God of War, where were the Amazons?

While doing research for my God of War series I had a little bit of extra material that didn’t quite fit in with the other chapters. I’d like to share this bit of concept work that never made it into the game. Today I’d like to talk about the Amazons. For a game that features a good chunk of Greek mythology it was surprising that the Amazons were not featured more prominently in the games. The female warriors from were legendary in the fables of Homer, Euripides, Herodotus, and other ancient writers. Queen Hippolyta, sometimes written Hippolyte was the daughter of Ares, and Otrera. She was by far the best warrior of the women, and was gifted a magical war belt by her father. This belt did more than hold her sword, it provided her protection from mortal wounds. Without it she could be killed. Hercules was tasked to retrieve this belt for Admete, the daughter of King Eurystheus. Admete was obsessed with the Amazons, and wished to have a possession of theirs. Getting this item for the young princess would become his ninth labor. Hippolyta freely gave Hercules the belt when he explained his labors. Sadly the queen of the gods Hera had gone in disguise as an Amazon. She had sewn discord with the tribe, causing them to attack Hercules, and his men. They killed most of his men, and Hercules killed Hippolyta before escaping. In other stories she was taken by Theseus, and married him while in Athens. The Amazonians tried to steal her back, and she was killed in the ensuing conflict, either by her husband, or accidentally by her own warriors.

The name Amazon was used thousands of years before the South American river was named. In fact the river had multiple names in Pre-Columian history such as Guainí, Tambo, Apurimac, Orinoco, Solimões, and Amaru Mayu. The Amazon is actually a word from Ancient Greek meaning “missing one breast.” This was because the warriors were rumored to cut off one breast so that it wouldn’t get in the way of their archery, or spear throwing. They lived apart from men by choice. This didn’t mean they didn’t have relationships with men. If they got pregnant then they would only keep the female offspring. In some versions of the legends they would kill the male children, or cripple them, and turn them into slaves. They had a reputation for being merciless in combat. Plus they were known for raiding many outposts, and pillaging whatever they needed. With such a lengthy history you would think that the Amazons would have been a part of the GoW series since day one. Sadly they were only seen once. The female warriors were painted in blue body paint, had a spear, and small Greek shield. They popped up on the Isle of Delos in GoW Ascension. This was the very last of the Greek saga games.

The version of the characters in the game was fairly accurate. Moreover it was great to see some Black representation in the game, better late than never I suppose. Just an FYI, Hercules was Black in a couple of the earliest concept art. But I digress. Although it was sometimes difficult to make out on the screen the warriors actually had only one breast. You could make out a scar across the chest whenever the in-game camera zoomed in. This was usually when Kratos was performing a killing blow. What I never knew was that Amazons were in the plans for my other favorite GoW title, the Ghost of Sparta. Concept artist Justin Murray designed a great chunk of the characters for the game. His stylized characters were not quite comic book, nor were they manga. They fit in perfectly with the majority of the aesthetic used in the GoW series.

There were at least two proposed designs for the characters. Given the diversity of the Hoplite, Persian, and Rhodes soldiers featured in other games then at least two different Amazons would have been featured in Ghost of Sparta. The designs for Mr. Murray were not dainty warriors. They were a few heads taller than Kratos, who is well over six-feet-tall. They were as big as Zeus, or Thanatos based on the concept art. Mr. Murray kept their breasts intact, however they were proposed to have armor go over one breast, or perhaps have some scarring just under their collarbone. Each of the designs also had a unique weapon. One wielded a chakram, sometimes called a chakar. These were circular throwing blades from India. They were best known as the weapon used by Xena: Warrior Princess from the ‘90s television show. Like most of the weapons in the GoW series this version would be huge, and far more intimidating than the historical armament. It had a brass body, with three angry blades on the outer edge. The other proposed Amazon weapon was even more fantastic. It was an axe with a burning core, attached by a chain to a handle. It was unlike any other weapon I had seen from history.

The difference between the thousands of concept illustrations created for the series, and the Amazons was that there was at least one model was created, and rigged for animation. This was years before God of War Ascension. This Amazon looked just like the concept art, and matched the stylized world of the classic GoW games. I can almost imagine how she would have fought. With a chakram larger than the Blades of Chaos she would have had ranged attacks, and close up strikes in equal measure. It makes me a little bit sad knowing that they never appeared in Ghost of Sparta. I’m grateful that the artists shared their work online, and that Sony also posted additional content. So many game studios never publish art books, or share their concept work. It will hopefully inspire future designers to push the boundaries of their own art. I’d like to know if there was a concept character, or stage from God of War, or any other game that you wish had made it into production. Let me know in the comments section please. As always if you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!

