God of War – The Lost Pages Audio Podcast Episode 1 | PS4

God of War – The Lost Pages Audio Podcast Episode 1 | PS4


JASON WEISER:
Product not yet rated. Welcome to the Lost
Pages of Norse Myth. I’m Jason Weiser, your narrator and host of the
Myths and Legends Podcast. Each month join us here as we
reveal a missing page from the Prose Edda, the ancient manuscript
containing all of Norse myth. It’s whispered that these
“lost pages” tell the story of a mysterious god from a distant
land and his young son as they embark on a perilous
journey across the Norse realms. I present now the
second lost page, Odin and the Knowledge Keeper. [DRAMATIC CHORAL MUSIC PLAYING] “Perhaps this one,” she thought as she blew the dust
from the cover. “At long last, perhaps this
one will let me see far enough, far enough to let me catch
a glimpse of my lost love, my husband.” Groa, the seer, inspected the tome that she had
just discovered. This was the one she’d been
hunting for quite some time. Cracking open the tome, she allowed herself a
slight smile knowing that the runes inside
held the power to augment her already substantial
prophetic talents and perhaps allow her
to, after all this time, glimpse the location of her
husband, Arvando. Groa’s search for her lost
husband had been ongoing now for some time. Already a gifted seer, she hoped to lengthen the scope
of her sight by hunting down and collecting
tomes of arcane wisdom. She had traversed the realms
hunting for such tomes, each one full of ancient
knowledge. And with each runic
passage spoken aloud, her powers of sight did grow. But she never glimpsed
what she was truly after, the location of Arvando. The last time Groa had felt her
husband’s embrace was moments before he journeyed on a
quest by the side of Thor, the mighty son of Odin. Arvando had never
returned from that quest. All Groa knew was that
after suffering from a bout of frostbite, Thor attempted
to carry Arvando home from Vanaheim across a bitter and
icy stream in a basket on his back. But somewhere in the
tundra, Thor lost Arvando. Thor returned home with
only an empty basket. He knew not what fate
befell Groa’s true love. Although her sought after
prize continued to elude her, Groa did glimpse many
things inside each tome. Soon, the search for her husband
became a pursuit for knowledge itself, and over the years, Groa
had collected her discoveries in an endless library
of arcane wisdom. As her powers grew, so did
her reputation for prophesy. Even one so
powerful as Thor’s father, Odin, the all-father, came
to rely on Groa’s foresight. Groa didn’t know why, but back
in the safety of her library she felt that this latest
tome was somehow special. Her prophecies had grown to
allow her to see longer and farther than any
before or since. And she felt this latest tome
would surely tip the scales of her talents to allow her to see
what she so desperately desired. And now that she
held it in her hands, she could crack it open, recite
the runic incantations inside, and claim the tome’s
power for herself. Groa lifted the book’s cover and
spoke the runic phrases aloud, her voice echoing with
lingering hope and divine magic. As she spoke the runes
aloud, she shut her eyes tight. Her mind flooded with images,
but the whereabouts of poor Arvando didn’t
come with the flood. Instead, Groa grimaced as
her mind raced with horrible disastrous visions. She saw the world plunge
into a bitter three-year winter. She saw the sky split and the realms began to tremble
and quake. She saw a horrible terror emerge
with a flaming sword and an enormous beastly wolf rampaging
across the countryside as he grew to consume the very sun. She saw the deadliest of
monsters and the worst of gods at each other’s throats. And in the events
leading up to it all, she also saw a pale, white ghost
from a distant land and his young son, somehow intertwined
in this terrible prophecy. Back in Asgard,
realm of the Aesir gods, Odin’s remaining eye twitched. He felt the ripples of Groa’s
prophecy come crashing across the realms. “Ragnarök,” Odin whispered
to himself with a tremble, and then lifting
himself from his throne, the all-father hissed, “Groa.” [CHORAL MUSIC PLAYING] Still reeling from the
onslaught of her terrible vision, Groa steadied herself
against her library walls. She’d seen so much, too
much, and still the fate of her beloved, Arvando, remained
a mystery. “How can this be?”
she lamented out loud. Were Arvando’s
whereabouts so hidden, so secret that even she who had
glimpsed the end of all things was still unable to
divine his location? Or did he remain hidden
because someone was hiding him? “Yes,” thought Groa. But what creature would be so
ruthless as to cloud her own husband from her sight? Groa didn’t have time to wallow
in her revelation for long. Moments later she heard a
