Feather Ruffler

This post is part of a log I keep on things I finish. Read here for why I keep this log.

Early in my opinion-having life, I discovered my thoughts were usually out of sync with everyone else. Some might say there’s something wrong with me. For whatever reason, you can reliably assume that out of the handful of universally acclaimed games or movies that come out, maybe half of those won’t jive with me at all. Consider it an inability to think outside of my own perspective or maybe I have an inherent desire to be a contrarian dick, but I don’t think either are true. Communicating your opinion is very difficult to do and if you haven’t practiced that skill it’s easier to rely on what other people have said. Sometimes this leads to you agreeing with things you don’t actually believe.

Imagine you play a game and hear a critic call it “the best game in years.” You hear that comment and you feel like you agree. The reason you agree is because that particular game did something you hadn’t seen in a long time and you really liked it. You feel the critic’s words accurately describe your general enjoyment of the game and specifically how it accomplished something that hasn’t been done in a game for years. You use the phrase “the best game in years” to explain how you feel because you can’t quite nail the specifics of your own thoughts. But in that phrase comes many other statements that you may not necessarily agree with. Is it truly the “best game in years?” Wasn’t there another game earlier this year you liked even better? Weren’t there several games you liked better? To the average person, this distinction doesn’t matter because the overall message they wanted to get across remains intact. They liked the game and it did something that hadn’t been done in years. This choice of words might dilute their opinion on other topics, but most people don’t dedicate a lot of time attempting to maintain critical consistency (which is totally ok).

In the reception I’ve read for God of War, many reviewers and commenters explain their enjoyment of the game by parroting empty phrases. Their assessment often lacks specifics and relies on vague language or plain descriptions without any real judgement of their merit. Consider IGN’s review that 1) refers to an “engrossing whole” made up of individual elements and 2) spends several paragraphs explaining what’s in the game without really commenting on why it’s any good. It’s easy to see why some people take this approach. God of War is a dense game with a lot of mechanics and many things going on at once. If you’re enjoying the game, it may be difficult to narrow down where your enjoyment is coming from, but that experience can be very different for other players who don’t like the game. See, I know exactly how I feel about God of War because despite dumping 30+ hours of my life into it, I didn’t have any fun.

Why did I play it?

This is a good question because I’ve never liked God of War. It’s always been a game that values spectacle over substance. This is the series that pioneered quick time events and large-scale boss battles. Sure, it looked cool, but the player interaction with the world was lackluster. I remember comparing the original 2005 God of War to Dynasty Warriors since it was a more stylish button masher, but that comparison never convinced many people.

So, I’m going to write some words to pin point all the ways God of War isn’t “an engrossing whole,” it’s actually a mess of a game that seems loosely tied together. It absolutely nails the spectacle thrills the series is known for, but that doesn’t make it fun.

How was it?

God of War’s remix on its old formula is transitioning the series to an open-world role playing game. The player can now traverse a large world at their own pace and Kratos has a progression system that unlocks new skills and higher stats. In addition to player progression, the open world gives players side quests and small-scale puzzles that reward success with loot that can increase Kratos’ lethality even further. This all sounds like a great deviation from the series’ formula. God of War was known for being a tightly guided experience. In the original trilogy, players couldn’t even move the camera since the developer thought it was essential to guide their attention to the action. If there was any risk for this team to take, it’s relinquishing that control and embracing the open world antics.

Unfortunately, the open world is the most obvious flaw of God of War because the level design was clearly crafted with the intent of directing the player’s experience which is antithetical to the appeal of an open world. In a typical location, the landscape may feel “open” either through its vastness or various crates nestled in the corners of the room but there’s almost always two directions: forward and back the way you came. Once you arrive at the specific destination you were intended to reach, the trail stops and there is nothing further. This can be frustrating for new players because open world games don’t typically feel as restricted as God of War. In any open world game, you can anticipate branching paths, little secrets in nooks and corners and a sense of freedom that you could go wherever you want but maybe you don’t want to just yet. God of War masks the rails of its experience by creating large environments the player can run around, but most of the deviations from the path end in nothing. If you’re like me, and you want to seek out those additional paths, the game can feel frustrating. There are many environments where it seems like you should be able to go somewhere new but that feeling never bares out to be true.

