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Kratos comes equipped with a familiar move set, and I was immediately at home behind the sticks, pulling off familiar combos and easily discovering new ones. The core gameplay was never broken, and therefore doesn’t need to be fixed for the sequel, only tweaked. Underneath the shiny new exterior of God of War III lies gameplay that’s both recognizable and welcome to fans of the series. In many instances, the in-game presentation - especially during some of the game’s fantastic (and ridiculously savage) “interactive cut-scenes” - looks even more impressive. The line between pre-rendered cut-scenes and in-game action is seamless a slight pause is the only true indication that there’s any switch from real-time action to pre-rendered video. The game’s beautifully fitting art design truly comes to life like never before, with impressive lighting and shadows, and masterful use of intentional soft focus on both the background and foreground. Whether you’re up close to the action and can see Kratos scowling as he battles a minotaur (its tongue wagging around as you drive your blade deep into its neck), or you’re watching him scale the environment in a wide shot of the action, God of War III never fails to impress.
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Heaping praise on how God of War looks almost seems pointless you can see for yourself that the power of PS3 hardware is getting put to good use here. Never before has it been so obvious just why the God of War developers assume control over its camera - they know what you need to see for the most impact, and how you need to see it and in this instance, they are almost never wrong.
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It’s full of more “holy crap” and “seriously, did that just happen?” moments than any game in recent memory, pushing the boundaries of both violence (yes, Kratos is at his most brutal here) and presentation. In fact, from start to finish, the game never really lets up. The title matches and in some cases (almost inexplicably so) tops of what is thrown at you in the incredible opening minutes. But it bears repeating, if only because this opening sequence is simply a taste of what God of War III has to offer.
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You may be familiar with this battle, as I’ve written about it in great detail before Chad Concelmo later gushed over an extended playthrough. Gaia, attacked by a Leviathan - a huge water beast, made up of crab and horse parts - flails in pain as you help her fight off the beast. Around this, a battle rages on: armies of undead soldiers attack you, and in the distance other Titans battle against the relentless minions of Zeus.
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What transpires in this opening sequence of gameplay - possibly one of the most effective, heart-stopping openings in gaming history - simply begs to be called “epic.” Here, Gaia is a traveling environment, a moving level that shifts and shakes as the Titan shimmies upwards. Kratos’ goal here is vengeance, and ultimately, the death of the “King of the Gods,” Zeus.
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Kicking off immediately where the credits rolled on God of War II, the Spartan anti-hero mounts the mighty Gaia, forming an alliance with the all-powerful Titans to storm and overtake Mount Olympus. The tale told in God of War III finds Kratos - quite literally - standing on the back of a giant. It truly redefines “epic” in shocking and unexpected ways you may not have thought were possible. With God of War III, developer Sony Santa Monica raises the bar, delivering an experience unmatched in its genre in terms of both quality and presentation. This is particularly true considering it stands on the backs of giants - the God of War titles that preceded this PlayStation 3 sequel provided thrills that changed the way we look at action gaming. So the word “epic” may not hold the weight I would like it to in the instance of God of War III. Given the level of visual fidelity we’ve come to expect with the current consoles’ hardware, developers are always pushing the next big thing, with larger environments and breathtaking, Hollywood-style presentation. It’s easy to throw around words like “epic” when it comes to this generation’s videogames.