#whereas atreus is only part-giant | Explore Tumblr Posts and Blogs

bellaaldamas · 12 days

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OH MY GOD I THOUGHT I WAS THE ONLY ONE WHO LOWKEY SHIPPED HILDISVÍNI AND SIF!!! The whole mending ties between the nations and realizing that they like each other as time goes on is so 😋

they’re great very slow slowburn material :D

This makes the two of us, then ;) Because admittedly, I wholeheartedly assumed it's my unapologetically pro-romance, "more girly interests and less male power fantasies in the media" self that invests in the potential of these two having a romantic relationship. On a serious note, a romantic arc with these characters opens innumerable possibilities for development and would serve as an excellent continuation of GowR message of moving on from toxic past and forging a better future of free will (first concept was the foundation of Freya's arc - especially Freya's missing peace side quest. Whereas the second one reflects Kratos and Atreus's journey - "so much to rebuild", Atreus embarking on his quest to find remaining giants; with Angrboda, yet again, honoring his decision and letting him go despite how difficult it was for her to part with him while also giving him the option to seek her out if he wanted to; hence gifting him her marble like he did his before).

Hildisvini is shown as a mentor type. He fulfilled a definite fatherly role for Freya and Freyr whereas with Atreus he didn't at all hold it against him that the latter mortally wounded him in his boar form (although that wound still gave Hildisvini trouble in his human form). Furthermore, he didn't baby or infantilize Atreus but rather saw him for a skilled young warrior with a lot of potential which he encouraged Atreus to use and treated him like an equal partner (another perfect mentor trait).

However, Hildisvini could benefit from abandoning the mentor role for a change and trying a different one, where he would have a partner-opponent whom he could have healthy and constructive arguments with and who would challenge him. Sif, showing her willingness to work with Hildisvini in the end in order to "rebuild" and create a better future, would, for her part, have the chance to partner with a self reliant and mentally independent man. A drastic change from her marriage to a passionate but spineless, easily manipulated late husband Thor. Who was never able break free from the toxic influence of his own father, even when he and Sif lost both sons because of Odin and were confronted with the risk of potentially losing their daughter. Who, despite being different and less self destructive than Magni and Modi, still absorbed her grandfather's problematic thinking and fell for his manipulations (such as when Thrud referred to Freya as Odin's "treacherous ex wife"). In that vein, Hildisvini's possible interactions with Thrud and an inevitable conflict would make for an interesting and necessary development for Thrud (as @stupidrant accurately pointed out in our recent exchange).

You're absolutely right about Hildisvini and Sif being a perfect slow burn material in a way that would logically fit into their story and characters as opposed to being a needlessly stretched out drama. Atreus and Angrboda, for instance, are more about open self expression and an unfolding in real time budding romance - the first such arc in Gow universe so far if I'm not mistaken (I've still yet to familiarize myself with the Greek saga), especially where first real and substantial feeling is concerned. Kratos and Faye were a classic "relationship of the past that the characters can never get back" (because - which is also a classical trope - one half of the pair has passed away) and that the leading character and the main story arc are fundamentally influenced by.

Sif and Hildisvini could provide a different but no less enticing type of romantic build up where two characters with rich personal history realize their attraction and feelings through active communication for the sake of the common cause.

#duck-noises #reply #text

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stupidrant · 2 months

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Regarding Sigyn, so far there has been no evidence within the game she's even planned to be a part of the story/plot at some point. Clearly, the developers are planning to deviate from the Norse saga and explore other myths and storylines while keeping established characters and their development. That includes Atreus and Angrboda's shared giant/Jotunn background - one of their bonding points in game but not the only one - and Atreus's quest to find potentially surviving giants, with Angrboda clearly intending to provide her assistance in every way she can. The foreshadowing of that (Angrboda giving him her marble while keeping his - with Atreus's consent, as we know - and her ambiguous post-game line about her "just getting started" with whatever she's set out to accomplish) is as blatant as the developers' direct statements that Atreus and Angrboda are "definitely doing this together" (meaning the search for giants). If the matter of Sigyn is ever brought up and linked to Angrboda (the latter is even less likely than the former, for reasons mentioned above) it'd probably be in a completely made up, non-mythological context. But even that would be too much of a stretch for Gow developers and their propensity to offer an original spin on myths/take liberties with them.

