Kratos' Struggle in Fatherhood in Santa Monica

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KRATOS’ STRUGGLE IN FATHERHOOD IN SANTA MONICA STUDIO’S GOD OF WAR (2018)

AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

By MIKHAEL SIANTURI Student Number: 174214095

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2021

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KRATOS’ STRUGGLE IN FATHERHOOD IN SANTA MONICA STUDIO’S GOD OF WAR (2018)

AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

By MIKHAEL SIANTURI Student Number: 174214095

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2021

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Even good leaders make poor choices. The best take responsibility for them. Remember this.

-Kratos of Sparta

Even good leaders make poor choices. The best take responsibility for them. Remember this.

-Kratos of Sparta

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ACKNOWLEDGEMENTS

I would like to express my gratefulness to the highest being of all for guiding me throughout my entire journey in university study. Despite having to stay at home for the last year of by far my best years in life due to pandemic, it is because of Him that

I could reach this far. I would also like to express my gratitude to my thesis advisor,

Drs. Hirmawan Wijanarka M.Hum. for his patience and assistance throughout the process of creating this thesis. Thank you very much, Sir. I could not forget my co- advisor as well, Elisabeth Oseanita Pukan. S.S., M.A., for the insight and guidance that she has given to me. Thank you very much, Ma’am.

My gratitude also goes to both of my parents and my sister for supporting me. If it were not for them, I would not have been here in this amazing university to complete my education, let alone to finish my thesis. Thank you, you three.

Lastly, I must not forget my friends to whom I have been grateful for, too. Deva,

Dea, Kat, Ninja, Sasha, Vinska, Ryan, Vinsen, Ilham, and others who have been there that I cannot mention one by one. Being friends with all of you has been both a pleasure and the best thing to ever happen in my life. I wanted to say this a bit earlier, but never found the opportunity. Thank you for the support and for everything else.

Mikhael Sianturi

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Table of content

TABLE OF CONTENTS

TITLE PAGE ...... ii APPROVAL PAGE ...... iii ACCEPTANCE PAGE ...... iv STATEMENT OF ORIGINALITY ...... v LEMBAR PERYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ...... vi MOTTO PAGE ...... vii ACKNOWLEDGEMENTS ...... viii TABLE OF CONTENS ...... ix LIST OF FIGURES ...... xi ABSTRACT ...... xii ABSTRAK ...... xiii CHAPTER I INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Problem Formulation ...... 3 C. Objectives of the Study ...... 4 CHAPTER II REVIEW OF LITERATURE ...... 5 A. Review of Related Studies ...... 5 B. Review of Related Theories ...... 9 1. Theory of Characterization ...... 9 2. Theory of Personality Development ...... 10 3. Theory of Father’s Involvement ...... 12 C. Theoretical Framework ...... 15 CHAPTER III METHODOLOGY ...... 16 A. Object of the Study...... 16 B. Approach of the Study ...... 17

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C. Method of the Study ...... 18 CHAPTER IV ANALYSIS ...... 20 A. How Kratos is Described in God of War (2018) ...... 21 1. Stern ...... 21 2. Disciplined ...... 23 3. Hesitant to give his son a proper gesture of affection ...... 24 4. Not trusting his son ...... 26 5. Focused ...... 27 6. Protective, vigilant ...... 28 7. Controlling ...... 29 8. Not Open about his Backstory ...... 30 9. Physically Strong ...... 33 B. How Kratos Develops as a Father in God of War (2018) ...... 33 1. Kratos’ Development as a Father ...... 33 a. First Event: The argument between the Father and the Son in Alfheim ...... 34 b. Second Event: The Reveal of Atreus’ True Identity ...... 40 c. Third Event: Atreus Showing Sign of Arrogance ...... 47 d. Fourth Event: Atreus and Kratos thrown into Helheim ...... 51 e. Fifth Event: The Reveal of Kratos’ Past ...... 57 2. Kratos at the Beginning and the End of the Journey ...... 63 a. Stern → Soft ...... 64 b. Not open → More open ...... 65 c. Lacking Trust to His Son → Able to Trust His Son ...... 67 d. Hesitant to Give His Son Affection → No Longer Hesitant ...... 67 CHAPTER V CONCLUSION ...... 69 REFERENCES ...... 73 APPENDIX: SYNOPSIS OF GOD OF WAR...... 75

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List of Figures

Figure 1. Kratos returning Atreus’ knife that he dropped ...... 22 Figure 2. Kratos telling his son to end the deer’s suffering ...... 23 Figure 3. Kratos reaching for his son ...... 24 Figure 4. Kratos and Atreus casually passing Light Elves...... 27 Figure 5. Kratos and Atreus after falling from the bridge ...... 28 Figure 6. Mimir counseling Kratos to be open to his son ...... 31 Figure 7. Kratos examining the vase with a clear hint of his past on it ...... 32 Figure 8. Kratos pushing the bridge of lake of nine temple ...... 33 Figure 9. Kratos and Atreus arguing ...... 35 Figure 10. Kratos explaining what he means by the curse ...... 41 Figure 11. Kratos conversing in a deep talk with Atreus ...... 42 Figure 12. Atreus confronting Modi, who was beat up by Thor ...... 49 Figure 13. Kratos scolding his son ...... 52 Figure 14. Kratos removing his bandages, revealing his heavily marked forearms ... 60 Figure 15. Kratos and Atreus scattering Faye’s ashes ...... 63

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ABSTRACT

SIANTURI, MIKHAEL. (2020). Kratos’ Struggle in Fatherhood in Santa Monica Studio’s God of War (2018). Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma.

This thesis analyzes the main character of the video game God of War by the script, Kratos. Kratos is the main character of the video game and is the father of Atreus. In his son’s eyes, Kratos is not an adequate father. Hence, the researcher observes the character development of Kratos as a father from the beginning to the end of the game. For this research, two main research questions arise. The first one is about Kratos’ characteristics as a character overall, and the second one is about Kratos’ fatherhood develops throughout the story chronologically. To achieve the answers to these research questions, the researcher conducts a library research. The selected approach is psychological approach along with several theories to help analyze the object of the study. The theories are theory of characterization by Janet Burroway, Theory of personality development by Elizabeth Hurlock, and Theory of father’s involvement by Michael Pleck. The result of this research is that Kratos is a stern, disciplined, focused, protective & vigilant, controlling, not open, lacking of trust to his son, and hesitant to express affection character. Through the harsh journey with his son, his fatherhood develops, though the process is not so smooth. In the end, however, he becomes the father his son needs. Kratos becomes softer, much more open, able to trust in his son, and no longer hesitant to express affection.

Keywords: Kratos, Fatherhood, Development

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ABSTRAK

SIANTURI, MIKHAEL. (2020). Kratos’ Struggle in Fatherhood in Santa Monica Studio’s God of War (2018). Yogyakarta: Prodi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.

Tesis ini menganalisis karakter utama dari gim video God of War menurut naskahnya, Kratos. Kratos adalah karakter utama video gim ini dan adalah seorang ayah Atreus. Di mata Atreus, Kratos adalah ayah yang tidak baik. Maka dari itu, eneliti mengobservasi perkembangan karakter Kratos sebagai ayah dari awal hingga akhir gim. Dalam penelitian ini, dua pertanyaan dinaikkan. Pertanyaan pertama mempertanyakan karateristik Kratos secara kesuluruhan, dan pertanyaan kedua mempertanyakan keayahan Kratos sepanjang cerita secara kronologis. Untuk menjawab pertanyaan-pertanyaan ini, peneliti menggunakan metode penelitian perpustakaan. Pendekatan yang digunakan adalah pendekatan psikologis dengan beberapa teori lain untuk membantu menganalisa objek penelitian. Teori- teorinya adalah teori karakterisasi oleh Janet Burroway, teori perkembangan pribadi oleh Elizabeth Hurlock, dan teori keterlibatan ayah oleh Michael Pleck. Hasil dari penelitian ini menemukan bahwa Kratos adalah karater yang tegas, disiplin, fokus, protektif & waspada, ketat, tidak terbuka, sulit mempercayai anaknya, dan tidak bisa menyampaikan kasih sayang. Keayahan Kratos berkembang sepanjang perjalanan ia bersama anaknya, walaupun prosesnya tidak mulus. Namun, pada akhirnya, ia menjadi seorang ayah yang anaknya butuhkan. Kratos menjadi lebih lembut, terbuka, bisa mempercayai anaknya, dan tidak lagi kesulitan menyampaikan afeksi.

Kata Kunci: Kratos, Fatherhood, Development

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CHAPTER I

INTRODUCTION

A. Background of the Study

Fiction is, according to Oxford Dictionary, “A type of literature that describes imaginary people and events, not real ones” (Oxford Learner’s Dictionary, 2020)

Fictions can be found on many platforms nowadays, not just from writings. People can find fiction in comic, verbally spoken stories, pictures, and one that is going to be talked about in this research, video games; specifically, the script.

Many video games nowadays rely not just on the dynamic of the gameplay, but also on the plot to give the players an experience they will remember, and it is safe to say that Santa Monica Studio succeeded. Indicated by winning the 2018 Game of the

Year Award, God of War (2018) was an experience that its players will not forget in a hurry. In May 2019, according to Techspot, Santa Monica Studio, the studio that sells the video game, had sold over ten million copies (Eddie Makuch, 2019), which is another indication of the game’s great success. God of War is currently the third highest-selling PS4 exclusive game up until this point, with Uncharted 4: A Thief’s

End (Oleg Nesterenko, 2019) and Marvel’s Spider-Man (Chris Kerr, 2019) taking first and second respectively.

The plot of this video game is mainly about parenthood. Parenthood is the state of being a parent and the responsibilities involved, according to Oxford dictionary. It is a state where many people often struggle the most (if they ever decide to become

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parents), and it happens that their struggle is visible in the eyes of their children, or even, affect their children.

Kratos, in the game, is a fictional character whose struggle in being a father is very much visible in the eyes of the players who play the game. Kratos in the previous God of War games had bitter past, and familyhood took place in here. He was known for killing his own previous daughter and wife, though his body and mind were controlled by a Greek God, Ares. Kratos’ family was not the only victims who joined the bloodbath caused by Kratos, as he has killed many of those who were deserving and undeserving, including his father, Zeus. The whole Greek pantheon was banished into oblivion due to his thirst for revenge. This horrifying past continuously haunts him throughout his journey with his new family in the newest

God of War.

To worsen the problem, if Kratos, who is a God, were to have a child with either a mortal or an immortal, his child would be a God as well. Gods are not the kind of people who would have the most peaceful life there is despite their powers, especially ones who are outsiders. Hence, Kratos sees godhood as a curse, resulting in him keeping his son’s true nature, Atreus, as a secret. However, as seen later in the game, there would be price for his decision.

A small example of Kratos’ struggle in being a proper father to Atreus is illustrated when the two get on a boat. To pass the time, the game would often engage a conversation between the two. It is illustrated how Kratos could not even do a proper storytelling performance when his son asks him to tell a story.

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This research is worth analyzing because the plot that takes place in this game is one of the major factors of the game’s success. The benefit of this research is that readers gain knowledge about Kratos’ struggle in fatherhood, which is one of the main talking points about the game itself.

This research, hence, is expected to give readers an insight of how Kratos develops throughout the journey of the game as a father. Pleck emphasizes the importance of fatherhood in the following:

Father’s involvement with their children provides a pervasive and rich context for developmental change and maturity that is distinct from and that provides different developmental outcomes from not being an actively involved father (Marsiglio, 1995, p. 3)

Put in other words, a father who is active in being involved with his children’s lives is certainly a better father than a one who is not, since his involvement provides the

“developmental change and maturity” that the children need in their times of maturing up. Pleck also provides ‘parameters’ that can be used to measure just how well a father is doing in parenting, which will later be explained.

B. Problem Formulation

The following are the research questions proposed by the researcher:

1. How is Kratos described in God of War (2018)?

2. How does Kratos’ fatherhood develop throughout his journey?

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C. Objectives of the Study

The objective of the study is to analyze Kratos as described in God of War (2018) and to know how Kratos develops as a father throughout his journey to reach the highest peak of all realms with his son.