beckoning call from outside her library’s front door. She strained against the
heavy door and saw him there, Odin, the all-father. This was not abnormal. Odin had visited
Groa’s library many times, seeking her prophetic knowledge. He was most likely here in an attempt to avoid some
minor ill fate. “All-father, your presence
honors me,” Groa started, “but now is not the best time. I –” Groa’s excuse was cut
short as Odin’s hand grasped
hard around her throat. The skies darkened
with growing gray clouds. He drew her near
and demanded, “Seer,
tell me what you’ve seen.” “Odin, I –” Groa stammered. “Tell me,” said the all-father,
“or I shall bash your head in just like my son Thor did
to your beloved Arvando.” Now Groa understood. In all of her travels and all
of her collections of arcane wisdom, the reason she was still
yet unable to glimpse the fate of her husband was because Odin
had used his enchantments to conceal his death at
Thor’s hands from her sight. She struggled against
Odin’s mighty grip, defiant not to tell him of her
visions of Ragnarök or of the strange god from another land. But it mattered not. With a smile, Odin tightened his
grip and took Groa’s knowledge, her runes, her vast library,
and her very life for his own. [DRAMATIC CHORAL MUSIC PLAYING] The second lost page of
Norse myth has been revealed, but you can uncover more runic
secrets this month by following PlayStation and God
of War on Facebook, Twitter, and Instagram. Decipher the ancient runes
and speak them aloud by sharing them, and we might reveal some
epic visions of the world of God of War. Now stay tuned for a
behind-the-scenes chat with God of War’s creative director,
Cory Barlog and Matt Sophos, story lead, on the power of
runes and building the runic language for God of
War’s ancient Norse worlds. [MUSIC PLAYING] JASON WEISER: To start, will
you introduce yourself and talk about your role on God of War. CORY BARLOG: My
name is Cory Barlog, and I am the director on
this new God of War thing. MATT SOPHOS: I’m Matt Sophos.
I am the story lead. JASON WEISER: Okay. So first I
want to talk about the runes. Can you give us an overview of
the concept of runes in Norse mythology and how they’re
important to the God of War game? CORY BARLOG: So the runes are
sort of the basic alphabet. They have both kind of an
individual metaphorical meaning, a larger meaning to them as well
as kind of the phonetic alphabet connection. And in our game we’re using them
as a way to kind of connect the characters to the
magic of the world, but also to really connect to
the world to create that sense of a barrier between the player
who is Kratos and the world, right, that kind of feeling that
you’ve entered a world that’s very different than anything
that you’re familiar with. MATT SOPHOS: Yeah. We’re playing probably a little
more fast and loose with the chronology of things. For us, the runes
are — you know, we’re in the premigration
period of kind of that era. But the runes for
us is language. It’s kind of throughout world. In the real world nowadays you
can find graffiti and stuff like that, and we may make
use of that as well. So that, like, you’ll
see runes in the world. Everything we kind of
do in the world is real. It’s not just gibberish. We don’t just throw runes up for
decoration as much as possible. And it’s language. It’s the way that people
communicated with each other. CORY BARLOG: We’re
giant word nerds, and we believe that
the words have power. So it’s nice to kind of put that
in the world itself to not only empower the characters so that
most magic in this world begins with the speaking of a specific
word within the sort of ancient language but even sort of
things within the world. The son is Kratos’ conduit,
Atreus is his conduit into this world because he can actually
read the language which, you know, totally ripped off
from my own life of my kid who is learning Swedish; totally
understands more than I do. My relatives during E3 were here
and everyone’s speaking Swedish, and he’s understanding
everything but also will speak a little bit of English because he
knows I am not following any of the stuff they are saying. It was deliberately something we
said we wanted to make part of the mechanics. As you go through the game,
the son is learning more of the language, and we’re even tying
that into Atreus trying to teach his dad a little
bit about it, right, the old dog
learning a few new tricks. But it kind of has that fun
sense of true discovery for a player to feel like a language
they couldn’t understand early on is suddenly sort of
opening itself up and giving you information. It’s the Zelda thing when you go
to see the master sword and all the question marks
around the text message. As you progress through, it’s like I’m understanding a
little bit of this. And then eventually you
