Noah Romsdal Hallundbæk Sørensen
Some games are just entertainment, but God of War was so powerful, immersive, and emotionally overwhelming that it tore me out of reality, again.
A surge of nostalgia, and a curiosity for titles once overlooked, recently pulled me back into some of gaming’s most storied realms.
What followed was a rediscovery of worlds that felt sharper, richer and more emotionally layered than remembered.
My latest dive focused on two of PlayStation’s most acclaimed modern releases: God of War (2018) and its sequel Ragnarök.
A personal lens
I approache gaming with the enthusiasm of a long-time fan, though I do recognises that enjoyment is always subjective.
What resonates with one player may fall flat for another, and I must stresses that the opinions in this article, are my reflections are mine alone.
I returned to the series after years away, downloading both games for PC after first encountering the 2018 title on PlayStation 4 when it was released. What I found; took me out of reality all over again.
Across my re-visit I aimed to understand why these particular games still hold such power, and why the newer installments felt like a departure from the series’ origins.
From rage to reflection
The early God of War titles built their identity around high-octane combat, set against a backdrop of Greek mythology and the violent rise of Kratos.
Those games followed a younger anti-hero driven almost entirely by vengeance, culminating in the 2010 release where Kratos finally confronts Zeus.
After that climax, the franchise went quiet for nearly a decade. That long gap allowed space for the character, and the series, to evolve.
When God of War returned in 2018, it introduced a radically different Kratos: older, calmer and raising a son, Atreus.
This shift away from relentless brutality toward introspection and family dynamics, made the story feel like a journey through both of them, charting how father and son grow, change and seek peace in a harsher, colder world.
Immersion redefined
Parts of what struck me during my replay was the game’s now-famous “one-take” design. Instead of traditional cuts or loading screens, the camera follows Kratos continuously from start to finish.
I believe this technique strengthens immersion, making the world of Midgard feel uninterrupted and alive. The absence of visual breaks pulled me more deeply into the narrative than I expected.
I also think that describing the game as “semi-open-world” isn’t a stretch, large enough to explore freely but intentionally constrained.
While players cannot scale every cliff or object, traversal through boats and portals still provides a sense of breadth without losing structure.
Challenges off the path
Optional encounters play a major role in both games.
Hidden bosses such as the Valkyries in the 2018 release and the Berserkers in Ragnarök act as endgame tests for anyone seeking to refine their combat build.
These encounters reward players with specialised gear, while exploration often uncovers items that encourage alternate playstyles rather than simply boosting existing power. For me, this design adds depth without overwhelming the core story.
The upgrade system, is largely teid to main-story progression, and ensures steady advancement while still leaving room for experimentation in the wider realms.
A world worth revisiting
For me, returning to these two games reaffirmed how powerful their storytelling has become. What began as a hack-and-slash series has transformed into something quieter, more deliberate and ultimately more human.
My renewed playthrough reminded me why God of War continues to resonate, not only for spectacle, but for the emotional journey that anchors every step Kratos and Atreus take.
