It'd be easy to skip past the campaign and go straight into the meat of the multiplayer, but to do so here would be to miss the strongest single-player Call of Duty offering since Black Ops 2. It's a little disconcerting to see the words 'NAZI ZOMBIES' emblazoned across a product that's otherwise keen to demonstrate how earnest and respectful it is to the subject matter, but such is the way with Call of Duty, whose tonal inconsistencies you've been able to rely upon since Modern Warfare 2. And it's all the better for it.Ĭall of Duty WW2, as is now the series' tradition, is split into three distinct sections, each almost feeling like their own game. In actual fact, this is Call of Duty refined if not entirely redefined - a slick, luxurious and impressive triple-A product, forged in the image of Sledgehammer but shameless in its lifting of ideas, concepts and mechanics from both the series past and any number of its competitors. This is Call of Duty as it once was, or at least that's what the marketing would have you think.
WW2, the 14th mainline Call of Duty, is a reclamation of the series' fundamentals - an eschewing of sci-fi tropes, of Black Ops conspiracies, Kit Harrington and the Ghosts, whoever they were.
The throwback to a throwback, from Call of Duty World War to Call of Duty 2, from Medal of Honor Allied Assault all the way to Saving Private Ryan. Sledgehammer takes Call of Duty back to its roots, refining rather than redefining the series for the best entry in years.
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