understand what that message is telling you. It feels like this
great sense of discovery, this feeling of
unearthing a mystery, and I think that’s fantastic. That’s so games. MATT SOPHOS: We have a couple
different kinds of magic that our characters
will do in the game. One, like, say their magic is a
very earthy component to it that involves touching the ground
and using parts of the — it’s really kind of dirty magic. That sounded
terrible, “dirty magic.” CORY BARLOG: It’s dirty magic. MATT SOPHOS: Dirty magic. But that as well as
the other kind of magic, like the magic that you’ve seen
in trailers and things like that we have that the son can
do, it all involves a word. It all involves a spoken
incantation and stuff as well and that involves — that’s language and our language
is Elder Futhark. JASON WEISER: Okay. How did you approach creating
the runic alphabet for God of War? CORY BARLOG: We totally
just stole the Elder Futhark. We wanted to maintain a
connection to the sort of cultural history
of this mythology, and the Elder Futhark is a
very established alphabet. Right? And there are nine realms, and
I think there are other sort of proposed or theorized languages
associated with those realms, but really the Elder Futhark
is really that connection to, you can say, “‘A’ is
this rune,” you know, “‘TH’ is this rune.” And you can actually connect
it back and translate things. So in our game,
everything that’s on the walls, we actually translate it first
to old Norse and then take that old Norse and then translate
that to the Elder Futhark so that whatever’s written on the
wall is not just English with old runes; it’s actually
translated into old Norse. MATT SOPHOS: We tried not to
take the shortcut and go just English to runes because that
leaves out a massive part of our audience to get on the hunt for
what does each little thing say in the world. So it makes it harder for
everybody except for I guess Icelandic people because
that’s the closest thing we got. So I guess I’m expecting a lot
of websites from Iceland where they translate all
the stuff in our game. That’s the path, right? We figure out what
they want to say. We do our damndest to
translate it correctly. A lot of times I’m doing
the translation or one of our implementors was
doing the translation, so it’s probably going to be
a lot like pigeon English, but pigeon Icelandic? Pigeon old Icelandic? Because it’s not
modern Icelandic; it’s the old Icelandic,
so we’re doing our best. And then it goes into
runes and on the walls. So it’s going to be quite the
deciphering challenge I think. JASON WEISER: You
mentioned the other realms. How did you develop
the languages for those? CORY BARLOG: That was a
combination of one of our artists and a few of us talking. We did a trip to Iceland with
the art director and several other people. I think Shannon
Studstill went to that one. And it was kind of a look at the
landscapes and to get a sense of what this world was like, how that sort of region of the
world feels. But while they were
there, they found this book. And the name unfortunately
escapes me at this point, but it has a red cover so you
know that I’m telling the truth. And inside that, someone had
sort of the — I don’t know if they themselves created it or
were overtheorizing that this was connected — but they had
created languages not only for certain races like the dwarfs,
but they had created languages for Helheim and a few
other of the realms. They had not had
languages for all the realms. I said, oh, that’s really cool. Because it gives us a
little more freedom to say we’re actually theorizing languages
for each of these realms and then kind of doing the Rosetta
Stone connection and saying this rune connects to this rune. So that while Elder
Futhark is your base language, you will translate then
every other language into this. And we just sort of leaned into
that super heavy so that we’re not doing it for
every single realm. We’re leaving certain things
open to kind of expand out. But there are certain realms
that you will learn their entire language and then
translate that back, and that might help
open parts of the game, reveal a quest
line for something. JASON WEISER: So are all
the languages in the U.S. edition of God of
war spoken in English? CORY BARLOG: Early on I
wanted to go full-boar like Mel Gibson’s original
vision for Passion in that sense of like everybody
speaking the ancient Norse. Nobody speaks to him and
then when they talk to him, Atreus is the only
one that can then say, “This is what he just said.” So the player is truly
isolated from everyone, and even the friendly people, nobody speaks a
localized language. But it proved to be, I think,
too difficult to kind of carry the narrative that we want to
carry because you’re really so isolated that it just becomes
