Gods from different mythologies collide in a realm that was never meant to be corrupted
Em algum ponto além dos mundos conhecidos, onde todas as mitologias convergem, Santa Monica Studio anuncia God of War: Laufey — um spin-off que convida Faye a atravessar um reino chamado Everywhen, habitado por deuses egípcios e mongóis cujas rivalidades ameaçam o equilíbrio de tudo que existe. A franquia, que por anos ancorou sua identidade na mitologia nórdica, agora propõe uma pergunta mais ampla: e se nenhum panteão tivesse o monopólio do divino? É uma expansão que fala menos sobre jogos e mais sobre a natureza humana de inventar deuses à nossa imagem — e depois guerrear por eles.
- Everywhen, o novo reino da franquia, não é um paraíso transcendental — é um campo de batalha onde deuses de culturas distintas disputam o controle da própria origem da magia.
- Sekhmet, deusa egípcia de guerra, vingança e cura, e Begtse, divindade mongol absorvida pela tradição budista, corromperam o equilíbrio do reino ao tentarem dominá-lo.
- Faye, interpretada por Deborah Ann Woll, surge nessa dimensão pós-divina com a missão de proteger Kratos e Atreus enquanto navega por conflitos que transcendem qualquer mitologia que ela conhecia.
- O combate abandona a cadência metódica dos jogos recentes e retorna ao hack-and-slash veloz e agressivo das origens da franquia, com Faye executando golpes rápidos e combos aéreos ao lado dos aliados Phranque e Rue.
- A expansão mitológica sugere que a franquia está disposta a questionar sua própria hierarquia narrativa — nenhum panteão, nem mesmo o nórdico, ocupa o centro do universo em Everywhen.
Na terça-feira, a Santa Monica Studio revelou God of War: Laufey, um spin-off que leva a franquia para além das fronteiras da mitologia nórdica. O novo jogo apresenta Everywhen, um reino transcendental que existe acima de todos os mundos conhecidos — um espaço onde deuses e criaturas de diferentes tradições culturais se encontram, nem sempre em paz.
Faye, vivida por Deborah Ann Woll, chega a essa dimensão logo após os eventos de God of War: Ragnarök, pouco depois de Kratos ter cremado seu corpo no jogo de 2018. Sua missão é proteger Kratos e Atreus à distância, mas o terreno que ela precisa atravessar está corrompido. Os dois governantes de Everywhen — Sekhmet, deusa egípcia de guerra, vingança e cura, e Begtse, divindade mongol com raízes no budismo — desestabilizaram o reino em sua disputa pelo controle.
A Santa Monica sinalizou que outros deuses devem aparecer ao longo da história. A descrição de Everywhen como o lugar onde a magia nasce e retorna reforça a ideia de que o estúdio quer explorar como diferentes culturas compreendem o divino — e como essas compreensões entram em conflito quando forçadas a coexistir.
No campo do gameplay, a mudança é deliberada: Laufey abandona o estilo mais lento e calculado dos jogos recentes para retomar o hack-and-slash veloz que definiu as origens da franquia. Faye combina golpes rápidos e combos aéreos, com apoio dos aliados Phranque e Rue. O vídeo de revelação apresentou Sekhmet e Begtse como antagonistas centrais, dando ao público um primeiro olhar sobre como o jogo pretende equilibrar ambição narrativa e ação imediata.
O que Laufey propõe, no fundo, é uma revisão da própria lógica da franquia: ao colocar panteões egípcios e mongóis no mesmo plano que os deuses nórdicos, o jogo sugere que Everywhen não é apenas um cenário — é uma afirmação de que nenhuma mitologia detém o monopólio do sagrado.
Santa Monica Studio announced God of War: Laufey on Tuesday, and with it came word that the franchise is stepping beyond the Norse mythology that has defined its recent chapters. The new spin-off introduces a realm called Everywhen—a transcendental space that exists above all known worlds, where gods and creatures from different mythological traditions collide. It is not always a peaceful coexistence.
Faye, the character portrayed by Deborah Ann Woll, finds herself in this post-divine dimension following the events of God of War: Ragnarök. Her task is to protect Kratos and Atreus from a new dimension, even as she navigates a landscape corrupted by power struggles between deities from pantheons far removed from the Norse sagas. The game takes place shortly after Kratos cremated Laufey's body in the 2018 God of War.
The two primary rulers of Everywhen are Sekhmet and Begtse, and their grip on the realm has destabilized it. Sekhmet emerges from Egyptian mythology as a goddess of war, vengeance, plague, and healing—a figure of immense and contradictory power. Begtse originated as a Mongol war deity before being absorbed into Buddhist tradition, carrying with him the weight of multiple spiritual lineages. Together, they have corrupted the balance of Everywhen through their attempt to control it.
Santa Monica Studio has signaled that more deities will likely appear as the story unfolds. The studio's description of Everywhen emphasizes its nature as a meeting ground where magic itself originates and ultimately returns—a place where the boundaries between mythological systems dissolve. This expansion beyond Norse tradition suggests the franchise is willing to explore how different cultures' understandings of divinity, war, and power might intersect and conflict.
The combat system marks a deliberate shift in design philosophy. Rather than continuing the more methodical, over-the-shoulder style of recent entries, Laufey returns to the faster, more aggressive hack-and-slash approach of the franchise's earlier games. Faye wields rapid strikes and aerial combos, supported in battle by allies named Phranque and Rue. The gameplay reveal video showcased these two new deities as central antagonists, giving players a first glimpse of how the game will balance narrative scope with moment-to-moment action.
What emerges from these details is a franchise willing to complicate its own mythology. By introducing Egyptian and Mongol deities as equals to the Norse gods that have anchored the series, God of War: Laufey suggests that no single mythological system holds dominion. Everywhen becomes not just a setting but a statement—that all pantheons, all understandings of divine power, exist on the same plane. The question now is whether Faye can navigate that plane without being consumed by it.
Notable Quotes
Everywhen is the birthplace and final destination where all magic returns—a transcendental realm above everything we know, where gods and creatures from different mythologies meet, not always in harmony— Santa Monica Studio, PlayStation Blog
The Hearth Conversation Another angle on the story
Why move away from Norse mythology now, after building two full games around it?
Because the story demanded it. Ragnarök closed that chapter. Faye's journey into Everywhen is about what comes after the Norse gods fall—and the answer is that other gods were always there, waiting.
But why Egyptian and Mongol specifically? Why not Greek or Hindu?
That's the question Santa Monica hasn't fully answered yet. But there's something deliberate about choosing pantheons that are less familiar to Western audiences. It forces players to learn alongside Faye.
Sekhmet and Begtse seem like odd choices for rulers of an afterlife realm. Both are war gods.
That's the corruption. Everywhen should be neutral ground, but two war deities have seized control. The realm itself is sick because of it. That's the conflict Faye walks into.
The combat is faster now. Does that change how the story feels?
It does. The slower, methodical style of the recent games felt almost meditative. Faster combat means more chaos, more desperation. Faye isn't Kratos—she's not a god herself. She has to move differently, fight differently.
What does it mean that Phranque and Rue are helping her?
She's not alone in this. That's important. Faye isn't a solitary warrior. She builds alliances, gathers support. That's a different kind of strength than what we've seen before.