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CHAPTER II

REVIEW OF LITERATURE

A. Review of Related Studies

To understand the research better, other studies that have been previously conducted were needed. Studies that are relevant in terms of its similarities with this study were picked to fulfill that purpose, but still possessing a few differences to emphasize that this research has not been done before.

The first related study picked to support this study is conducted by Ratih Melur

Dwi Purnamasari, and it was published in 2018 namely The Influence of Father’s

Involvement Towards Aristotle Mendoza’s Personality Development as Potrayed in

Saenz’s Aristotle and Dante Discover the Secrets of the Universe. As the title suggests, she discusses about the father figure in the writing Aristotle and Dante

Discover the Secrets of the Universe and its involvement towards the son figure in the story. Purnamasari uses psychological theory, specifically through the uses of theories of personality development by Elizabeth Hurlock, character & characterization by Janet Burroway, and father’s involvement by Michael Lamb. The research comes with the conclusion that the father, named Jaime, does not have a tight bond with his own son, Ari, as it has been stated in the conclusion, “Ari never spent his time together with his father” (Ratih Dwipurnamasari, p. 51). The father merely takes care of his responsibility as a father, and that is all. He does get involved in activities with his son, give appreciation to his son, or anything extra that is

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actually needed by the son. However, Jaime eventually manages to tighten the bond with his son by applying two ways communication. Only after the father does such action does the son start to develop his personality.

This research shares two similarities with the research, which are similar focus of examination; fatherhood, and the use of theories of characterization and personality development. Kratos in God of War is the father of Atreus, while Jaime is the father of Ari in Aristotle and Dante Discover the Secrets of the Universe. The object of the study is different, as one observes the book Aristotle and Dante Discover the Secrets of the Universe and the other one observes the video game God of War.

The next research is conducted by Renagganis Hendryasari, and it was published in 2015 titled The Effect of the Minor Characters to the Development of Emma in

Jane Austen’s Emma (2015). The researcher wanted to find out, as the title of the research suggests, the effect of the minor characters to the development of Emma in the novel. Hendryasari divided the problem formulation into three questions. The first question questions how Emma’s character is described, the second question how the minor characters are described, and the final question how the minor characters affect

Emma’s character development.

The approach of this study is New Criticism, in which the researcher observed the literary piece as it is, with no external influences such as reviews from other people.

The theories applied to do this research were the theories of character by Robert

Stanton and characterization by M.H. Abrams, theory of personality development by

E.M. Foster, and the theory of major and minor characters by Koesnosoebroto. The

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theories of character and characterization were used to describe the object of the research, which was the character Emma. The theory of major and minor character and personality development were used to analyze the growth of personality Emma undergoes in the story.

It is described that Emma lives in a middle to upper class environment, until later she is exposed to an environment bellow her class. The people in this very environment later influence the development of her personality, and this process was studied by Hendryasari.

In the end, the researcher came with the conclusion that the object of the research, which is Emma, “… is a complex character because she grows from her character at the beginning of the novel,” (Renagganis Hendryasari, p. 44). In other words, the timing in which Emma’s personality development starts from is the reason why

Emma is complex, which essentially gives her a lot of room and time to develop. The researcher also mentioned that the minor characters, who are the key to the Emma’s development, “… helps Emma through their criticism, advice, and suggestion. She gets new understanding about how to treat the lower-class people,” (p. 44).

The difference between Hendryasari’s research and this one is that Hendryasari’s research uses New Criticism as its approach, while this one does not. Another difference is that the major character and the minor characters are separated by a certain gap in their class, while the ones in this research are not. Both Kratos and

Atreus live in a humble hut in the wilderness of Midgard, not separated by any gap whatsoever.

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The last related study is titled Personality Change of the Main Character, Tom

Leyton, As Influenced by the Minor Character, Joseph Davidson, in Michael Gerard

Bauera`s The Running Man (2017). This research is conducted by Bertha Palupi. The researcher figures out the process of the change of personality of the main character of Michael Gerard Bauer`s The Running Man. There is a supporting character in the story, named Joseph Davidson, and the researcher tries to figure out the supporting’s character’s influence in the development of the main character’s personality.

The approach of this study psychological approach. The theories used were the theories of character and characterization by Janet Burroway, theory of personality, and theory of personality change by Elizabeth Hurlock. Once again, the theory of theories of character and characterization were used to describe the main character of the story, which was Tom Leyton. The theory of personality and personality change were used to analyze the personality growth in Tom Leyton, as influenced by the minor character Joseph Davidson.

The character Tom Leyton is a former soldier who was sent to the war in

Vietnam. He was traumatized by the war and locked himself up after the war. The minor character, Joseph Davidson, is the key to Tom’s personality development.

Joseph is Tom’s neighbor, and when the two become friend, Tom slowly opens himself up, as explained, “With the help from Joseph with his characteristics, Tom gains positive results of their friendship” (Bertha Palupi , p.48).

The difference between Palupi’s research and this one is that Palupi’s research uses the theory of character, in which this research does not. Another difference is

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that the major and the minor characters are not related by blood, in which the ones in research are. They are father and son, while the ones in Palupi’s object are neighbors.

B. Review of Related Theories

This part introduces the theories involved in the process of analyzing the object.

There are the theory of characterization by Janet Burroway, theory of personality development by Elizabeth Hurlock, and father’s involvement components by Joseph

Pleck. The followings are the explanation regarding each theory.

1. Theory of Characterization

Every character will always have a character that is distinguishable from the other characters. Authors have several methods of conveying just how a character really is as an entity.

Since this is a video game with a script as the baseline of the plot and cutscenes, the correct method of characterization would be the one that is used in dramas or performance. Janet Burroway (Writing Fiction: A Guide to Narrative Craftmentions,

2000, p. 54) that there are four methods in characterization in visual performance.

They are through speeches, thoughts, actions, and looks. This research happens to use three of these, which are speech, looks, and action.

When it comes to speeches, a characteristic can be determined from what a character speaks, and how the character speaks. In terms of thoughts, it is through the feelings of a character a characteristic is determined. Whenever a character has a mental thought inside them that is sounded in the performance itself, viewers may tell

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a trait or two from it. In terms of actions, it is how a character behaves and what the character does that determine a certain characteristic. Finally, when it comes to looks, it is how a character looks or how a character dresses that determines the trait of a character.

2. Theory of Personality Development

This theory is conducted by Elizabeth Hurlock in her book titled Personality

Development. In her book, Hurlock mentions that the changes in a personality is “The result of multiple revisions in the thoughts and feelings related to the person’s concept of self” (Hurlock, 1974, p. 124).

Changes in personality due to conditions that force them to happen can be expected at any time of age, young and old. However, the difference is the effect of these conditions. If the conditions were to take place during youth, the personality development would be more effective than if it were to take place in adulthood. This is because “Attitudes, habits, and behavior patterns are established early in life and are firmly rooted in the personality pattern by the time a person reaches adolescence”

(p. 124). It can be concluded that by the time a person has gone past adolescence, they will have a principle on their own that they grasp ever so tightly, resulting in a harder change in personality.

Factors that influence the development of a personality consist of eight, but this research only applies three of them. They are the changes in significant other(s), social pressure, and changes in self-concept. The rest are changes in environment,

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changes in roles, strong motivation, physical changes, and psychotherapy. The followings are the understandings of each factor that is used in the analysis. a. Changes in significant people

Hurlock mentions in her book that changes in personality in a person are inevitable if they try to adapt their pattern of behavior, attitudes, beliefs, values, and aspirations to their significant one’s if they happened to change (p. 126). Because of this, if one were to change (personality wise) and they happened to be significant to someone else, their changes may very well affect the other person’s self-concept.

Mostly, people will always have some significant people who can affect their personality development in their lives from the moment they were born until adulthood and until old age. In each stage, the kind of significant people may differ.

In childhood, the kinds of people are usually parents, siblings, peers, and teachers. In adulthood, they are usually children, spouse, employer, neighbors, and friends. In old age, the people are usually grandchildren, grown children, spouse, and friends (p.

126). b. Social pressure

As one grows, they will realize that the society often demands traits that are either contributive or likeable, and they often will try to fulfill this demand, or sometimes, they will deviate and decide not to do so, too. However, the chances of the fulfilment of this demand will increase if the one who demands so is significant (p. 126).

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c. Changes in self-concept

A change in the self-concept of a personality of a person will “Bring about a change in the entire personality pattern” (p. 128). This is because self-concept is the core of personality pattern (p. 128).

However, because this is the core of the personality pattern itself, bringing the slightest change to it is hard. There are three main obstacles to this.

First is when one is so accustomed to a certain method of a certain fashion, they may be unable to see another way to deal with the situation or occasion. Second, if one were to think about changing a part of their self-concept, they would immediately think that they would admit that they were wrong in the entire time, and sometimes, their ego would be on the way to prevent them from admitting that. The third is that,

“Getting a more accurate understanding of the real self in environmental,” as Hurlock mentions in her book. If the environment of a person is not supportive and discriminative, surely the process of one’s trying to understand themselves better will be much harder.

3. Theory of Father’s Involvement

In the book The Role of Father in Child Development by Michael Lamb, there are a number of studies observing parents in the western world. One study named

Paternal Involvement: Revised Conceptualization and Theoretical Linkages with

Child Outcomes by Joseph H. Pleck proposes a “revised conceptualization of the construct paternal involvement, consisting in three primary components (positive engagement activities, warmth and responsiveness, and control) and two auxiliary

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domains (indirect care and process responsibility) (Lamb, 2010, p. 58). The followings are the explanation of each component. a. Positive engagement activities

This measurement regarded by this component is not just the amount of time a father spends his time with his children, but also what he does in throughout his time with his children (Lamb, 2010, p. 67). A father often has to separate himself from his child to make earnings for the family, but for the sake of the relationship between the father and the child, the father will have to balance the two elements. While he does so, the father also has to make sure to that the activity he and his child are engaged in actually contribute into the relationship between the two. For example, it is not enough for a father to merely stay in the house with his child. To create a stronger bond, the father has to, for example, play together with the child. b. Warmth and responsiveness

These two elements are the main elements in the affection that a father gives to his children. A father needs to be responsive to what his children do, and convey his warmth by giving support to them. This way may the children feel the father’s affection (p. 73). A simple example of this is when a child shows a creation of theirs that they are proud of to the father. To maintain affection, the father will firstly have to acknowledge the child’s creation’s existence. That is the responsiveness. The warmth may be conveyed by how the father approves the child’s creation by complimenting it.

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c. Control

When it comes to parenting his children, a father is expected to control his children as well to build discipline. What Pleck means by this is that a father is to monitor his children and help the process of decision making (p. 73). A father will have to guide the child since the child is still considerably blind. With no teachings to guide the child’s decisions, they are almost guaranteed to bring an unwanted outcome to the child. That is where the father comes in to control the child’s decision-making.

For example, a father will have to control his child’s craving for, for example, candies, as they are usually children’s favorite though not being so healthy for their teeth. d. Indirect care

What is meant by this is that how a father fulfills the needs of his children by providing them their needs, without actually doing a direct interaction with themselves (p. 65). Pleck actually divides this into another two sub-categories: material indirect cares and social indirect cares. The material indirect care is about the concrete goods that children need, such as food, a roof above them, toys. The social indirect care is about how soon a father introduces his children to the society, because the children will learn a lot in the society they are in. A simple example is the

‘society’ that exists at a kiddy playground outside the child’s house where kids come to play. A father has to grant permission to his kid’s request to go out there and play, if not, persuade the kid to go out there.

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e. Process responsibility

This element is mainly about how a father must fulfill the four parameters mentioned above for his children need as he is responsible for them.

C. Theoretical Framework

In order to answer the research questions raised by the researcher, the researcher needs theories that are relevant with the problems of the research. The chosen theories consist of theory of personality development by Elizabeth Hurlock, theory of characterization by Janet Burroway, and theory of father’s involvement by Joseph

Pleck.

Theory of personality development is used to see just what elements that have led

Kratos to become what he is in the end of the game. By comparing the events in his journey, the researcher aimed to better understand Kratos’ personality development with this theory by ‘concluding’ his personality development at the end of the analysis of research question number two.

