![]() ![]() ![]() From this restriction, control's slowly dealt over to the player - first by a handful of QTE-fuelled dodges, and then further out still until the fiery blade swinging combat slowly clicks into place.īy the time that Kratos is fully under the player's command, it's apparent that this Ascension offers perhaps the biggest leap forward in combat mechanics that the series has taken to date. ![]() In place of the heady freedom and spectacle of past games, here Kratos is introduced bound in chains, held captive by Megaera, one of the furies. It's there in the combat itself as well, although it's uncharacteristically coy in revealing itself. Regardless, Ascension once again manages to look like a painting, even if it's most definitely the kind of painting you'd expect to find on the wall of a slightly troubled GCSE classics student. It's there in the spectacular visuals, which are now so embedded within the world of God of War it's becoming dangerously easy to be blasé about them (Digital Foundry's recent tech analysis should snap you out of that soon enough, though). First it hits the rewind button, sending Kratos back to his time as a Spartan, but more importantly it's drilled down into all the tiny details that help make up the epic vision. The beginning of Ascension provides an answer of sorts to Sony Santa Monica's perennial problem. God of War's only real problem has been with the spectacles it's created itself - how can you trump battles that have consumed the heavens, and where do you go once you've felled Zeus? God of War has never really had a problem with spectacle - this is a series with set-pieces that fling gods together with happy abandon, and one that toys with perspective and scale with dizzying ease and breathless pace. ![]()
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