For instance, naturally, within the context of the games Angrboda is as much a young teen as Atreus is and did not give birth to Loki's children Fenrir and World's Serpent. But in game Angrboda sensing the soul in Atreus's knife did help him bring Fen back to life by means of ultimately putting said soul into Garm. The serpent was also, in a way, their shared "creation" as Angrboda guided Atreus through whispering giant's soul into it. Those are examples of SMS making mythological references without actually adhering to their mythological context and constructing their own story around them.

With Sigyn it is A) near to impossible to do and B) there's no narrative need for her to be brought up at all within the context of Gow universe. Even Freya having Hnoss and Gersemi would make more sense within the in game world in terms of her development/getting a second chance at motherhood after Baldur. Sigyn would not contribute to any development whereas bringing her in as another love interest for Atreus (who is far from the mythological Loki and has his own, completely unique arc and personality, crafted by the developers) would be offensive and imply female characters (in this case Angrboda and Sigyn) are interchangeable and exist as plot devices/footnotes in male character's story.

yea after a while ive thought abt it and i dont want them being the same lol though im not really afraid of this happening since theres nothing abt sigyn in the games

#I dont really think abt it too much anymore since last month tbh #god of war ragnarok #god of war #gow #Gowr #asks

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fmpy2 · 1 year

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Character 2 Research

The second Character is going to be Loki a common villain over the millennia transcending mythology, video games and massive popular culture. The reason i am researching and choosing him as my character is mainly for 2 reasons; firstly he is the most recognisable villain in not just pop culture recently but maybe all of history as well with him being titled the "God of Mischief". The second reason is because he is the complete opposite of Iron Man and his arsenal of ranged weapons, and is usually in most depictions melee dependant meaning i can balance both players with ranged having less damage and melee having much more.

Loki Season 1 (TV Show 2021)

One of the first projects of phase four of the Marvel Cinematic Universe Loki currently remains one of the highest rated and acclaimed project of the entire universe. The show consists of the protagonist and deuteragonist (both variations on Loki) navigating an time and multiversal correcting authority and uncovering the nature and origins of the mysterious place. In the way the Loki's are presented is askew to the conventional behaviour of the god as in this he acts more of a vigilante/amateur detective role. This presentation of Loki is something not really i want as he seems to swing in the direction of general moral decency whereas in my project his intentions are to fill the category of villain.

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GOW 2018

Within the God of war universe it is revealed at the back end of the 2018 reboot that Kratos' son and sidekick Atreus is actually Loki.

Introduced as the son of Kratos and Faye, Atreus joins his father on a journey to spread his deceased mother's ashes on top of the highest peak in all the nine realms. On their journey, Kratos teaches Atreus how to survive and fight as a warrior while Atreus teaches Kratos to open up to those that can help them. As they reach Jotunheim they learn that Faye (Laufey) was a Jotun and that she had given him the birthname Loki.

Mythology

Within the old Norse scripture that featured Loki he was described and pictured as a cunning trickster that could change his shape and sex to anything he desired.

Der Ring des Nibelungen

The famous German opera that contains is a cycle of four German-language epic music dramas composed by Richard Wagner. These works are loosely based on characters in Germanic heroic legend, most namely legendary sagas and the Nibelungenlied. To be crude the story is basically a musical lord of the rings just more political and with no dragons and cool monsters also despite it being an initial part of my research to look into "Loki" isn't his actual name in this and is called "Loge" the demi-god of fire.