totally separated and anytime the kid is not standing
right next to you to translate anything, you’re
like, this is not as fun. So we find a nice mixture
between the two in the end result. So I think that’s good. And also we want to challenge
the voice actors because it’s so fun to hear them try and
pronounce some of these things. I mean, we can’t pronounce them. We take somebody else giving us
audio recordings of the proper pronunciations because it is
just — sometimes I’ll just go home and point to
something to my wife and say, “How do I say this?” And have
her say it six times and then I repeat it back and then I
forget it the next day anyway. JASON WEISER: So you mentioned
Kratos being a stranger in a strange land. He knows nothing of
the old surroundings. Why was it important to set
him in unfamiliar surroundings? CORY BARLOG: I think because
we’re going so vastly different with this game. We wanted to kind of put
everybody on equal footing. If you played the game or
you haven’t played the game, to be able to step
in and say, look, we’re all equally confused. We’re all equally sort of having
to discover, so that if you played, you get a little bit of,
I understand that inside joke or I understand a little bit
more about the motivations here. But even if you haven’t played,
you kind of discover as you go. Some of the motivations was I
didn’t want any camera cuts in this game because I wanted
everybody to approach each situation having the
same amount of information. There is no, “and previously
this character was doing this at an unseen location.” So that when you
meet him your like, “ho, ho, ho. I saw
your backstory, Shaun. I know what this really means.” You have to just take every
situation on its face value and then read into it. I was watching reaction videos
for the trailer for E3 this year, and it was funny the
number of people who doubted the intentions of the serpent
at the end of the trailer. So you watch that
and they’re like, “Ooh, this is a boss,
and he wants to help us. He wants to help us.” “Uh-uh. He didn’t want to help
you. Uh-uh. I don’t trust him.” MATT SOPHOS: He’s a snake. CORY BARLOG:
“I don’t trust him man.” And then one guy, he’s
like, “I don’t like snakes,
so I don’t trust him.” But then other
people were saying, like, “I just don’t trust him.” That’s interesting,
and that is human. That is when you meet somebody
for the first time and you’re in the situations that they’re in
which is there’s a 50/50 shot it’s going to be hostile. In this world it’s probably
like a 70/30 shot that the confrontation is
going to be hostile. Right? Valhalla Rising has a great
sequence whre he meets that group
of people. And, you know, there is a huge
possibility that that’s going to end in a fight, and
then they end up like, “Let’s drink and eat together.” It could have gone both ways at
any point in that confrontation. And I think it’s very
interesting when you put somebody in a situation where
they not only don’t know the hostile intentions of the person
across from them and they cannot
understand the language. And then they are
relying on this little kid, right, who actually is
smarter than Kratos. If you take somebody like
Kratos who’s a strong god, he shouldn’t need anybody else.
Right? A lot of people say,
“Oh, what’s the point? Why do you have the kid? He doesn’t need anybody.” But I think that’s the
fascinating point is taking the intellectual side and
saying, look. He is not Plato. He is not this sort of scholar
who sought out information. He really is this warrior who is
now trying to turn over a sort of different life and part of
that is I’m living in an area where you kind of have
to help me through this. Someone else has to
be the strong one, but a strong one
in a different way. And then you got
to start wondering, is he telling me the truth? Is he giving me
all the information. It’s like when you watch those
movies and they don’t do the subtitles for a sequence because
the character in the scene is going to translate it, and I don’t know if he’s telling
me everything. Like, I wonder, did he
give me the exact info? And then later you find
out sometimes they didn’t. They kind of withheld. It’s that
Planescape: Torment thing. MATT SOPHOS: I think having that
Kratos in a strange land puts us right in the pocket of the story that we really want to tell with
Kratos. It allows us — he’s a guy who
all he ever wanted to do was forget all the
terrible stuff he did. So now he goes to a completely
different land and he can’t forget it, but he
doesn’t have to dwell on it. And just like you were saying,
he doesn’t necessarily know if something someone is telling him
is the complete truth or if it’s the complete story that
they’re reading or whatever. But it’s a flip on Kratos
because Kratos has his secrets. And so there’s a lot of
