God of War II Review

 (Originally published to Glitchwave on 6/24/2025)

[Image from glitchwave.com]

God of War II

Developer: Santa Monica Studios

Publisher: SCE

Genre(s): Hack 'n Slash

Platforms: PS2

Release Date: March 13, 2007

Ah, so here’s where the God of War series garnered so much of its acclaim. I can’t say I’m too surprised. It should be the rule of thumb at this point that the first video game sequel is primed to be the exemplary entry of any franchise, a reflection on the finished product of their initial image that improves upon the untested template with a healthy mix of hindsight and critical feedback. Unlike films whose sequels often falter due to the medium’s inherent overreliance on using its narrative and characters as its substantial backbone, the interactive elements of video games, intermingled with the same components of film, add a broad layer of properties that allow more room to expand on and produce a smoother product with tweaking and reconsideration. One could argue that the narrative arc of the haunted Spartan warrior came to a satisfying conclusion at the end of the first game when he accomplished his absurdly daunting mission of annihilating Ares and dismantling his position on Olympus as the distinguished “God of war,” even though the air of dissatisfaction on Kratos’ part suggests that there are diminishing returns to his achievement. From a gameplay standpoint, however, concluding God of War with its initial outing would’ve shown a blatant showing of laziness or delusion from the developers, implying that everything was hunky dory. Inappropriate platforming mixed with strictly and cheaply implemented QTE combat sections hardly constitute the definition of a modern gaming masterpiece in my book. Giving the developers the benefit of the doubt that these shaky attributes aren’t self-conscious decisions that they deem as integral to God of War’s gameplay core, a sequel grants them enough opportunity to amend their mistakes and crease those oily hinges. Only by doing so will they create a follow-up that wins over the one percent of gamers (me) that weren’t convinced of the first game’s seemingly unanimous adulation. Did the finished product of God of War II placate me enough to a degree where I’m echoing its praises all the way to the heights of Olympus? For the most part, yes, but something is still bothering me that keeps me from boarding the God of War hype train.

God of War II begins immediately on the frame that ended the previous game, which is Kratos sitting with a stare of discontent on the former throne of Ares. It’s the most I’ve ever seen someone pout upon receiving a promotion, but then again, he never even applied for the position in the first place. One might wonder how controlling Kratos will fare this time around, considering that he’s now a divine entity with the powers of both immortality and gigantism at his disposal, but the enhanced Kratos is only witnessed from a voyeuristic point of view in the game’s opening cutscene. Kratos is still a proud Spartan at heart, so it behooves him to stand (literally) tall beside them in battle against the ancient Greek city of Rhodes. Considering that the Gods are intended to act non-partisanly over all civilizations that reside in the Mediterranean country, Zeus, the head honcho of Olympus, intervenes on Kratos’ attempts to tip the scales of battle in the favor of his homeland by sapping the newly-appointed deity of his holy divinity. Channeling the last drop of his godly abilities into powering the fabled Blade of Olympus, Zeus arrives to fatally plunge the sacred greatsword into Kratos’ vital arteries as punishment for his insubordination. In addition to slaying their allied juggernaut, Zeus extends the punitive measure to erasing the entire Spartan army off the map with a cataclysmic blast of energy, a decision that is certain to tick Kratos off, to say the least. Once he escapes from the clutches of the Underworld for the second time, Kratos collaborates with the Titans, another formidable faction of the ancient Greek mythos, to take revenge against Zeus for both his transgressions against our protagonist and the God of Thunder’s betrayal of the Titans during his pre-Olympian era. The only feasible way of sticking it to a God of Zeus's unparalleled stature is for Kratos to locate the whereabouts of the Sisters of Fate, a trio of time controllers whose specific abilities will prove paramount to at least penetrating the defenses of the almighty king of Olympus. If you thought the notion of killing a single God was preposterous, Kratos must be off his fucking rocker if he thinks he stands any chance of vanquishing THE grand poobah of Greek Gods himself: the chairman of the most esteemed board imaginable. His unabating anger must be fogging up all traces of rationality like a four-way street intersection in Silent Hill. Still, Kratos’s insane ambitions raise the stakes of the game’s narrative as any solid sequel ideally should, prompting it through Kratos’s on-brand qualms with the higher powers and his punk rock defiance. No wonder the developers made him bald.

