April 10, 2020
  • 5:34 pm 6 Weekly Rituals That Have Completely Changed My Life
  • 4:34 pm A Money Manifesting Ritual (with Landria Onkka)
  • 4:34 pm A Simple Druid’s Rite – The Lego Core Order of Ritual (with voiceover)
  • 1:34 pm POWERFUL Hypnotic SLEEP (ASMR) • MONEY & ABUNDANCE Soothing Meditation
  • 1:34 pm Guided meditation for students
God of War Case Study


God of War 2018 is both a blessing and a curse upon it’s franchise. From one point of view, it’s a bold departure for an established series, but looking at it from another angle, it’s a safe product, filled with contemporary design trends. While some changes are for the better, others seem pointless, or at worst, counterproductive. On the one hand, it’s admirable to see a developer willing to rethink a series which was already past the point of stale, but on the other, it’s disappointing to see that accomplished by pushing it more towards a sort of generic middle ground between everything else. There’s potential in this new God of War series, but it’s hard to imagine it ever reaching those heights if it continues to spread itself so thin. My goal in this video is to demonstrate the value of focus by comparing this game to a variety of others, showing how it implements many good mechanics, but suffers from disjointed priorities. First of all, it makes sense to compare God of War 2018, which I’ll be calling Norse God for the sake of clarity and brevity, to it’s predecessors in the same series. An uncharitable view of the new game would be that it betrays it’s origins by abandoning the over-the-top spectacle and brainless fun in favor of something a little more grounded and story-heavy. This would be missing the point, however. The original Greek God of War was among the games that sprung up in the wake of Devil May Cry, and while it’s fair to say it owes some inspiration to that game, its focus wasn’t identical. Even from the very beginning, Greek God’s appeal lied in its more cinematic moments, such as the Hydra fight, which kicked off the series with a heavy emphasis on scripted behavior and quick time events. “That’s the whole idea behind God of War, it’s not just a game, “it’s— it’s— it’s an adventure like a movie.” In this sense, the new God of War is very much in line with the old one. The appeal hasn’t really changed, only the subject matter and execution. Most notably, Kratos as a character has diverged from his previous incarnation. This too could be construed as a slap-in-the-face to fans of the old games, but again, that seems like a harsh interpretation. Yes, Kratos in the original series was seldom anything more than a ball of rage, often misdirected rage. There was more to him than that though. At times, he could be quite sullen and remorseful. Let’s not forget how the series opens, after all. [Kratos] “Now there is no hope.” It wasn’t so long ago that some held this up as a high watermark for storytelling in games. Much of that praise was owed to its presentation rather than its fairly standard revenge plot, but that’s alright. Kratos’s almost unrelenting anger might be one-dimensional, but as a whole, the game drew on that rage as its focus. It nailed the tragedy angle, and that’s about all it had to do considering its story was mainly an excuse for cool set pieces. Norse God’s script has loftier ambitions, and much of the time it hits them. The relationship between Kratos and Atreus is about as well-written as anyone could hope for. It walks a wonderful line, keeping you guessing how much of Kratos’s responses is yet more misdirected anger, and how much is just tough love. That said, for a game with so much emphasis on its story, there are some problems which are hard to excuse. When Atreus learns of his godhood, his character does an abrupt reversal, which might be forgivable if it went somewhere, but his change back to normal is just as sudden. This whole arc seems mishandled, and it’s downright nonsensical if you leave your side-questing until this point because his dialogue remains the same for those. Another moment that rings hollow happens when Atreus is sick. Kratos lacks urgency here, which is somewhat understandable to begin with, but even when he gets to Freya’s house, he stands outside yelling for her rather than barging in. Even the meekest person alive might be tempted to kick the door in under these circumstances, let alone Kratos, who isn’t exactly known for his good manners. The central plot also revolves around chasing a series of MacGuffins, which robs the finale of its catharsis. If the entire play-through was spent actually climbing the one mountain, reaching the top would have been much more gratifying. Teleporting from Tyr’s Temple to the peak of Jotunheim just doesn’t have the same weight to it. Some smaller issues exist as well, like if you hand in a quest with another one pending, the dialogue does that thing where the characters start talking to each other as though they haven’t just been speaking. It’s nice that Mimir has lines for when his stories are interrupted, but that effort is wasted when the transition between the two often doesn’t make sense. As before, we could say the story exists more to prop up a series of experiences for the player to go through, but it’s clear that some of those moments stood to benefit from another revision of their script. It’s from this experiential point of view where the new camera system makes the most sense. One major goal this time around was to pull us into Kratos’s mindset, asking us to consider what’s going on in his head, and allowing us to better associate with the events going on around him. For whatever psychological reason, it seems as though camera distance plays a vital role in this. When we’re amidst the action, it’s natural that we connect to it more easily. If Norse God had the detached camera system of The Wonderful 101, we’d be pretty far away from Kratos’s struggles and thus less inclined to feel for him. This is why The Wonderful 101 pulls its camera in for cutscenes, so we can see and relate to our heroes more closely. Norse God’s camera successfully places us in Kratos’s boots, giving the experience more emotional weight at all times. Of course, combat represents a huge chunk of that experience, and it’s in these moments where the flaws of this perspective become all too clear. Bad camera systems are nothing new for 3D action games, but the genre has undergone some improvement over the years. In terms of perspective, Norse God resembles God Hand with both fixed behind the character. One of God Hand’s weakest points is its camera, but as bad as it can be, it has at least one major advantage over Norse God. God Hand is… *repeated comical grunts* …unapologetically gamey. It has no cinematic ambitions whatsoever, and as such the camera is free to ignore walls in order to provide a consistent behavior, no matter the terrain. Norse God opts for standard clipping behavior instead, forcing the camera back into the game world so as not to break the illusion. An irony here is that films often do build sets in such a way that the camera exists outside of the scene in order to get a better shot, but anyway, even older games offer a reasonable compromise. Disappear behind the pillar in Devil May Cry, and it turns transparent, allowing you to see through without denying the fact that it still exists. When it comes to combat, comparing Norse God’s camera to God Hand is the most advantageous position you can take. Even the Greek God games gave a better, more consistent overview of the action, and even those kinds of cameras pale in comparison to the simple, but beautifully effective viewpoint of The Wonderful 101. Norse God fails to keep threats on screen and gets caught on the terrain. Lock-on breaks when enemies pull simple evasive maneuvers, and if you choose to avoid using it, you’re left to babysit the right analog stick. The Souls series is, or was, also focused on experiential moments more so than pure combat, and while its camera system is flawed in its own ways, it presents a better middle ground. Most of the time, it’s pulled out enough to give a decent overview of the environment, while also being close enough to immerse ourselves in the experience of our character. This balanced perspective might be a major factor in that series’ success. Anyway, it’s obvious that a trade-off is happening in Norse God. Combat suffers from limited vision, but many other aspects benefit. This would be fine, except that combat is the most involved portion of gameplay, so if the combat suffers, the game as a whole is substantially worse for it. It’s hard to connect with the events on screen when we’re juggling several roles, one of those being a cameraman wrestling against subpar equipment. The Last Guardian is another game spent in the company of an AI companion, and it too has a disappointing camera. That said, it doesn’t matter so much when moving your character and controlling the perspective are about the only two things you do. The fact is, we can only care about so many problems at once, and this is how games like The Last Guardian or Journey can justify their more simplistic mechanics. Pulling off sick combos isn’t conducive to emotional involvement in some grand narrative, which isn’t to say that complex combos are bad. Far from it! They’re just a very different type of engagement, which doesn’t mesh well with some other kinds. If you’re trying to watch your flank, punish the guy in front of you, track your cooldowns, and form a strategy about what to do next, then you’re probably not thinking much about Atreus’s well-being, and the opposite is also true. It’s up to the designers to ask themselves what they want the player to care about at any given moment and take an approach which best supports that goal. This is why other action games use different camera systems for gameplay versus cutscenes. Of course, Norse God’s refusal to do so arises from the desire to frame the entire experience as a single camera shot, but this strikes me as a misguided goal. On the one hand, I don’t want to dismiss this just because it’s not a movie. Films are very difficult to do in a single take, but games can be too, maybe even more so. They’re just difficult in a very different way. Considering the complexity of the world and the action scenes, it’s impressive how smoothly it transitions between them, and that it’s done without traditional loading times. No doubt this resulted in a lot of extra work on behalf of the level designers and engineers, but we could easily frame all that effort as a negative. All those man-hours could have been spent on more beneficial tasks if they were willing to let go of this idea. I’ll be the first to admit that many set-pieces benefit from abandoning cuts. Countless other action scenes have been butchered by chopping all over the place, leaving you unsure what’s happening which drains the scene of its tension. In Norse God, you get a consistent view of each battle, which is sometimes used to brilliant effect. That said, these moments could still have been presented the exact same way without forcing every other scene into the same mold. Rather than taking the positives and discarding the negatives, this wholesale approach seems more like a statement than anything else, which is pointless because it’s nowhere near unique. Apart from some brief load times, Gordon Freeman’s worst day on the job could also be considered a single shot, and plenty of older games like Outrun accomplished the same thing. You might say that Outrun doesn’t count because you select your music at the start, but in that case, Norse God doesn’t either. In series tradition, even the main menu screen doubles as an establishing shot, but you can still die, something the 2008 Prince of Persia addressed by recontextualizing fail states. Even if you only count third-person, over-the-shoulder games, look no further than Dead Space, which took the additional step of making its menu systems diegetic. Norse God’s inventory and leveling mechanics incentivize you to open a menu on a regular basis, breaking continuity. Even if you’re careful to avoid doing so and manage to play without dying, you’re still forced to use the fast travel menu at least twice. The amount of effort put into something doesn’t necessarily determine its quality. It’s just good or bad depending on how it turns out. The fact is this stylistic choice comes with serious drawbacks. Combat suffers, fast travel is slower, since it has to keep rendering