interplay between telling half-truths I think. JASON WEISER: So what power or
skills does this give Atreus? Are the runes part of the
magic system in God of War? MATT SOPHOS: Yeah. There’s a couple different
things that Atreus can do. There’s obviously the
reading stuff in the world, but there’s puzzles that involve
reading runes and basically translating those
runes to Kratos, and sometimes Kratos has to make
a decision, and the player has to make the
decision on what to do with it. And it’s also involved
in the combat system. The kid has runes kind of
tattooed on him by the mother. The mother was someone
who taught the kid magic, and all of that
involved language. I think we kind of
talked about that before. CORY BARLOG: Yeah. That language kind of imbuing
the person with power so that not only the speaking of it, but
tattooing things on their body, you know, sometimes will
hide them from the gods. It will give them a
truer aim or a clearer head. This connection
that not only, like, symbology, like staves, the
practice of magical — they’re not runes; they’re
more like drawings, symbols, glyphs. Symbology is what
I meant to say, but then stopped
and said symbols, so fantastic. Those things would,
again, give you luck. There is one that apparently if
you put it on a pair of pants made of the skin of
your enemy, right, it will make the pockets
fill with gold every night. It’s really bizarre. There is some crazy, bizarre
stuff in Norse mythology. It is one of the
most labyrinthian, confusing mythologies
that I’ve ever looked into. MATT SOPHOS: Staves are
a whole other aspect. They’re similar to runes
and how we deal with runes, but staves of
protection, staves of hiding, things like that, those are also
elements in the game that we deal with. And sometimes staves
themselves have runes in them. JASON WEISER: So
Atreus knows the runes. Does he also know Norse history
and Norse mythology or have knowledge of the world
that Kratos doesn’t? MATT SOPHOS: He knows everything
that the mother taught him. So there are things that
the mother’s conveyed to him. So Atreus will be able
to recognize a Draugr, but he’s never actually fought
a Draugr or anything like that. So he’s got kind of a
base understanding. A lot of times in the
game you’ll hear him say, “Well, mother told me.” But the experience of it — experiencing it himself creates
a whole other context for him. We have a couple different
things where there’s an item in the game that you can access, and Kratos kind of opens it up
for him, and the kid gets little
pieces of story, and he recalls bits that mother
talked to him about. But this is more of a
complete picture because, just like anything else, the
mother has her own perspective. Kratos has his own perspective,
so all the kid knows of the stories — CORY BARLOG:
Not revealing — MATT SOPHOS:
Correct. All that the kid knows is
what the mother has taught him. CORY BARLOG: It’s that coming of
age of the child where fantasy meets reality inside
of fantasy, right? He knows the world
through stories, through the limited teachings. They are these sort
of esoteric concepts, these fantastic
stories told by firelight. But as he then leaves the
protection of his forest he has lived for his entire childhood
in a very small bubble in this forest. They’ve never ventured beyond
because they were very safe in this one area. But when he goes out into
the real world and starts encountering things that
were told to him in stories, things that only existed in
his mind’s eye in sort of a descriptive form, the reality
slaps him in the face and causes this sort of sobering wake up. MATT SOPHOS: His
opinions evolve. CORY BARLOG: Yeah.
His opinions change. And he also becomes the
conduit to Kratos of saying, “Look, this is sort
of what mom said, but we’re experiencing it
slightly differently,” or “No, no, no. I can make this connection
because of this connection,” and it helps at least
inform certain things, but Kratos also
knows a little bit. He’s able to kind of piece
things together from his previous experiences. His experiences are
colored with the Greek gods, right, who are the bastard
politicians who manipulated all the humans. So to him, that’s what
these gods have to be, but he’s starting to discover
that these gods are vastly different, the
creatures of this world, the gods of this world, very, very different from the
Greek gods. MATT SOPHOS: Yeah. Kratos makes a lot of
assumptions in the game. And it’s all founded by that
base in Greek mythology and the experiences he had then,
and obviously he was a very different person then too. But all that
colors his perspective. So any time he might run across
a Norse creature or a Norse god or something like that, everything’s colored by his past
experiences. And the son can go, “Wait, wait,
wait,” like in the trailer with