Journeying to the sororal domain of ancient Greece’s time bearers is sure to be as strenuous a trek as uncovering Pandora’s Box in the first game. I mostly use “strenuous” as a means of describing the lofty scope of the mission, fitting for the Greek epics of yore that serve as God of War’s conceptual foundation. However, the adjective could also pertain to its level of difficulty from a player's standpoint, seeing how arduous select moments of the first game proved to be. The first game might have suggested to the player to lower the game’s combat difficulty whenever Kratos meets his untimely demise numerous times in the same scene (and it still does here), but most of the struggles that triggered these post-death pop-ups stemmed from the egregious platforming challenges. I compared Kratos to Mario when poking fun at the bevy of jumping the “ghost of Sparta” was forced to perform, but considering how many of the first game’s platforming involved balance beams, the developers wanted their burly murderer to emulate Simone Biles–an even more hilariously mismatched comparison, for sure. That one vertical climb in the Underworld has made me irrationally upset at any tall architectural structures, ranging from lighthouses to silos–whose outer walls ideally shouldn’t be scaled either. When I encountered another section in GOW II’s prologue that required Kratos to carefully tiptoe across, I wanted to scream out a NOOOO as emphatically as our protagonist must have uttered when he accidentally slaughtered his wife and daughter. However, I found this particular balance beam section to be agreeably smooth, as Kratos never slipped and dangled from its side on account of my lack of perceived precision. As the game progressed, I found that the developers had forgone their favorite form of acrobatics in favor of agile feats that better suited their protagonist. GOW II’s prevalent, distinctive platforming mechanic is the chain swing, latching onto fixtures and a series of slabs on ceilings to propel Kratos onward and upward like Indiana Jones using his whip to cross a chasm. Unlike many of the mechanics in God of War that involve an extraneous roulette of button combinations, all the player has to do to execute this maneuver is look for the R1 trigger and jump whenever they feel confident that Kratos will swing to the desired destination. They can also hold down another button to gain momentum if deemed necessary. Returning alternative means of platforming the route to the Sisters of Fate seems to be steeped in is wall climbing and rope crawling, both of which carried little to no serious complications. For standard platforming instances, all of the awkwardness regarding Kratos’ questionable jumping abilities can be course-corrected by the wings of Icarus, sprouting upon leaping in the air twice to glide for a short while. Admittedly, this nifty extension isn’t available until over halfway into the game, but only then will there be platforming feats that require its use. Overall, Kratos generally feels more adroit than in his last appearance, which resolves one of my biggest grievances regarding the properties of the previous game. Still, with Kratos’ newfound nimbleness, why couldn’t there have been more balance beams integrated with all the game’s other platforming facets? It’s better to be safe than sorry again, I guess.

Despite Kratos exhibiting a smoother aerodynamicism, the brute will initially still feel less capable from a combat standpoint in lieu of Zeus stripping him of his powers like a parent taking away their child’s electronics. Accumulating auxiliary powers to accompany the dueling chain blades was an earned process through progressing the game, and the player would probably feel cheated if Kratos was still hanging on to yesterday’s set of skills. Fortunately, GoW II offers a whole new slew of secondary tactics to use in massacring all the notable creatures that encompass the ancient Greek lorebooks, and incrementally receiving each of them per progression milestone is sure to garner those warm feelings of gratification once again. Still, that sense of achievement might be undermined by the fact that many of Kratos’s magic powers are quite similar to those he already possessed before they were discarded, like Samus’s suit upgrades. “Typhon’s Bane” is a magical bow and arrow combination that functions as Kratos’ long-ranged means of offense as “Zeus’s Lightning” once did, but I suppose it would be counterintuitive for Zeus to aid Kratos again, considering that his surrogate son is on a murderous warpath with him as his primary target. I’m convinced that the developers did a Google search on gorgons solely for the purpose of not reusing Medusa’s head as the tool that infamously immobilizes enemies into stone. Now, it’s her sister Eurayle’s hideous, decapitated head that Kratos flashes to enemies like an obnoxiously bright searchlight to then quickly smash them into rubble. One could argue that “Cronos’ Rage” is a severely diminished version of the absolute typhoon of electricity that was “Poseidon’s Rage,” but the smaller scale of the elemental attack depletes significantly less energy. Because of the comparative cost-effectiveness of this paralyzing electrical burst, I now use it practically as a crutch to render enemies as vulnerable as little lambs when they convulse wildly. Admittedly, the only semblance of originality between the foursome of magical moves here is the “Atlas Quake,” where Kratos stomps the ground with such ferocity that the impact of his foot fractures the Richter scale. As for the alternate melee weapon that can serve as substitutes for Kratos’ trademark chain blades, GoW II offers two distinct blunt instruments if one isn’t enough to make them defect from the series’ traditional means of combat. The barbarian hammer is a whopping tank of a weapon that makes any heavy-duty sledgehammer look ineffectual by comparison. Still, I prefer the “spear of destiny” that Kratos dislodges from the neck hole of a deceased griffin because the sharper, narrower utensil proved to penetrate the stubborn enemies that constantly block, whereas the other two fail to make a dent in their defenses. If all else fails, Kratos’ rage meter can now be triggered at any percentage point instead of needing to be full to activate. There are now also yellow energy pellets found in tandem with the health and energy ones that specifically charge the meter, so Kratos never has to wait long before unleashing his unbounded fury upon all that oppose him, and never flinches when stacking a combo chain. Or, they can reduce damage more organically by mastering Kratos’ counter move, which then channels the hazard intended to harm into a destructive energy he can volley back to them. Some may decry that Kratos’ move pool here is more shallow than what they’re already accustomed to, relating to either their derivativeness or less severe offensive output. However, I enjoy the fact that these powers have been subdued compared to their first game counterparts because it allows them to complement the chain blades instead of chugging through Kratos’ magic trying to substitute them. As a result, there is a synergy between all of the tools in Kratos’ arsenal, and combat is overall smoother and better defined.