God of War III, the dark, and brooding end of a story

Of all the God of War games, it was the third game that I enjoyed the least. That is not to say it wasn’t a good game. Far from it. I must have played through the game at least a dozen times, always picking up new details, and appreciating the work that went into it. God of War III elevated the status of Sony Santa Monica as one of the premier game developers around the world. They managed to take everything that made the GoW series memorable, and put it on the Playstation 3, while also raising the bar in terms of visuals, control, animation, and game play. The game picks up on the heels of the final cinema that played at the end of GoW II. We see Kratos standing on the shoulder of Gaia, as she, and her fellow titans are climbing Mount Olympus. The minions, and supporters are fighting the citizens, and servants of Olympus the entire way up. Zeus looks down from the peak along with his brothers Hades, and Poseidon. His son Hermes is there, and the god of the sun Helios is there as well. Zeus rallies the gods, and says they have faced worse odds before. They leap into battle, Hades sliding down the mountain with the use of his hooks. Hermes runs down the mountain. Helios summons his blazing chariot, and flies off into the sky. Poseidon jumps directly at Epimethus, and pierces his chest, sending the stone-like titan falling into the ocean below.

The game is visually stunning. For the first time the in-game graphics are as good, if not better, than the pre-rendered cut scenes from the first two titles. From this point forward every GoW cinematic would be rendered by the actual game engine, making every transition from story to game seamless. The levels would be massive, presented with greater fidelity than before. In many cases we would be able to see for miles, the usual “cheats” of having distant objects obscured by fog, or clouds wasn’t the case here. Also the stages could be dynamic. The battle within the Colossus of Rhodes was primitive compared to the movement of the stage while Kratos fights the defenders of Olympus while also climbing Gaia’s shoulder. Then later in the game the studio tops themselves once more by having Kratos fight Cronos as he tries to pluck the minuscule Ghost of Sparta off his craggy skin. Granted these amazing types of battles had been seen earlier in Shadow of the Colossus. They nonetheless were some of the most impressive fights in the history of gaming. In addition to going bigger, and better with everything that went into the encounters, the amount of detail had gone up exponentially for the characters. According to the developers “Kratos from God of War 2 (PS2) had 5,700 polygons for his entire body, 1,200 of those for the face and used five textures. Kratos from God of War 3 (PS3) had 64,000 polygons for his entire body, 5,700 for the face.” The move to new hardware, and storage space on the PS3 discs, plus DLC content, allowed Kratos to have different “skins,” or outfits rendered in perfect detail.

Being able to change the look of Kratos wasn’t something new. In the first game once you played through you could actually unlock new costumes for him. Some were armor that allowed him to take more damage, or deal more damage. Other outfits allowed him to gain faster experience, or have unlimited magic. Most of the looks made the Spartan look more dangerous, and some made him look silly, like a giant fish, or angry cow. Sony Santa Monica never took themselves too seriously. They had a sense of humor with the otherwise dark material. That was evident with the humor that went into the Twisted Metal series. The new costumes were actually a love letter to the franchise. Several of the skins were a nod to the earliest concept art for the character. Outfits like the Forgotten Warrior, Dominus, and Phantom of Chaos were based on the designs where Kratos was a helmeted, and almost faceless character. The warriors looked brutal, and they allowed audiences to wonder if the game would have been as successful had Kratos looked like this. One of the skins was Deimos, that of Kratos’ younger brother. Again, it allowed us to wonder if he could have carried the franchise as well.

The original game introduced the Blade of Artemis about halfway through the story. It was a powerful close range weapon that played differently than the Blades of Chaos. It could also be upgraded, and allowed audiences to enjoy a different experience. God of War II expanded on that idea, and introduced multiple weapons; the Blade of Olympus, the Spear of Destiny, and the Barbarian Hammer. Each one also played uniquely as well, and had different features that could be unlocked by powering them up. GoW III followed the trend, Kratos had an upgrade in his traditional Blades of Chaos / Blades of Athena, to the more sinister Blades of Exile. The title also added the Nemean Cestus, the Claws of Hades, and the Nemesis Whip. These weapons not only added new game play elements, they were also required to overcome certain obstacles. As welcome as the new tools were they suffered from the same limitation as every other weapon. Audiences had to defeat enemies, and destroy items in order to earn the Red Orbs required to upgrade the Blades of Chaos, and the magic items acquired. They had no idea if these other weapons were superior to the Blades of Chaos, or would be needed to beat the game. Nothing felt worse than wasting red orbs on one weapon, or magic item, when a better one was around the corner. Not to mention that the Claws of Hades, and Nemesis Whip were weapons attached to chains, with a range not unlike the Blades of Exile. Having three similar items didn’t really feel necessary. That was the least of the reasons why I enjoyed the game less than the other GoW titles.

