It is hard to remember now, but there was a time when Kratos was basically a one-dimensional rage machine. He screamed. He killed gods. He ripped wings off Valkyries and heads off sun gods without blinking an eye. For a while, that was enough. The God of War series built its entire reputation on being the loudest, bloodiest, most unapologetic power fantasy in gaming. But by the time God of War: Ascension rolled around in 2013, the formula was starting to feel thin. People were tired. How many times can you mash square to save the world from a pantheon you’ve already decimated?
The shift we saw in 2018 wasn't just a "reboot." It was a survival tactic. Sony Santa Monica, led by Cory Barlog, realized that if Kratos didn't grow up, the franchise would die in the PS3 era. They took a character defined by mindless fury and forced him to be a dad. It sounds like a gimmick, but it’s actually why the God of War series is more popular today than it was during the height of the "edgy" 2000s.
From Greece to Midgard: The Impossible Evolution
Most long-running franchises eventually lose their soul. They become parodies of themselves. Look at how many mascots from the early 2000s are just gone. Kratos survived because the developers leaned into his shame. In the original trilogy, Kratos was a Spartan general who made a bad deal with Ares. He killed his wife and daughter in a blind haze. That’s heavy stuff, but the original games treated it more like a justification for a murder spree than a character study.
Then came the 2018 soft reboot.
Suddenly, we’re in the snowy woods of Midgard. Kratos has a beard, a son named Atreus, and a much slower walking pace. The fixed camera angles of the older games—which made you feel like a spectator at a bloody opera—were swapped for an over-the-shoulder view. This wasn't just a technical choice. It was intimate. You were right there with him, feeling the weight of the Leviathan Axe. Every swing felt heavy. It felt like work.
What's fascinating is how the God of War series managed to bridge these two worlds. They didn't ignore the Greek games. They used them as a haunting backstory. When Kratos finally retrieves the Blades of Chaos from under his floorboards in the 2018 game, it isn't a "hell yeah" moment. It’s a tragedy. He’s going back to the tools of his greatest sins because he has no other choice. That’s the kind of storytelling you just don't see in most action titles.
The Combat Mechanics That Changed Everything
Let’s talk about the axe. The Leviathan Axe is arguably one of the best-feeling weapons in the history of video games. Why? Because of the recall button. Pressing Triangle to call that axe back to your hand provides a tactile "thunk" that never gets old. It’s a rhythmic loop: throw, hit, recall, strike.
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In the older God of War series entries, combat was about "crowd control." You had the Blades of Athena or the Blades of Chaos, and you swung them in massive arcs to hit thirty enemies at once. It was spectacular, sure, but it was also a bit floaty. The Norse era changed the math. Now, you’re often fighting three or four enemies, but each one is a genuine threat. You have to parry. You have to use Atreus to fire arrows and stun enemies.
God of War Ragnarök took this even further by adding more verticality and bringing back some of the speed from the Greek era. You’ve got the Draupnir Spear now, which introduces a completely different cadence to the fights. You’re planting spears and detonating them. It’s complex. It’s layered. Honestly, it’s a far cry from just mashing the "L1 + Square" combo until everything on screen dies.
Why the Norse Saga Feels Different
There’s a lot of debate about whether the Norse games are "better" than the Greek ones. It’s kinda apples and oranges. The Greek games were about scale—fighting Cronos while climbing his massive body is still one of the most impressive things ever put on a disc. But the Norse games are about consequences.
In God of War Ragnarök, the stakes aren't just "the world is ending." The stakes are "will my son hate me?" or "can I be better than the monster I was?" That’s why characters like Sindri and Brok matter so much. They aren't just shopkeepers who upgrade your gear; they’re part of a found family. When things go south for them, it hurts the player more than any "end of the world" scenario ever could.
The writing in these later games is exceptionally tight. Eric Williams, who directed Ragnarök, pushed the idea that "fate is only a lie told by the gods." This flipped the entire script of the God of War series. In the old games, Kratos was a pawn of fate. In the new games, he’s actively trying to break the cycle of violence.
A Quick Look at the Timeline
- The Greek Era: God of War (2005), God of War II, God of War III. These are the core pillars. They cover the rise and fall of Olympus.