Here is the synopsis from Wikipedia

"The plot revolves around a magic ring that grants the power to rule the world, forged by the Nibelung dwarf Alberich from gold he stole from the Rhine maidens in the river Rhine. With the assistance of the god Loge, Wotan – the chief of the gods – steals the ring from Alberich, but is forced to hand it over to the giants Fafner and Fasolt in payment for building the home of the gods, Valhalla, or they will take Freia, who provides the gods with the golden apples that keep them young. Wotan's schemes to regain the ring, spanning generations, drive much of the action in the story. His grandson, the mortal Siegfried, wins the ring by slaying Fafner (who slew Fasolt for the ring) – as Wotan intended – but is eventually betrayed and slain as a result of the intrigues of Alberich's son Hagen, who wants the ring for himself. Finally, the Valkyrie Brünnhilde – Siegfried's lover and Wotan's daughter who lost her immortality for defying her father in an attempt to save Siegfried's father Sigmund – returns the ring to the Rhine maidens as she commits suicide on Siegfried's funeral pyre. Hagen is drowned as he attempts to recover the ring. In the process, the gods and Valhalla are destroyed."

In the play he is more a side character to the king of gods and only really helps steal the ring in an attempt to get Alberich, Himself and Wotan power.

The Sandman

The sandman is a comic series turned tv show made by Neil Gaiman Loki is presented in an odd appearance with very little time shown however he seems to follow his normal personality traits that are constant over most of pop and ancient culture with him constantly trying to trick people into commits heinous acts.

Reference on his history from the sandman wiki.

"Being destined to bring about Ragnarök, Loki was bound in the entrails of his son as a snake dripped its venom in his face with his wife, Sigyn, loyally staying with her husband despite his obvious disinterest in her. When Lucifer abdicated his throne in Hell, Loki was freed from his punishment by Odin, so he could accompany Odin and Thor to the Dreaming in order to petition for the key to Hell, as a way of avoiding Ragnarök. Loki tried to escape by posing as another god, Susano-O-No-Mikoto, while the real Susano was taken back in Loki's place. Dream, however, was not fooled. He let Loki go, but Loki would owe him a favour."

POWERS

Teleportation

Teleportation is one of Loki's many signature powers that he commonly uses to cause mischief or harm to the other gods or inhabitants that pop up within the stories.

Molecular Reconstruction (Shapeshifting)

His most famous power is his ability of body reconstruction to any form that he wants. Observed throughout all of history some of Loki's most infamous tales and children has come from his ability to do this.

Enchantment (MCU Sylvie)

Within the MCU Sylvie (Version of Loki) can perform an ability called enchanting which basically acts in similar ways to mind staff with part of the ability being mind control however this version of it is much more intrusive as it allows Sylvie to loom through and physical control other peoples bodies. Alongside this it can infiltrate memories forcing the person to relive them. It can also pacify aggressive creatures or entities.

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*No music for some reason

WEAPONS

Mind Staff (MCU)

Within the first phase of the MCU Loki in the main villain role of the first avengers movie wields a powerful staff that contains a stone that can be used for mind control. Using this staff he raises a small but smart and powerful army that is able to open a portal to a alien ship that can invade earth. In my project this wouldn't really make sense to include as firstly in a multiplayer setting the ability would be super imbalanced and overpowered and secondly it being incompatible for a 1v1 environment as the only opponent is your singular enemy leaving you with no reason for possession.

Talon Bow (GOW)

The talon bow is the signature weapon wielded by Atreus in the reboot series of God Of War. The nature of the long bow is that it was a longbow crafted by Atreus's mother, Laufey, out of a yew tree. During the first game "Freya" gifts him a magical bow sting that allows him to imbue his arrows the light of Alfheim which in the game allow you to enhance arrows with special powers. Much later, Sindri uses a tooth of the recently slain Hræzlyr to imbue the string with the Dragon's lightning power, which can also imbue its arrows with lightning to destroy blocking walls of crystallized World Tree sap.

These powers being:

Nista: The regular non-elemental arrow shots that can build up the enemies' stun meter. This type of shot becomes obsolete and unavailable later in the game.