The difference between the earlier releases, and GoW III was the tone, and atmosphere of the game. The PS3 game was incredibly dark. It wasn’t the first time the team had created something bleak. For example the jump in tone from Twisted Metal on the PS, to Twisted Metal Black on the PS2 was huge. That series however always revolved around a band of psychopaths, cursed participants, demons, and apocalyptic settings. It made sense to push the envelope in the sequels. God of War was a different kind of game. It was an adventure with a lot of stylistic fantasy to it. God of War III was gritty, realistic, and just plain ugly by comparison. I don’t mean the graphics were bad. They were brilliant, but it chased a tone that was rooted in realism, rather than the more comic-type aesthetic of the previous two games. For example think of the presentation of the legendary heroes in the previous game. Characters like Theseus, and Perseus were very stylized. Their costumes, and weapons, just like their stages were bright, and colorful. They looked like action heroes in a comic book, or perhaps anime show. By comparison every costume, location, and hero in GoW III had muted colors. Their armor lacking polish, and upkeep. Their stages (and skin) were washed in a series of grays, and dull browns. These were conscious choices from the GoW III Director Stig Asmussen. Like the yellow filters used by Hollywood when they wanted to depict Mexico, or Southeast Asia.

If I were to make a cinematic comparison between how the violence had changed, it was the difference between the gun fights in John Wick, over Training Day. One film was way over the top with the encounters, and the other was scary in its realism. Blood, guts, sex and violence has always been a part of the GoW franchise. Previously these things were almost cartoonish in presentation, including the decapitations, and sex mini games. They weren’t as shocking, as they were camp. This time Sony Santa Monica wanted to render every blood vessel, tendon, and muscle tear in vivid detail. We would be treated to a first-person view as Kratos beat Poseidon to death, and even blinded him by thumbing out his eyes. Kratos would inflict that type of brutality to every god that crossed his path. All of the H’s; Helios, Hercules, Hermes, Hades, Hephaestus, Hera, and lastly Zeus were gruesomely deposed. Every encounter was uglier than the one before. God of War II was in part a love letter to Clash of the Titans. The studio went so far as to reprise Harry Hamlin as the voice of Perseus. Although he was defeated by Kratos it was a quick kill, and not overly gory. The inclusion of Hamlin felt like an earnest call back to what the actor meant to a generation. In GoW III the voice of Hercules was performed by Kevin Sorbo. The actor had played the titular role for six seasons in Hercules: The Legendary Journeys. The show ran almost a decade before GoW came out, and had built a cult following. This was especially true for the spin-off series Xena Warrior Princess. But I digress. Having Sorbo voice a larger, darker version of the character didn’t necessarily carry the same sense of admiration for the role. This was especially evident as Kratos literally punched the face off of the hero.

Kratos had obliterated most of the classic villains, and even some of the heroes from mythology throughout the years. He destroyed several cities in the process, ended the Greek pantheon, and wiped older traditions off the face of the Earth. It was an impressive feat, but the way things closed out in GoW III felt poorly executed. From a storytelling perspective the game felt like a rush to wrap everything up. Every previous GoW title had Kratos travel across the Mediterranean. We saw actual historic locations, as well as many fantasy settings. We even got to visit the afterlife during the adventures. Even if the trip went full circle it at least felt as if we had gone on an expedition. GoW III was anything but a journey. The entire game took place on Mount Olympus, and sadly not the cool golden Mount Olympus seen in the ending of the first game. This Mount Olympus felt like going room to room in a big house. Each room getting progressively darker until the lights went out. When I think of GoW III the only thing I imagine is a giant chain that connects the beginning, and end. You’re either climbing, flying up, or down through this chain when you'd rather be doing anything else. To be fair we did visit Hades, and Tartarus, but that just feels like we’re going into the basement, and sub basement of the same mountain. I felt like the graphic horsepower of the PS3 was wasted by staying in one area. Forcing everything to happen in a centralized location was something that I felt really hurt the experience.