- The Prequels/Spin-offs: Chains of Olympus, Ghost of Sparta, Ascension. These fleshed out Kratos's humanity, or lack thereof.
- The Norse Era: God of War (2018) and God of War Ragnarök. The redemption arc.
Addressing the "Walking Sim" Complaints
You’ll hear some purists complain that the modern God of War series has too many "walking and talking" segments. They miss the relentless pacing of God of War III. And hey, that's a fair point. If you just want to kill monsters for twelve hours straight, the newer games might feel a bit slow. There are long boat rides where Mimir tells stories. There are sections where you’re just walking through the woods.
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But these moments are the glue. Without Mimir’s stories, the world feels empty. Without the tension between Kratos and Atreus, the combat has no weight. Most people who love the series now would argue that the narrative is actually the main draw, which is a wild thing to say about a franchise that started with a guy headbutting a hydra to death.
The Technical Wizardry of Santa Monica Studio
We have to give credit to the "no-cut" camera. From the moment you start the 2018 game to the end credits of Ragnarök, the camera never cuts away. There are no loading screens disguised as cutscenes (well, there are the Yggdrasil walking paths, but you get the point). This creates a sense of immersion that is incredibly hard to pull off. It means the actors—Christopher Judge and Sunny Suljic—had to perform long, continuous takes.
It’s a technical marvel. It makes the God of War series feel like a single, unbroken journey. When Kratos steps through a portal or travels between realms, you’re right there with him. There’s no "Game Logic" break that pulls you out of the experience.
Valhalla: The DLC Nobody Expected
Recently, the Valhalla DLC for Ragnarök dropped, and it’s basically a love letter to the entire history of the God of War series. It’s a roguelite mode, which was a weird choice on paper, but it works perfectly. It forces Kratos to literally confront his past. You see Greek enemies popping up in the Norse engine. You hear the old music cues.
It served as a bridge. It showed that the developers haven't forgotten where Kratos came from. They know he was a monster. They know he was "the Ghost of Sparta." And by having him sit on a throne again—this time a throne of self-reflection rather than a throne of war—they effectively closed the loop on twenty years of gaming history.
What Most People Get Wrong About Kratos
The biggest misconception is that Kratos "got soft." He didn't. He’s just as dangerous as he ever was. The difference is intent. In the early games, he was a suicide bomber in human form. In the later games, he’s a protector. If you watch the way he fights in the Norse saga, he’s actually more disciplined. He isn't wasting energy. Every punch is calculated.
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He’s a man who knows exactly what he’s capable of and is terrified of letting it out. That's way more interesting than a guy who's just angry all the time.
Where Does the Series Go From Here?
The God of War series is at a crossroads again. The Norse story is finished. Ragnarök lived up to its name. There are rumors about Egypt, Japan, or even Mayan mythology. Honestly, they could go anywhere. The "fish out of water" formula works.
But the real challenge will be Atreus. Is a God of War game still God of War if you aren't playing as Kratos? Some fans say no. Others are ready to see what the "Loki" version of the franchise looks like.
Regardless of where the setting goes, the blueprint is clear:
- Keep the combat visceral. If the weapons don't feel heavy, it isn't Kratos.
- Focus on the relationship. Whether it’s father/son, teacher/student, or something else, the emotional core must be there.
- Don't shy away from the past. The series is at its best when it acknowledges its own bloody history.
If you’re looking to dive into the God of War series for the first time, don't just skip to the 2018 game. At least watch a recap of the Greek era. Understanding the blood on Kratos's hands makes his attempt at peace in the Norse realms so much more meaningful. You need to see him at his worst to appreciate him at his best.
Actionable Insights for New and Returning Players:
- Play Valhalla last. Even though it’s a free DLC, it contains massive spoilers for the end of Ragnarök and works best as a finale to Kratos's current arc.
- Don't ignore the side quests (Favors). In the Norse games, the best character development and some of the toughest boss fights (like the Berserkers) are tucked away in optional content.
- Experiment with Runic attacks. It’s easy to find one you like and stick with it, but swapping your loadout to match enemy weaknesses is the key to surviving on "Give Me God of War" difficulty.
- Pay attention to the environment. The environmental storytelling in the Norse realms—murals, lost scrolls, and Mimir’s dialogue—provides context that isn't always explained in the main cutscenes.