God of War, the Paris Games Week’s trailer analysis

Kratos, your father
Decisively less extensive (just two minutes) of its predecessors, the trailer is set up as a real gameplay segment , and therefore it begins in medias res . We see Atreus alert his adoptive Kratos father of an apparent danger: a fire golem, which he call
Soul Eater, and whose ruthlessness he remembers. However, being ignores them both and leaves after raising a gate. The opportunity is good for a brief conversation between Kratosand his son tells him he had heard those things from his mother. The half responds not to give for certain information when not proven, whatever the source. Likewis
e, he reminds him never to lower the guard. The trailer, in this regard, further reflects the inclination of the “new” Kratos to pre-empt his father’s responsibility to the warrior. Obviously his attitudes are severely severe with his son: essential and pragmatic, encouraging hi
m to be dynamic and he does little compliments to avoid being crucified in them. All this happens while the player always has full control over Kratos.
God of War, the Paris Games Week's trailer analysis
Atreus, your son
Once he reached the point where the stone giant was, the gameplayit turns instantly: enemies of ice creepy appear out of nowhere, and Kratos is forced to fight them. The trailer reconfirms the greatest sense of control that the game has transmitted since the announcement: chaos has decreased and attacks are more massive and rational. Obviously tru
culence remains and the power of spartan strikes (settled with a fine Nordic ax) is palpable. The weapon is confirmed to be impregnated with magic, but the unpublished contribution is of course from Atreus. The little boy assists his father in battle and points to points of interest or opportunities to take advantage of during the fights. In the trailer such is a suspended lantern, which Kratos crashes on the monsters making them fire.
Not only: Atreus support is also essential to stun enemies,Quick Time Events . It is on this occasion that the movie shows a minimum of interface, in the form of a red icon indicating the grip (considering the exclusive, it is likely that it is the usual circle button). The so grabbed enemy can then be used differently: in this case Kratos launched it against other opponents to unpack them.
God of War, the Paris Games Week's trailer analysis
The unmistakable secret
After the collusion, the dynamism was replaced by a more calm phase. Kratos told his son to follow him, while the latter was amazed at his father’s military skills. Before cutting on black, the spartan raises the grate, following the Soul Eater. There are a few other jabs, while the game logo and developers run on screen. Atreus wondered what could really be the golem. Kra
tos as usual answers that they will find out … except then appear, in full jumpscare stylea witch witch wearing a helmet made with the giant skull of a goat. Beyond the scenic demand, this latter appearance is rather a metaphor of one of the hubs of the script: Kratos’s past as Olimpi’s destroyer and the fact that he has hidden all of this to his son. The witch’s wave
let is equally the mental mood of the semidium.
From a technical point of view there is always little to say. The trailer is an authentic segment of the game, and the graphics are always very good. The details about Kratos and her son are excellent, and the enemies are sufficiently studied in a logic of visu
al and conceptual contrasts. The camera reacts dynamically, but in the current state of things it is still impossible to say with certainty whether it will be scripted or whether the high-speed rallenty of frames will be maintained, delaying the powerful shots and spectacular moves.