God of War Ragnarök: First Five Hours Preview

The unanswered question surrounding God of War Ragnarök is, inevitably, what comes next? God of War (2018) set the series on an engrossing new path without disregarding any of the events that had shaped Kratos’ earlier life. It reframed his troubled past through his efforts to create a different future, delivering an ending that felt complete while leaving enough unresolved details for players to discuss and speculate about for four years. Having played the first five hours of Ragnarök, I can already answer a surprisingly large number of those questions. I have no intention of spoiling that narrative experience, but I can say whether the next instalment deserves your excitement.

God of War Ragnarök opens with confidence

The brief answer is yes: you should be extremely excited. Ragnarök resumes almost exactly where the previous game ended and, following a tradition that stretches back to the original God of War in 2005, it begins with real force. Its opening immediately displays the enormous production values delivered by highly skilled artists and animators, through several sequences that demonstrate why these grand experiences require years to make. Familiar faces and newcomers alike appear, while the acting remains among the finest found in video games.

The single-take camera is back too, and its worth is instantly apparent. In the earlier game, it was particularly effective at making the adventure feel as though it unfolded in real time within one completely realised setting. That remains the case here, although it also employs fresh techniques to present the story in distinctive and meaningful ways.

Familiar God of War Ragnarök combat, broader enemy variety

For the opening five hours, combat largely feels recognisable from the last game, and that is no criticism. The story of God of War may be what stays with you long after the credits roll, but combat is what holds your attention from moment to moment. Unlike in the 2018 release, Kratos begins with a more extensive arsenal, and hurling the Leviathan Axe before calling it back still feels excellent.

A frequently voiced criticism of the first game concerned its limited range of enemies, and Santa Monica Studio has plainly acted on that feedback for this sequel. Despite playing for only five hours, I think I have dispatched more enemy varieties and encountered more mini-bosses with distinct designs and defeat conditions than across the whole of the first game. Not every fresh opponent is thrilling - I killed plenty of scuttling lizards that went down in a single blow - yet the additional variety is welcome, particularly among the larger foes.

I also came across several new mechanics that allow Kratos to seize environmental objects, including rocks and small trees, and use them to inflict heavy damage in short order. These environmental weapons are a minor addition, but tearing a tree out by its roots and wielding it like a baseball bat turns out to be enjoyable.

Kratos, Atreus and Mimir bring unexpected humour

As I hope is clear, I will not reveal anything about the plot, but the dialogue has been an unforeseen early highlight. This time, Mimir accompanies you from the outset rather than joining midway through the prior game. The bond among the three men - Atreus is no longer simply “Boy” - resembles that of a stern father, a gifted yet overenthusiastic child, and a wisecracking uncle who gives sound advice. Their familiar working friendship feels even more firmly established this time. These three personalities bouncing off one another frequently produces unexpectedly funny results. Kratos is the perfect straight man, possessing no patience whatsoever for enjoyment, while Mimir is a head built to tell tales and make jokes. I paid attention to every line, even more closely than I did in the previous game.

That unexpected comedy reaches the journal as well, where Kratos records notes on the trip and supplies information about characters you may have forgotten. In one entry, for instance, he writes about Brok. Kratos will not concede that he likes him, though he does state, “I find him acceptable company.”

At this point, God of War Ragnarök is meeting the unreasonable expectations placed upon its formidable pale shoulders. Its opening five hours are remarkable, yet they also give the impression that the game has scarcely begun to reveal itself. I have found my footing: I remember the returning characters, am becoming acquainted with the new ones, and have relearned how to parry with my shield. Now I am prepared to experience the remainder of the journey, and I cannot wait to discover what happens next.