in the meantime, some scenes might have benefit from cuts, and it represents a huge opportunity cost for the development team. On balance, It just doesn’t seem worth it. If the camera was the only issue then I’d have an almost equally large grievance with God Hand, but Norse God’s combat is littered with problems, which other action games have already addressed. First of all, the biggest difference between combat in Norse God and most dedicated action games is what I’ve decided to call “move assist”. Just like aim assist, which will nudge your cursor in the right direction, combat movement in Norse god is funneled through move assist. Here’s an example. Right now, I’m about to attack. Under normal circumstances, if Kratos were to swing now, he’d miss. Except he doesn’t, move assist nudges us towards our target allowing us to land the blow. On a surface level, This might seem like a good thing, and maybe for less experienced players, it is a good thing. But if you’re familiar with action games, this kind of move assist is poison. What this means is you can never be sure where Kratos will end up after any attack since the angle and degree of move assist will change depending on your placement relative to the target. This becomes insufferable when multiple enemies are involved, then you find yourself assisted to the wrong one putting you in a position you could never have foreseen. Then again, positioning loses much of its importance because enemies also benefit from move assist. During their attack animations, they’ll glide towards you as though the battlefield has somehow turned into an air hockey table, making attacks which should have missed hit without fail. Knowing this, when you see an enemy telegraphing an attack out of range, you have to assume it’ll hit anyway or else you’ll most likely take damage. All in all this makes positioning less valuable, hampers your capacity to assess enemy threats, and destroys your ability to attack with precision. Move assist alone is a huge problem, But the issues only begin there. There’s a massive over-reliance on “epic” slow-mo to emphasize how cool certain attacks are, which undermines your ability to time them within a small window. For example, if a Draugr is running towards you, it’s needlessly difficult to gauge whether you have enough time to interrupt them with a special skill because as soon as the animation starts playing, you’ll slip into another time dimension. You end up having to correct for the slow-mo in your head, which can be difficult to do when every Runic Attack has a different amount of it. In other cases, this effect is simply too repetitive for its own good. Reflecting a projectile for the first time feels great, but you might find your eyes glazing over after just a few more. At its worst, this can disincentivize players from using certain techniques since they disrupt the flow of battle. This isn’t a deal breaker, but it’s not exemplary combat design either. Combat systems are complicated, and there are no perfect rules you can lay down which work for every game, but generally speaking, two major priorities should be clarity and consistency. In other words, the battlefield should be relatively easy to read and everything should behave in a consistent manner. This allows you to test what your limits are, then apply them at will in the middle of a chaotic situation. Norse God fails both the clarity and consistency tests time and time again. Metal Gear Rising Revengeance used two types of enemy flashes to denote danger: Red for attacks that could be parried, and yellow for ones that should be dodged. Maybe this sounds familiar. As with many of the things Norse God lifts from other games, it gets the surface details right without seeming to understand why such a system was built in the first place. In this case it was about removing guesswork. Instead of happening at the beginning of an attack, the flash indicator will sometimes happen right at the end, leaving you unsure whether you should block or dodge until it’s too late. This is compounded by the RPG mechanics, which depending on your level, changes the properties of these attacks. Walk into an area at one point and enemies will be unparryable. Tackle it later, and those same animations will bounce off your shield. This means even if you’ve already fought an enemy multiple times, you can’t be sure what level their attacks are until you start seeing the flashes again, which leads to boring defensive play at the outset of every battle. On max difficulty, this is even worse because enemies can level up mid fight, throwing everything into uncertainty again. Leveling also affects hit reactions, leaving you unsure of your axe throw will successfully freeze or trip the enemy instead of bouncing off. This heavily disincentivizes the use of more complex and enjoyable attacks because you rarely know for sure if they’ll actually work. In general, the higher difficulties leave a lot to be desired, because the main change is that enemies have their health buffed to a ridiculous degree, turning every engagement into a protracted exercise in boredom, as you wail away on a single target for an unreasonable amount of time. Higher health does mean more difficulty, but it also means more tedium. New Game Plus introduces Draugrs with randomized enhancements, which is a much more engaging way of increasing the challenge, but by that point the RPG mechanics have eroded all sense of balance. Still, this is a step in the right direction, it’s just a shame it’s exclusive to New Game Plus and that it sits on top of the health buff rather than replacing it. Games like Bayonetta ditch this kind of number tweaking and instead build their challenge in much more interesting ways, which I won’t spoil here, but it would suffice to say that it’s both far more difficult and far more enjoyable on its highest difficulty than Norse God. Increased enemy health makes the most damaging moves even more valuable, which reveals more problems. One of the best techniques is to freeze your opponent with an axe throw, before kicking them into a wall for massive damage. If they can be launched, you can even go for a wall pin which results in an instant kill. This would be great, except that you never know whether these effects will occur, because the terrain is more concerned with looking nice than providing a clear battlefield for you to work with. If you don’t know beforehand, then you can’t make informed decisions about what action to take in combat. One counter-argument I anticipate here would be that this is supposed to be realistic or something, but it isn’t, because if you knocked a frozen person into a small pile of rubble, they’d at least tip over, not do nothing. Collisions can also happen against ledges, which would even look weird in a cartoon. Again, I’d like to contrast with God Hand which has some unquestionably ugly environments, but those primitive surfaces work the way you’d expect every time. That’s why they are the way they are. Another one of the best techniques is to parry an attack, then go straight into an Executioner’s Cleave by holding R2. This is trivial to accomplish, unless you buy the Countering Crush which overrides the R2 button in this instance, meaning you now have to time the cleave more carefully. Similar problems arise elsewhere. Buy the running heavy attack, and you’ll be forced to pause at the end of a sprint if you want to do a normal launcher instead. One of the post-dodge moves causes Kratos to dash backwards, putting you further away from your target at a time when they’re likely to be vulnerable. Some other action games foresee these issues, and allow you to switch off potentially troublesome techniques if they don’t suit your play style. Norse God has no such option. While we’re on the topic of Executioner’s Cleave, as far as I can tell it’s lacking invincibility frames at the end and can’t be canceled into a dodge during that recovery. This seems to apply to other cinematic moves as well, like when you go into a grapple against a stunned opponent. If an enemy attack happens to coincide with the end of these animations, you will get hit, and considering how long these are, it’s never safe to do when unless an enemy is isolated. Anytime you use these techniques in a crowd, you’re taking a gamble; one that often pays off, but sometimes doesn’t. This might be an acceptable limitation for powerful attacks, except that these moves are one of the few ways to do appreciable damage against the inflated health pools of max difficulty. “Give Me God of War” implies that this is the ideal way to experience the game, but I don’t think even the development team actually believed that. Runic Attacks are another good source of damage, but making the most of them requires frequent weapon swapping, which is nowhere near as smooth or enjoyable as it could be. Devil May Cry 3 expanded its combat by allowing players to instantly swap mid combo, whereas Norse God forces Kratos into an unsheathing animation instead. Maybe this is another concession to the camera, since at this kind of magnification, it would look pretty strange for weapons to be materializing in and out of Kratos’s hands. Whatever the reason, it’s hard to get a feel for the timing on this, and there’s little point in doing so, because for a game with only three main weapons, there’s not much variance between them. The shield, with its emphasis on hit reactions and building stun, feels distinct from the other two but the Axe and Blades are more or less analogous to each other. There’s very little you can do with one that you can’t do with the other. Runic Attacks are the biggest difference between them, but they operate on cooldowns which are often avoided in action games and with good reason: they’re highly exploitable. It’s bizarre to see this in a series with its own version of Devil Trigger, a mechanic that only granted players more powerful attacks as a reward for dealing damage or cheekily taunting the enemy. By contrast, the cooldown system allows you to use the most powerful techniques over and over again as long as you’re willing to stall for time: Something which is simple to do in this game since throwing the axe is an incredibly safe, effective way to deal damage. Relying on Atreus is another safe strategy. With a few upgrades, he becomes a crucial asset in combat, but unless you explicitly aim at something, which costs valuable time and limits your options, you’re reliant on the AI to target the right thing. To be fair, this works more often than not, but it’s nowhere near close to consistent. This becomes vital when Revenants are involved, my vote for least enjoyable enemy encounter. As if constant teleporting wasn’t annoying enough already, their poison projectile is horribly telegraphed. Not only does it make no sense that these are blocked by a shield when they clearly travel along the ground, but using these kinds of emissive particles for attacks is usually less than ideal anyway. With a 3D model you can make an estimation about where the hitbox should start and end, which allows you to dodge it with precision. An amorphous cloud just introduces unnecessary guesswork. Bayonetta understood this. Notice the trumpeter’s attack isn’t some vague stream of music, it’s a solid sphere. You can tell exactly where its hitbox is even if you’re seeing it for the very first time. By the way, listen to what happens when this little trumpeter fires. * audio cue * In Bayonetta, attacks can only start if the enemy is on screen, but knowing that this one would be arriving from a distance, it was given a distinct audio cue as extra warning. Bayonetta 2 relaxed the on-screen rule, but this enemy’s attack demonstrates a good compromise: By highlighting the ground under Bayonetta so it remains visible no matter what. Norse God’s audio cues are shockingly poor, especially considering the over-the-shoulder camera means this should have been a priority from early in development. Instead the half-assed solution is a radial attack indicator which tells you nothing about the incoming danger, Sometimes highlighting a projectile seconds before it arrives, which will then curve to hit you anyway. Call-outs from your companions suffer from the same problems, except with the added delay that language adds to the process. I could go on, but I think you get the idea by now. Every combat system has flaws, but the ones in Norse God are so pervasive, they leave little left to be enjoyed. The Greek series may