![]() The big names involved this year are David Tennant, Elodie Yung and Ving Rhames, with Tennant in particular enjoying chewing up scenery. Zombies, the round-based horde mode that's been a regular feature of the series since 2008's World at War, is also back, checking off the co-op box with flair. Matches can be gruelling, and Sledgehammer has balanced the mode well enough that contests are often tightly-fought, making for some thrilling, desperate push-and-pull contests in the final stretch. This multi-stage mode is an answer to similar modes in Battlefield, but with a smaller scale that works for the series. With only a paltry nine maps for the basic modes, I haven't found many reasons to return to the game, but diehard Call of Duty fans undoubtedly will. It's as though the aim is to make Call of Duty as fast a game as possible by shaving off every millisecond to reduce the experience to something that works better for skilled players and esport spectators than it does for regular joes. It takes little more than a second to bring down a player, when that player is you your body crumples comically fast like footage played at double speed. It also feels dated compared to the thrills offered by competing multiplayer shooters like Destiny 2 and Overwatch.Ĭall of Duty's status as a prominent esport also has this odd, streamlined feel. Sledgehammer's stripped-back mechanics make multiplayer a grounded affair more in line with early Call of Duty games I remember playing for whole evenings at a time, but that comes at the expense of feeling a little dated as well. Meanwhile, Activision took a more cautious approach with its release of Call of Duty: WWII, as it expunged the swastika altogether from its game. That's the campaign, then there's the rest of WW2, which offers even clearer examples of the processed feel of this series. Bethesda, which recently released Wolfenstein II: The New Colossus, has recently kicked the hornet’s nest with its decision to include the swastika as well as various Nazi and KKK imagery. ![]() The ending is also particularly well-handled, turning around a fairly trite plot with a well-handled twist, some good character work and a conclusion that drives home the horror of what the Nazis did without so much as a single bullet having to be fired. The best moments of the campaign are when the First are moving across a field behind the cover of friendly tanks, when the Allies are moving on a farmhouse, or in its chaotic depiction of the Battle of the Bulge, when all seems to be lost. A compromise evident of the homogenised nature of the enormous, money-spinning series. These are also the moments of greatest spectacle: a mandated spectacle Sledgehammer and Activision feel is required. Players take out entire airborne squadrons and their actions are implied to have saved the whole city of Paris.
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