And then I found some health and armor, lured him up a stairway and unloaded my machine gun into him while his AI forced him back into the main room. And then I reloaded, adjusted my tactics and died again. When I first encountered the giant armored Nazi with the laser cannon and he boost-rushed me, I died. Like The New Order, even on the default/medium difficulty setting ( Don't hurt me) it isn't a walk in the park. Which, now that I think of it, is the exact opposite of Doom, which forces you to get up close and personal with your enemies to get extra health packs or ammo. I'm finding that the best way to handle a pack of soon-to-be-dead Nazis when I'm low on health or armor is to hang back and snipe, or use short controlled bursts of fire. That could be it? I'm kind of playing it like a slower Call of Duty because the control scheme allows for it. I was learning the whole time and making progress, so I stuck through it and came out victorious. Honestly, I'm surprised to hear you haven't had any similar issues, Tim! I wonder if I'm approaching the entire game the wrong way - running in wildly like it's Doom, rather than strategizing before attacking like Wolfenstein seems to want. There were moments I turned down my difficulty (I'm playing on Do or die, the medium-hard setting for "the experienced gamer"), something I'm generally loath to do. Maybe I'm just really bad at shooting in this game. Blazkowicz feels like an underpowered glass cannon at times - especially when I'm dying on the same level over and over and over again.
In Wolfenstein, I find it extremely difficult to know where enemy fire is coming from the lean mechanic is unwieldy and, quite frankly, I never use it and thanks to a split health and armor system, I never know how many more bullets I can actually take. I actually think Wolfenstein II could learn a lot from Doom, at least when it comes to movement and HUD layout. I also thought about Doom a lot while playing this game but in a very different way. The thought of his family is the light at the end of the tunnel for him. No, he's wearily reminding himself that he's fighting for a reason, pushing himself through unimaginable horrors because he's going to be a father. Plenty of FPS-protagonists talk to themselves (and the player), but BJ isn't cracking catchphrases like Duke Nukem. Instead, it's a driving force for the entire narrative. But in context, it's much more than a cheap character trait. When I played it at E3, it was clear BJ was broken both mentally and physically after years of fighting Nazis. Moments after cowering in a closet as young BJ during a flashback sequence, helplessly watching his racist dad abuse his mom, I was a paralyzed witness to the diabolical Frau Engel decapitating beloved comrades. And speaking of story, Wolfenstein II's is heavy right from the get-go. Plus, it means I'm able to get to the next story sequence faster. Sure, the now-standard "left trigger to lock on, right trigger to shoot" thing is a little overzealous, but it keeps the firefights going at a brisk pace. It's a stark contrast to Doom, where you had to figure out the best tactics for taking out hellspawn yourself. And I like how the game makes it clear that you should take out the ranking officers first so they can't raise the alarm and make life living hell. Not the actual shooting, which I actually have a few problems with. This is the heart of Wolfenstein, for me: The story. Another crucial one, for me, involves a black woman casually breastfeeding her child while talking about the fragility of testicles - it's a refreshing, diverse and audacious scene unlike any I've encountered in an AAA video game. There are a few moments like this that stand out in my mind. It's a refreshing, diverse and audacious scene unlike any I've encountered in a AAA video game. It drew me into Wolfenstein's world and immediately endeared me to this broken, ragtag group of revolutionaries attempting to dismantle the Third Reich's reign. It could have been cheesy, attempting to shoehorn emotion into a traditional, gritty first-person shooter - but, instead, it was powerful.
Music swells as he carries the body, in slow motion, across the bridge. Blazkowicz, the game's hero, emerges from a pod holding the headless corpse of one of his friends. It's not far into the game - it's a dramatic, cinematic scene right after a hectic round of running down spaceship corridors, shooting Nazis and trying desperately not to die. I know the moment Wolfenstein II had its hooks in me.
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