the World Serpent. Kratos is ready to go, you know. He’s expecting,
“Well, it’s a big thing. I’m going to have to fight it,”
much like the players felt, previous players felt when
they saw, watched that trailer. And the kid is the one who
can give him the perspective, “No, no, no.
He’s okay.” CORY BARLOG: That’s that balance
of the humanity and the sort of god, right, that he lost
long ago the humanity. And it eroded from the end of
the first game all the way to the most recent, and now he’s on this path of
understanding the balance. And the kid really is almost
pure humanity and zero god, and you see the change in him
when you inject a little bit of that god in there and realize how it fundamentally
changes them. And Kratos sees a
bit of his own past, the beginnings of that
unraveling of his life. JASON WEISER: I’m just curious,
you mentioned the comparisons between the Greek
gods to the Norse gods. How are they
different in God of War? CORY BARLOG: For me, I kind of
look at the it as the Greek gods were the well-manicured
politicians, right? Imagine the politicians today
with their Washington power and photos of them with the
president and the dignitaries all across the world
and manicured to a tee, expensive suits, mahogany desks,
everything is all about the impression of power. But really what they’re doing is
manipulating others in order to fulfill a specific
agenda that they have. They’re not really getting down
into the muck, right? They’re not there fighting. They’re simply there saying, I’m going to send you over
to do this. And that’s the Greek gods. They were basically using all
of humanity and everyone else, even other gods, as pawns in
these sort of larger games. Right? But they were
wearing shiny armor, living in marble palaces
that were just the height of ostentatiousness. But the gods in Norse mythology
are a bit more down to earth is one way to say it. As I was reading
through a lot of this, I started getting comparisons
to the three races of the Aesir, the Vanir, and the Giants. The Aesir to me were like Hunter
S. Thompson’s portrayal of the Hell’s Angels. They are the
dirtiest sort of knockdown, drag out fight, get drunk, enjoy
every moment of life and just pride themselves on this, right? It literally is like that
portrayal of Conan as well, they’re just living every moment
to its fullest because they know they’re going to die. They know who’s
going to kill them; they know when
it’s going to happen, so to them they’re
just like, live it up, man, just party all you want. And to them partying is fighting
and drinking and feasting. This is sort of a
very hedonistic society. And the Vanir are kind
of, the crude way to put, the naturalists, the hippies. They are living in
harmony with nature. They want to seek that balance. They are the sort of keepers of
the magic and sort of that one hand on the natural, one hand
on the magical and feeling like there is a
fusion between these two. And they’re always sort of
at war with the bikers simply because they have different
agendas in how they want to solve things. And to me, the Giants are vastly
different than the sort of Marvel and other
portrayals of them. They are the masons;
they are the artists. They are the people who
are creating these fantastic creations, the ones who look a
little deeper at what’s going on, the ones who are eventually
victimized by a war that seems to never end between the
Vanir and the Aesir gods. Right? So this sort of layout feels
vastly different than the Greek gods because they’re not
really there to manipulate, though Odin always
kind of parallels Zeus. There’s a lot of
connections to that. Zeus came in many forms. And throughout history, people
sort of theorizing or analyzing the Eddas kind of
have 170 names for Odin. It’s ridiculous. It makes it impossible to try to
connect anything because you’re realizing everything
has 50 meanings to it, and every character could
be 20 different characters, so you never know what
is real and what is not. But in one way, that’s
actually the coolest part of it. It’s frustrating for me but
liberating at the same time because everything
is very malleable. It is water. This mythology is very much like
taking the form of different containers as it moves through
the interpretations of the scholars. MATT SOPHOS: There are such
clear texts to reference for Greek mythology, like text
from the period of time. Whereas what we have for Norse
mythology is essentially 600 years after the fact or actually
even longer than that after the fact, filtered
through different cultures. The Prose Edda, all that kind
of stuff — CORY BARLOG: And through
time. Also the sort of trying
to eliminate paganism, there were a lot of Christians
who were changing the mythology. JASON WEISER: The Prose Edda
was written by a Christian. Or like the wedding of Thor