have been more simplistic and definitely had more than its fair share of aggravating enemy designs, but its combat is a net positive overall. With so many problems, I’m not sure I could say the same for Norse God, but at least there are some points in its favor too. Kratos’s animations are top-notch and apart from the move assist problem, they feel fantastic. Enemy hit reactions are a cut above many games, even other standouts in the genre. Attacks can freeze, trip, sweep, stun, spin, catapult or launch enemies, which at times can be enjoyable to play around with. Stun builds much faster from behind and performing these executions often inflicts a status ailment on anyone else nearby, which is the kind of nuance that can really flesh out the strategic side of combat. Getting hit while in Spartan Rage reduces the amount of active time, which rewards players who stay alert without sacrificing the invincibility feature to achieve that. Using arrows resets the timer on your weapon buff, which is a bit weird, but good because it encourages players to think about when to use arrows, rather than just hammering the button whenever is easiest to do so. And lastly, dodging has two variations presenting a risk reward decision every time it’s used. Enemy move assists and questionable hit boxes discourage you from using the shorter dodge, but the system itself is interesting. Hopefully by now you understand what I mean when I say there’s a lot of potential here, but there’s also far more flaws. Outside of combat, the experience falls down in numerous other ways. Huge chunks of time are occupied by the sort of walkie-talkie sequences you’d find in Uncharted or The Last of Us. Naughty Dog’s games deserve some flak for over-relying on these kinds of moments, but the ones in Norse God are sometimes even more frivolous. Carrying a boar for a full two minutes is just a pointless chore. Maybe this section exists so that the reveal of the turtle will feel more impactful outside of a cutscene, but crippling the gameplay to accomplish that defeats the purpose. Hunting deer is another example. In The Last of Us, we do this ourselves and the controls are identical to the core gameplay, Whereas Norse God ceases taking a backseat and goes into a restrictive button prompt. Climbing is the biggest offender; being handled like Uncharted, which is about the most boring way to tackle the problem in an interactive medium, since it basically plays itself with no skill or peril involved whatsoever. This is a clear step back from the Greek series which had rudimentary but tense platforming done under the player’s control. That said, as much as I hate these moments in Uncharted, they were often part of a grander set piece which at least looked cool. Norse God’s climbs most often take place against normal rock walls without even the tension of having enemies nearby that might discover you, and not only that, but now you sometimes get to experience the joy of going backwards through the parts you just traversed. These borderline uninteractive moments are even more prominent if you factor in the boat, and the unfortunately slow fast travel. Normally, I’d be open to defending such sequences as a way of building an emotional bond between you and the boy. In my experience, game playing audiences are too quick to balk at any kind of hassle, or moments intentionally designed to induce negative emotions. But the problem with Norse God is that it wants to have it both ways. Let’s compare with Ico. At times, the boy has to separate from Yorda, then call her over to another location. What you might notice here is that the game doesn’t take any shortcuts. Yorda has to physically make her way around which is a hassle, but it serves a purpose. because it reinforces her as a character separate from you who must behave within the constraints of the game world. By not taking shortcuts, your partner’s existence is made all the more convincing, to the point where you might not even be able to tell which parts are scripted or what happens thanks to AI. Probably the biggest failing with The Last of Us is the way it cheats during stealth sequences, allowing hostiles to ignore friendly characters for the sake of a smooth gameplay experience. Rather than avoid using these kinds of tricks, which should be much easier to do in a game without stealth, Norse God cheats constantly. We know the kid is teleporting all over the place whenever we’re not looking, even if we never see it directly. This is why you’re always forced to point that objects before interacting with them, so Atreus can come in from off-screen. Jump onto a wall and he’s always conveniently right there so as not to slow down the gameplay. Needless to say, this makes it harder to care about him since he’s so obviously artificial. This is an example of how the game’s desire to be a smooth action romp is working against its desire to be a serious emotional journey, but it may have been possible to reconcile these two goals. The father-son relationship lies at the center of everything, and while it has well-written dialogue, a script is only a small subset of most games. The bulk is interactivity. In that aspect, the ways in which we bond with Atreus are dubious. We insert into this story as Kratos, who already has a strong attachment to his son, but as a player, we have no reason to care about him from the outset. No more than any other random kid at least. Maybe by the time most players see the credits, they find themselves more attached to the little mischief maker than they ever would have imagined, but it probably doesn’t resemble a parental bond. In gameplay, the most obvious and common way Atreus makes an impression on the player as when he assists during combat. But this is achieved by leveling up through a menu, not by passing the torch in a way a parent would to their child. Dragon’s Dogma has such a system. Pawns act as a player’s companion who they can train to behave certain ways based on the actions they perform. Norse God could have taken some cues from this and what’s really frustrating about it is that when you start looking for these opportunities, they already are built into the combat system. One of Atreus’s most useful skills is the ability to trip enemies. Coincidentally, Kratos can also trip enemies. Rather than using an abstract menu, It would have been much more impactful if the player had been encouraged upfront to experiment in combat, since Atreus can learn from their actions. Then, when a player trips an enemy, dialog could play to indicate that Atreus is learning. Maybe there could even be a fun back and forth between them where he tries to trip someone, fails, and Kratos has to do it again before he finally gets the hang of it. Now apply the same thinking to other techniques like juggles, finishers, guard breaks, kicks, weak points and anything specific to certain enemies. It doesn’t even have to be limited to combat: If you habitually break crates and pots to look for health, maybe Atreus could do the same. The sky was the limit here, and if you ask me, this is the most effective way Norse God could really have elevated itself. This would bring gameplay and narrative into harmony with each other, encouraging players to use all their skills by rewarding that with Atreus’s growth. In the end we’d have directly shaped Atreus, forming our own parental relationship with him in the process. Instead we get a game torn between its two halves. Many other games have this problem, but they also have a crucial advantage: The split is usually between cutscenes and gameplay. Even Metal Gear Solid 4, with hours upon hours of cutscenes can be enjoyed fully for its gameplay systems, because almost everything else can be skipped. If they had focused on improving the combat, Norse God could be an action game worth mastering. But as it is now, you’d have to be insane to replay it on a regular basis because you’ll be forced into the same lengthy dialogue sequences every time. Even with the ability to skip cutscenes, it still takes 10 minutes from reaching the Black Breath to arriving in Alfheim, and this is just one example. Being charitable, we can assume that many unskippable moments are necessary to mask load times, but this poses another question: When does a game look too good for its own good? Presumably, if The Witch’s Woods’s didn’t have quite so many unique assets, we’d have shorter elevator rides to endure. The trip to Thamur’s Corpse seems to be masking a major load, and Tyr’s Temple’s drawn-out animations probably are as well. To an extent, this is clever design, but developers these days should be aware that their games will be preserved by ports to future systems. It’s a safe assumption that Sony’s next piece of hardware will have faster access speeds than the PS4, in which case these sections will squander the player’s time for no reason. Even the Realm Between Realms delays the opening of the exit portal until the current dialog is finished. If it seems far-fetched to you that technology might improve to such a drastic extent in the future, you haven’t been paying attention. There’s already an example of it in this very video. Half-Life was cutting edge at the time of its release and its brief load times weren’t so quick back then. Sure, this might seem like a petty complaint right now, but Norse God will spend the majority of its lifespan on systems much better than the PS4. This period of time could be considered the launch window in the grand scheme of things. With that in mind, this approach to loading seems pretty short-sighted. Credit to all the environmental artists, Norse God is a feast for the eyes. No doubt a lot of effort went into the graphics, but while beautiful scenery is easy to appreciate, it also comes with plenty of downsides. It’s important to recognize that developers do actually have a choice here. Using more simplistic or stylized visuals can cut down on requirements allowing for faster loads or a better performance. Do it well and it might even look better too, especially in the long run. On top of the aforementioned issue with inconsistent wall splat effects during combat, some areas are poorly fenced off, relying on you not to question why Kratos refuses to step over in knee-high obstacles. Maybe this is a false dichotomy, but I presume if the environments weren’t quite so detailed, the level designers would have been able to smooth these issues out more easily. We’ve already established that the most kind way to think about the camera is to imagine the developers wanted to put us in Kratos’s position, but it’s a bit rich to ask us to ignore so many invisible barriers if that’s the goal. For me, the worst of these kinds of these inconsistencies is seeing the God Of War reduced to a slow jog by carrying an item light enough to float on water. Obviously this weight disparity is a simple oversight, but even if we imagine that crystal is as heavy as solid rock, surely this should pose no problem for a man who can flip a golden temple upside down. What annoys me about this is that it should have been a slam dunk in the game’s favor. Rather than having to enjoy yet another a protracted walking sequence, we could have sprinted with the object in hand, laughing at how slow and boring this task would be for a regular mortal. Maybe instead of heaving open gates, Kratos could just fling them aside as though they’re nothing, cutting down on wasted time in a way which is true to the character and differentiates him from other protagonists. Maybe if we spent less time in these animations, we’d be less inclined to question why these gates can only be opened from one side in the first place. I’ll play Loki’s advocate yet again and say that these issues arise because the Greek God games were equally stupid in this regard, but that’s just all the more reason why a fresh start might have been for the best. These huge chunks of time spent opening chests and hunting down seals to open more chests almost seemed like a fruitful endeavor until you realize that all this stuff only exists to prop up the unnecessary RPG mechanics. Luck is pointless since if you’re willing to sell your old equipment to get a reasonable supply of Hacksilver, even without side quests, whereas Vitality and Defense are only useful if you get hit, which means if you’re looking to capitalize on your skill as much as possible, you’re left with three stats: Strength, Runic and Cooldown. Even prioritizing Cooldown, you’ll be lucky to shave more