I'm a sucker for Call of Duty's shooting mechanics, which always feel crisp and gratifying, but I'm especially pleased here since much of the time you're using rifles that aren't futuristic space weapons. It's as engaging a shooter as you'd hope for from start to finish. Much of that comes down to sound design, which makes every shot of the M1 Carbine pop, every headshot clang. Of course, what I enjoy most about Call of Duty is the shooting, and the shooting here is terrific. There's also some cool stuff in the smaller details, like the ability to take prisoners who surrender rather than just kill everybody, or the fact that not all the German troops are portrayed as evil Nazis.Ĭall of Duty: World War II Credit: Sledgehammer Games The facial animation and voice-acting are great, bringing characters like Zussman and Pierson to life. Red's Jewish buddy Zussman really steals the show, and is a much more interesting character than Red is himself.
There's lots of variety from one mission to the next, and all the expected Call of Duty stuff is here, from dogfights, to jeep chases, and tense shootouts. Still, I had fun in many of the other missions, and the ending, which I won't spoil here, is actually quite powerful. It's the walking simulator level of the game, and a remarkably nice change of pace the calm before (between?) the storm, if you will. Camille is a woman, for one thing, and there's no shooting whatsoever. This is a unique mission in the series for two reasons. Instead, you play as a French resistance fighter, Camille "Rousseau" Denis. The only mission that really stands out is "Liberation," which is also the only mission (other than a dog-fighting segment) where you don't play as protagonist Red Daniels.
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