Even as a guided experience, God of War can feel inadequate in its directions. Kratos has a variety of ways to traverse the terrain, but most of these traversals result in looking for button prompts in unnatural locations. Consider a game like Uncharted or Prince of Persia where there is a lot of climbing and swinging around, but the player always knows where they’re going. It can feel a little limiting at times since there’s obviously only one path forward, but the player still feels like they’re Nathan Drake or The Prince traversing the world. God of War never feels natural. There’s no visual theme to express where Kratos can climb and where he can’t. Often times you have to search for the large “X” prompt on screen, and if you didn’t have that as a guide you’d be completely lost. It doesn’t help that this prompt is often located off-screen from Kratos’ view. There’s no better way to take a player out of an experience than have them searching for a button prompt, but that routinely happens in God of War.

Even if you’re managing to get to your destination on track, the game has a habit of throwing in unreachable destinations or unsolvable puzzles without explaining that Kratos isn’t equipped to tackle these paths just yet. For example, Kratos eventually gains the ability to break branches by lighting them on fire. Before unlocking that ability, Kratos comes across a series of branches he can’t pass. This might seem like an obvious design choice to anyone who’s played a Metroidvania, clearly the developer wants to pique the player’s interest and once they gain the necessary ability they’ll remember this roadblock and eagerly pass it for more content. Except, God of War only has two or three of these mechanics and they are all introduced very late into the game. There’s no indication in the early game that you will unlock some item later one. Which means every time you pass a pile of branches in the first 10 or 15 hours of the game, it feels like you missed something. There’s not even a “I can’t do that right now” voice over prompt from Kratos or his companion. As a result, you spend a lot of the game lacking confidence that you’re where you should be.

Nothing encapsulates the lost feeling core to God of War’s experience like the introduction of side quests. The first side quests hit a few hours into the game and they’re both strangely designed. My first quest had me seek out a mystical storeroom. I arrived at the location and fought a few enemies that seemed little more difficult than the main story. I eventually got to a hugely difficult enemy with a massive amount of health that killed me in two or three hits. I decided this quest was meant to be completed later — although I wondered why such a guided experience would give me a quest I can’t complete? Many hours later, I returned to the quest several levels higher and with new gear and found the same enemy was still incredibly lethal and had a lot of health. I managed to beat him and completed the quest but the experience was mystifying. Why would they frontload the first quest with such a difficult enemy? Why would the game give me prompts telling me some enemies may be “above my level” when the enemy stayed just-as-difficult even after I gained additional levels? It’s one of the moments where you’re forced to reconsider your impression of the game. A studio like Sony Santa Monica has such a huge budget, clearly it must be well-designed, but this seemed like the sloppy execution found in eastern-bloc soviet games from the mid 2000s.

Perhaps the most revealing fact about God of War’s development is the implementation of the nine realms. Early in the game Kratos comes across a cloud of black smog that impedes his progress. He speaks to a witch who takes you aside and says “Ok, so here’s these nine realms…” In any other game, you’d assume this would be the framing device for the entire game. Clearly, we have to go to each of the nine realms. Maybe a bit excessive for a little black smog, but this is a video game after all so let’s do it. Sure enough the first realm you go to has a complex backstory and a “dungeon” with puzzles that lead up to a final boss encounter. It feels like a Zelda game, or maybe closer to Darksiders. But this one realm (Alfheim) is the only realm that has this much development. It turns out you only go to four of the nine realms, one of which is the realm you start in (Midgard) and another only has a small environment for story purposes (Jotunheim). Even with this in mind, a huge portion of the story is about your ability to traverse the various realms but you rarely interact with these realms in a direct sense. In any other game, the realms would be the centerpiece for the entire experience, but the majority of God of War’s exists entirely separated from these realms. You’re mainly in Midgard. It feels like the game was either meant to be guided through the various realms but creative direction changed, or God of War’s scope was so massive they were forced to cut it down due to resource constraints. All of this is to say, it isn’t really clear why God of War is open world in the first place. It doesn’t embrace any open-world mechanics and appears to prefer guiding the player to specific places and specific times. Even a loose open world like the ones found in Legend of Zelda or Darksiders is ignored in favor of a strictly controlled narrative.