where they put him in a dress. MATT SOPHOS: That’s a good one. CORY BARLOG: Was that the one
where he dresses up in a dress to get the hammer back? It’s just filled with bizarre
moments like that. It feels like part of it,
a bizarre sense of humor, sort of a very dry sense
of humor of injecting their witticisms within this. But then the others where you’re
like Loki turns into a horse to have sex with another horse
to distract him in order to then give birth to another horse
which they then give to Odin. JASON WEISER: My favorite is
tying the balls to a goat story. CORY BARLOG: The balls
to a goat is very good. That’s a classic. That’s the symbology
I was talking about. JASON WEISER: Good callback. CORY BARLOG: Cyclical, cyclical. JASON WEISER: Okay. Wrapping up, how can
players prepare ahead of time? Should we be
studying Elder Futhark, and are there Easter
eggs hidden in the game? CORY BARLOG: I don’t know
about early preparation. You know, it’s fun to read about
these myths but it’s definitely not necessary because everything
we do kind of will be explained as you move through the game. MATT SOPHOS: You can
bone up on old Icelandic. CORY BARLOG: You know, learn conversational,
ancient Icelandic. JASON WEISER: Will it be
possible to translate the runes in the game? Do they have meaning,
the ones that you see? CORY BARLOG: Yeah. Any runes that look like
actual readable runes will mean something. We do have other areas where
they’ve been eroded away or they’re so small
you can’t read them. Those are ones that are just the
decorative that are just around. But every single thing we
made obvious and clear that you see, the Elder Futhark or
other sort of runes from another realm, all of that will be able
to be translated and it will mean something. Sometimes we don’t let you
translate it in the game. Like, there’s stuff in the first
E3 demo that is all over the walls that
actually mean something, and we don’t tell
you what that means. So a lot of people have done
screen grabs and said this is what this word means, right, because we also didn’t tell them
that we went to ancient Norse. So a lot of people would just
translate Elder Futhark into English, and it was
like this is gibberish. But if they went to ancient
Norse and then went to their native language, they
would understand the word. MATT SOPHOS: So throughout the
game there are things that the player can use the dedicated
son button on to read things. That’s all as legit as this
American guy can make it. But it’s as legit as we can go. And then there’s also stuff that
you don’t actually send the kid to read, but it’s legible. It means something, and if
you want to take the time to translate it, then
you certainly can. CORY BARLOG: We’re giant nerds. I have hid so much
stuff in this game, and everybody really gets into
kind of coming up with these things to hide inside the game,
so there isn’t much associated with this game that doesn’t
have multiple secrets in it. Literally everything
we’re going to do, all of our E3 trailers have
things hidden inside them. The first one as a lot
more than the second one, but the second one still has
a bunch of stuff in there. And the game is no different. Everything associated with
it also has hidden meaning. JASON WEISER: Last question: The
God of War Ouroboros seems drawn from the Greek Omega
symbol from the previous games. There are several
specific runes in the logo. Can you tell us what
they’re significance is? CORY BARLOG: I absolutely
cannot. It actually has meaning. We have very deliberately when
we started looking at the logo, we’re kind of thinking about —
my idea was that when we went between the different
eras — I’m calling them the
mythologies — we would have
the consistency of the God of War font, right,
the God of War logo, which you get a little
bit of a treatment change. But then the
symbology at the center, the omega was very Greek. It was very much the portent of
the end of the Greek pantheon. And this symbology in Norse myth
was using the World Serpent. And the choice of each of the
runes and their arrangement definitely has a connection to
the overall narrative thrust and even exploration
thrust of the game. But specifically we’re not
getting into what that is. MATT SOPHOS: And some of
them in the World Serpent logo, some of the runes are actually
flipped if you look at them, and there’s reason
for that as well. CORY BARLOG: Oh, yeah. It basically spells out “Cory
is the master of the runes.” [LAUGHTER] JASON WEISER: That’s
what you think it says. CORY BARLOG: Right. It’s like that tattoo that just
says “soup,” but it’s supposed
to say “power.” JASON WEISER: All right. Well, Cory, Matt, thank you
so much for sitting down. The game looks awesome. I love the depth and
complexity of it all, so looking forward to it. Thank you. [MUSIC PLAYING]

