God of War (2018) was a stunning game, no doubt about that.
So, when Ragnarök arrived, I wondered how the developers at Santa Monica Studio could make it look any better. And yet, after playing GOW Ragnarök on PS5, I had two clear thoughts:
- This was the best visual experience I’ve had in gaming
- Oddly, there was nothing obvious that stood out as the reason why.
So I went back and replayed the game on PS5 to understand what made it so breathtaking.
What I realized was that it wasn’t a single big change that made Ragnarök feel like a visual masterpiece. Rather, it was a collection of small improvements. When combined, these improvements made the game look WOW.
I’m talking of the subtle shifts in lighting, the way shadows fell across Kratos’ face, or the way snow clings to his boots. Yes, it was the attention to these small details that made the difference.
Here’s more on what I feel made God of War Ragnarök a visual spectacle.
It’s Like Being Inside An Ambitious Movie
From the moment you start God of War Ragnarök, the game wastes no time immersing you in its world. The visual style mirrors the grandeur of an epic movie, with continuous camera shots that weave through the entire game.
Just like in the 2018 game, there are no breaks—cutscenes flow directly into gameplay without any loading screens. This single-shot technique makes you feel like you’re part of a monumental cinematic experience.
This approach draws you deeper into the story. Transitions between Kratos’ battles and the more intimate moments with his son Atreus are seamless. You feel you are in a film that suddenly hands you the reins without you even realizing it. That kind of design makes Ragnarök elevates both the gameplay and storytelling, which is not something I say lightly.
The Realms Feel Bursting With Life
We use the word “spectacular” lightly, but I wish I’d never used it at all because the one thing that truly deserves it is the visual quality of the environment design in God of WarI felt it when I was navigating the icy paths of Midgard, I felt it in the fiery caverns of Muspelheim, and I felt it in the Dwarven city of Nidavellir. The sense of the fantastical quickly transitions into a sense of realism, so much so that even though these places are based on Norse mythology, you feel like you’re in a real place that existed many years ago. They feel like lived-in places.
What makes the set design stand out is how each realm has its own visual flavor. Alfheim, with its reflective crystals, feels ethereal and bright, while Jotunheim feels vast and mysterious, with its towering cliffs and ancient ruins. The game’s attention to detail is evident in how every location feels visually distinct, yet cohesive in its mythological setting. These aren’t just pretty backdrops; they’re carefully crafted worlds that invite exploration.
The Faces Of The Characters Tell Stories Even When They’re Not Speaking
It hit me hard to realize that the characters draw you in emotionally for a reason. A lot of work has gone into the details on their faces—their eyes, the way their lips quiver before they say something, the way they furrow their brows.
Kratos, in particular, is rendered with such an absurd amount of detail that every scar, every wrinkle, every shadow on his face tells part of his story. His weathered look, pale skin, and deep-set eyes speak of a man who’s seen—and caused—too much destruction.
Freya, another key character, radiates fury with every movement. You can almost feel the weight of her grief just by looking at her. It’s not just the main characters, though. Even minor characters and creatures, like the Dreki or Grim Toads, are spectacularly designed. Their visual presence is terrifying. None of the creatures feel out of place in the harsh mythic landscapes.
The atmosphere binds the world together
Of course, there is a realm of technical wizardry that makes it all possible. For instance, some experts say that the lighting effects in this game are a miracle. There’s a reason Midgard feels cold and bleak, and there’s a reason why Alfheim’s waterways are ethereal and shimmering. The world seems to react to your mood.
Even though the game doesn’t use full ray tracing, it makes up for it with high-quality reflections and dynamic lighting. In flooded caverns, for example, light pours in from above, reflecting off the water in a way that feels almost magical. The game’s weather effects, from blizzards to thunderstorms, add another layer of immersion. You’re not just watching these environments—you’re feeling them.
On the whole, it’s quite a case study in game design. Santa Monica Studio didn’t need to reinvent the wheel to make Ragnarök visually stunning. A visual spectacle isn’t just the grand, obvious things. It’s the small changes that come together to create something extraordinary.