than a third of the recharge time off your favorite attack by the halfway point of the main quest. If the goal was to give players the means to carve out some kind of play style, this system is a failure, but don’t take my word for it. It’s easy to collect two sets of equally leveled gear and compare them which reveals the difference to be minuscule. The biggest jumps in power happened with weapon upgrades and level ups which every player can acquire at about the same time anyway. Resident Evil 4 is another game which overhauled its series while also introducing an upgrade system. Apart from keys, every single item you pick up in that game is either a weapon, health, ammo or money. The shop then gives you the option of turning any of the other three categories into money, which is used for enhancements. It’s the devastating combination of being simple to understand but still complex enough to provide plenty of options. An upgraded shotgun gives you distinct strengths and weaknesses compared to an upgraded sniper rifle. You might end up selling one class of weapon to improve another since even the largest carry case can’t fit everything at once. Holding out on purchases can pay off in the long run as new options become available, and for a really high-risk high-reward play style, it’s even possible to ditch your Yellow Herbs for mucho Pesetas at the cost of a max health increase. For some games, even this elegant system would be superfluous, but Resident Evil already had a perfect excuse for its scavenging time. Since attacks require ammunition, every battle is a decision about which ammo type you can afford to expend. This kind of resource management lies at the core of the series, so the most beautiful part of Resident Evil 4’s shop is that it adds barely any more time or hassle to the experience because players would be scouring for ammo anyway. All of this is to say that interacting with inventory and RPG mechanics costs time, which should pay off by enhancing the underlying gameplay in some way. That’s really the whole point, But many games get away with tacking them on regardless, because seeing the numbers go up is a shortcut to your brain’s pleasure centers. Combat systems that are good for their own sake don’t need leveling mechanics. In fact, they’re better off without them because a consistent level allows the designers to fine tune enemy encounters with precision. Assuming that players actually want to engage with, and improve at combat, skill trees alone provide plenty of options to satisfy a sense of growth, but that does require a charitable assumption about the player. To find out just how highly Norse God thinks of its players, look no further than its puzzles. I’m sure I’m not the only one who sees a resemblance between the puzzle solving items of the Zelda series and certain power-ups unlocked over the course of Norse God’s campaign. In the beginning, you’re limited to pushing and freezing objects, but later you acquire the Light Arrows, Shock Arrows, Blades of Chaos, and Hel’s Wind which are used for more environmental interactions. Zelda puzzles are at their best when they involve an item, which can be used in multiple ways: For example, shooting an arrow through a torch to ignite it so we can burn down a distant object. Other puzzles are made more interesting by the dungeons they are embedded within, forcing you to consider how to make progress through a more complex environment. Norse God obviously has nothing comparable to Zelda’s dungeon mechanics, and the abilities are all analogous to the worst Zelda items, which have specialized uses that are telegraphed heavily by the environment. The Leviathan Axe starts out well; manipulating some mechanism, freezing it at the right point, and then recalling the Axe when convenient is a great little interaction, but it loses its charm when you do it over and over and over again with no meaningful difference. There are a few exceptions: The traps in Tyr’s Vault at least introduce some timing and danger, but for the most part, each puzzle-solving item acts as a color-coded key. Once you get the Blades of Chaos, you can burn away bushes that are otherwise invulnerable. That’s it. See some Hel’s Bramble, take out the right weapon and burn it away. The decision makes itself. Hel’s Wind is marginally better with its ten-second restriction, but these small tests of skill aren’t exactly going to tax your intellect. Zelda doesn’t push its combat or puzzles as far as I’d like either, but it still stands as a shining example of how to navigate this minefield of varied gameplay elements, because while each game has a little bit of everything, there’s always some kind of focal point; something that risks rubbing people the wrong way. Majora’s Mask is a race against the clock, and this is not a popular decision with a lot of people, even among those who love the series as a whole. Each time a Zelda game comes out, Nintendo implicitly say to their fans, “If you don’t like it, tough luck. Maybe next time.” Funnily enough, the Zelda series itself shows abundant courage. At this point, it should be clear why puzzles in Norse God are brain dead simple. You’re not trusted to solve anything more complicated. You’re not trusted to be perceptive, so Kratos has to back out of of comforting Atreus not once, but twice within the span of an hour. You’re not trusted to care about Atreus if he even mildly inconveniences you, because this is just a game, which means you’re the center of the universe. You’re not trusted to explore for it’s own sake, so quests are doled out with map markers, telling you exactly where to go to cross everything off a big, magical checklist. You’re not trusted to get better at combat, so resource gathering just makes you stronger. You’re not trusted to traverse the environment, so all the perilous actions are automated, like the whole of Midgard is child proofed. Hopefully, you get the point by now. Before wrapping up, I’d like to acknowledge how harsh the comparisons have been. I’ve been contrasting Norse God against games which are absolute standout examples of the craft. Few games have the emotional impact of Ico or Journey. Few, if any of even attempted to outdo Dead Space’s inventory. Few action titles are as well considered as Bayonetta, and none have a camera to rival The Wonderful 101. Ironically, I’ve pit Norse God against gaming’s own pantheon of sorts. Any game would have shortcomings compared to the best counter examples you can find. Maybe this whole exercise was unfair, but hopefully the point will become more clear if we reverse the premise. Imagine that this whole video was about a different game instead. For the sake of argument, imagine I had spent the last 40 minutes comparing Batman: Arkham Asylum to a bunch of other games. If I had, no matter what topic I was discussing, I would NEVER have referred to Norse God as an example of anything. Because everything it does is better represented elsewhere. That’s the problem. Many other games do have some kind of component you can latch on to. In marketing speak, we might call it a Unique Selling Point. Arkham Asylum’s combat is essentially just glorified Quick Time Events, but in spite of that, overall the game does a great job of making you feel like Batman. That’s why despite all the problems I have with it, I’d have to admit that it at least accomplished its most important goal. Similarly, in spite of their flaws, the original Greek series offered you the experience of becoming the God of War on an unstoppable rampage through the battlefield. There are brief flashes of this in Norse God, but that feeling has been pushed aside, with nothing left to fill the void. You get a little bit of everything, but it’s also unfocused and unrefined. It’s one shot at redemption was to tie all these systems together into something greater than the sum of it’s parts, but instead, they’re disjointed at best and detrimental to each other at worst. Nice graphics hamper exploration and combat. Exploration hampers narrative pacing and consistency. RPG mechanics are cumbersome and time-consuming. The single shot camera is technically impressive, but it’s a gimmick the game would be better off without. Basically, it’s all over the place, but to be fair, it’s easy for me to sit here and criticize this game, even though it costs millions upon millions of dollars and years of work from a bunch of talented, driven people. The whole cottage industry that sprung up around criticism deserves a taste of it’s own medicine, myself included. Cynically clawing at the monumental efforts of others is a cushy position to be in. I should know. I’m about to imply that God Of War is mediocre, and there really is no more smug a position you can take. From the moment this game was revealed, I could already hear the Youtube contrarian engine wearing to life. I just never expected to be part of it myself. Despite having made some highly critical videos in the past, I’ve never gone out of my way to play something I think I won’t like, and this game is no exception. Although I had some reservations to begin with, mainly about why the developers would choose to reuse Kratos, over time, I started to think that Norse God could be just what the series needed. In a way, it was. I would never have made this video about Ascension because I didn’t bother to play it. My interest is the only reason why this video is about God of War 2018 and not the countless other mediocre triple-A games released year-in, year-out. That has to count for something. At least it’s not some heartless multiplayer vehicle built to push loot boxes. Developers don’t deserve charity just because they sink a lot of resources into a project that ultimately disappoints, but we can at least recognize that people invest so much of their lives into the games industry because they want to make something great. My problem isn’t so much with the developers of God Of War, I’m sure they tried their hardest to make the best of what is fundamentally a bad situation. I don’t know what the budget for this game was, but factoring in marketing, it’s safe to assume across the 50 million dollar mark. Maybe closer to 100 million. Think about those numbers for a second. They say pressure makes diamonds, and while there’s some truth to that, get too much pressure going and things just start to implode. Sony Santa Monica did a good job not to collapse under that weight. If you’re listening to this, thinking YOU could have done any better, you’re almost certainly wrong. Still, I’d be lying if I said I thought the end product was worth it. You might have noticed that this video is labeled a case study, and that’s because while it is about God of War, it’s also about the homogenization that’s been happening in triple-A games development for far too long. I can’t say for sure why this game is the way it is, but it’s hard not to see it as part of a larger trend. Those who’ve been hoping that games would attain a level of success on par with film should be overjoyed to know that their wish has come true. Games are more like films than they ever have been, not just because they shoehorn in shaky cams and other filming techniques, but because the business itself now mirrors the Hollywood machine. Budgets have gotten so big that games have to cram in a bunch of extraneous tick box features, or comprise on their vision to recoup costs. If God of War was nothing more than a puzzle platformer-y trek up a mountain with an AI companion, I’m pretty sure it would have been a better game. Not a better God Of War game, but a better game. Likewise, if it had dialed back its narrative ambitions and focused on refining its combat mechanics, I think it could have been an impressive take on the genre. Instead, like many big-budget games, it’s pulled in too many directions, so that none of them end up fully fleshed out. Naturally, games receive a huge spike in attention when they release, but the more important thing is what comes afterwards. Now that God of War is sitting among the gaming pantheon, if you scan your collection for something to play, why do you pick THIS one over everything else? For all the other games I referenced in this video, there’s a pretty clear answer to that question. At this point, a sequel seems inevitable, so I can only hope that Sony Santa Monica are willing to continue making substantial changes, because while this first one is not some kind of disastrous mistake, there’s really not much to love about it either.