100 thoughts on “God of War – The Lost Pages Audio Podcast Episode 1 | PS4

  1. I’m just trying to figure out why Odín killed her??? He’s visited her before but this time was different he was pissed. She saw too much maybe????

  2. Traduzam para o português do Brasil por favor, não tem legendas e eu não entendo muito de inglês, tenho certeza que vários outros são assim como eu

  3. Wow. I was hoping for a Youtube version for this podcast to be posted since I was hoping at least in one place this will include subtitles to fully understand what is being said. To my big surprise even this on Youtube doesn't have subttitles. Sony please add subtitles to this video podcast.

  4. A working masterpiece to tell an awesome story to a new beginning for the ghost of sparda and his son. Cant wait til the game comes out!! Come on 2018!!

  5. Little do the Norse gods know that Kratos is coming.
    THE KRATOS IS COMING
    Do the realize that Kratos went on a rampage in Greece and killed all the gods, Titans, etc?

  6. when are yall gonna rate this product?
    Im trying to show this to my little brother but I wanna know if he's qualified or not. I can't live on the edge, it's too dangerous.

  7. That was an interesting audio book-ish story piece there, Santa Monica Studios! It really adds to the lore of this new God of War game. Although I wish it was more of a visual experience, similar to how God of War flashbacks were presented. Maybe you could create a video mini-series based on all of the episodes before the game's release!?

  8. FYI, these "Lost Pages" are just modified stories for the game plot and marketing. Nowhere is a "pale white ghost and his son" mentioned. I still recommend reading the Prose Edda. It's a fun read.
    In Iceland we start learning about the Prose Edda in middle school (although we learn more simplified versions of the stories earlier).
    I wonder if there'll be any icelandic/old english in the game because the hymns sound icelandic. 🤔

  9. My god, I never would have anticipated this. Odin and Thor….. Those….. I hope Kratos rams his arm down their throats and rips them inside out.

  10. Well… so the story of the game is as was highlighted in the beginning of the video, which is Odin learns about the strange God who will come to these lands and wreck havoc in it; destroying everything including the Norse Gods… Odin sends who track this stranger (Kratos) and end him which results the death of his wife, Kratos departs with his son to avenge the death of his wife seeking whoever is responsible and that's the event who marks this new beginning.
    What I see from the previous trailers and game plays up to today is that game is similar to the other God of War games in terms of how story goes on, Kratos is most likely going to side with serpent at least for a while, and the serpent is a giant as we know. The Giants are enemies to the Gods like in the Greek mythology (the Titans) with which Kratos sided to destroy Zeus. I see the same scenario in this game if Kratos is really going to take the Giants as allies against the Norse Gods. If not, well… the story will take a different turn of events.. maybe he'll also turn against the Giants when they decide to betray him like in GOW III with Gaia, maybe Kratos dies during the battle with the Giants trying to save his son, or maybe he survives the end and dies due to ageing… anyway that's the end of the mythology which is far from now, Mr Cory Barlog has always put me in a maze of theories and ideas.

  11. Anyone else kind of not getting into this because of the narrator? Not only isn’t his voice very captivating, he’s kind of a bit hard to understand easily for non english speakers.

  12. Little late to these pod casts due to trying to contain my excitement. Sony Santa Monica is one of the few publishers that get how to tell a story right.

  13. Ugh I couldn’t get enough of the lore as I played through GoW and then New Game + so I went seeking for more on the internet. I’m so happy that they made this podcast. I’m taking in more relevant information that continuously pumps me up for the next game. What a masterpiece. It is the Sistine Chapel of videogames and Cory Barlog is Michelangelo.

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