Then there were the issues that I had with the story. Kratos was repeating the cycle of those that came before him. This was to be expected since he was a tragic character, and Sony Santa Monica was following the storytelling tradition. For perspective Cronos had freed the titans when he gutted his father Uranus. Zeus had freed his brothers when he gutted Cronos. Now Kratos was on a mission to destroy his own father as well. The moral being that Kratos didn’t just want to get revenge. He wanted to end the cycle he was born into. It was a theme that would be revisited in the 2018 version of God of War. Kratos had no family to free, and with the death of Athena not even a friend to lean on. If he died on his quest for revenge then it seemed fine with him. It wasn’t just a story of revenge however, but rather the erasure of the old religions. It was a bold narrative, but it was delivered with a heavy hand. For the first time in the series Kratos lacked pathos. In other games he showed a range of emotions. He was angry, but despondent in the first, arrogant, but also regretful in the sequel. All he had was rage in the third. It wasn’t realistic anger, but exaggerated rage to a fault. He was written almost one-dimensional in GoW III. He was too short of temper with no redeeming factors. He would fly off the handle at every insult thrown his way. We were used to his anger by now, but every line delivered lacked the range that T.C. Carson was known for. It was all moping, and seething with no substance. All of the good writing in the game went to Pandora, as played by Natalie Lander.

The young daughter of Hephaestus was locked away in the labyrinth within Mount Olympus by Zeus following the events of the first GoW. This history was explained to Kratos from several of the other gods. Kratos seemed indifferent, and dismissive of Pandora through the majority of the game. He insisted over, and over that all wanted was the death of Zeus, ignoring what Pandora was trying to explain to him. This seemed out of character for the Ghost of Sparta. Long-time fans knew that he regretted killing his wife, and daughter every day of his existence. He wouldn’t necessarily be cruel to another girl whether she was god, or not. He didn’t change his tone towards her until the very end of the game when she had to sacrifice herself. Kratos seemed too dense in understanding that Pandora offered hope to the world. When all of the ills were released by opening the box in the first game, the thing that remained was hope. That part of the story felt like a stepping stone for the grand finale which was Kratos, and Zeus beating each other to a pulp. The last cinema ending of Kratos stabbing himself after defeating Zeus, and then vanishing seemed anticlimactic. I got that Sony didn’t want to give up their cash cow, but the whole game was so dark, and ugly that I felt it betrayed the greatness of the first two titles.

Had that been the last time I played an entry to the series I would have been sorely disappointed. I did not own a PSP so I had no idea if the handheld games were any good. Thankfully they were ported to the PS3, and given some visual, and control polish. When I played those games I had a newfound love for the series. I’m going to do a deep dive into them next. Until then I’d really like to hear your take on God of War III. Did you think it was the best entry in the series? What did you like, or dislike about the game? Let me know in the comments section please. As always if you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!

The Street Fighter 6 pre-order trailer, a look at Marisa, the modern gladiator

One of the things that I despised in SFIV, and SFV were over-the-top characters, moves, and animations. They often broke the fourth wall, and turned the fighting game into a series of sight gags. The way that Abel would spin opponents over his head with ease was one example. But also the way Rufus would bounce, or F.A.N.G. would flap his arms, and fly all over the stage. These silly animations took me out of the game. In the previous blog I mentioned that Marisa was a second take on one of the cringiest characters in the franchise. I honestly believe that she was a way to make up for Hakan, the Turkish oil wrestler. Let’s examine the roots of both characters.

Yağlı güreş is an actual form of wrestling from Turkey. It’s among one of the oldest forms of wrestling in the world, and certainly deserves some respect. In Street Fighter IV any appreciation of the art was thrown out the door. Making a joke character out of Hakan was more than likely a call from Producer Yoshinori Ono. His sense of humor colored both SFIV, and SFV. I think it was unnecessary what the studio did with Hakan. If you have a moment I want you to review the idiotic special moves given to the character. Hakan would slather himself in oil, and slide across the screen. He would squeeze opponents until they slipped out of his arms, or roll with them on the ground with the frenetic energy of a Beyblade. Remember the amount of detail that I mentioned went into the judo moves of Manon in the previous blog? Well, none of that went into the moves of Hakan. Instead we have a beet-red character with a strange haircut that continuously breaks the fourth wall with his attacks. I believe that the SF6 team wanted to show more respect to the Mediterranean this time around. While at the same time revisiting many of the same elements that worked for Hakan.