Theory of characterization is used to mainly answer research question number one, which asks how Kratos is described throughout the video game. The theory basically provides parameters that can be used to the personality of a character, such as the dialogues, gestures, and more.

Theory of father’s involvement is used as a part of the analysis of research question number two. This theory is used to relate Kratos’ personality development with his fatherhood, mainly to find out just what element that he has fulfilled as a father in contribution to raising his son, and what he has not fulfilled.

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CHAPTER III

METHODOLOGY

A. Object of the Study

The object of the study is the script of the video game God of War. God of War is a game released for PS4 users and is a great success. Reaching almost perfect

(Google audience rating summary), if not, perfect ratings (IGN, Polygon, Gaming

Bolt) across many gaming-focused medias, the game has also achieved the highest award there is for video games; the Game of the Year Award in 2018 (Eddie Makuch,

2019).

The video game itself is a third-person RPG game in which its setting takes place in the world of Nordic mythology. The main hero of the game is Kratos, a Greek God who came from Sparta, Greece. God of War starts with the death of the mother/wife figure of the family of Kratos, Faye, whose face is never shown as her corpse was already wrapped in a pyre to be burned in a traditional Nordic manner. Before dying,

Faye requested her husband and her son, Atreus, to scatter her ashes on the highest peak of all realms, in which both the father and the son assume that it was the mountain that is visible from their house. This very quest is the ultimate goal of the game. The duo undergoes a journey to reach the peak in question through a lot of obstacles.

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B. Approach of the Study

The approach that will be conducted in the study is psychological approach, as

“This approach reflects the effect that modern psychology has had upon both literature and literary criticism,” (Kennedy & Gioia, 2005, p. 1804) specifically through the uses of theories of personality development by Hurlock and father’s involvement by Pleck and character development by Hurlock. Usually, there are three kinds of applications of the psychological approach itself. There are the application to investigate the creative process (to find out the literary genius and its relation to normal mental functions), the application to investigate the author of the work itself, and the application to analyze the fictional characters in the literary work itself. Of course, in this research, the approach is applied to the character itself, in which in this case is the main hero, Kratos.

Since the objective of the study regarded the process of how Kratos’ fatherhood developed throughout the game, which involves a lot of decision-makings, psychological approach is the most suitable approach for this matter.

The application of this approach will be engaged by choosing critical points of the story in which a significant, or visible, at the very least, change(s) can be seen post- event. The approach elaborates how the character, Kratos, becomes of what he is after the critical point in question by considering the situation he is in and what he is before the critical point. After that Afterwards, the traits that have changed in Kratos are listed to give a comparative illustration of Kratos before and after the journey.

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C. Method of the Study

This research uses a library research. The primary source of this research is the script of the video game God of War itself, along with YouTube videos of the game itself to really see the parts analyzed in the flesh. The secondary sources consisted of the related studies that have been listed previously and the theories involved,

Hurlock’s theory of personality development (from the book Personality

Development), Burroway’s theory of characterization (from the book Understanding

Unseens), and Pleck’s theory of father’s involvement (from the book The Role of the

Father in Child Development).

After collecting the theories needed to fully answer the raised research questions, the researcher listed the operational steps taken to answer them. The steps consist of the following.

The first step was to use the theory of characterization by Burroway in order to describe Kratos in the proposed traits. Evidences in the form of dialogues supported with some screenshots of the dialogues taking place were used to further support the arguments. This concludes the steps of answering the first research question.

As for the steps taken to answer research question number two, the first step was to read the whole script of the video game. While reading, important points were marked, in which something impactful happens in them and there are subtle or obvious hints in the characters’ dialogue that resemble a certain trait that was new or slightly modified. The researcher then pinpointed the important points for the next step he would take.

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The next step was to determine how Kratos was before and after the gathered critical points. In this step, the character’s personality was elaborated in a general way and parts from the scripts evidencing the personality will be referred, too. To determine how and why Kratos becomes of what he was after the selected events, the situation in which he was in was analyzed and so were his reasons to choose whatever decision the character made.

To really tie with the question, since it regarded how Kratos developed his fatherhood throughout the story, the researcher associated Kratos’ fatherly behavior around his son with the theory of father’s involvement by Joseph Pleck to determine just how ‘fulfilling’ he was as a father. Parameters that Kratos still lacked or happened to fulfill right at the point of event were elaborated.

The steps mentioned above were executed to elaborate Kratos as a father per one critical point, in which there are five, as the researcher has collected. The researcher did the same mentioned steps for the remaining five pinpointed events.

After doing so, to ‘sum’ the entire analysis above, Hurlock’s theory about

Character Development was used to give the same kind of explanation but in a more general and comparative way. The researcher displayed a comparison of Kratos in the beginning of his journey and in the end of his journey.

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CHAPTER IV

ANALYSIS

In this chapter, the researcher reveals the result of the analysis. In the first part of the chapter, the first research question is answered, which explains Kratos’ characteristics. Each characteristic is elaborated with further explanation and proofs in the forms of dialogues along with several screenshots to give the readers a visual understanding of the situation of the dialogue.

The second part of the chapter explains the answer to research question number two, which explains the development of Kratos as a father throughout his journey with his son. Five different events throughout the journey have been gathered to explain Kratos’ development as a father. The reason behind choosing each event is elaborated as well as the parameters that Kratos has fulfilled or yet to fulfill at that point. the explanations relies once again on the displayed dialogues, and the pictures are provided to give the readers better visual understanding of the situation. The events are arranged chronologically.

After the explanation of each event, a more general and comparative explanation regarding Kratos’ personality development is elaborated using Hurlock’s theory, specifically the factors that have caused some of Kratos’ traits to change.

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A. How Kratos is Described in God of War (2018)

Kratos has been described as a hard man who has gone through a lot. In the fourth

God of War game, the creators of the game wanted to give him a second chance to start life anew. The followings are his traits in the video game God of War.

1. Stern

This trait is depicted mainly through the use speech. One out of many examples is in the following when the two are scaling a cliff. Atreus recalls the event when his father fought against Draugrs and seemed to be a master at combat.

ATREUS. You’ve had to kill people before, haven’t you? You’re used to it. KRATOS. We do what we must to survive. ATREUS. Animals, I get. They’re food. Draugr… they’re supposed to be dead. But people… they’re trying to survive too. KRATOS. Close your heart to it. On our journey, we will be attacked by all manner of creature. Close your heart to their desperation. Close your heart to their suffering. Do not allow yourself to feel for them. They will not feel for you. ATREUS. I understand. (GAim4A, 2019, p. 12, lines 15-22)

Hearing his son’s statement regarding his conscience being afflicted when he has to kill other beings, he insists that his son must ‘close’ his heart to every living being that will attack them, even animals that simply want to protect themselves. He wants to cast out any sign of mercy in his son in combat, since it is a trait Atreus possesses very much.

Another evidence is in the following, when the two are at Freya’s house, to which they only recognized her as the Witch in the Woods. Kratos is requested by the Witch

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to grab a handful of Lamb’s Crest flowers when he stumbles upon his son who is trying to pull out a root from the ground as an ingredient needed by the Witch.

[Kratos gathers flowers and returns to Atreus. He tries to pull the root out of the ground.] ATREUS. Can you help? I can’t quite get it. KRATOS. Would this help? ATREUS. I dropped it…? KRATOS. When you were chasing the animal. ATREUS. What’s wrong with me? If I’d lost it…

FIGURE 1. KRATOS RETURNING ATREUS’ KNIFE THAT HE DROPPED

KRATOS. You did lose it. ATREUS. I’ll take better care of it from now on. [They return to the Witch.] (GAim4A, 2019, p. 28, lines 1-9)

When Atreus is about to say the consequence of losing his knife, Kratos cuts his son and reminds him that he did, in fact, lose the knife. The reason why Kratos emphasizes that fact is because the knife used to belong to his mother, who has passed away as previously shown in the beginning of the game. She was a really special person for the two, and even for a such hard person like Kratos, he is seen

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putting on a hurt expression when reminded of his wife. He does not want to see his son’s recklessness costing such valuable that used to belong to his wife.

2. Disciplined

This trait is visible through the use of both speech and action. The following dialogue displays the two hunting a deer. Atreus shoots his arrow to a deer, approaches the animal once it collapsed but only to find out it has not died.

ATREUS. It’s… it’s still alive. KRATOS. Your knife… ATREUS. (hands his knife to Kratos) KRATOS. No. Finish what you started.

FIGURE 2. KRATOS TELLING HIS SON TO END THE DEER’S SUFFERING ATREUS. I can’t… [Kratos clutches his hand with a knife in his hand. Together they finish the animal.] (GAim4A, 2019, p. 6, lines 23-24)

In here, Kratos teaches his son a lesson to be discipline by telling him to finish what he started. When asked for the knife, Atreus hands it to his father. However, for the sake of lesson, Kratos reacts by telling his son to finish the deer by his own, as it is his doing that he started but yet finished. It is a hard way to learn a lesson, but

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knowing this is Kratos, it is natural that he would tell his son to do something like this, though in the end, the father does help his son end the animal’s suffering.

3. Hesitant to give his son a proper gesture of affection

This trait is shown in the form of action. The following dialogue displays the two when they are gazing upon a view of the vast mountain ahead of them. From behind,

Kratos wants to give his son a hug, but stopped midway.

[They come out of the caves and see stunning view of wild mountain nature.] ATREUS. Wow… Never been this close to the mountain before. Looks so big. I wish Mom was here to see it.

FIGURE 3. KRATOS REACHING FOR HIS SON [Kratos wants to hug his son but stops.] KRATOS. Come, boy. (GAim4A, 2019, p. 22, lines 21-25)

Kratos has always been a serious man, so serious that he feels that it is not okay to hug his son. In this scene, Atreus indirectly conveys the idea that he longs for the presence of his mother when he wishes his mother was there with him. It would be a no-brainer for the remaining parent of a child to remind their child that they are still there with them, either with a mere verbal reminder or a physical one, like a hug or a

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squeeze by the shoulder. Kratos wants to do that, but hesitates and decides not to do so. Instead, he tells his son to continue the journey, since he is keened in keeping his image as the stern man he is that must not show any sign of softness. To Kratos, softness, or even the tiniest bit of compassion, is a sign of weakness, as he reminded his son to ‘close his heart’ to every living being that they would kill (see page 25), though it is actually more than okay for him to show compassion to his own son.

Another reason why he would not hug his son is because he is relatively distant with his son. His distantness with his son is depicted by how Atreus sometimes addresses his father as ‘sir’ and Atreus’ explicit complaint about his father being distant because he was always off hunting when his mother was still alive and never spent enough time with him. The following dialogues display the two depictions respectively.

ATREUS. Father? KRATOS. What? ATREUS. Did something change? The forest feels different now. KRATOS. Everything is different, boy. Try not to dwell on it. ATREUS. Yes, sir. (GAim4A, 2019, p. 1, lines 23-26 and p. 2, lines 1-2)

**** KRATOS. Faye? ATREUS. (voice) You have to come back. You left me here alone. KRATOS. Atreus? ATREUS. …alone with him. He always leaves. He’s never here. He doesn’t want me and never will. I don’t know him and he doesn’t know me. Doesn’t seem to want to. I’m strong. I’m smart. I am not what he thinks I am. I know better. He doesn’t talk to me. Doesn’t teach me. It should have been him. Do you hear me? Him… not you. Except… I don’t mean that. You know I love him. I just wish he was better. I know he can be. So if he tries… I’ll try. But if he doesn’t… please come back. I know you are out there somewhere. (GAim4A, 2019, p. 53, lines 19-27)

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This trait makes a chain reaction that causes another trait to appear, which is doubt over Atreus, or untrust, which will be explained in the next point.

4. Not trusting his son

The distantness between the father and the son causes the two to not know much about each other, which results in lack of trust, and it is displayed through the use of speech. Evidences of Kratos’ lack of trust to his son is explicitly shown whenever the son asks if he can carry his mother’s ashes, to which Kratos always rejects. The following dialogues display the two times Atreus asks this request and Kratos rejects.