But not all of God of War’s attributes required considerable revision; otherwise, I believe that more people would’ve been more critical towards it during its initial launch. If there is one aspect of God of War that is unquestionably the series’ continual tour de force, it’s the awe-striking spectacle fit for the grandiose Greek epic at its narrative and conceptual core. While the cinematic techniques of letting the developers’ keen eye direct the course of action are equally as prevalent in maintaining the scope of the spectacle at play here, what preserves its effectiveness is the fresh batch of settings and backdrops to marvel at. A trend I noticed regarding GoW II’s areas is that they seem to be more diverse than those of the first game. On his way to his destination with detours galore, Kratos will find himself in the grassy, damp “Bog of the Forgotten,” an ominous swamp that houses a temple in the catacombs of its thick layers of unkempt herbage. The flowing lava surrounding the mighty titan of Atlas may not be as sublime as the blood-red stream of the Underworld, but I prefer that the cavernous insides of the colossal creature arouse a feeling of exploration instead of crippling anxiety. “Typhon’s Cavernous Prison” is a glimpse into a snow-oriented area due to its high elevation in a mountain range, and the dimmed lighting inside the “Loom Chamber” aids in effectively exuding a sense of danger and wonder that simultaneously impresses the player and gives them the heebie-jeebies. Riding through the skies on the renowned flying horse Pegasus is practically the closest God of War will create something that can be classified as a “vehicle section,” snatching other winged mythical creatures with the chain blades while soaring majestically past the dense, blinding clouds. If I had to pick one sight and or setting whose spectacle induced that single-tear shedding moment, it would be hopping on the backsides of the “Steeds of Time,” marveling at the immensity of these equine architectures overlooking the gorgeous late afternoon sun over the horizon. Walking on the kilometer-spanning chain that connects this trio of animal-themed uber vessels from the “Temple of Lahkesis” is also a scene to behold because the camera shifts in front of Kratos to frame both the length of the chain and the distance between the two solid support foundations in a captivating wide lens shot. The bombastic cinematic flair matched with the apex of sixth-generation graphics definitely made the PS2 sweat like a sauna, but working the second Sony console to its breaking point was worth it to render a polygonal presentation of this caliber.

Maybe the reason why areas that comprise the narrative trajectory of GoW II seem more varied is due to the game pacing itself being a tad more tactful. Gone are the lengthy swathes of keeping Kratos in the same area for what feels like an eternity, and the fact that the sequel here trades what I call “panic puzzles” for more methodical brainteasers akin to those in a Zelda dungeon means that the player is less likely to be trapped in a maddening, Sisyphean loop attempting to overcome the same challenge. Perhaps areas feel more defined because there is a consistent streak of boss battles serving as solid progression points. It’s almost baffling how few significant foes were present over the course of the first God of War, and each of the three titanic tests of Kratos’ strength and dexterity was agonizing and bloated in its own particular ways. When GoW II multiplies the number of bosses from the first game in spades, every single one of them is surprisingly far more fair and functional on the player’s part as opposed to the excruciating duels subjected to them previously. Among all seventeen of these notable figures across the vast Greek mythos, I’ve discerned that they are all grouped in distinct categorizations. Similarly to the aforementioned Icarus, whose distinguishing wings Kratos plucks from his backside like rooting turnips from the earth, Kratos will be accosted by a series of other Greek legends whose tales are chronicled as fastidiously despite them being mortals juxtaposed with arcane creatures and Gods in the same pantheon. Theseus smugly, and stupidly, downplays the wrath of Kratos when he challenges the bald beast on the mast of one of the steeds, summoning the minotaurs he’s famous for slaying as assistance while he pelts Kratos with magic from above. “The Barbarian King” confronts Kratos once again after Ares infamously thwarted the man’s first opportunity to smash his head in like a pumpkin with his comically-sized hammer, and now he has the elevation and speed of being on horseback as advantages. He’s admittedly a figure fabricated by the minds of the developers, but he shares a similarity with the array of Greek legends in that they prove to be worthy opponents even though they stare down Kratos at the same, comparatively diminutive eye level. However, my kudos gets thrown out the window with Perseus, a whelp of a man whose ambition to conquer Kratos is laughable. The Kraken shares the behemoth size of the first God of War’s bosses, but all of my grievances with this feared pirate consumer are trivial nitpicks, such as the fact that there is no water to be found in his battle arena, and his face is far too personable for a grotesque sea leviathan. The Sisters of Fate can certainly be categorized by their blood relations, and they all offer distinctive battle attributes that equally engage the body as well as the mind. Still, two of the three sisters fall under a prevalent subcategory of bosses that showcase an alarming amount of nudity. Don’t get excited, dear reader, for Gorgon queen Eurayle is every man’s catfishing nightmare, and Clotho is like the Great Mighty Poo if the garganuan mass of excrement were covered from head to toe in mammary glands. It’s a sight that risks premature erectile dysfunction for any young, impressionable male players. Still, no matter the categorization each boss could potentially fall into, they all consistently offer a nuanced blend of combat and puzzle-oriented weak spot detections that never overstays its welcome or relies too heavily on button prompt sequences to automate the action.

