will have to choose their path as the freezing winds and snows of Fimbulwinter envelop their home in Midgard.  

    —– 

    Discover the rest of the story yourself when God of War Ragnarök launches on PS5 and PS4 November 9, 2022.

    For the latest updates around God of War Ragnarök, make sure you follow Santa Monica Studio on Twitter, Facebook, and Instagram.

    *Game library varies over time, region/country and plan. PS Plus is subject to a recurring subscription fee taken automatically until cancellation. Terms apply: play.st/psplus-usageterms

    Website: LINK