ATREUS. Do you think for this last leg up the mountain that maybe I can carry her? KRATOS. I told you, no. ATREUS. Why? She meant more to me than you anyway. KRATOS. What? ATREUS. I just meant… I spent more time with her. You were off hunting a lot. KRATOS. It would serve you to stop talking. (GAim4A, 2019, p. 35, lines 14-20)

****

ATREUS. Father? Do you… do you think I could carry her now? KRATOS. No. ATREUS. But I… KRATOS. I said no. ATREUS. Okay (GAim4A, 2019, p. 64, lines 10-14)

Because Kratos honors Faye so much, he thinks that his son is not worthy enough to carry her ashes. He does not entrust his son with the job for nearly the entirety of the story.

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5. Focused, never in the favor to be distracted at all throughout the journey

This very trait is shown mostly in the form of speech. The following is one out of many examples of evidence where Kratos does not bat an eye to an unnecessary distraction on their journey. The two are rowing on a boat in the realm of the elves,

Alfheim, when they see Light Elves merely watching them go.

ATREUS. Look. Should we try talking to them? KRATOS. No. ATREUS. But maybe they need help. KRATOS. They do not stop us, so they do not concern us.

FIGURE 4. KRATOS AND ATREUS CASUALLY PASSING LIGHT ELVES ATREUS. But maybe— KRATOS. They do not concern us. (GAim4A, 2019, p. 44, lines 16-21)

Prior to this moment, both Kratos and Atreus have seen the Light Elves being killed by Dark Elves while showing no resistance, hence, Atreus asks his father to talk to the Light Elves. It is natural of him to wish to find out whether or not the Light

Elves need help, since innocence is very much trait considering he is still a child.

However, not wanting to get sidetracked, Kratos rejects the idea.

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6. Protective, vigilant

These two traits are closely related, as Kratos stays vigilant all the time to protect his son at all cost. The two traits are displayed in the form of speech and action. The following dialogue takes place when the two are about to cross a bridge that seems old and can collapse anytime.

ATREUS. Thanks. There’s the mountain! Let’s go! (runs away) KRATOS. Not yet! [Atreus runs to a bridge to the mountain.] ATREUS. It’s fine! [He jumps on the bridge and one of the planks cracks] ATREUS Aaah! Father, help! KRATOS Hang on! ATREUS. Hurry! I’m slipping! KRATOS. (slowly and carefully reaches for his son) Hang on! Stay calm. ATREUS Aaah! [They both fall, but Kratos manages to keep his son in his arms.] ATREUS. Huh… that wasn’t so bad.

FIGURE 5. KRATOS AND ATREUS AFTER FALLING FROM THE BRIDGE KRATOS. SLOW DOWN. Your haste will cost us. ATREUS. Sorry… (GAim4A, 2019, p. 15, lines 10-23)

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Kratos’ vigilance is shown through his command to not cross the old bridge, because he suspects that the bridge could collapse anytime, in which it does. His protectiveness is shown when he goes to save his son despite the two end up falling together. There are a lot more points at which Kratos saves his son from great dangers, and this is just one of out of many more. After all, the world that both Kratos and Atreus live in is filled with living beings that want to kill them on sight. Hence,

Kratos, being the father, has to protect his son at all cost.

7. Controlling

The last trait is displayed through the use speech. Kratos often commands his son to do this and that to overcome the obstacles in their journey, as his son has a mechanic that the players need to go through the obstacles. Other than that, Kratos also involves himself a lot with his son’s decision-making process by giving him near to no chance at all to make decision. The following dialogue depicts this trait occurring. Kratos denies his son’s idea to fight men if they encounter any and ends the discussion to hear no more from his son regarding the subject.

ATREUS. Earlier… you said people might try and rob us. I’ll kill them if they try. I’m not afraid. KRATOS. If we encounter men, you will stay out of it, understand? ATREUS. But… I can fight now. KRATOS. You will stay out of it, boy. Speak no more of this. Atreus, follow me. ATREUS. Sorry, I got distracted. (GAim4A, 2019, p. 17, lines 12-16)

Since he has to teach his son lessons along the way, he inevitably has to monitor his son’s actions and decisions. Ones that seem to be against his wishes will inevitably be directed to go accordingly with his wishes, as evidenced by the dialogue

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above. His son wishes to fight threatening men if they encounter some because he feels capable of doing so. However, his father rejects the idea and tells him to leave them to himself.

As for the part, “Atreus, follow me,” is actually an automatic voice line that would be triggered whenever Kratos was too far from his son. Sometimes, Atreus could not keep up with his father’s running phase that he would often get left behind.

Right away, Kratos would tell his son to keep up.

8. Not Open about his Backstory

This trait is shown in the use of speech and action. The following is the dialogue that depicts his discreetness about his past while talking to Mimir. Kratos is about to free him from the roots of the magical tree he was trapped in by chopping his head and bringing it to the Freya to have it resurrected when Mimir suddenly lowers his volume.

MIMIR. Brother, in case you can’t resurrect me, there is something you need know. The boy… the longer you wait to tell him his true nature, the more damage you do. He will resent you, and you may lose him forever. KRATOS. There is much about me I would not have him know.

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FIGURE 6. MIMIR COUNSELING KRATOS TO BE OPEN TO HIS SON MIMIR. Aye… so you value your privacy more than you son? KRATOS. I’m going to cut your head now. MIMIR. Fair enough. [Kratos chopped off Mimir’s head with one mighty swing and takes it with him. INSIDE THE MOUNTAIN COMPLETED.] (GAim4A, 2019, p. 75, lines 2-10)

Kratos’ response to Mimir’s statement regarding the possible danger he might face if Kratos keeps his true nature as a secret is pretty self-explanatory. Kratos tells

Mimir that his past is something that he would not like his son to know because of how gruesome it was. He is responsible for the deaths of own previous family, a lot of innocent people, and many Greek Gods. It is justifiable that he is to keep his son as a secret, though it will have a consequence later in the game, since his past has a tight association with his true identity, a God.

Another example of Kratos keeping his past from his son is when the two are inside Tyr’s Vault when they come by a room full of ornaments from different worlds collected by Tyr himself. The players could actually see ornaments from different pantheons from different lands, such as the old Japan, Egypt, and Ireland. One of

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them, which Kratos happens to spot, is from Greece. It is a vase with a drawing of himself while standing on a pile of bodies, a pose that screams his past bloodthirsty behavior.

FIGURE 7. KRATOS EXAMINING THE VASE WITH A CLEAR HINT OF HIS PAST ON IT

While examining the vase more closely, his son appears from behind and asks what discovery his father might have found while trying on a big, possibly Egyptian helmet that can barely fit. Hearing his son, Kratos, as if by accident, breaks the vase by throwing it away to prevent his son from seeing it. The following dialogue displays the scene.

[Kratos notices a vase with the image of the slayer of the gods and beasts on it, his past. He, as if by accident, breaks it.] ATREUS. What’d you find? KRATOS. Enough distraction. Do not forget why we are here. ATREUS. (puts the helmet away) Okay… (GAim4A, 2019, p. 131, lines 12-17)

The reason behind this odd behavior is to prevent Atreus from seeing the vase, since it is something that Kratos has been hiding his child from. However, later after this scene, it is seen that Atreus spots the very piece of the vase that happens to have

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the drawing of his father, hinting that Kratos did not throw the vase hard enough to cover his past.

9. Physically Strong Kratos is a very physically strong person. Other than how we can see it by judging his muscular looks, being a Greek God, he is granted with super strength that allows him to do heavy labors. The examples are lifting boulders, slaying giant trolls, or perhaps the one that is the heaviest, pushing the direction of the entire bridge of

Lake of Nine temple.

FIGURE 8. KRATOS PUSHING THE BRIDGE OF LAKE OF NINE TEMPLE

B. How Kratos Develops as a Father in God of War (2018)

1. Kratos’ Development as a Father

While analyzing the whole script of the video game to answer this question, the researcher pinpointed five events that are important to the contribution to the personality development of Kratos as a father. In other words, there are noticeable differences in the personality of Kratos himself before and after each of these five

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events. They are mainly in the form of dialogues that depict a certain trait, so certain parts of dialogues will be displayed to specifically show what trait is being referred.

The events will be arranged chronologically. At the end of the explanation of each event, Kratos’ fatherhood is measured with Pleck’s father’s involvement parameters. a. First Event: The Argument between the Father and the Son in Alfheim

The first event chosen is the argument between the father and the son of the story.

The following dialogue is the peak of the event, which is essentially break of conflict between Kratos and Atreus, when they are rowing on a boat, on their way back to

Midgard to continue their way to the peak of the mountain.

ATREUS. So… Was she in the light? KRATOS. Who. ATREUS. You know. KRATOS. (after a pause) No. She was not there. ATREUS.Not like you would even care if she was… KRATOS. (angrily) Mind your tongue, boy! (slightly calmer) Until our journey is over, one of us must remain focused. Do not mistake my silence for lack of grief! Mourn how you wish, leave me to my own. ATREUS. I’m sorry. I didn’t realize… KRATOS. No… Why would you? You do not know my ways. I know it has not been easy. In the light… I felt only moments pass. If that is of some comfort to you. ATREUS. That’s… good to know. Really. (GAim4A, 2019, p. 57, lines 9-20)

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FIGURE 9. KRATOS AND ATREUS ARGUING The reason behind choosing this specific event is how Kratos is willing to make his son to not feel guilty after he expressed regret for being impolite at his father, since Kratos has left his son to fight dark elves on his own. Hence, Kratos is partially to blame over his son’s fate to face the dark elves alone. Previously, he did not want to acknowledge his son’s trueness. Being a father and a teacher, Kratos has every right to think that his son could be wrong. However, this time, he shows a little acknowledgement to his son.

The following dialogues are two examples where Kratos denies his son’s statement. The first one occurs during the two’s journey to reach the light of Alfheim, when Atreus denies his father denying his son’s trueness when he claims that he hears his mother’s voice inside his head. The second one occurs when the two leave the

Freya’s house after meeting her for the first time, whom they merely recognize as the

Witch in the Woods. Atreus is being too open, in his father’s opinion, to Freya.

ATREUS. You were wrong back there. KRATOS. Oh…?(challengingly) ATREUS. I know mother’s voice better than anyone. It was her.

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KRATOS. She is gone, boy. Speak no more of this. ATREUS. Fine. (GAim4A, 2019, p. 47, lines 23-26 and p. 48, line 1)

****

ATREUS. I like her. I mean, she lives under a turtle! KRATOS. You are too open with her. We do not know if she can be trusted. ATREUS. She hasn’t tried to kill us. KRATOS. Yet. (GAim4A, 2019, p. 27, lines 22-25)

Another reason behind Kratos’ decision to show a sign of acknowledgement to his son is because as he himself mentions, that his own son ‘did not know his ways’.

It is true that Atreus does not know his father a lot at this point, as Kratos is so discreet with his past as mentioned previously, including ‘his way’, for example, to express grief. Atreus does not know his father a lot at this point, other than the fact that he is the least favorite parent for him due to his traits, not to mention that Kratos is the only family left for him. With this reason, Kratos decides not to show a full fatherly dominance over his son by going harsher to his son and his impoliteness, despite having every right and reason to do so as his father, but to show a little mercy to him. After all, Kratos did previously leave his son to fight against the dark elves for too long while he was inside the light, so he was, once again, clearly to blame for that, despite not knowing the difference of the speed of time inside and outside the light.

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Up until this point, Kratos as a father has pretty much fulfilled every parameter of the involvement of a father in his child’s life that Pleck proposes, except for warmth and responsiveness.

When it comes to Positive engagement activities, Kratos’ involvement in Atreus’ life cannot get any more positive, despite not being involved in activities where

Atreus is necessarily fulfilling his desire to have fun. Kratos from the start to the end of the game has taught Atreus how to hunt and perform in combat better so that he can survive on his own. Although there is a very little amount of laughter and smiles shared together (As Kratos himself rarely smiles or attempts to make a fun atmosphere), there is no denying that Kratos teaching and protecting his son in the wilderness is positive on its own.

In terms of Warmth and responsiveness, pp until this point, Kratos has shown little of his affection. A tiny hint of his affection in the form of mercy is shown in the argument between the two as shown above, but other than that, his affection is immediately ‘translated’ into stern teaching and protective acts most of the time.