This problem plagues the combat as well. Kratos has his own progression system where he can unlock new abilities by expending “XP” (experience is treated like a currency rather than a metric of progress). He also has several attributes that can be increased with gear. Strength and defense can increase Kratos’ damage or resistance to damage while others like “runic” increase his abilities and “luck” increases the chance of finding more gear. But none of these systems actually matter. Regardless of whatever items or attributes you possess, it always feels like you’re doing the same exact amount of damage to enemies. There may be some minor alterations, but the progression is so slow and so gradual that you never feel like you’re progressing at all. I have to imagine this problem stems from the developers’ desire to control the experience. You never get an overpowered weapon that deals an immense amount of damage, or some random loot with ridiculous stats. Everything is very minimal and gradual. You get new loot primarily from the game’s NPC blacksmiths who unlock new equipment with story milestones. Much of the gear from sidequests is lackluster at best, or in service to collecting the parts needed to create gear unlocked by main quest milestones. You never feel an incentive to take on these sidequests or look for more loot because it’s all so inconsequential. I often forgot to level up Kratos for many hours because it seemed insignificant.

It doesn’t help that the combat lacks the fidelity of other action games. The best way I can describe my problem with God of War’s feel for combat is how it treats dodging. In a game like Dark Souls, or any character action game, if an enemy is swinging their sword at you but you run away from their reach, you can see them whiff in the air and hit nothing. In God of War, enemies will close the distance by gliding toward you and land their attack unless you hit the dodge button at the exact moment the prompt flashes on screen. This seems like an incredibly stupid design decision, especially consider many enemies can attack you and you can only press the doge button at the “right” moment once. Other games like the Arkham Asylum or Assassin’s Creed series have shown how dodging can be done right even with lock-on enemies, but God of War lacks the fidelity of those games. As a result, the combat lacks the feeling of grace found in other melee combats pioneered in the past five years. Instead it feels like a very pretty, nicely stylized, button masher.

Which brings me to my last point which is whatever God of War does “right” is totally separated from its ability to be a decent game. A lot of reviewers marveled at the one-shot camera gimmick or the presentation of the game, but to me these are totally inconsequential. I have to imagine creating a continuous shot across the entire 30-hour game proved to be a logistical nightmare at times, but that creative decision provides no value to the player. So why did they spend so much time perfecting it?

Some have said the story of God of War is what makes it worth playing and I have to wholeheartedly disagree. It is true that the dynamic between Kratos and his son Atreus is an interesting relationship that games haven’t explored before, but whatever good comes out of their frank conversations about responsibility and purpose is greatly overshadowed by the boring snoozefest of the overall plot. In fact, I’d call God of War a narrative without a story. The characters float from one location to the next while the player is inundated with Norse mythological lore that no one actually cares about. It feels like the writers got lost in world-building without thinking about how to anchor the player’s interest in this fictional world they created. Kratos and Atreus have their own personal motivation that begins their journey, but that motivation is often left by the wayside to explain petty feuds between gods that only exist off-screen. Consider that Thor, Odin and Tyr are talked about for the majority of the game and the player never meets any of them. Most of this information is conveyed through a talking head lecturing about their history. I often found myself mindlessly wandering from McGuffin to roadblock, mystified what my objective was meant to accomplish other than extend the length of the game. It’s fitting that the game ends with two “twists” that basically amount to “Look! MORE LORE!” It’s a game that doesn’t know what motivates players to connect with a story and instead offers mass information dumps.

Final Thoughts

I’ve never liked God of War, so maybe this game is hitting a note I can’t hear, but its fundamentals look deeply flawed to me. It’s one of those games where its faults are so obvious I wonder if people see them and don’t care or if it’s a case of valuing parts of a game I have no interest in. It’s true that God of War looks really pretty. The environments are gorgeous and some of the large-scale boss fights look incredible. To some, it may be enough to play a game where they can experience that sense of scale. They can get lost in the spectacle and feel a fictional world come to life in that way. Maybe that’s why people like God of War. For me, I need mechanics to hook my interest. A video game world is only as interesting as my interaction with it. In that regard, God of War is a sterile controlled experience. It wants you to do specific things at specific times and never deviate from its vision. Unfortunately for me, and I suspect many others, its vision is fragmented. It’s an open-world game that doesn’t feel open. It’s a progression system with no sense of progress. It’s a plot without a story. It’s a game with limited interaction. I commend the developers for trying something new, but the developer’s attempt to translate their formula into the language of a new genre reads as a jumbled mess.

1/5