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Starting with a flashback and some properly repulsive racist dialogue, the narrative sets out to have us experiencing a sort of vicarious oppression from the get. It throws down from the get go with a narrative and character motivations that are simply alluring.Īfter a 5ish minute recap of the game, the story displays its need to invest heavily into our main characters. Right off the bat, the game hits exactly where I want it to. Instead, I paid some respects to the games lineage and found whimsical fascination in The New Colossus due to the trailer depiction of character-driven momentum and vivid world-building.
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"In a way of course it's all exaggerated, but we didn't want to pull any punches on what that ideology is all about.”įor a deeper look at how Colossus is handling the realities of 2017, check out our full interview on politics with Mathies (opens in new tab), as well as Shaun's hands-on account from last month (opens in new tab).Wolfenstein 3D (1992) gave gaming audiences a taste of FPS goodness and gave them a healthy disdain for anything resembling this fool.
“One of the decisions we made early on was that we wouldn't cartoonify the ideology," he says.
It has the same soft, glossy look that made Doom such an attractive game, but here that colorful perspective has been applied to Nazis and steel instead of sci-fi demons.īut while the wackiness and the worldbuilding are fun, they do deal with deadly serious ideas-one hopes without being dishonest about them, or treating them too lightly. The guns feel heavy and violent, and no matter how many pieces of shrapnel and Nazi helmets fly into the air, the game just never seems to chug or slow down. The New Order is still a joy to revisit a few years later, but by comparison Colossus looks and feels incredibly smooth. The rush of noise and blood is so much fun that I don’t care how silly the whole thing is.įollowing 2016’s Doom, Colossus is the second game to run on id’s new engine, idTech6. After dropping a Nazi with a fire axe to the head, I hefted two automatic shotguns and went sprinting down a train corridor, mincing Nazis with the speed of an industrial meat processor. I’ve only seen bits and pieces of Colossus, but so far I think the Wolfenstein 3D approach is working. That sense of freedom created a boss battle against Mecha-Hitler and gunfights with a gatling gun in each hand.
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You can see that the people who did this didn't have a marketing department, didn't have to worry about a publisher.” The early developers at id were unfettered by what Matthies calls the “videogame bureaucracy,” so they were free to have fun and be ridiculous.
“What's so amazing about that game is that it's so totally a pure expression of creative freedom. “We decided to focus specifically on the original Wolfenstein 3D ,” creative director Jens Matthies tells me at QuakeCon earlier this week. But the little touches of smart worldbuilding are just as arresting, and they’re evidence that the MachineGames team feels free to chase bold ideas-by their account, that attitude is borrowed from the original Wolfenstein from 1992. Hooded KKK members wandering the streets and Nazi flags flapping in the American breeze make for dreadful images, especially because it's not pure fiction. Wolfenstein 2: The New Colossus has gotten a lot of attention for its alternate history portrayal of a Nazi-conquered USA, and it’s easy to see why.
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