There is one moment when the two are on their way to the mountain, and they stop by a view to enjoy it for a moment. Kratos reaches for his son with his arm but only to stop midway (see page 23).

Control component wise, because of the game’s mechanic, in order for players to go through certain obstacles, Atreus is often needed to do the job. Hence, along the way, Kratos commands his son to do certain jobs that involve firing his arrows, dropping down a chain from a higher ground so that he can climb up, and more to get

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them closer to their goal. In a way, this implies that Kratos is a very controlling father as gets to entirely decide what Atreus should do or how he should behave. Other than the game mechanical side, Kratos also monitors his son’s decision-making process. If his son wishes to do something that is against his father’s wishes, Kratos would make sure that he will not do that.

An evidence of this parameter, other than the one shown in research question number one (controlling trait), is in the following when the two are surprised by a troll while simply hunting for a deer to test Atreus’ readiness for the journey ahead.

After defeating the giant troll, Atreus, being immature, lets his emotion control him after it collapses to its death. He angrily stabs the corpse of the troll and Kratos pulls him away, and decides that he is not ready for the journey ahead.

[Kratos kills the troll by ripping his skull apart. Atrey runs up to the corpse and begins to stab him furiously and scream.] ATREUS. RAAAA! That’s what you get. KRATOS. Boy. ATREUS. (to the troll) Think I’m afraid of you?! You’re nothing to me! KRATOS. BOY! ATREUS. NOTHING! KRATOS. Look at me! Look at me, boy! ATREUS. NOTHING! KRATOS. Boy – look at me! ATREUS. We DID it. KRATOS. You are not ready. ATREUS. What? Are you serious? I found the deer. I proved myself. How am I not ready? KRATOS. We are going home. ATREUS. I haven’t been sick in a long time. I can do this. KRATOS. You are NOT ready. ATREUS. I AM ready. KRATOS. Do not speak again. (GAim4A, 2019, p. 7, lines 12-25 and p. 8, lines 1-4)

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Seeing his son let his emotion take him over, Kratos regards him as not ready for the journey to the peak of the mountain. Some may argue that Kratos is being too controlling, making the impression that he overdoes the controlling parameter.

However, it is all done for a good reason. He does not want his son to have his emotion control him, as emotions will often make him reckless and prone to the mercilessness of the wilderness. Thus, control wise, Kratos has fulfilled this parameter.

In terms of indirect care, material care wise, though not explicitly displayed in the game itself since this is an action game, Kratos must’ve surely provided his son’s basic needs in the form of food, drink, and shelter. An explicitly visible example is the fact that they own a hut, though it has taken damage from the recklessness of the

Aesir God, Baldur. When it comes social care, Kratos has very much introduced

Atreus the ‘society’ they lived in, which consists of living beings that will attack on sight. In the game, the only living beings that are close enough to being human are the dwarves and the Gods. They do, at one point, stumble upon mere humans, but they are cannibal and attack the duo right away. It can be said that Kratos has fulfilled this parameter, though the unfriendly society does not contribute much to Atreus himself as it tries to take his life all the time.

Finaly, when it comes to process responsibility, being around his son all the time in the game, Kratos is aware of his son’s needs, and tries to fulfill them all, except for warmth and affection. This is mainly due to his personality that holds him back from doing so.

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b. Second Event: The Reveal of Atreus’ True Identity

The second pinpointed event is the reveal of Atreus’ Godhood. If a God were to have a child with either a mortal or an immortal, the child would automatically be a god as well. Of course, the same thing happens to Atreus, being the son of Kratos, a

Greek God. However, Atreus believes himself as a mere mortal, since his father never tells him that he is a God himself.

The reason why Kratos keeps this as a secret is because of his priority for his privacy along with his view for godhood as a curse. Kratos values his privacy so much because it has a link to his past that he is not proud of, as explained in the answer of research question number one. He has killed many of those either deservingly and undeservingly, including the entirety of the Greek pantheon, his wife, and his daughter. Other than not wanting to have his past known by his son, Kratos also has a bad view for godhood itself. He sees it as a curse, since he had experienced nothing but rage and misery back in the past while still living in Greece. The following dialogue is Kratos’ view of godhood being depicted. It takes place only moments after Kratos revealed his son about his identity as a god.

ATREUS. I’m a god. Why did you wait so long to tell me? KRATOS. I had hoped to spare you. Being a god… It can be lifetime of anguish and tragedy. That is the curse. (GAim4A, 2019, p. 125, lines 4-6)

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FIGURE 10. KRATOS EXPLAINING WHAT HE MEANS BY THE CURSE

The reason behind choosing this event is because of the fact that this event shows

Kratos’ long overdue openness to his son, which he has never done prior to the event, and what is revealed in this event is no ordinary information since Atreus finally learns what he really is. The reason why Kratos finally revealed his son’s godhood, as noted by Freya, is to avoid any more illness in him. Apparently, when an immortal, such as a God, believes themselves as a mere mortal, they are prone to sickness, or as

Freya mentions it previously, the person’s true nature will ‘fight’ within them. Not wanting his son to fall ill anymore in the future, plus the fact that he overhears his conversation with Freya, Kratos reveals the truth.

The reveal of Atreus’ godhood makes a chain reaction to the following events, where Kratos shows more new traits around his son since the two become closer after the truth was revealed, which are trust and softness.

We fast forward to the event when the trio are pinned down by a death trap in

Tyr’s Vault. To free themselves, Atreus has to sacrifice his precious knife that used to

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belong to his mother. However, despite sacrificing the priceless knife, the brave action earns a compliment from Kratos, which is once in a moon.

Once approaching the runestone that contains the special rune they need, Atreus is about to break the spell with his knife, but only to remember that he no longer has one. Kratos comes to deal with the situation, as displayed in the following dialogue.

FIGURE 11. KRATOS CONVERSING IN A DEEP TALK WITH ATREUS KRATOS. Boy. Here. [He gives Atreus a knife.] KRATOS. On the day you were born, I made two knives, mixing metals from my home and from this land. One for myself, and when you were ready, one for you. Today is that day. ATREUS. So I’m a man now, like you. KRATOS. No. We are not men. We are more than that. The responsibility is far greater. And you must be better than me. Understand? Say it. ATREUS. I will be better. KRATOS. The power of this weapon, any weapon, comes from here… [He touches Atreus’ heart.] KRATOS. …but only when tempered by this. [He touches Atreus’ head.] KRATOS. By the discipline, the self-control of the one who wields it. That is where the true strength of a warrior lies. You must never forget that. [Atreus nods.] KRATOS. Good then. Come. [Atreus uses his new knife to break the seal of the rune.] ATREUS. Dreifa. (Scatter.) (GAim4A, 2019, p. 134, lines 12-25 and p. 135, lines 1-4)

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At this point, Kratos is seen allowing himself to trust in his son’s capability even more since he actually did save his life from the death trap. This can be seen from

Kratos’ explicit statement itself on lines 14-16, when he is saying that, “Today is that day,” when Atreus is ready. The depiction of Kratos’ approval of his son’s readiness is the bestowment of Kratos’ knife to Atreus. This results in a tighter bond between the two. A scene that displays the tightness of their bond is seen only moments later when they are ascending the same lift to exit the vault. Kratos gives his son an old wine from the Isle of Lemnos, near his birthplace, while waiting for the lift to reach the top.

[He takes out the vessel of wine from Týr’s workshop.] KRATOS. Lemnian wine. From the Island of Lemnos, near the place of my birth. ATREUS. “Lemnos"… [Atreus return the vessel to Kratos, but he does not take it back and offers Atreus to drink from it.] KRATOS. To a journey’s end. ATREUS. Really? Smells like rotten eggs. Is it still good? KRATOS. Possibly. [Atreus drinks and frowns at the wine’s strong taste. Kratos scoffs, takes the vessel and finishes the wine.] KRATOS. Aaaah… ATREUS Aaaah… [Kratos smirks at his son. They sit in silence for a few seconds, while the platform rises to the bridge.] (GAim4A, 2019, p. 136, lines 2-15)

A notable sign of the closeness between the two is the fact that Kratos smirks at

Atreus, an expression players of God of War will only see once throughout the entire game. Throughout the entire game, this is the only time Kratos smiles at his son. The previous times he is nearing to make a smile, he only scoffs, but never smiles such as

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like this one. He is growing softer around his son as the two are closer than ever, once again, due to the reveal of Atreus’ true identity as a God.

Up until this point, Kratos has actually fulfilled every single parameter of the father’s involvement theory. The previous parameter that he has yet to fulfill was warmth and responsiveness, which he has by revealing of Atreus’ godhood since it is a catalyst of developing a tighter bond between the father and the son. Prior to this event, Kratos’ warmth and responsiveness are actually slowly building itself. The following dialogues display Kratos’ signs of the parameter warmth and responsiveness slowly building up.

ATREUS. I can’t get to the bowl! Father – the bowl dropped away! We’re collapsing! KRATOS. JUMP!! ATREUS. Whew. KRATOS. You did well. MIMIR. Thanks! KRATOS. The boy… MIMIR. Just having a little fun, you big grump. (GAim4A, 2019, p. 100, lines 15-21)

**** ATREUS. Everything we just did.… climbed around a dead giant, rode a giant falling hammer, fought some bad gods. What do you think mother would say? KRATOS. That you have come a long way. ATREUS. Thanks. (GAim4A, 2019, p. 107, lines 7-10)

The first dialogue takes place when the trio, Atreus, Kratos, and Mimir, are ascending up a magical elevator that is about to collapse, which depicts Kratos’ warmth in the form of a compliment “You did well” since Atreus is the key in keeping the elevator ascending. Kratos complimenting his son’s effort is a rare sight.

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Previously, whenever his son asked about his performance, Kratos would be factual, since he has a very high standard. The following dialogue is one evidence out of several other times when the father gives a comment regarding Atreus’ performance, which is actually factual but nowhere near being a compliment.

[After defeating all draugr…] ATREUS. How was that? Did I help? KRATOS. If you want to help, distract them. Whoever is not my focus should be yours… but only when safe to do so. ATREUS. I can do that. (GAim4A, 2019, p. 14, lines 14-18)

The second dialogue takes place not long after the first dialogue, when they have just retrieved an item they needed to reach Jötunheim. The events that Atreus list in his speech pretty much sums up the events that have gone passed after the time the first dialogue occurs. This dialogue specifically shows Kratos’ responsiveness, since he actually responds to Atreus’ question regarding what his mother would say to him after seeing him accomplishing a lot of amazing goals. Being a child full of curiosity and innocence, Atreus asks a lot of questions to his father. However, he does not always answer his son’s questions. The following dialogue displays an example of that when the father and the son just defeat a dragon. Kratos does not answer Atreus’ question regarding his curiosity to the relation between the giants and the mountain they are in at the moment this dialogue occurs.

ATREUS. Incredible! I can’t believe we fought a dragon! I was aiming for his eyes, but I kept losing my footing. Do you think this is their home? Did they move in after the Giants left? Or are they WHY the Giants left? KRATOS. Boy. The air grows thin here. No more questions. Breathe. ATREUS. Oh… yes… I see… (GAim4A, 2019, p. 70, lines 13-17)

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The peak of this parameter takes place after the reveal of Atreus’ godhood, in which Kratos gives his affection to his son in the form of his approval over his son being excited for being a God. Atreus wishes that he knew he was a God all along when he and his father were in Alfheim, killing the dark elves to reach their goal. The following dialogue takes place when the two return to Týr’s temple once again and take the giant platform that descends to Týr’s Vault.