Otis Rodgers

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100 COMMENTS

  1. XiTSlash Posted on March 25, 2019 at 6:44 am

    Man this guy is always on point!!

    Reply
  2. Kelvottomat Pelaajat Posted on March 25, 2019 at 6:55 pm

    I really didn't think of Kratos as one dimentional.

    After all he is pretty much the only major video game character with a massive case of ptsd, everything he does during the first three games has strong implications of that psychologically.

    I found that very intresting.
    🤗

    Reply
  3. Daniel Suzuki Silva Posted on March 25, 2019 at 10:30 pm

    11:28 it took me really long to get used to the fact that, in this game, I'll get hit by attacks that just shouldn't hit because the enemy was a mile away and I didn't expect it to glide to my face in an instant. I'm glad that someone pointed this out.

    Reply
  4. RedWarden Posted on March 26, 2019 at 5:27 am

    I quit playing after the area with the dark elves. The only stand out thing about the game was the interactions between Kratos and his son, but I wasn't going to sit through 20 more hours of mediocre combat to see that through.

    Reply
  5. RDM 010 Posted on March 26, 2019 at 5:12 pm

    This game pissed me off. Kratos can jump over a giant beast 20ft tall, steal his stone-pillar weapon and smash its head in during an unplayable cutscene, or smashes an enemy through a rock wall… but a short rock barrier blocks his path? Reality vs realism. God of War is for kids and teenagers.

    Reply
  6. sinshenlong Posted on March 26, 2019 at 7:06 pm

    wish i watched this sooner, it wouldve saved me hours debating on the internet and I could've just shared this.

    Reply
  7. J Man Posted on March 29, 2019 at 9:58 pm

    What an utterly generic Oscar Bait of a game. I genuinely don’t think there’s much to learn from it compared to the preceding trilogy or any other action game that has deep combat or RPG mechanics.

    Nothing about Norse God feels unique to itself.

    If I wanted to play a fast paced game with deep combat, I would just play one of the old GOWs or one of the DMCs.

    If I wanted to play an RPG, I would just play the From Software Souls games.

    If I wanted to play an open world game, I would just play GTA or Red Dead.

    If I wanted to experience a slow paced father and son story set in a violent world, I would just watch The Road.

    If I wanted to play a heavily scripted cinematic style game, I would just play Telltale’s Walking Dead or Wolf Among Us.

    Like any other modern mediocre AAA Western title, it’s just an unfocused jack of all trades master of none and the fact that’s the apparent gold standard for modern game design according to these major outlets, it’s disconcerting.

    Reply
  8. CptBladd Posted on March 31, 2019 at 6:40 am

    Can't wait for your Sekiro review. 'cause I think this has better combat and challenge.

    Reply
  9. Maxine Caulfield Posted on April 13, 2019 at 11:01 pm

    I'm confused about the mention of Outrun for the one-shot ting. How would Outrun ever be considered as that? Don't you select the stage every 3 minutes or so?

    Reply
  10. Fusion VEVO Posted on April 16, 2019 at 6:31 am

    Idk, it's just a game, dont think the nitpicking was necessary. But I did like your points on the dialogue, although I didn't mind it on my first playthrough, since it was a good and intriguing story. But I did notice it on my second playthrough, with that being said they have many endgame tasks/bosses and those who will replay it are playing for the story. And yes the puzzles were incredibly easy, I remember being stuck on a puzzle from the old God for around an hour, and the longest it took me in the new one took me 10 minutes (only because I overestimated the difficulty of the puzzle rather than looking for the easy answer)

    Reply
  11. Roasted Locust Posted on April 20, 2019 at 10:24 pm

    You get extra points for showing The Wonderful 101 and Bayonetta. You lose points for bringing in Ico, one of the most overrated games of all time. Compared to Zelda, Ico was a hand-holding simulator that borrowed puzzles from Zelda. Compared to Bayonetta, the old God of War games are simple hack-n-slash games that have a heavy reliance on quick time events, although the massive boss sets were cool. The new God of War is a change in the right direction for a franchise that was mediocre to begin with.

    Reply
  12. yvwe 888 Posted on April 21, 2019 at 9:03 pm

    In other news mediocre game is mediocre.

    Reply
  13. TheShiztastic Posted on April 22, 2019 at 3:35 am

    Wow, I’m honestly not sure why I finished watching this video. Maybe it was morbid curiosity to see if your nuclear nitpicking ever came to a stop. I’m all for valid criticisms, but this was so far beyond that I’m rather dumbfounded. This may come as a shock, but opinions can be incorrect, and this video is a prime example of exactly that.

    Reply
  14. Orrin Luc Posted on April 24, 2019 at 5:06 am

    This review was so perfect. God of War just isn’t all that, and this review nailed every problem I had with it. I just couldn’t articulate it as well as you do.

    Reply
  15. WinnieTheGrizzly Posted on April 25, 2019 at 8:30 pm

    I had fun wth GoW. But making all the real bosses optional is a crime. That's not the way of a God of War game.

    Reply
  16. Bryan King Posted on April 29, 2019 at 5:57 pm

    ‘Let’s criticize the game of the generation’….. I guess since it’s an exclusive you can get lots of positive comments from the PC, Xbox and Nintendo crowd.
    This game smoked RDR2 in awards, absolutely destroyed everything released that year and for good reason, it had great, responsive gameplay where your reactions matter and the feedback is on point… it has dark souls-like combat without the crutch of being able to over level.
    The camera is a minor matter and if you like the souls camera but have a problem with GOWs one…. you’re just being obtuse or biased.

    Combat is Fing incredible, especially with Sigrun Queen of the Valkyrie.
    Climbing, boat and other non-combat pieces were amazing because they allow you take in the world, there is art in gaming….. even if you are too ignorant to appreciate it….. some of us do.

    Reply
  17. Bryan King Posted on April 29, 2019 at 6:13 pm

    Also, it does do something better than other games….. in Mass Effect I felt that there was some universe with different species and different biomes.

    GOW truly brings you into OTHER-WORLDLINESS. The species and factions are very different to what we usually ever have….. usually in fantasy games it’s a humanoid with stuff stuck on its face, similar to Star Trek.
    The ice giants, the turtle under which Freya lived was an incredible moment, the dark fairy vs light fairy war…. memir and his incredible world building stories and of course the world serpent, who moves and interacts to allow you access to different parts of the map.

    Maybe you just don’t remember all these incredible things….. maybe you didn’t care because YOU MAKE MONEY FROM CRITICIZING IT and making yourself look credible.

    But the fact is that you’ve looked past most of the game and ignored or tried to diminish other aspects to justify and unjustifiable position.

    Reply
  18. Bryan King Posted on April 29, 2019 at 6:19 pm

    Just because a game has limits, I.e. is not an open world…. does not mean you are not trusted to explore, it is a choice to put quality over quantity. Not ever game has to be open world and with the saturation of the industry with those types of games. It seems like a contrived point.
    You obviously don’t give a shit about the quality of the art, the worlds in which you inhabit or the absolute attention to detail.
    Also as you don’t have children, you could not possibly understand some of the deeper meaning and emotions people may have playing through GOW….. it’s themes and aims are a bit more mature and nuanced than ‘I wanna feel like batman’.

    Reply
  19. Libertarian20XX Posted on May 4, 2019 at 8:55 pm

    I haven't even watched your video yet and I'm probably halfway done with GOW. I'm not even going to finish it. Not very fun at all.

    Reply
  20. jojolafrite90 Posted on May 5, 2019 at 9:20 am

    I know. The game is great in terms of realization and technically. But combats suck.

    Reply
  21. PlT BuII Posted on May 10, 2019 at 1:01 pm

    Well sorry, but i don't think the game would be better, if your ideas would be implemented. What do you expect? A simulator? It doesn't want to be one, it's just a game.
    For example: arterius is teleporting when you climb a wall; yeeeah, it would be waaay better, if you had to wait for a while, if you ran to fast, bevore. Waiting for the boy. That sounds fun. That'd be good game design… come on

    Reply
  22. Jefstito Posted on May 10, 2019 at 11:37 pm

    I really think you want to hate this game. Most of the things you complain about are not only quite subjective but are contradictory as well, since the original God Of war and even other famous action games have the same issues or worst (bad telegraph attacks, blocks that dont make sense, etc). You even complained about being hit out of a grab and called it “inconsistent” when it works almost the same as DMC4 where if you start the grab while another enemy is attacking, you will get hit, the difference is that GoW gives you more Invencibility frames. I think the one that stood out for me was complaining about Atreus teleporting for the sake of gameplay. You argue that a realistic delay will make you care about him, but that rarely ever happens. Whenever you have to wait for an NPC you usually start hating them, specially if you have to deal with them constantly. The combat in GoW is not best in the genre, but its fun and better than certain praised action games like the OG GoW where the only combo that made sense was light-light-strong plus spamming magic attacks with a gazillion invencibility frames. I understand you guys hate the walking sections and games trying to be movies, but sometimes you kinda exaggerate

    Reply
  23. PeterZeeke Posted on May 13, 2019 at 3:08 pm

    Can you imagine this guy QAing your game?

    Reply
  24. TheColorUrple Posted on May 14, 2019 at 9:02 pm

    BEAUTIFUL critique. This is obviously a gamer paying attention to mechanic design and construction, and I hope that the Santa Monica team watches this before the sequel drops.

