Kratos is the most stoic, straight man in all the nine realms and he surrounds himself with vulgar dwarves, a wisecracking decapitated head, a sometimes over-confident teenager, and more. Ragnarök is, surprisingly, the funniest God of War to date. The excellent moment-to-moment writing outdoes the already fantastic dialogue of the 2018 game. Newcomer Odin and returning scorned mother Freya’s characterizations are particularly fantastic, but even the weakest performance in Ragnarök makes the typical video game performance pale in comparison. The action kicks off immediately, setting up new foes and old friends, but among all the explosive set pieces are quiet moments of engrossing performance showcase.
In a tradition established early in the God of War series, the opening hours are stellar. Atreus is a little older and has shed the ‘boy’ nickname entirely.
Ragnarök basically picks up exactly where the previous left off in terms of narrative. Ragnarök may lack the unique impact of the prior game, but everything that worked so well the first time comes forward, along with a story that earns the proper definition of the term epic. Kratos’ journey to connect to his son while battling a new legion of distrustful gods was a revelation in both video game storytelling and action, setting a high bar for the inevitable sequel. Yes, it was a continuation of Kratos’ original multi-game journey, but it placed him and a new family in a foreign world to reflect on his past and try to secure his future. To call the 2018 God of War a sequel almost does it a disservice.
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