ATREUS. I wish I’d known I was a god in Alfheim… I wouldn’t have felt so bad about killing so many Elves. MIMIR. Well, I’m not sure that’s the lesson… KRATOS. You’ve done nothing to regret. The Elves forced their affairs upon us… ATREUS. No, I get it now. We had god things to do, and they were in the way, dragging us into their little problems. MIMIR. Again, are we just leaving that there…? ATREUS. I mean, just knowing we’re gods makes me feel so much… stronger. MIMIR. Maybe you feel a little too good right now. With power comes a big choice, lad. You can either serve yourself or put your godhood in the service of others. Like Týr did. (GAim4A, 2019, p. 129, lines 13-22)

Technically, Kratos is right. The elves back in Alfheim do force their affairs upon them, leaving them no choice but to fight back. However, by saying so, Kratos justifies his son’s kills, which Mimir concerningly questions whether or not it is right to do so since Atreus seems to be too proud for being a God. Mimir tries to give some lessons to the young boy by giving the example of the good deeds Týr did, the very

God of War in the Nordic mythology. However, Atreus merely takes the lessons as a mere extra knowledge about the world he was in, not necessarily as moral lessons as

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he continues to boast about his godhood. Later in the game, the very consequence for this will be revealed, which will be explained in the next point. c. Third Event: Atreus Showing Sign of Arrogance

This event takes place while the heroes are on their way to the top of the mountain where the gateway to Jötunheim, the realm of the Giants, lies. They have everything they need to activate the gate and to reach the realm, and are closing to their goal. The initial appearances of Atreus’ hubris is as followed.

Atreus is feeling bigger and bigger after knowing the truth that he was a God. One very visible depiction of his cockiness is when the two stumble upon their fellow merchant dwarf, Sindri, while on their way to the peak of the mountain once again.

SINDRI. Oh, I can tell you a thing or two about family matters… ATREUS. (angrily) Let me guess… your brother isn’t as talented as you, and his work is junk. SINDRI. Uh… those things are accurate. Your point? ATREUS. It’s all you ever talk about, over and over. Do something about it or shut up already. SINDRI. I see… [The rain clouds begin to assemble…] ATREUS. (screams) Yeah! We’re sick of hearing about little people’s little problems! [A thunder is heard.] SINDRI. Umm, alright… That hurt a little. Let’s have a look at your gear then. [They gear up and leave.] (GAim4A, 2019, p. 140, lines 18-25 and p. 141, lines 1-2)

Atreus’ hubris now takes over Atreus completely. He responds harshly to Sindri’s personal problem with his brother, Brok, by labelling it, as mentioned above, “Little people’s little problem,” (lines 23-24). From this point, naturally, Kratos develops new traits within him, seeing that his son is speaking harshly. Kratos begins to doubt

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at his son’s decision-making, a trait that has been absent for a while. The following dialogue displays just that and his disagreements with Atreus’ opinions, which takes place moments after they leave Sindri to continue with their journey.

KRATOS. Why did you speak to the dwarf like that? ATREUS. Aren’t you sick of hearing about him and his brother? KRATOS. Of course. But it serves nothing to make an enemy of him. ATREUS. He should know the truth. Even if it hurts. KRATOS. It was needless and unkind. ATREUS. Truth is more important than kindness. KRATOS. Your mother would disagree. ATREUS. She wasn’t a god. Why don’t you let me carry her up from here? KRATOS. No. ATREUS. Why not? We’re almost there. You know I can handle it! KRATOS. Can you? After the way you spoke of her, I question that. ATREUS. What, that she wasn’t a god? KRATOS. She was better than a god and you shall not dishonour her. ATREUS. (scornfully) Fine. Carry her yourself. (GAim4A, 2019, p. 141, lines 3-16)

First, Kratos questions his son’s motive for speaking harshly to the dwarf.

Afterwards, his son expresses his opinions that Kratos disagrees with all, resulting in a return of his lack of trust over his son. After this, they once again return to the mountain, where Atreus directly kills out of pure revenge, an act that his father does not approve. The victim of this mercilessness was Modi, brother of Magni and son of

Thor.

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FIGURE 12. ATREUS CONFRONTING MODI, WHO WAS BEAT UP BY THOR

The following dialogue displays the conversation between the father and the son after the son’s disobedience.

KRATOS. You killed against my wishes. You lost control. ATREUS. Haven’t you been teaching to me to kill? KRATOS. I have been teaching you to survive. We’re gods, boy… and that makes us a target. From now until the end of days, you are marked. So I teach you to kill, yes… but in defense of yourself. Never us an indulgence. ATREUS. Nobody cared about him anyways. What’s the difference? KRATOS. (screaming) There are consequences to killing a god. ATREUS. Why? How do you know? (screams) How do you know!? KRATOS. (angrily) Watch your tone, boy. ATREUS. Whatever. [They continue their journey to the top.] (GAim4A, 2019, p. 142, lines 23-27 and p. 143, lines 1-6)

After the argument, the relationship between the two goes downhill after going uphill, though only for a little while. Distrust begins to materialize inside Kratos even more. Kratos was slowly beginning to invest trust in his son when he saved his life previously, but only to have them taken back after his son began to show arrogance and let it control his actions. Not only that, a behavior pattern that has returned after

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this event is Kratos’ sternness. Kratos grows to dislike his son’s arrogance, so it is natural of him to grow sterner than before to teach some actual manners to his son, especially since Atreus does not heed to what his father says. The result of that is, of course, a distant and tense relationship between the father and the son. A depiction of

Kratos’ sternness is in the following dialogue. Kratos questions his son’s capability once again since he is seen fighting the enemies recklessly since he is feeling so big knowing that he is a God. It is safe to say that Atreus’ response does not help much.

[They fight some enemies, during which Atreus doesn't heed Kratos' commands and attacks on his own.] KRATOS. Have you forgotten your training? ATREUS. Oh, are you talking to me? Thought you didn't like my tone. (GAim4A, 2019, p. 143, lines 18-21)

Father’s involvement parameters wise, Kratos once again lacks in warmth and responsiveness, in which he actually had fulfilled previously. This time, it is for a relatively good reason, as his son is feeling too good about his newly revealed godhood that he thinks it gives him the right to do anything he wants. The lack of this parameter does not necessarily mean that he is doing less well as a father, since his son did disobey his commands. The absence of this element is simply because its presence would only justify Atreus and his recklessness, which was something Kratos would not want.

Another parameter that Kratos lacks at is control. Despite trying his best to talk some sense into Atreus by behaving sternly around him, Kratos still cannot control

Atreus’ arrogance. His failure is seen when the son kills Modi in cold blood. Kratos did tell his son not to go for the kill, but his son proceeded to kill the Aesir God even

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after being told not to do so. So generally speaking, Kratos does not entirely fail at this parameter. He has tried his best to control Atreus’ decision-making, though

Atreus’ arrogance gets the best of him. d. Fourth Event: Atreus and Kratos Thrown into Helheim

This event takes place when our heroes are so close to enter Jötunheim on the peak of the mountain but Baldur prevents them. The fight between Baldur and Kratos results in the trio being thrown into Helheim, the realm of the dead, as a prevention to prevent themselves being attacked by Asgardians that Baldur has set.

After landing hard in Hel, Kratos reunites with his son and quickly scolds him for his new behavior, as displayed in the dialogues below.

KRATOS. BOY! ATREUS. I’m here… KRATOS. Stay still. [He lifts an ice block and pulls Atreus by the arm.] KRATOS. You will LISTEN to me and NOT speak a word. I am your father and you, boy, are not yourself. You are too quick to temper. You are rash, insubordinate, and out of control. This will not stand. You will honour your mother and abandon this path you have chosen. It is not too late… This discussion is far from over. We are here because of you, boy. Never forget that. (GAim4A, 2019, p. 147, lines 8-15)

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FIGURE 13. KRATOS SCOLDING HIS SON Kratos scolding his son is the peak point of Kratos’ patience over his son’s recklessness. This is because his son has been the son that he has labelled him as, too quick to temper, rash, insubordinate, and uncontrollable. These traits appear right after Atreus is told that he is a God, which almost gives him an allowance to behave however he wants. After all, the reason why they are thrown into Helheim, the place where no man wants to be, is due to Atreus’ recklessness. It is only natural for a father to scold his son if the son has done something that bad.

After this event, the tension between the two is still high, but lowering slowly. An example that displays Kratos’ irritation for his son at still at a relatively high level is seen in the following dialogue, which takes place only moments after Kratos scolds him. The context is that the trio stumble upon illusions of Atreus’ past, specifically when he killed Modi in cold blood. In disbelief, Atreus thinks that there is no way he could have done such merciless act. Kratos asks Mimir what the illusion is all about, and a conversation follows, as displayed in the dialogue below.

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KRATOS. Head. What was that? MIMIR. Not just the old and sick come to Helheim… so do the criminals. Hel must not draw a distinction between us and those whom these visions are meant to torture. KRATOS. How do we stop it? MIMIR. Escape Hel. As soon as possible. ATREUS. I’m not gonna let it bother me. Like you said, Mimir - it was just an illusion. That wasn’t me. KRATOS. No. But it is who you have become of late. ATREUS. Look, I know I got us into this. But I’ll get us out… whoever I am. KRATOS. *I* will get us out. You will follow orders. ATREUS. But maybe that’s not who I am. KRATOS. It had better be. Now let me FOCUS. (GAim4A, 2019, p. 148, lines 9-20)

In the dialogue above, it can be seen Kratos’ irritation over his son, which is translated into doubts. Kratos emphasizes that he will be the one to get them out of

Helheim since he doubts his son’s comment regarding his illusions he witnesses after witnessing himself pulling reckless decisions. After all, Atreus did shoot an arrow at his own father. Hence, Kratos rejects his son’s offer to help them get out of Hel and statement regarding the illusion not reflecting what he is as a true person, and he does so sharply.

However, Kratos eventually does tone down his doubt over his son. When the ship they are onboard gets stuck on a piece of giant rock, the father asks his son to push the rock together to free the ship.

KRATOS. Atreus. ATREUS. I can help? KRATOS. Together now. [Together, they lift a huge stone bridge and free the ship.] ATREUS. We did it. We’re free. We are going to get out of here. (GAim4A, 2019, p. 151, lines 19-23)

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After this point, the Kratos still rarely speaks to his son. However, it is not because of Kratos’ irritation over his son. The father does not remind Atreus of his previous behavior as the bratty son he was since he is distracted by something worrying. As Mimir mentions, Helheim is meant to torture those who are not worthy of reaching Valhalla due to their past lives with illusions. Apparently, Helheim gives torturing illusions to any being in it, dead or alive, including to Kratos. While on their way to escape Helheim, Kratos experiences illusions of his past in the form of his father, Zeus, who was killed by Kratos himself.

Not wanting to have his past known by his son, Kratos automatically becomes worried due to its gruesomeness. However, Atreus clearly witnesses the illusion before him, and his father very much notices that. His worry is seen when the two finally reach Tyr’s Temple and descends down on an elevator to go back to Midgard.

The two do not even look at each other in this conversation.

KRATOS. Boy… Before… what you… saw… ATREUS. I didn’t see anything. KRATOS. You did not see me with someone? An old man? ATREUS. What old man? Can we go? KRATOS. Yes… very well. (GAim4A, 2019, p. 154, lines 23-26)

From this point, Kratos chooses to believe that his son did not witness the illusion of him beating his own father. He also chooses to forget the past and focus on the journey ahead, despite knowing the fact that his son now has a rather obvious hint of what his father was like back in the days. Kratos knows that his son now knows, but seeing his son’s uncomfortableness in touching the topic, Kratos decides to let it go.

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This decision can be seen from how Kratos returns to his normal self around

Atreus. His normal self’s characteristics are actually subtle and are only visible through his speech. Previously, after the trio arrived in Helheim by accident, Kratos was being stern around his son. This time, he is no longer stern. He engages in conversations with his son normally again, almost as if nothing ever happened between the two. There are no more conversations between the father and the son that contain the father reminding the son of his recent disobedience or anything close to that. It is mostly because Atreus shows no more arrogance or any bad trait that he used to have. Atreus has become his normal self, so Kratos sees no more need in scolding his son over his past behavior.

When it comes to the father’s involvement parameter, once again, Kratos fulfils the warmth & responsiveness parameter. The father is no longer stern around his son, and he becomes so for a good reason. It is because his son returns to his normal self.

The sign of this parameter is actually visible from how the father and the son converse in conversations normally once again ever since they leave Helheim. A subtle sign can be seen when the Kratos finally flips the temple inside Tyr’s Temple.

They climb the flipped temple, and while doing so, the trio share a conversation regarding their recent teamwork that they earn through hard work.

