For the amount of time I spent with this game, I can still remember all the interactions I had with the characters, scripted or otherwise. It is these quiet moments, coming during the breaks in the violence, that color the game with its real charm. Narrating throughout with a voice that sounds like it came out of a Tillie Olsen novel, our man blasts through wave after wave of enemies, splattering the walls, his weapon, and his body, all while wondering what his existence means to himself, and to his friends. Rather than our hero, William Joseph Blaskowicz, being a hollow, unfeeling vanquisher of evil, we have a man who is emotionally scarred from the traumas of his life, and therefore has a reason to keep fighting. In addition to going from mission to mission, plot point to plot point, this is a character-driven game. No, this is not that type of mindless shooter. *Record scratches* The thing about Wolfenstein II, though, is that it’s not just about going from mission to mission, killing enemies. And then? It’s Nazi-killing time in the homeland. Starting in the immediate aftermath of The New Order, players are treated to a cutscene recapping all the events that happened in that game. It’s got emotion, performance, and writing to back it up. It’s got guns and bullets and the fire and the flames. Wolfenstein II: The New Colossus, is the latest in the first-person shooter series that started it all.
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