    Reply
  25. one Posted on May 16, 2019 at 12:20 am

    The little boy is the real villian, how else could he teleport?

    Reply
  26. one Posted on May 16, 2019 at 4:36 am

    Theve been making more money for awhile now, cinema is a penny industry.

    Reply
  27. Paul Aagam Posted on May 23, 2019 at 11:17 pm

    Idk why you suggested Kratos just barge in and demand freya help him after their previous interaction. That was a good sequence that really portrayed the anxiety Kratos felt.

    Reply
  28. Vonder Drake Posted on May 29, 2019 at 1:03 pm

    Really hope someone at Sony Santa monica studios sees this video and takes some notes. Think the sequel can benefit greatly.

    Reply
  29. Mitchell Baker Posted on June 1, 2019 at 12:37 pm

    Well this is my new favourite game review channel. A detailed, sophisticated critique of a game mainstream reviewers couldn't help giving 10/10 ratings to.

    Reply
  30. zaggyzaggy2 Posted on June 1, 2019 at 5:12 pm

    oops looks like im at the wrong side of the internet again where a youtuber acting like he knows how to make games comments on them. Its funny how assholes like you on the internet knows how to do everything. Its like these star wars and game of thrones assholes who really think they could do a better job. Yea right. Just because you odnt like something doesnt mean its bad. Just because you dont find something that fits your taste doesnt mean its bad. In fact, this video points out a lot of stuff that just brings me to 1 conslusion: you dont seem to be a good gamer. And you seem to blame the game for it. Oh I know how it sounds. My job in real life is to surpervise other people. And other people likes to reject the blames on other stuff, they sounds just like you.

    Reply
  31. Hugh Mungous Posted on June 2, 2019 at 1:52 pm

    Well after playing Witcher 3 every combat system is good.

    Reply
  32. HealingChurchPotluck Posted on June 11, 2019 at 11:11 pm

    @4:33 well that didn't take long

    Reply
  33. Con Cahill Posted on June 13, 2019 at 2:53 pm

    To say the audience or yourself couldn't do better is kind of a lie. Especially when you yourself already pointed out several ways to enhance the game play, story, and overall interactivity of the game.

    Reply
  34. Antonio Mendes Posted on June 14, 2019 at 11:20 am

    Came to this video after watching Joseph's video, which I really enjoyed. But holy shit this video is so unfair by contrast. Matthew is so nitpicky, to that point he clearly misses that main flaws with GoW: weak Atreus, low enemy variety, not enough questions answered, and player mechanics aren't very proactive. His commentary feels more obstructive than constructive feedback.

    Reply
  35. Polyester Giant Posted on June 17, 2019 at 4:10 am

    "In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so."

    Just a neat quote from some rat movie that I feel emphasizes much of what you said at the end. While I like both God of War 4 and negative criticism, your account of the difficulties of creating a game made me link the two in a way I was close to for much of the review. It showed you scare, because you care. Thanks.

    Reply
  36. Nash Dash Posted on June 24, 2019 at 12:53 am

    Valid points. Still, I had a blast playing it.

    Reply
  37. Etienne latour Posted on June 24, 2019 at 9:06 pm

    I agree with the video, but I do have to say, I think GoW has the best animations, and environmental color schematics in gaming

    Reply
  38. bentalls85 Posted on June 26, 2019 at 11:30 pm

    this game has absolutely nothing on horizon zero dawn!

    Reply
  39. mike a Posted on July 3, 2019 at 10:30 am

    I’m convinced I’ve stumbled to a small corner of the internet where people determined to hate the God of War game because it’s popular and most other people like it get to gather together and yell their nitpick because it makes them feel better for some reason

    Reply
  40. daniel johnston Posted on July 4, 2019 at 7:29 pm

    I am absolutely flabbergasted at the amount of likes and support this view of the game has.

    It's a good video and people are entitled to feel how they feel about things.

    I couldn't disagree more with this video.

    I'm not going try and argue your points but I acknowledge you are clearly a more experienced and more advanced gamer than I.

    What I will say to try and summarize my opinion though, is that you are correct in stating that each part of the game's design and mechanics is done better in other games.

    But no other game balances each element in such a satisfying way as God of War.

    All the problems you discussed annoy the fuck out of me in other games but were non existent for me in this game.

    The old saying goes its better to be a master at one thing than a jack of all trades.

    While no one element of it is the best example of said element out there; all of them are above average at worst and in an age where every game has some shitty trade off between story telling or good gameplay- this game does both very well and that in it self is a huge acheivement

    Reply
  41. AltoRoark Posted on July 4, 2019 at 9:03 pm

    15:16 "the terrain is more concerned with looking nice than providing a clear battlefield for you to work with"

    Sounds a lot like FromSoft's latest game.

    Reply
  42. GtheMVP Posted on July 5, 2019 at 3:16 pm

    This would have been better with a Souls-like camera. It kills the game for me.

    Reply
  43. Cody Risling Posted on July 14, 2019 at 12:34 am

    Holy hell…I never thought of any of these things while playing because I enjoyed it so much.. after playing 3 times on easier difficulties and once on give me god of war and 100% the game I still never noticed.. not until this video, great points, but let’s not forget it scored a what 94 maybe 95% metacritic rating. So I guess it speaks for itself.

    Reply
  44. gh gh Posted on July 19, 2019 at 2:24 am

    This is the first video of yours I watched and I enjoyed it very much and thought it was a great critique. Articulates many of the issues I also had playing the game and why I ultimately found it less satisfying than the other GOW entries or similar action/hack'n'slash games.
    I think part of my disappointment was the number of people promoting this as a GOTY candidate, and as a series fan and someone who liked the reinvention I could see from the outside before diving in (ie. the more personal story of Kratos, the 'Dad of War' elements, the shifting to Norse mythology, the amazing art and animation obviously) I was pumped to play the game, but as you say I too found the combat ultimately unsatisying, mainly for me due to the RPG elements which made encounters feel more unfair just because I wasn't the right 'level', and also trying to babysit the camera while also using the face buttons and shoulder buttons during encounters felt frustrating too.
    You are so spot on with many of your points and comparisons, I will definitely be watching more of your videos. Thanks for the hard work in researching and making this video and also thanks to Sony Santa Monica for their hard work and in actually delivering what I'm sure was a very hard project. I'm delighted to see in the comments they are aware of this video and received it positively, that gives me hope too that this could be a great foundation for an even better sequel.
    Stay awesome everyone.

    Reply
  45. Henry Townsmyth Posted on July 26, 2019 at 9:10 am

    Since it's a console game they implemented and optimized only one camera perspective.
    Otherwise it was better to have a far camera during fights and the closer one for the rest.
    Anyway I would better want a camera system like GTA where you can adjust many camera angles.

    There is a reason GTA is the most popular game out there and everyone has played one of those games not so much God of war.

    Having played all other God of war games, I don't want to play this one. The combat desgin is awful.

    Reply
  46. Xabre2th Posted on August 3, 2019 at 7:22 am

    move assist! yes, that's the one since batman arkham games became the norm of the action title.

    Reply
  47. Kevin Carpenter Posted on August 4, 2019 at 3:03 am

    The thing that bothers me most about God of War is how nearly everyone sold this as the greatest game ever made. As a lifelong gamer, I was very underwhelmed. I believe console gamers bought into manufactured hype and I bought into their hype. I feel like I was fooled.

    Reply
  48. Random Thoughts Posted on August 6, 2019 at 10:39 am

    It's crazy how no comment below tries to argue against this video .. this circle jerk is not interesting at all. This discussion devolved into a bunch of people who can't play the game cuz they don't own the console or are cheap and don't intend on buying it anyway, reassuring each other it's not worth it and writing it of as an average game .. like WTF are you talking about. y'all clearly didn't play this game . Stop regurgitating points made in the video and have your own experience and tell us about it or just shut up cuz you surely not adding anything of value to this conversation. 🙉

    Reply
  49. Random Thoughts Posted on August 6, 2019 at 10:40 am

    I see a lot of nitpicking

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  50. Brian Terry Posted on August 14, 2019 at 2:33 am

    I find myself very conflicted about this study, on one hand I know what you are saying about making this game more… gamey. But holy shit dude nothing will ever rival playing a game like this the first time through… it’s a journey man… and graphics story take precedence in some ways. You critique the moment where Kratos is holding his boy, this was the most powerful moment in the game for me, this all powerful god had been rendered powerless at the loss of his boy, the emotional Wright was staggering.

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  51. Trigger Posted on August 17, 2019 at 11:56 am

    I disagree with most opinions in this but it was still a great video to watch.

    Reply
  52. Corpse Jr Posted on August 21, 2019 at 12:30 pm

    "It's hollow" -Matt

    Reply
  53. Barrythe Speedster Posted on August 22, 2019 at 12:03 am

    Instead of norse god you should have called it 'old greek gods vacation with child'

    Reply
  54. Pr0man Posted on August 22, 2019 at 12:27 am

    Welp, quite on point honestly. Like Yahtzee said – another game to be offered as sacrifice on the altar of "hairy old dad games". While the visuals are absolutely stunning and the story drops clues for the attentive in advance, these changes generally do nothing but mask the underlying problems games have. You've been quite on point the whole time.
    Especially striking to me is that whenever there are problems cropping up, the only benefit is that it looks great.

    The combat is a cluttered mess that has systems which could potentially work out, but ultimately limit the player more? Animationwork looks phenomenal with many different reactions.
    Climbing is excessively railroady and relies on no skill? At least it looks cool (in Uncharted that is)
    The game basically forces me to play a section with an annoying chore, like carrying a boar or rowing around the lake only to be what is essentially a glorified cutscene? This way the scenery has more impact.

