Going in, is something of a known quantity. The first-person shooter series is a monolith, almost perennially the best-selling game of the year and a product of consistently high quality, but also seemingly possesses an inability to overcome its inertia. I played the original, World War 2-centered trilogy, but really cut my teeth on the series during the halcyon days between and the original. Nearly two decades later, it feels like I'm still playing some souped-up version of , with a fresh coat of paint courtesy of 2019's soft reboot of the same name.
This isn't singularly a detractor, but a through line to, a game that doesn't really feel new despite some bells and whistles, but instead familiar, stable, and optimized. When you play, there's no mistaking the fact that you're playing – it feels a lot like last year's game. This puts the series in recurring conflict with itself: there's no reason to disrupt the tightly designed, clearly successful formula, but there's very little room for significant iteration on the surface, leaving as a game with some interesting, but ultimately not groundbreaking, ideas.
The latest in publisher Activision's marquee FPS series is primarily developed by Treyarch and Raven Software, but shipping every year is an almost unparalleled undertaking, with seeing support from Infintiy Ward, Sledgehammer Games, High Moon Studios, Beenox, Activision's Shanghai Studio, Activision Central Tech, Activision Central Design, and Demonware. has had a particularly long development cycle compared to the rest of the series, though, and it's evidenced by a wealth of content, all of which delivers quality gameplay that's nonetheless weighed down by the series' immense scale.
's single-player campaign delivers a passably interesting narrative, with enough variety in gameplay and setting to keep your attention throughout. The story itself does well to avoid some of the more overtly propagandistic elements of the subseries, and remains compelling despite a
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