The obvious connection between the two is the area of the world that they inhabit. Turkey, Greece, and Italy share a long history in the grappling arts, we are talking about thousands of years of cross-pollination with the wrestling arts of the East, and West. Their respective cultures helped plant the seeds of modern wrestling, boxing, and even MMA. From a storytelling perspective their body types have to show what type of fighter they are. Both Hakan, and Marisa are very muscular. They do not wear boxing gloves, or boots. So we can tell they are likely very powerful grapplers, with some striking thrown into the mix. Both also have odd hair styles, which are reminiscent of ancient warrior helmets. They also each share a golden lion motif in their design. There is a lion in the decorations of Marisa’s stage, as an actual lion parades in the background while wearing a golden mask. Hakan wore a gold lion on his belt, and his brand of oil featured a lion as well. The ways that each character was presented demonstrated the new direction that the franchise was taking.

Everything related to SF6 shown so far was a love-letter to the series, and the genre as a whole. The developers were not trying to make gag characters, or special attacks this time around. They respected the martial arts that they were trying to capture. At no point were any of the SF6 cast revealed to be joke characters, with silly styles. Yes they could be carefree like Dee Jay, energetic like Kimberly, or flamboyant like Juri, but they were all serious about their craft. Audiences can tell by looking at Marisa that she is heavy hitter. However she is also a multidimensional character whose background shapes her appearance. According to the official bio she is “An up-and-coming jewelry designer from Italy who claims ancestry to ancient Greek warriors. As a child, she was inspired by a vision of the Colosseum in its prime. Today, she seeks glory with a smile—and an eye for beauty.“

In my first take on the character I called Marisa a gladiator. All of the superficial elements placed on her told a story. The cut of her hair, the plates on her shorts, even the sword jewelry all spoke of Ancient Rome. Seeing her in action in the SF6 trailer shows that the team wanted to make her an awe-inspiring fighter. Several of her poses are taken right out of the history books. Her step over grab into a punch was immortalized in Greek statues that highlighted the roots of Greco-Roman wrestling. These were not the only things that we could make out in the pre-order trailer. Marisa is very tall, not as tall as Zangief, but still a titan in build. She’s actually shown picking up an adult African male lion in the footage. These lions weigh over 400 lbs. and are nowhere near as docile as a house cat.

The mythological figure Hercules, father of pankration the original form of MMA, was said to have wrestled the Nemean Lion, the Erymanthean Boar, and the Cretan Bull during his famous labors. These wild animals were bigger, more ferocious, and stronger than their regular counterparts. Marisa is a callback to the Greek hero, and moreover is making the lion motif part of her identity. It makes more sense in her context than as a mascot on a bottle of olive oil, wouldn’t you agree? In her stage we see other warriors, possibly actors, wearing costumes reminiscent of ancient soldiers. The blade logo featured on their shields, as well as the jewelry piece hanging around the neck of Marisa is reminiscent of the Lambda symbol found on some Spartan shields.

I think that part of the reason that the SF6 team went so deep in the creation, and details of Marisa was because of an earlier Capcom game. Shadow of Rome was a title from 2005, that believe it or not was produced by Yoshinori Ono. It centered around gladiatorial combat in the ancient Roman era. It was violent, barbaric, and played very much like a spin-off of Monster Hunter. Both of which I assume shared the same engine. The sights, and sounds of the old world were faithfully captured. The fashion, armor, weapons, and combat of the title were fairly accurate. There was a lot of creative license with many of the encounters, but as a whole it did a good job of turning the brutality of gladiator battles into a fun game. It was forgotten, partly because the original God of War did a better job at recreating the mythical era that same year.

Marisa is a very interesting character that seems to maintain the same level of care that the other new faces in SF6 have. She doesn’t seem to be a joke character, nor does she have any silly moves like Hakan. A bit of planning, and some respect for the subject matter is what it takes to make a good character design, into a great one. These are the things that I believe Mr. Ono was lacking in SFIV, and SFV. As of this moment I will probably main Zangief in the game, but as I did with Alex in Street Fighter III, I will be looking at Marisa to act as my secondary heavy hitter. What do you think of the character reveal? What do you think of the new characters revealed so far? Who are you eager to see, and what are you eager to try in the game? Let me know in the comments section please. As always if you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!