    Always the same issue and – the same thing to say as to what is the only benefit to it. While everything is being tarted up a notch or twelve, this in turn is done with no real lookout for the core mechanics at hand which could've and should've been refined more. If everything looks great but mechanics in turn shows severe issues in the gameplay department, which after a couple decades we should have managed to refine, the great animationwork and pretty skyboxes are little more than fancy set dressing and (to me) feel more detrimental, rather than adding to the overall experience. Also, guess what? The problems you talk about in regards to the industries strikes way too close to home. Not only is the market homogenizing to the point where many different games of a singular genre blend together to form a beige paste, but in the practices surrounding those. More often than not games lose focus because they are spread out in all directions. Why would anybody spread out into all directions? To cast the biggest net possible in order to catch the biggest amount of fish.

    We are now at a point where there is a niche for tightly focused games which is miles wide. Imagine that – the market has been and is so oversaturated on what everybody sees as the "standard" formula which works to the point that there is nothing specialized to fill out the holes left behind by the lack of focus.

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  55. FrMZ Posted on August 27, 2019 at 9:08 pm

    I wish you would make a video like this for Doom (2016). I think that game while great also had a lot of poorly thought out design choices that drag down it's combat and how they missed the point of some of the mechanics that inspired stuff like the glory kill.

    Reply
  56. TheGodfather101 Posted on August 29, 2019 at 6:36 am

    So, you mean. I'm not alone after all?! tears of joy

    Reply
  57. Thomaz Moure-Stonechild Posted on August 30, 2019 at 8:23 pm

    Have you ever played The Witcher 3? I’ve seen all your Legend of Zelda videos and loved them tremendously. It would be interesting to see a case study on the Witcher or even review. Thank you!

    Reply
  58. dragunkiller360 Posted on September 2, 2019 at 4:09 pm

    It's already been a year since this video was released, so I'm not sure Matthew will see this comment, but I just wanted to point out how much I appreciate the editing in this video. At 34:52, for instance, you cite Majora's Mask as a "race against the clock," so to segue into the next clip you begin the footage of MM with a sharp tilt of the camera upwards to the moon and Clocktown's clock all in the same frame. This is clever editing, because the quick movement of the camera creates anticipation, which immediately grabs the viewer's attention for a brief moment before you hit us with the main subject, the clock, bringing the focus back to your main point about time. (Side note, it's just a really pleasant angle. You get the imminent threat of the moon in the center of the frame, looming above you in the sky, and juxtapose that nicely with the ticking clock, which also looms above you at the top of the frame.) Then, to end this sequence, you tilt the camera back down in a manner reminiscent to what you did at the start to indicate a clear ending to the shot. This is strong editing structure, as you've visually created a hook, held it just long enough to make your point understood, then dropped it once it lost interest in such a short span of time. It's a moment where both the script and visuals align perfectly in their intentions, and this video is littered with little creative moments like that that I believe go unappreciated.

    Reply
  59. Luciferin Hel Posted on September 10, 2019 at 12:54 pm

    Thanks for being honest. Don't know why people rate this a 10/10 when it's a step back from the previous God of War games.

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  60. This is a joke Posted on September 16, 2019 at 11:55 pm

    I know it’s not going to happen but I really want the next game to be completely open world. Like Horizon Zero Dawn or Zelda Breath of The Wild, that would be sick

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  61. TheAwesomeGuy Posted on September 19, 2019 at 3:58 am

    "There's not much to love about it either" What the f*ck are you talking about? This game is a masterpiece, Dunkey and cr1tikal said so. You don't mess with the dunk and moist man baby!!!

    Reply
  62. Christian Prieto Posted on September 24, 2019 at 1:14 pm

    Watching this a year later, the shoeing in of rpg mechanics and other tick box features still is a problem. Look at the newest ghost recon, breakpoint

    Reply
  63. Cody Vandal Posted on September 25, 2019 at 9:05 pm

    This whole video honestly feels like nitpicking

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  64. lichlame Posted on September 27, 2019 at 12:54 pm

    On point critique.

    Reply
  65. Morgan Phillips Posted on October 2, 2019 at 4:57 pm

    What movie is at 5:44

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  66. Divine voice Posted on October 5, 2019 at 3:09 am

    I played the game…,inside out. Mastered it. And I have to say this is a good game,just not a good God of war game. I didn't feel like the God of War when I was playing this game. The brutality, (RED) blood and gruesomeness are seriously toned down (except for the finishing move on the wulver). He has become a bit weaker. In some places he even dies in 1 hit. What happened to the Kratos that beheads,rips out jaws and intestines, splits people in 2 etc. I mean the Kratos of GoW 3 is one badass savage.

    A lot of enemies in Gow4 bleed fire and ice collored blood. A lot of repeated boss fights. Come one SMS. I didn't buy this game for just a good game. I wanted to play God of War. Think about the Hades boss fight, think about how he ripped alpollo's head of,think of how he sliced the gorgon's head off showed it off as a freakin trophy and the other enemies turned into stone. When it comes to brutality, blood and violence in GoW, please,take GoW 3 as the standard. Don't go below that standard.

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  67. Ashwathram Shetty Posted on October 6, 2019 at 3:26 am

    Best review on gow
    Less whining about how it does no justice to the franchise
    And more points and revelations about how it could have been better
    When u say it has potential gives me hopes that the developers will make the next game better
    And i love ur channel mate

    Reply
  68. laffy cade Posted on October 6, 2019 at 1:58 pm

    Im sorry but don't you deserve 5M subs already
    Great review man
    I liked the game but this was an eye opener
    Plus i also liked your views which point out that the new gow has potential
    Kinda gives me hope that the next gow game will be a "gow" in terms of gameplay and mechanics

    Reply
  69. Artersa Posted on October 11, 2019 at 4:52 am

    What is so impressive about Dead Space’s inventory besides the way they integrate into the game world? I’d say RE4 has a more interesting inventory.

    Reply
  70. Libe Jenkins Posted on October 12, 2019 at 7:37 pm

    I feel a bit sad after watching this review. I liked the game and I was completely hooked and fascinated at the part of the game that takes place between the elf reign and when you get the chained swords. I played GoW 3 again in preparation for this. I promised myself to get 100% on the game and platinum it. The secondary missions were great and exploring Midgard and the world promised too much. But after getting the swords everything that seemed like long gameplay started to feel like a chore, entertaining at best. The puzzles, even the optional ones, are too easy and a lot of the same again and again.

    The optional missions where you die in one hit if you are underleveled are a waste of time (Not the actual secondary missions) The enemies and combat are really repetitive, every Valkirie is the same except for a few moves (Except the last one) and the combat is just too unstable to work: Is too dependant on leveling, there are too many bugs, inconveniences (I didn´t even spend EXP on new moves because some of them were SO BAD), and you have to get lucky staggering enemies. The combat starts to feel like something you can do only if you play too safe and with not a lot of experimentation from your part.

    The best fights are against humanoid bosses and there are too few of these and the combat is not made for the million of hordes that you have to fight. So I ended up abandoning the mist, the volcano and the valkyries missions, becuase why the hell I am going to grind that when the combat, the main focus, is not even half enjoyable. Is obvious that every other element of the game has suffered to offer a more open world and nicer visuals, but this game really didn´t need it.

    I suspect that they cut a fight against Thor (WHICH THEY ARE TEMPTING YOU WITH THE WHOLE GAME), some giants and a true guardian of Helheim and probably the rest of the kingdoms and the fucking Ragnarok itself, just to put a lot of filler. Only some secondaries missions and details are interesting enough to keep on the game and not throw that content out of the window instead of a more polished, lineal system like the olds GoW and a better working combat system. Also leveling just makes you feel like a wimp instead of the God Of War, the man that killed Zeus can´t deal with a fucking Draugr because he is two levels above him, but Kratos can move mountains? Why can´t we not just depend the leveling on getting new skills like the old games, instead of getting new gear to gives us the illusion of choosing when all that matters is the level number? It makes no sense. It feels like they are lying to the player. Explore this world that contains almost nothing. Choose what attributes you level up Kratos with when the grind to get a higher level number is what counts. Here you have 7 realms to go, not really.

    For me the leveling and the open world designs badly tacked on the games are the sickness that kills any potential on the AAA gamess. Nier:Automata didn´t need it and just made the game worse. It killed MGS:V for good and drove the entire point of the series out of the game. And I´m sure as hell that it didn´t help the Ghost Recon and the Watch Dogs games. It isn´t even that good or interesting on games that actually work or are about it like GTA or Zelda. I compared both experiences between GoW 3 and the new GoW, and I have to look back and after playing GoW 3, I think it felt more consistent, logical and satisfying than the new GoW, and the highs of the nord GoW to me where higher, also being the kind of game I like more, but I had a greater time and it felt like GoW 3 was the better game, even if nord GoW is still impressive.

    When you talk about videogames getting homogeneous and the mirror with the Hollywood machine I got really sad, because you and a lot of people talked and knew about this before buying this game (And I actually like this game), bought it anyway, knew what is happening with AAA games, beat the game, and just accepted the whole "New videogames have to be worse because they need to enforce these systems in every new AAA game", is nothing new for me and I think I accepted that is going to be like this with every game and I don´t like it one bit. I wonder when they are going to just transform every good idea and game in a mobile gacha, and then make us look at it like the trend or the normal, common thing.

    This game still gets the credit of shine as a really good game after the shit it was buried with, so I guess is still a victory.

    Reply
  71. Johnathan Hook Posted on October 12, 2019 at 11:00 pm

    I agree with some of your criticisms, but saying GOW4 is mediocre, is ridiculous.

