![]() ![]() But there are just as many gun emplacement scenarios and pop-up ranges.ĬoD: WWII’s campaign has high points. There’s some great stuff, such as tank battles, airborne engagements and protracted slow-motion sniper sections. The bigger issue is that the campaign remains an on-rails shooting gallery enlivened by largely non-interactive moments – such as when, after sniping from a church tower, it collapses and you fall down with the bell in frankly spectacular fashion. COD: WWII’s narrative inspirations are obvious, but they go places that this particular game won’t countenance. It’s a straight-to-video Band of Brothers, where you fight through France, help the resistance, go on to the Battle of Bulge, and by the end, there’s a big ol’ redemptive arc for your good ‘ol Texan boy. The campaign follows player character, Pte Daniels, and a handful of chums in his unit, beginning with the Normandy landings. ![]() Each weapon has its idiosyncrasies and gorgeously elaborate reload animation. Gun recoil remains relatively light, but the jarring flinch when taking fire more than compensates. This is a precision game, its high notes accentuated by incredible sound design: the “shoonk” as you land a headshot is satisfying at an unfathomably subterranean level. Getting the feel right is no small achievement for a shooter, and CoD: WWII does that, and then some. But this is married to a generous aim assist and assorted impact effects that, simply put, make shooting things wonderful. ![]() CoD: WWII makes us grunts again, with relatively slower movement and more “realistic” capabilities. It is also something of a return to the series’ roots of more grounded infantry combat, following the advanced-movement-style introduced in future-based entries (think supersoldiers with jetpacks). The protracted slow-motion sniper sections are among the game’s best. ![]()
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