Elden Ring — FromSoftware’s epic fantasy role-playing game — was named Game of the Year at The Game Awards 2022 earlier today, beating stiff competition from action-adventure blockbuster God of War Ragnarok by Santa Monica Studio. There are some eye-catching titles like Horizon Forbidden West, A Plague Tale: Requiem, Stray, and Xenoblade Chronicles 3 in the competition for the title of the game’s top spot this year, but really, it’s already a monopoly. PlayStation and, well, Elden Ring. To my delight, the latter won, and deservedly so. The two games, both incredible in their own right, represent the very best that modern video games have to offer. But only one of them really embodies the essence of the medium.
There was a hot minute where it felt like God of War Ragnarok — the most nominated game at The Game Awards 2022 — will sweep the awards. Before the proceedings moved to the main part, Ragnarök won in six categories, including Best Narrative and Best Performance. And as is the case with all award shows, recent bias always happens. (There’s a reason we have something called Oscar season.) Ragnarök released last month, while Elen’s ring released in February. And despite its enduring intelligence, memory can play tricks on you. To the end, From software took home the two biggest awards of the night — Game of the Year and Best Game Guide, marking a remarkable year for Japanese developers.
Elden Ring vs God of War Ragnarok: an open world approach
Between Ragnarok and the Elden Ring, the latter is what pushes the game into new territory. The open world genre has changed a lot in recent years — Elden Ring ripped it off and then remade it in its own image. It rejects the traps of the genre, and completely removes target markers, countless map icons, map operations, and pointless side quests, while really blowing up the world. open. There are games that have done this before, most notably by Nintendo The Legend of Zelda: Breath of the Wild, but the Elden Ring is built upon it. Where Breath of the Wild Rewards Expedition, Expedition To be rewards in the Elden Ring.
Take for example the map of the Elden Ring. In most open world games, the map is not really a map representing the lands the player roams in. They are just a checklist. All they communicate is “Come here, do it. Now this way, let’s do it again. But Elden Ring’s map encourages, no, requires players to look at it. Really look at the rock formations north of your location, or the ruins to the west of you. There’s no icon that tells players what they’ll find there, but there’s a sense that it will be something nice.
Elden Ring’s map invites players to take a closer look.
That’s rare in video games. Few games are brave enough to invite you on your own adventure without feeling the need to be your guide. Just look at the Game of the Year nominees, Forbidden Horizon, an open world adventure that always scares players when it comes to taking control. Its multitude of map icons will aid you in all your excursions, detracting from the magic of an otherwise good game. (Don’t get misled – but Ragnarök, while not a fully open world, does have a map. That said, throughout my playthrough, I’ve never really needed it. and it’s purely aesthetic.)
Elden Ring vs God of War Ragnarok: Storytelling
Elden Ring and Ragnarök also stand at opposite ends of the narrative spectrum in video games. Ragnarok, winner of the Best Story award at game awards, really tells a compelling story, one that is personal and visceral. It takes complex themes of fatherhood and adulthood, while grappling with prophecy and fate, providing a Hollywood blockbuster-style ending to its Nordic tale. That’s a good story. But it is also traditional.
Ragnarök has some of the best writing about video games all year, but its storytelling doesn’t sound too much like a movie or a novel. It takes players on a ride, but never gives them dominion. That’s the real power of video game storytelling. The player agency distinguishes the medium from other art forms. Elden Ring excels there. It allows you to write your own story. There is, of course, an intended story in the game told through elaborate item descriptions and scattered lore. And curious minds can always head to YouTube to find what they’ve missed. But the stories you make up, as you explore the Lands Between, are the ones that stick with you.
Game of the Year nominee A Plague Tale: Requiem is driven by its story.
Image credit: Entertainment in focus
That’s not to say traditional storytelling always pales in comparison. Just look at narrative-driven games like Our lastor The Story of the Plague: Requiem, the latter was nominated as Game of the Year. These games tell unforgettable stories — but the games present a blank page for players to fill in with what they like, showcasing the medium’s true potential as a completely unique art form that Movies and books cannot be copied.
Acting fantasy mercenary wasteland in Fallout: New Vegas and mythologize my actions and decisions in Block effect trilogy are some of my favorite gaming memories. In the Elden Ring, you can become a chivalrous knight helping maidens through its treacherous lands, or a debonair traitor conquering beasts and beauties. Or, if you’re really good, you can just be a naked guy with a huge club and go around hitting the heads of the game’s deadly bosses. The choice is yours.
Elden Ring vs God of War Ragnarok: Real Game of the Year
To be fair, that’s part of the essence of RPGs like Elden Ring. I wouldn’t believe that God of War Ragnarök is not an RPG against it. Like I said, it’s a different game. It offers a curated experience that combines intuitive gameplay with emotional depth. And inside its impressive battle sandbox, it’s surprisingly versatile. But the Elden Ring chooses the path less traveled — and allows players to find their own treasure. As Ragnarök excels in moments of melodrama, the Elden Ring exercises restraint, which is almost a tool of the game, and stands as a true champion of the medium.