So far, I’ve done nothing but commend GoW II for directly fixing all that I found fault with Kratos’ initial adventure. However, despite the glowing praise I’ve bestowed upon this sequel, there is still a revolting turd that the developers forgot to remove from their punchbowl. Of course, I am referring to the *fucking quicktime events,* God of War’s favorite method of manufacturing accomplishment with brainless button pushing. While my complaints still inherently stem from their overall inclusion, I have to admit that my least favorite aspect of God of War is at least more agreeable than they were in the previous title. QTE sequences no longer require the absurdly acute reflexes of a jungle cat, allowing the player to comprehend which button to press in a reasonable timeframe. While the button-oriented QTE sequences prove to be more lenient, any of them involving the analog stick are unfortunately just as inflexible, if not even more so, than they were in the previous game. Believe me, I rotated the rubbery control unit 360 degrees as gracefully as a figure skater, but the game still wasn’t satisfied with my attempt and punished me for my lack of perceived accuracy. I couldn’t execute a gorgon enemy in its weakened state for the life of me due to this quicktime requirement, so I always decided to hack at its lingering lifeforce to save myself the trouble. The QTE prompt may crumble to signify the player’s failure now, but I still need a clearer indication of WHAT I did wrong, in addition to informing me that I’ve failed. Unfortunately, even the button-oriented QTEs that I had foolishly begun to trust had reverted back to their former state of strictness during the game’s climax, where a reinvigorated future Kratos reverts the Sisters’ clock to demand a rematch against the Greek God patriarch Zeus. After several tense phases of swiftly dodging Zeus’s thunderous fists and absorbing his lightning with expertly-timed counters, Kratos realizes that, once Zeus enlarges himself again, besting the big man with brute force may not be a winning strategy. In a clever plan to lower Zeus’ guard, Kratos lowers his arms and submits defeat, which leads to Zeus shrinking and brandishing a blade above Kratos’ neck as he gestures a ritualistic execution. In order to prevent Zeus from smiting Kratos with a downward blade swipe, Kratos will counter only if the player presses the correct controller button that flashes on screen. The problem is, the window to press either one of four buttons is so skeletally slim that the player practically has to freeze-frame it like they’re analyzing the Zapruder film. In addition, the player must continue to pause this cutscene in order to ideally catch the following QTEs that commence Kratos violently plunging the Blade of Olympus into Zeus with a vengeance, rapidly blinking like the player has just accidentally squeezed lemon juice into their eyes. I understand that Zeus should serve as the pinnacle of challenges in this game, which is stacked with a staggering number of them, but this is the absolute worst direction to take to ensure that the father of the Gods will inflict the harshest punishment on the player. Did proficiently avoiding all of his firepower beforehand not prove to be ball-busting enough? Inexcusable.

I’m starting to think that my memory has failed me regarding the timeline of God of War’s legacy. I was confident that the gaming community lifted the series to the echelons of gaming’s greats as soon as the first title, but I’m beginning to believe that my recollections are hazy. With all that God of War II directly improves upon its predecessor, I’m now almost certain that 2007 is when Sony’s bloody homage to the classic Greek mythos became a contender for gaming greatness. I, myself, am so impressed with the various enhancements and changes on display that I’m now drinking the Kratos Kool-Aid, which probably kicks like Dave’s Insanity Sauce, knowing the figure fronting it. Still, I’m not guzzling it to the point of drunkenness like many other gamers, for no game that uses QTEs in this fashion should be considered for gaming royalty. Still, they’re not brazen enough for me to put the series’ legacy into contention as they were in the first game. I couldn’t appreciate the spectacle of the first game because it was beating me half to death with erroneous attributes. Now that they’ve mostly been ironed out, I give the God of War experience a round of emphatic applause.