    Reply
  72. NARROW Posted on October 13, 2019 at 8:47 pm

    Okay I think you're just nitpicking a bit too much in this game I think the biggest issue with God of War is it's on a console Kama, this game is trying to tell a very cheap story and it succeeds at doing that quite well but with it being on consoles and we think pushing it to such a hard level when it comes to frame rate field of view field of view is going to affect frame rate they can't create a very long and wide field-of-view because it would have to lower-quality I would really love to see God of War on PC where we could max out the field of view and really you know improve camera performance it would definitely give the game and much more crisp clean and sharper looking experience hopefully with the new PS5 add updates to the game allowing it to run it is 60fps 4K all the way through with no stutters are hiccups maybe even at a hundred frames if they would do that, again it's not a bad game I played God of War and it took me about a full week to beat the entire game not because I'm about gamer but because it's so chock-full of content and the story is so long and I wanted to experience the whole experience that it took me a while to Beat It it's definitely one of those games where it's the console that really holds it back

    Reply
  73. TheSoulHarvester Posted on October 14, 2019 at 5:20 am

    Some good points as always but I don't really feel like you met the game where it was trying to be; the subtext seems to turn on disappointment that it wasn't a different sort of game entirely. I guess that's valid as part of a broader concern that this is too derivative a direction for the series to be going, compared to the more unique design of the earlier titles, but the justification seemed to boil down to technical inferiority to beat-em-ups like DMC, Bayonetta, & God Hand. Which…yeah, I'm convinced by your preponderance of evidence to that effect, but is that what it was trying to do? Be as technically deep, I mean? The assumption that a beat-em-up should be judged almost exclusively on technical depth is pretty questionable imo.

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  74. *TrySeven* 7 Posted on October 17, 2019 at 7:28 pm

    Im probably the biggest god of war fanboy but this was brilliant video

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  75. mravg79 Posted on October 18, 2019 at 9:12 pm

    +Matthewmatosis
    Nice analysis.

    I liked the game. I think it is worth playing.

    But I some of the point you mentioned took some of the experience from me. I'm fine with the story building and 2 minute walk with the boar.

    But lack of bosses in this game is so visible in comparison to previous installments. Ogres or Orc with different colors and some different attacks (fire, ice, earth) and that is it? each fight with them is the same.

    Some of the climbs are also masked loading screens there is to many to ignore and anyone who has at least some interest in game dev can see how many Dad of War has. What is worse with game having a hub and revisiting some locations you see them to many times. Hub area, go to tree open door – hidden loading, go out, loading, go out of the hub another door another loading, run through the bridge – elevator loading, door loading.

    The FoV set to very low value also hurts the game, the indicators for attacks – not useful in my opinion, and with such narrow field of view couple of encounters were simply not fun.

    I got why the series evolved but to me it is a bit too much of TLOU clone.

    It is nice that guys from Santa Monica watched this.

    The homogenization in the games is something that is very visible right now. But there are always indie games, some mid tier games. Still a lot of games to choose from.

    I would like to see a case study from you on the homogenization of games – UBISOFT might be a good example.

    Another interesting case study might be how the mobile like game design cripples modern triple A games, and not only multiplayer but also single player. By creating a problem (grind) and giving player a solution to it so called optional payments (time savers, level boosters).

    have a nice time gaming 🙂

    Reply
  76. Fernando Moraes Posted on October 19, 2019 at 11:17 pm

    1100 fanboys dislike

    Reply
  77. Fernando Moraes Posted on October 19, 2019 at 11:25 pm

    Fucking amazing vídeo!

    Reply
  78. Cristian Peña Posted on October 22, 2019 at 12:51 pm

    This video was posted on ResetEra so many butthurt fanboys were so quick to defend the game calling the best combat system of this generation these people are so pathetic

    Reply
  79. ScarTheEagle Posted on October 28, 2019 at 1:44 pm

    The reason i like this game so much is the freaking Leviathan Axe, that thing is just so god damned badass.

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  80. Sn33t Posted on October 28, 2019 at 8:25 pm

    Im sorry, but most this is bs!

    Reply
  81. Marc Braun Posted on October 31, 2019 at 7:40 pm

    I hope more devs would adapt to that camera position, it's just the most natural you can get even over first person and you can do many things with it.
    And just imagine combos and actions with directional input like DMC, forward would be indeed forward, not the direction of your far away character covered by enemies who is facing one of them.
    This over the shoulder camera is awesome!

    Reply
  82. Pikero24 Posted on November 2, 2019 at 8:27 pm

    I agree with some of your points but I feel like a large portion of your grievances come from expecting this game to be something that it's not trying to be. As someone who enjoyed this game I don't think some of the improvements you suggested would make a more enjoyable game…

    Reply
  83. Duane Mediak Posted on November 8, 2019 at 5:01 am

    norse gods, norse gods, norse gods etc…… it drives me insane

    Reply
  84. Ryder Draconis Posted on November 15, 2019 at 10:34 am

    Geez, half of these criticisms can be boiled down to "If the game can't be played as a speedrun, it wasn't made right."

    I'll tell you why I would play this game again. It's for the story. And the gameplay works great. Andd there are just so many nitpicking in this review that it loses some credibility.

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  85. Nero Shadowblade Posted on November 20, 2019 at 2:53 am

    The combat gameplay itself isn’t tedious tho only the way you fight can make the experience tedious,If you focus on runic attacks and cooldown the mix of combos make it all so satisfying.

    Reply
  86. Spartan 69 Posted on November 20, 2019 at 7:05 am

    One critique is that they could have made the enivorments more fleshed out and alive. For example, giving Kratos the ability to interact with his environment more than just opening chests and jumping over obstacles, imagine grabbing vines to climb trees, digging/shoveling to find ores, give him the ability to swim and traverse underwater in the Lake of Nine! 😍 ugh GoW5 will blow me away

    Reply
  87. Steven Hunt Posted on November 22, 2019 at 4:05 am

    This is a great analysis, but all that was necessary was the clip at 13:47. Taking 10 seconds to knock 5-10% off an enemy's health in a God of War game? It's utter tedium whether you were a fan of the old series or not. Utter tedium. Those are the games that get good reviews now.

    Reply
  88. jsanchez034 Posted on November 24, 2019 at 7:24 pm

    Here’s hoping for god of war 5

    Reply
  89. Michael Terry Posted on November 25, 2019 at 5:12 am

    "homogenization in AAA game development" is a big problem with the industry. Unfortunately success breeds mediocrity sooner or later. In order to side-step this problem it's often necessary to look to those who are still hungry and unchained to the machine of efficiency and risk-aversion.

    Reply
  90. Zois Antonopoulos Posted on November 27, 2019 at 7:49 pm

    Matthew's worst take to date.

    Reply
  91. honkyjesus eternal Posted on December 4, 2019 at 3:51 am

    Ugh. Walking sims.

    Reply
  92. Hagoromo Otsutski Posted on December 5, 2019 at 8:58 am

    Honestly if you critique God Of War like this (and it was a hell of a damn good vid), than what about other Triple A games? God Of War seems to be at the top of all that for me so basically everything else automatically becomes shit.

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  93. opli gangaa Posted on December 6, 2019 at 2:04 pm

    Uncharted at least had interesting environments to climb with the setpieces and the climbing was integrated into the combat sections for things like flanking and stealth and you could shoot your handgun while climbing. In this game all you do is climb up static walls that all look the same with the same rocky texture using the the same jumping animation every time

    Reply
  94. Just Lloyd Posted on December 8, 2019 at 1:00 pm

    I love sorting out such videos with newest first. Seems this well executed analysis of God of War still works on the fanboys' nerves 😂

    Reply
  95. Maxine Caulfield Posted on December 11, 2019 at 10:17 am

    Finally someone said all this. This video is like a beacon of hope for good taste.

    Reply
  96. ikaruga24 Posted on December 13, 2019 at 10:21 pm

    You hit the nail on the head in the combat section and I found it to be the biggest offender even than the climbing sections. I found the game to be just good by the end.

    Reply
  97. PSYKO 817 Posted on December 14, 2019 at 1:55 am

    Ur complaining abt the dumbest of things. U want things to be wayyyy too easy. Just accept you suck lol

    Reply
  98. Redministeren Posted on December 15, 2019 at 11:54 pm

    You outdid yourself with this one. Along with the microgames ones, I've been rewatching this video a lot over the past year. Your arguments are sound, but above all else, the way the script flows and the visual match that flow makes it very watchable. 40 minutes is far from short, bit it all felt tight and concise. I never felt like a minute was wasted. For what it's worth I really like it.

    Reply
  99. max1311 Posted on December 17, 2019 at 8:48 pm

    I may be wrong, but I think the climbing is this way mostly for loading reasons. The world on GoW ps4 is full of moments where it hides the loading, that is why it is slow and they didn't provide fast climbing up or down most of the time. Awesome video, there are so many points you make in the video I didn't even consider, like the placement correction in battle. But some I did experience like those preset moves you do without wanting to sometimes. Excelent content as always.

    PS: I hope Cory Barlog sees this or hears from someone about the ideas you mention about Atreus and how to integrate him to the gameplay, that could be fantastic. I think the game is this way because they had to work from the ground up. If they could make a sequel on the ps4 with the same engine it could be perfected. Sadly the next GoW will come for Ps5 where most likely they will have to start a lot of things from zero again. But this game still is an awesome first step and stepping stone for the ones to come

    Reply
  100. BadZombieWhy Posted on December 23, 2019 at 9:41 pm

    All that budget and somehow half the bosses are the same monster with a different skin smh

    Reply
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