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It's an ambition regularly met by stunning execution, with a momentum that never slips as you hurtle towards its bombastic ending. This is a sprawling epic that always keeps things on the move without ever becoming disorientating, gluing me to the edge of my seat as it repeatedly toyed with expectations.

It may not be as tightly told a story as 2018's, but Ragnarok has much grander designs. But it’s no slow introduction: Ragnarok wastes no time in stepping into the action and, after a breakneck opening battle, the first step of this new journey is to leave the frozen realm of Midgard and find a missing Norse god in the broader and varied universe. There are touching callbacks to the hunting scene from the 2018 God of War as Kratos proudly watches Atreus prove that he’s no longer a child. Fimbulwinter – a time of unrest that presages Ragnarok – has very much come and, during the intervening years, Atreus has been growing stronger, learning about his Giant name 'Loki', and trying to convince his father to trust him. The apocalyptic Ragnarok is coming, and its events circle around his son Atreus like one of Odin's ravens.

Keeping things broad and spoiler-free, Kratos' story picks up a few years after the final revelations of 2018's God of War – this is absolutely not one of those sequels where everything will make sense without playing the first game, or at the very least watching the included story recap (which is probably too brief to serve as anything but a jolt to the memory).

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