ATREUS. There-- on the left… I think we can climb back up to the Realm Travel Room from there! See that, Mimir? Nobody could do all this alone. All these obstacles… they’re just chances to prove we’re the ones who can beat them. We may argue… me and father, you and Freya, Brok and Sindri… but when we all work together, we DO make a good team… and that’s Týr test. That’s why we’re gonna make it to Jötunheim. MIMIR. Do you hear that, brother? Lad’s found his equilibrium.

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ATREUS. What’s that mean? KRATOS. He means you speak wisely, Atreus. And that is good to hear. (GAim4A, 2019, p. 160, lines 22-27 and p. 161, lines 1-2)

Basically, Atreus reflects about how teamwork is the key to Tyr’s test, which is essentially the obstacles that Tyr puts in order to unlock the tower of Jötunheim on the Lake of Nine’s temple. Kratos expresses his opinion that it is good to hear Atreus speaking ever so wisely after behaving in the complete opposite manner previously, approving his son over his decision to heed his father’s lessons.

Another parameter that Kratos fulfills, in which he does not do successfully previously, is control, though it takes Kratos a little while to control his son’s decision-making entirely. When Baldur jumps on them on the peak of the mountain,

Kratos is still struggling to control his son and his temper. This can be seen when his son does not obey his father’s command to run away from Baldur and shoots an electric arrow at his own father to take him out of his way instead. The following dialogue displays the very scene.

[Atreus runs to Baldur, but Kratos stops him.] ATREUS. Let GO!!! KRATOS. Calm DOWN, boy! You are NOT ready for this. ATREUS. I AM ready!!! [He shoves off his father, pulling on his bowstring.] KRATOS. Boy… I… ATREUS. Þruma—!! [Kratos’s exhausted body is pierced by an electric arrow.] BALDUR. And here I thought my family was fucked up… [While Kratos is immobilized by electricity, Atreus is trying to attack Baldur again. He sticks his knife into his shoulder.] (GAim4A, 2019, p. 145, lines 22-24 and p. 146, lines 1-8)

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The moment when Kratos finally controls his son fully when the trio land in

Helheim by accident. He sternly talks some sense into his son’s head by blatantly stating the unwise son Atreus is being, as displayed previously. The effect of this talk can be seen from how Atreus abandons the path that he has chosen and returns to his normal self, also partially from how Atreus could not believe the illusions that displayed his hubris. The following dialogue displays his disbelief.

[In one of the towers, Atreus sees the ghost of his past as he killed Modi.] SPIRIT OF ATREUS. He should pay for what he said about mother. KRATOS. Boy? ATREUS. That… wasn’t me. It was me… SPIRIT OF ATREUS. But we’re gods. We can do whatever we want. KRATOS. Turn away, boy. SPIRIT OF MODI. Hehehehe… that’s what I said… to your mother… right before I gave it to her. ATREUS. That wasn’t me. I couldn’t have done that. KRATOS. Do not dwell on those thoughts. Not here. We must keep moving. ATREUS. Yeah. [They continue the journey.] (GAim4A, 2019, p. 147, lines 24-26 and p. 148, lines 1-8) e. Fifth Event: The Reveal of Kratos’ Past

The final moment chosen to show how Kratos develops as a father is when Kratos reveals his past to his son. The event takes place after Kratos finally kills Baldur.

Enraged by the action, Freya, being the mother of Baldur, swears that she will have her revenge on him despite having her life saved by Kratos. She also happens to challengingly question whether or not Kratos has opened himself up as a father to his own child. The dialogue of the event is as followed.

BALDUR. (falling in the ground) Snow… FREYA. No, no, no, no, no, no, no… My boy… my dear, sweet, boy… KRATOS. Freya… He chose this.

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FREYA. (sobbing) I will rain down every agony, every violation imaginable, upon you. I will parade your cold body from every corner of every realm, and feed your soul to the vilest filth in Hel! That is MY promise! ATREUS. He saved your life! FREYA. (crying) He robbed me of everything! Everything! You are just an animal… passing on your cruelty and rage. You will never change. KRATOS. Then you do not know me. FREYA. I know enough. Does he? KRATOS. … Boy, listen close: I am from a land called Sparta. I made a deal with a god that cost me my soul. I killed many who were deserving… and many who were not. I killed my father. ATREUS. That was your father in Hel… Is this what it is to be a god? Is this what it is to be a god? Is this how it always ends? Sons killing their mothers… their fathers? KRATOS. No. We will be the gods we choose to be, not those who have been. Who I was is not who you will be. We must be better. [Freya, with her dead son in her arms, looks at them and leaves.] (GAim4A, 2019, p. 179, lines 9-26)

In this dialogue, Kratos finally shows his long overdue openness to his son, in which he reveals his bloody past. The reason why he does so is because Freya challengingly questions whether or not Atreus knows his own father or not. Unable to give an answer that would satisfy the Goddess’ expectation, which is a yes, Kratos proceeds to tell about his past to his son right away in front of Freya.

This event also shows that Kratos goes one extra step for the sake of openness between him and his own son. The reveal of Atreus’ godhood is actually already enough for the son figure. By knowing that he is not a mortal, Atreus is more than safe from anymore illness that would usually happen. However, Kratos goes beyond that. He proceeds to reveal his gruesome past, in which this actually serves no purpose, realistically speaking. Kratos even mentions how it is needless to reveal his past prior to this event when the two are traveling through the room between realms,

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as displayed below. Atreus notices the sight of his father’s Blades of Chaos, a pair of blades that he has never seen in use before.

[Kratos buys upgrades and they go to the room between realms.] ATREUS. Look, don’t be mad… but I’ve seen those blades of yours before. They were under the house, when I was hiding. Is that why you never let me down there? Where’d they come from? KRATOS. They are my burden. From a life that is behind me. ATREUS. Well, they’re in my life to, now, and I’d like to hear that story. KRATOS. Those days are dead. To relive them is… needless. ATREUS. How can this be needless if it’s the truth? KRATOS. One day, you will understand. ATREUS. I’ll take your word for it. (GAim4A, 2019, p. 137, lines 15-23)

Kratos’ response to Atreus’ request to learn about the blades shows how Kratos views that it is needless to do so. After all, the blades were actually used to butcher the entirety of Greek pantheon, and it would not be ideal to tell a child that specifically. However, he eventually does reveal his past under the taunt of Freya, though no significant changes between the father and the son occur after the reveal of

Kratos’ past other than there are no more secrets between the father and the son.

The openness of Kratos continues to progress until the father and the son reach

Jötunheim. Once nearing the peak, Kratos removes his gauntlets and his bandages, which reveals his marks from the chains of his old Blades of Chaos, another hint of his past that he has always kept hidden away from his son. However, now that he has revealed his own past to his son, Kratos thinks that he ought to go for another step further, which is to remove his bandages that cover his marks.

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FIGURE 14. KRATOS REMOVING HIS BANDAGES, REVEALING HIS HEAVILY MARKED FOREARMS Openness is not the only element that continues to grow in Kratos. The father figure begins to develop a lot more trust in his son, and that is indicated by the fact that he tells Atreus carry the ashes of Faye, his mother, right after he removes his bandages, as displayed by the dialogue below.

[The mountain wind takes the bandages away. Kratos stands still for a minute.] ATREUS. Can we go? We’re so close! KRATOS. Boy… Carry her. [Atreus nods and takes the bag.] (GAim4A, 2019, p. 183, lines 5-8)

It has been a request that Atreus asked to his father for several times, but now

Kratos trust his son enough to entrust him with the ashes of his wife now that Atreus is deemed by his father worthy enough to do the job. Prior to this, Kratos keeps rejecting the request mostly because he thinks he does not trust his son being anywhere near worthy enough to do the job, as displayed in the three dialogues below.

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****

ATREUS. Father? Do you… do you think I could carry her now? KRATOS. No. ATREUS. But I… KRATOS. I said no. ATREUS. Okay (GAim4A, 2019, p. 64, lines 10-14)

**** ATREUS. Truth is more important than kindness. KRATOS. Your mother would disagree. ATREUS. She wasn’t a god. Why don’t you let me carry her up from here? KRATOS. No. ATREUS. Why not? We’re almost there. You know I can handle it! KRATOS. Can you? After the way you spoke of her, I question that. ATREUS. What, that she wasn’t a god? KRATOS. She was better than a god and you shall not dishonour her. ATREUS. (scornfully) Fine. Carry her yourself. (GAim4A, 2019, p. 141, lines 8-16)

Another evidence of Kratos’ trust to his son is in the following dialogue, where

Atreus asks what to do after they have reached their goal. Kratos explicitly entrusts

Atreus for what to do right when they are descending down the peak.

ATREUS. Guess it all makes sense now. Why she’d want to end up here. Be with her kind. But… did she know it was going to be like this here? Is this what she wanted us to see? Did she want us to tell people, or to keep it a secret? KRATOS. I… do not know. ATREUS. So what should we do? KRATOS. I trust you to decide that. (GAim4A, 2019, p. 185, lines 14-19)

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This is the first time the father figure tells his son that he entrusts him as to what to do next. Usually, Kratos would be the one to make the decision of what to do next, or which step to take next, but seldom entrusts his son to pull decision of it. Atreus will occasionally suggest whether they could go on straightly to the next objective, or to explore the world a little bit, which is intended to arouse the player’s interest in exploring the world. However, that is as far as Atreus can ever do; to suggest or persuade a decision, not to pull one. The followings are two evidences of this occasion.

ATREUS. We could also explore some more. We got that chisel now, and that vault isn’t going anywhere. Seems a shame to waste the boat. KRATOS. We shall see, boy. (GAim4A, 2019, p. 109, lines 12-14)

****

KRATOS. Do you remember the way back to the Black Breath? ATREUS. Of course. We need to walk across the bridge to the Vanaheim tower. Are we going to the Black Breath? Or exploring? Your choice. (GAim4A, 2019, p. 59, lines 15-18)

In terms of father’s involvement parameters, Kratos has now fulfilled every parameter. The one that he used to lack in the previous point is warmth and responsiveness, which is now fulfilled. The signs of the parameter’s fulfillment are when the father figure finally allows his son to carry the ashes of his mother and when the two scatter the ashes of Faye together. The father holds his son close as they are scattering the ashes, and finally addresses his son as ‘son’ for the first time ever, as displayed by the figure and the dialogue below.

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FIGURE 15. KRATOS AND ATREUS SCATTERING FAYE’S ASHES

[They’re going up to a small area. From the height of the mountain they can see many corpses of Giants left by Thor and Odin. Atreus pulls out a bag of ashes.] ATREUS. Father? KRATOS. No. We do it together, son. [They scatter the ashes in silence.] KRATOS. Goodbye, Faye. ATREUS. I love you, mom. (GAim4A, 2019, p. 184, lines 23-28 and p. 185, line 1)

The simple gestures mark the tight bond between the father and the son, which are how Kratos holds his son close and the fact that he addresses his son as ‘son’ instead of ‘boy’. Although these gestures may seem simple from the outside, for a person like

Kratos, they are significant considering they are coming from a person like him.

2. Kratos at the Beginning and the End of the Journey

This concludes the process of the development of Kratos as a father explained chronologically. There are drawbacks, but Kratos manages to overcome them for the better good. The father and the son are closer than ever with no hidden bad feelings.

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As mentioned previously in the explanation of the answer to the first research question, Kratos’ traits consist of several, which are; stern, disciplined, focused, protective & vigilant, controlling, not open about his backstory, lacking trust in his son, and hesitant to give his son a proper gesture of affection. These are the traits that represent Kratos almost throughout the entirety of his journey with his son. As he progresses in the journey, some traits remain the way they are, and some have completely changed if compared to how they are in the beginning of the story. The traits that have changed are his sternness, lack of openness to his son, lack of trust, and hesitance to give a proper gesture of affection. These traits have changed into the opposite of what they are; softness, more open to his son, able to trust his son, and no longer hesitant to show affection in a form of gesture. a. Stern → Soft

Kratos in the end of the game becomes a way softer person around his son. This is due to his son becoming the person Kratos teaches to be. If related to the Theory of character development by Elizabeth Hurlock, this change of personality is because of a change in the significant other(s), and Atreus, being Kratos’ son, is very much a significant person in Kratos’ eyes as he is the only family he has got.