Ljösta: The light elemental arrow shots that can build up the enemies' stun meter much quicker. Further upgrading allows for large blasts of light that hurt nearby enemies.

Þruma: The electric elemental arrow shots that can paralyze lesser enemies. Further upgrading allows for multiple enemies to receive electrical damage simultaneously.

These ideas and concept fit the ability/hero shooter genre perfectly i believe this could benefit my project and could possibly be my characters weapon.

Lævateinn

In Norse mythology, Lævateinn is a weapon crafted by Loki mentioned in the Poetic Edda poem Fjölsvinnsmál. The name "Lævateinn" does not appear in the original manuscript reading, but is an revision from Hævateinn made by Sophus Bugge a famous Norwegian linguist somewhere between 1850 and 1900. In the poem the weapon is needed to be able to slay the mythical rooster "Víðópnir" atop the Mímameiðr tree.

The sword has been asserted to be some sort of projectile weapon, sword or a wand by multiple different historians and translators.

In terms of adaptation to my project i think this may be a good idea as it wouldn't be totally out of balance in a power term but also help me make a massive advancement on the melee weapon i want to make.

#Youtube

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ramajmedia · 5 years

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Gears 5 Review: A Brave and Bloody New World | Screen Rant

Gears 5 takes steps forward for the franchise, providing the bombastic, bloody violence of the series with both a greater scope and intimate story.

Gears of War was the perfect example of Xbox’s dominance of the previous console generation. Big, gruesome and brutal, the original trilogy was a landmark for the Xbox 360 through its exciting shooter mechanics and grim setting. Although Gears of War 4 provided a solid continuation of the franchise in the new world, Gears 5 looks to take the series forward.

The most obvious change in Gears 5 is that there is a shift in perspective. Rather than the Fenix family that has dominated the games thus far, barring side games like Gears of War: Judgment, Kait now takes over as the primary focus. Her own lineage is in question, as she embarks on a journey to find out her past - and discover some other secret truths along the way.

Related: Dave Bautista Joins Gears 5 As Playable Character

Given how entrenched the Fenix name is in Gears of War - both in terms of its playable characters and the lore of the series overall - it’s an interesting move to depart from the ever-gruff family. This change of protagonist isn’t just for show, though, as The Coalition has taken Gear 5 into new territory alongside this new pair of playable hands.

In many ways, Gears 5 feels like The Coalition honing in on what drives the series from a thematic perspective. Gears of War has always been a surprisingly personal, character-driven story filled with family drama, which could come as a surprise given that a lot of its gameplay revolves around muscular man-tanks taking chainsaws to horrible monsters. Nonetheless, there’s an intimacy to its drama.

Gears 5 explores this idea further, by not only having its plot center on personal history and struggle but also by taking a greater aim at the individual through its gameplay. Although there are moments of cluttered, large-scale warfare, there’s also sparse landscapes to explore within the campaign as Kait goes off to find much-needed answers about her own past that could have huge implications for the wider story.

This is a pretty bold move, particularly given how memorable the more rigid formula of Gears of War is as a whole, but it works incredibly well in Gears 5. The personal story can be given the outright focus that it deserves, rather than being a side-plot to the more pressing immediate matters of being eaten by (and subsequently cutting a pathway out of) giant worms.

This means that Gears 5 has more flexibility, and in turn becomes undoubtedly the most expansive game that Gears of War has seen so far. This is also seen in terms of gameplay, with the introduction of wide, expansive areas to explore in open world sections. This might be concerning for those who prefer the pure corridor-to-arena setup that typifies the series, but rather than dropping this altogether this traditional combat is still there, but with the variety that comes with being able to have a bit more space.

It’s most similar in structure to 2018’s God of War, in terms of allowing the player the chance to have a bit more ownership over their actions and decisions of where to go and what to do. It doesn’t work quite as well as that incredible PS4 exclusive, in part due to the fact that the character interactions are less compelling than those between Kratos and Atreus, yet it does a lot to help with the world-building and general atmosphere, and its environments are often gorgeous and varied.

