Santa Monica Studio took a massive risk back in 2018 when they turned a screaming, vengeful Spartan into a grieving, bearded father. It worked. But the pressure on God of War Ragnarok was arguably higher. People didn't just want more axe-throwing; they wanted to know if a man defined by his past could actually escape a prophecy that literally had him dying in his son’s arms.
Honesty time: sequels usually play it safe. They add a new mechanic, a shiny coat of paint, and call it a day. God of War Ragnarok isn't that. It’s a dense, sometimes messy, and deeply emotional conclusion to the Norse saga that asks one very specific question: Are we trapped by who people say we are, or can we actually "be better"?
It’s been out for a while now, yet the discourse hasn't slowed down. Between the PC port’s recent performance hurdles and the free Valhalla DLC that basically acted as a therapy session for Kratos, the game has stayed relevant. If you're still thinking about that ending—or if you're just starting and wondering why the combat feels so much more frantic this time around—you're in the right place.
The Prophecy Trap and Why the Story Hits Different
Prophecy in video games is usually just a roadmap. You see a vision, and then you spend 40 hours making sure that vision happens or doesn't. In God of War Ragnarok, the prophecy is a character in itself. It’s a weight. Kratos is terrified. Not of death—he’s died plenty of times—but of leaving Atreus alone in a world that wants to use him.
The writing here is smart because it plays with your expectations of the 2018 mural. We all saw it. Kratos, lying on the ground, some kind of energy coming out of his mouth, Atreus cradling him. The game spends its entire runtime making you dread that moment. But it also introduces the Norns.
Unlike the Moirai from Greek mythology, the Norns in this game basically tell Kratos he's predictable. They don't see "fate" as some magical thread; they see it as a series of choices made by people who are too stubborn to change. That’s a huge distinction. It shifts the game from a "save the world" epic to a "can I change my nature" character study.
Basically, the game argues that Ragnarok isn't an inevitable apocalypse. It’s a consequence.
Atreus is no longer just "Boy"
Watching Atreus grow up is kind of jarring. He’s a teenager now. He’s moody. He sneaks out. He has a secret life with Angrboda in Ironwood. This is where some players got frustrated because the pacing slows down significantly during these sections. You go from Kratos’ high-intensity combat to Atreus’ projectile-based, slightly floatier gameplay.
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But it’s necessary.
You need to feel his independence to understand the stakes of the ending. If Atreus stayed at Kratos' side the whole time, the final goodbye wouldn't have any teeth. The game forces you to inhabit Atreus' curiosity and his mistakes. When he accidentally releases Garm in Helheim, it’s a classic "teenager thinks he knows best" moment that has catastrophic consequences. It makes the bond feel real, rather than just a scripted escort mission.
Combat Evolution: More Than Just the Leviathan Axe
If you go back to the 2018 game after playing God of War Ragnarok, the combat feels almost sluggish. That’s because the sequel leans heavily into verticality and elemental interplay. You aren't just staying on the ground anymore. You’re using the Blades of Chaos to grapple up to ledges, slamming down with a frost-infused heavy attack, and then switching to the Draupnir Spear.
The spear is the MVP. Seriously.
The Draupnir Spear isn't just a new weapon; it’s a narrative tool. It was forged specifically for Kratos, using his blood and the sound of a wind-god’s bell. It represents his transition from a destroyer to a general. Mechanically, it changes everything. Being able to embed spears in an enemy and then detonate them all at once with a tap of the triangle button adds a layer of crowd control that the previous game lacked.
Why the boss fights feel more "Old School"
One of the biggest complaints about the 2018 reboot was the lack of boss variety. There were way too many trolls. Santa Monica Studio clearly heard that. God of War Ragnarok throws everything at you:
- The Hateful (recurring Draugr bosses that test your parry timing).
- Berserkers (the new Valkyries, and honestly, some are harder).
- Gryla (a massive, chaotic fight that uses the environment perfectly).
- Nidhogg (a multi-phase spectacle that feels like the Greek-era scale).
The combat is "snappier." The parry windows on Give Me God of War difficulty are tight. You can't just mash R1. You have to learn the color-coded rings. Yellow is parryable but breaks guard; red is "get out of the way right now"; and blue requires a shield bash to interrupt. It's a rhythm game with more gore.
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The Odin Problem: A Different Kind of Villain
Thor is great. He’s a tragic mirror of Kratos—a "destroyer" who drinks to forget that he’s a tool for his father. But Odin? Odin is the standout. Richard Schiff plays him not as a thunderous god-king, but as a manipulative, middle-management type who thinks he's the smartest guy in the room.