The progress of the change of this trait, as explained previously, does not go as smoothly as Kratos probably would have liked. By the time Atreus’ hubris grows ever so larger after being told that he is a God all along, Kratos becomes stern once again since he needs to be so to knock some lessons into his son’s head, and this is shown in the third chosen event (see page 46-50) when Atreus disobeys his father. A

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big example is when the boy kills Modi in cold blood when he is already told by his father not to do so. By doing so, he inevitably becomes the stern father he is known as once again. However, Kratos’ sternness quickly fades away again after the son finally heeds to his father’s command to honor his mother by behaving. This can be seen in the fourth chosen event (see page 50) where Atreus realizes his disobedience in Helheim and instantly becomes his normal self, thus, enabling Kratos to tone down his sternness at the kid. After from that point and on, Kratos returns to being softer. b. Not Open → More Open

At the beginning of the game, Kratos is very closed when it comes to telling information regarding himself. This is because, as pointed out previously, his identity as a God has a link to his gruesome past. It is actually justifiable for Kratos to keep this as a secret, though he never knew that it would have a consequence.

Throughout the entire journey, Kratos grows more open to his son. If associated to the theory of character development by Elizabeth Hurlock, there are three factors that lead Kratos to be more open to Atreus. The first is social pressure, the second is changes in significant people, and the third is changes in self-concept.

When it comes to the changes in significant people, the change that leads Kratos to open himself up can be found in his son. The change that his son undergoes is actually accidental, when he falls ill due to his true nature as a God fighting inside him when he and Kratos stumble upon Modi (second chosen event). Atreus previously has shown signs of illness, which is coughing. The peak of the illness

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shows itself when the son figure shows a sign of the power of his godhood, which is

Kratos’ descended Spartan Rage, that quickly makes him fall ill.

Atreus becoming sick is not the only factor that makes the Greek God to be more open around his son. He is also pressured socially by Freya. When Kratos returns to the Goddess after retrieving a special ingredient to treat his son’s illness, Freya convinces Kratos to tell his identity as a God to prevent anymore sickness in the future. The scene that displays the Goddess convincing Kratos is as displayed in the following dialogue.

FREYA. I can break the fever, but to heal… KRATOS. …he must know the truth of what he is. FREYA. Yes. KRATOS. It is not so simple. FREYA. Help me prop him up? Did I tell you that I have a son too? It’s been… forever since I last saw him. At his birth, the runes foretold a needless death. The babe in my arms was so small, so helpless. I knew right then I would do anything to protect him. No matter the sacrifice… Of course everything I did, I did for myself. I let my needs, my fears, come before what he needed… and I couldn’t see his resentment until it was too late. Don’t make the same mistake. Have faith in him. I know the truth isn’t simple… but nothing is when it involves your child. (GAim4A, 2019, p. 123, lines 18-25 and p. 124, lines 1-2)

Freya is actually not the only person who has attempted to convince the Greek

God to open up to Atreus. Mimir had several attempts, too, but none of them ever succeeds.

Both of these factors add up to ultimately make a change in Kratos’ self-concept.

His self-concept has always taught him to keep his identity as a God hidden from his son. If it were not for Atreus falling sick, Kratos would have kept his true identity for

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longer. However, seeing that the circumstances force him to be more open with his son, Kratos finally lets go of his principle and reveals the truth to his son. c. Lacking Trust to His son → Able to Trust His Son

If associated with Hurlock’s theory, there is only one relevant factor to the context, and that is changes is significant people, specifically in Atreus.

The process of Kratos’ trust building over his son takes a long time to build. It roughly takes nearly 2/3 of the entirety of the journey for Kratos to really build his trust upon his child, and it is not a smooth process. By the time Kratos thinks that he can entrust his son and his capability, Atreus quickly throws away that trust by behaving disobediently around his father, as explained previously (see page 46).

However, by the time Kratos scolds his son over his disobedience, Atreus instantly regrets his actions and decisions and returns to his normal self. Only after that does Kratos slowly begins to trust his son again. The peak of his trust happens when the father entrusts his son to carry the ashes of his mother, as explained previously. Prior to entrusting his son such task, Atreus has been requesting to do it several times. However, not trusting his son yet for the job, Kratos declines his son’s request (see page 62). d. Hesitant to Give His Son a Proper Gesture of Affection → No Longer Hesitant

At the beginning of the game, the father figure hesitates to give his son a gesture of affection when he seemingly needs to experience some. An example is when the two are gazing upon the view of the mountain, their initial goal. Atreus expresses that he wishes his mother to be there with the two to enjoy the view. This is a sign of the

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son longing for the presence of his mother, and it would be a no brainer for the remaining parent, or in other word, the father, to remind the son that he still has his father. Kratos initially wants to do that by bringing him closer to a hug, but stops midway (see page 23).

At the end of the game, the two are closer than ever, making Kratos more comfortable and confident in giving Atreus the affection he needs. While holding his son close, the two scatter the ashes of their fallen beloved Faye together.

Kratos becomes as so because Atreus has developed a lot as a person. From the perspective of Hurlock’s theory, Atreus’ development as a person affecting how

Kratos behaves would be changes in significant people. The definitive event that ultimately gives Kratos’ allowance to give his son the affection he needs to himself is the fourth event since Atreus shows no more sign of unfavorable traits after that event by maturing up.

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CHAPTER V

CONCLUSION

This chapter presents the results of the analysis in the previous chapter in a more compact form. The research aims to understand the characteristics of the main character of the video game God of War, Kratos, and to get an insight of his development as a father throughout his journey in the game. Each answer to these aimed goals will be elaborated, explaining only the core.

Kratos is described a person who is stern, disciplined, focused, protective & vigilant, controlling, unopen about his backstory, lacking trust over his son, and hesitant in giving a proper gesture of affection. The traits that are displayed through the use of dialogues consist of his sternness, focused mindset, controlling manner, and lack of trust. Meanwhile, the ones that area conveyed through the uses of both dialogues and reactions consist of his discipline, protectiveness & vigilance, and closure over his backstory.

Kratos’ progress to become the father he is at the end of the game is not a smooth progress, and it is not because of himself, but because of his son. The followings are the events in which Kratos develops as a father, as in there are changes, either obvious or subtle, in Kratos after the events. The followings are the events along with the changes arranged chronologically.

The first chosen event is the argument between the father and the son in Alfheim.

The reason behind choosing this event is because of the fact that Kratos shows a little

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mercy in the form of acknowledgement. At this event, Kratos has fulfilled every single father’s involvement parameter except for warmth and responsiveness, in which he has only shown for very little.

The second chosen event is the reveal of Atreus’ identity as a God. The reason behind choosing this event is because Kratos finally shows a long overdue openness to his own son, in which he has not prior to this due to his priority over his privacy.

Kratos opening up to his son makes a chain reaction to the following events that occur afterwards. He begins to become softer and enable himself to trust in his son more. Up until this this point, Kratos has actually fulfilled every single parameter of father’s involvement parameters, including the one he used to lack in which is warmth and responsiveness.

The third chosen event is actually a consequence of Kratos’ decisions in the previous event. Having opened up about Atreus’ identity, Atreus quickly develops a hubris that controls his manners and behavior. To deal with the situation, Kratos essentially becomes sterner and doubts his son’s capability. father’s involvement parameters wise, Kratos once again lacks in warmth and responsiveness, though it is entirely for a good reason. There is no way a parent would not grow stern when they see their child behaving not accordingly as their wishes. Another parameter that

Kratos lacks in is control, seeing that he cannot control his son’s decision-making, especially when he kills Modi in cold blood.

The penultimate event is when the father and the son are thrown into Helheim.

After this event, Kratos slowly becomes less stern around his son and enables himself

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to trust in him again. He does so because after scolding his son for what he has become recently, Atreus regrets his decisions and immediately returns to his normal self. The parameters Kratos has fulfilled once again are warmth & responsiveness and control. The two parameters are retrieved once again after the father makes the son realize how dishonorable he has been.

The ultimate event is when Kratos reveals his gruesome past to his child. In here, he shows the same trait, which is openness, but he goes an extra step by revealing his past that actually serves nothing, realistically speaking. This event makes a chain reaction that later enables Kratos to trust his son even more, which is indicated when he entrusts his son to carry the ashes of his mother. When it comes to father’s involvement parameters, Kratos has now fulfilled every parameter. The one he used to lack at was warmth and responsiveness, in which he has fulfilled by the time he scatters the ashes of Faye with Atreus.

In the end, Kratos becomes a softer father because of the changes in his significant people, in the form of Atreus, according to Hurlock’s theory. He is also more open because of the development of Atreus as a person (changes in significant people), pressure from others, which is from Freya (social pressure), and Kratos’ decision to finally reveal his godhood (changes in self-concept). Atreus’ development also makes Kratos trust in him more and no longer hesitant to give him a gesture of affection (changes in significant people), though realistically speaking, it is not a smooth process since there are setbacks.

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In the previous chosen events, all of them would have an involvement of

Hurlock’s factor, specifically the changes in other(s). This is because as Atreus grows, so does Kratos. Atreus learns a lot from the long journey and its obstacles.

Throughout the journey, Kratos learns as well from his son and makes adjustment in his method of parenting, such as to become more open, softer, to trust more, and to give more affection.

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REFERENCES

Burroway, J. (2011). Writing fiction: A guide to narrative craft. Boston, MA: Pearson.

Dobie, A. B. (2015). Theory into practice: An introduction to literary criticism. Stamford, CT: Cengage Learning.

God of War (2018). (n.d.). Retrieved December 31, 2020, from https://godofwar.fandom.com/wiki/God_of_War_(2018)

God of War Review – Spectacular. (n.d.). Retrieved November 10, 2020, from https://gamingbolt.com/god-of-war-review

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God of War (2018). (n.d.). Retrieved December 09, 2020, from https://game- scripts.fandom.com/wiki/God_of_War_(2018)

Hutauruk, M. (2019, June 24). The Id, Ego, and Superego Role in Shaping the Main Character`s Personality in Oliver Bowden`s Assassin`s Creed Forsaken. Yogyakarta, DIY, Indonesia: Universitas Sanata Dharma.

Kennedy, X. J., & Gioia, D. (1995). Literature: An introduction to fiction, poetry, and drama Sixth Edition. New York: Pearson Longman.

Kerr, C. (n.d.). Marvel's Spider-Man has sold over 9 million copies worldwide. Retrieved November 10, 2020, from https://www.gamasutra.com/view/news/333921/Marvels_SpiderMan_has_sold _over_9_million_copies_worldwide.php

Lamb, M. (2010, April 05). The Role of the Father in Child Development, 5th Edition. Retrieved November 10, 2020, from https://www.wiley.com/en-us/The Role of the Father in Child Development, 5th Edition-p-9780470405499

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Makuch, E. (2019, March 20). God Of War Wins Game Of The Year At GDC Awards. Retrieved November 10, 2020, from https://www.gamespot.com/articles/god-of-war-wins-game-of-the-year-at-gdc- awards/1100-6465743/

Makuch, E. (2019, May 24). God Of War PS4 Sales Exceed 10 Million. Retrieved November 10, 2020, from https://www.gamespot.com/articles/god-of-war-ps4- sales-exceed-10-million/1100-6467083/

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APPENDIX

SYNOPSIS

Many years have passed since Kratos took his vengeance against the Olympian gods. Having survived his final encounter with his father Zeus, Kratos has since travelled to Midgard in Ancient Norway and now lives with his young son Atreus in the world of the Norse gods, a savage land inhabited by many ferocious monsters and warriors. In order to teach his son, whose mother (and Kratos's second wife) has recently died, how to survive in such a world, Kratos must master the rage that has driven him for many years and embrace his newfound role as a father and a mentor. (Fandom, 2018, para. 3)

Link to the script: https://game-scripts.fandom.com/wiki/God_of_War_(2018)

Note: To match the page number and line, copy the entire script and paste it into a blank document of Microsoft word. Then, turn on Line Numbers in layout tab and make it restart each page to match the line number.