Another example of change is the introduction of an RPG-lite upgrade system for robot buddy Jack, improving the droid’s abilities to act as a support throughout the game. Jack is integral in places in the campaign, but offers plenty of extras by way of stunning enemies, grabbing supplies, and providing armor buffs and temporary stealth support. Playable in both co-op and in Horde, Jack’s a clever extra piece of the wider Gears 5 puzzle to make it into something more substantial than the last game.

More than just new bells and whistles, Gears 5 also pulls from aspects that have been forgotten from previous games. The Gears series has long promised to return to those overtones of horror that appeared in the first game, but this potential has never truly been reached. In Gears 5, though, it truly shines, with tension to be found in exploring decrepit corridors, following the claustrophobic hallways of long-forgotten secret facilities with enemies ready to pounce. It’s still not entirely scary – it’s hard to introduce real scares when your character is a hulking killing machine with a penchant for sassy comebacks – but nonetheless the overall tone is great in these sections, helped by some grotesque enemies.

That’s not to say that Gears 5 ignores the gameplay that made the franchise so successful. Within its core combat, Gears 5 is still a joy, with that glorious mixture of excessive violence and the tactical element of knowing where to move to capitalise on enemy locations. The game’s shootouts are still a thrill, full of blood, fire and vicious melee attacks.

The best way to describe the combat of Gears 5 is with its physicality. Gears 5 feels heavy and real in combat, as the player dives into firefights, thumps into walls, and goes hand-to-claw with a variety of beasties. Whereas some games provide players with the form and skill of an ice skater, skittering around the battlefield with grace, Gears 5 leaves a larger indent and is all the better for it.

The game’s enemies can be fierce combatants, too. Gears 5 isn’t a cakewalk at times, even if it’s not the most taxing game players will still need to keep on their toes. As such, it’s important to use additional aides - like the benefit of the helpful Jack - to get the upper hand, while environmental hazards can make for great fun.

This is exemplified by Gears 5’s bosses and sub-bosses. Gears 5 has some interesting boss battles, although there’s still the ever-so-helpful glowing body parts to fire at to do the most damage. Nonetheless, the occasional one-hit KO at the expense of the player will stop them from becoming too complacent in a world wracked by war.

That said, Gears 5 isn’t perfect, and the game is yet to fully address those few bugbears that have plagued the series for some time. The biggest example of this is just how restrictive movement in Gears feels when at speed, making tactical retreats annoying to pull off. Overall, though, it’s still extremely satisfying combat.

What makes this all the more engaging is that Gears 5 delivers when it comes to its plot. Story-wise Gears 5 re-treads old ground occasionally, with the odd classic location and grizzled characters returning. The game is far from a rehash or a cash-in, however, due to the way in which it portrays these nostalgic elements. There’s a decay to Gears 5, a corruption and insecurity that shines well as it explores the role of the COG as a powerful (and dangerous) entity in comparison to the freedom of those who live outside of the system.

It’s in these moments that Gears 5 shines, as it uses its character relationships to ask questions about the price of COG’s power. It’s nothing truly spectacular - and there’s again an over-reliance on the coincidence of how important people of a particular lineage happen to be - but it’s mighty compelling while it lasts.

As the dust settles and the gibs fly, Gears 5 leaves an imposing impression. This is a hugely successful game, helping to move Gears of War forward with some strong and sensible additions to the relatively conservative Gears of War 4. It’s not a complete overhaul of the series, but it’s a refreshing take on the Gears formula and one that fans of the series will truly enjoy.

More: Everything On Xbox Game Pass For PC

Gears 5 releases September 10 for PC and Xbox One, and September 6 for Xbox Game Pass Ultimate subscribers. Screen Rant was provided with a PC download code for the purposes of this review.

source https://screenrant.com/gears-5-review/

#screenrant

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