He doesn't want to fight you. He wants to talk you into a corner.
This makes the conflict in God of War Ragnarok feel psychological. Odin’s obsession with the "Rift" and what lies beyond death is a brilliant way to give a villain a motivation that isn't just "I want to rule the world." He’s a scholar who lost his soul to his work. He’s dangerous because he makes sense. He almost convinces Atreus that he’s the good guy, which is way more threatening than a guy with a big hammer.
The Nuance of Side Quests (Favors)
Don't skip the side content. In most games, side quests are filler. Here, they are where the best writing lives. Take "In Service of Asgard," where you shut down Mimir’s old mining rigs. It’s not just about gameplay; it’s about Mimir confronting his past as a collaborator with a tyrant. Or the "Auld Lang Syne" quest in the post-game.
The game doesn't end when the credits roll. The "real" ending, the one that provides closure for several major characters, is tucked away in the side content you do after the main story. It’s a bold choice that rewards players who actually care about the world, not just the platinum trophy.
Technical Prowess and the PC Experience
When it launched on PS5, it was a technical showcase. No loading screens (thanks to the Yggdrasil tree transitions), 60 FPS performance modes, and incredible haptic feedback. Transitioning to PC, the game looks even better if you have the hardware.
The inclusion of DLSS 3.7 and FSR 3.1 means you can push those frame rates even higher, which is crucial for the endgame bosses. However, the requirement for a PlayStation Network account on PC was a point of contention for many. While it doesn't affect the gameplay itself, it's a reminder of the shifting landscape of console exclusives moving to desktop.
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If you're playing on PC, pay attention to the "Tessellation" settings. The snow deformation in Fimbulwinter is one of the most satisfying visual effects in gaming. Seeing Kratos and Atreus actually leave deep, persistent tracks in the snow makes the world feel cold and oppressive in exactly the right way.
What Most People Get Wrong About the Ending
There’s a common misconception that Kratos "became a god of peace" and that’s it. That’s too simple. The ending of God of War Ragnarok, especially when combined with the Valhalla DLC, is about integration.
Kratos doesn't stop being the God of War. He redefines what that title means. In the final mural, he sees himself being worshipped—not as a monster, but as a protector. He realizes that his strength doesn't have to be a curse.
Atreus leaving is also misunderstood. It’s not a "sequel hook" in the cynical sense. It’s the natural conclusion of the father-son dynamic. A parent’s job is to prepare their child to leave. Kratos succeeded. He raised a son who is compassionate enough to want to save the Giants and strong enough to do it alone.
Real-World Impact and Legacy
Why does this game matter in 2026? Because it’s one of the few AAA titles that treats its audience like adults. It handles grief, alcoholism (through Thor), and the cycle of abuse with a level of nuance you usually only find in indie darlings or prestige TV.
It also proved that the "single-player epic" is far from dead. In an era of live-service burnout, God of War Ragnarok delivered a complete, polished, and deeply moving experience that didn't need a battle pass to keep people talking.
Actionable Tips for Your Next Playthrough
- Don't hoard your resources. Unlike many RPGs, Ragnarok is generous with crafting materials if you explore. Upgrade your favorite armor sets early. The "Lunda's Lost Armor" set is particularly broken in the early-to-mid game because of the poison damage.
- Master the Shield Bash. If you see a blue ring, double-tap L1. It’s the most consistent way to create opening windows for high-damage combos.
- Listen to the Mimir dialogue. Seriously, stop rowing the boat for a second. The lore he drops isn't just flavor; it often contains hints about enemy weaknesses or upcoming plot points.
- Experiment with Runic Attacks. Don't just stick to the ones that do the most damage. Some are better for "Stun" build-up, which allows you to perform finishers that grant invulnerability frames during chaotic fights.
- Check the Accessibility Menu. Santa Monica Studio included over 70 options. Even if you don't "need" them, things like high-contrast mode or navigation assist can make hunting for those last few Odin's Ravens a lot less frustrating.
God of War Ragnarok isn't a perfect game—the pacing in the middle can drag and the "hint" system for puzzles can be a bit too chatty—but it is a landmark achievement. It’s a rare example of a story that manages to be both a bombastic action movie and a quiet, heartbreaking drama. Whether you're there for the lore or the gore, it demands your attention.
The cycle has been broken. Now, we just have to wait and see where Atreus’ journey takes him next, or if Kratos can truly find peace in a world that might always need a God of War.