Wolfenstein 2 and its portrayal of relationships

I can’t stop thinking about Wolfenstein 2: The New Colossus.

There were moments that made me squeal and flail out of both excitement and distress. There were scenes I was genuinely astounded to be experiencing in a big budgeted FPS. Scenes that feature raw and weighted emotion from a main character that would have otherwise been portrayed as the cliche macho masculine non-stop killing machine war hero with nothing to lose. But The New Colossus manages to do something so few, if not any, games have done with its buff, tough-as-nails, main character BJ Blazkowicz, and it’s make him a believable, vulnerable, human being.

The New Colossus sets the player up from the start with a character whose fate seems to be already sealed. BJ wakes up after the events of the first game bound to a wheelchair, only to find out that some of his organs have been taken out to ensure his survival a little longer, and that Anya, his love interest from the first game, is pregnant with twins.

It was my immediate assumption to assume: “Anya’s gonna die, and Blazkowicz is finally going to become that cliche ‘man with nothing to lose’ nazi killing son of a bitch that’d  feed into our nazi killing veins.”

But the game never fulfills the cliche of the cheesy action stereotype. Instead, it does the absolute opposite.

The game transitions into BJ’s childhood, showing his relationship with his Jewish mother, his abusive father, and his first love.

His father is a horrible man, but in many ways, a man of his time. He’s an ignorant racist whose sole purpose is to work, provide for his family, and exert the power of his masculinity. He abuses his wife, and humiliates BJ for taking comfort in his mother’s care.

There’s one particular flashback where a young BJ is afraid of the dark, and his father consoles him by handing him a BB gun, and head together into the basement so BJ can face his fears and realize that it’s only his imagination. I found this scene fascinating because it’s the only time we see his father not being a complete piece of shit. And it’s that contradiction of his father’s character that makes him more believable. Not every good and bad guy is black and white, and it’s this sort of character portrayal in The New Colossus that make its character development so complex.

In so many ways, the game’s most prominent theme is about parenting and relationships. Even the game’s antagonist, General Engel, is a mother. And the display of her relationship with her daughter is made front and center of a particular scene early on that sets the stage for just what kind of person Engel is. It’s brilliant.

I liked the first Wolfenstein, The New Order, quite a bit. But nothing prepared me for how developer MachineGames would completely pivot the franchise. I now think about the game’s characters first before even associating it with killing nazis — which is obviously what we’ve always known the franchise for in the first place.

Whether or not it’s my Game of the Year, I can’t say just yet. You’ll have to tune in tomorrow on my YouTube channel to find out my Top 3 picks for GOTY.

And I haven’t even dived into the gameplay itself and how it varies and changes almost constantly. Maybe for another time.

Kurt Indovina
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Preview: Skyrim Switch

It works. It works really well. I can’t help but have had skepticism of how the massive open world rpg would play on the Switch, but it just works, and without skipping a beat. Skyrim’s been remastered, repurposed, and re-released over and over again since 2011. So upon seeing its appearance on Nintendo’s initial Switch launch trailer back in October 2016, I blown away at the idea of having a game as demanding as Skyrim—even from six years ago—in your hands on the go, but I had to see it to believe it.

Nearly a year later, I was able to test it out for myself. At the Nintendo booth it was only available to be shown in handheld mode, and this seemed entirely intentional. Nintendo and Bethesda wanted this game to be seen in a way that Skyrim hasn’t been seen before, and in such away that was bound to impress even the most salty Nintendo hater. With that said, I had no comparison to how it looked in docked mode versus handheld mode.

In handheld mode it played very smooth. It’s obvious that this is not the HD remaster that was released for the PS4 and XBONE earlier this year. But that’s okay. That’s forgivable in exchange for a well performing game that’s as loaded as Skyrim on the go. That said, the game definitely lacked some of the visual graphical depth that we’ve grown used to. Some of the textures to me seemed a little flat; a tad muddy. Shadows weren’t very apparent, and the field of view did not stretch as far as the eye could see. But damn did it play well, and subtle graphical nuances aside, it felt amazing. And never did I think I’d ever be saying this, but, it felt a little at home on the Nintendo console.

During my short playthrough, I visited Riverwood. I was eager to test combat and the limitations of the game, so I began attacking chickens and villagers. Most of the hiccups and frame drops that I had become so familiar with my PS3 copy were not present. I only hoped that after six years, and several re-releases, that the game would be optimised better by now. And it is.

I am one of the few who’ve only purchased this game once, and I never got around to getting any of the DLC. I was admittedly on the fence as to whether or not I wanted to buy it again, but after finally getting it in my hands, and feeling how well it played, despite its now dated graphical capabilities, I’m in. I’m going to buy it. Besides, there’s no denying the absolute coolness to taking Skyrim anywhere, wherever your heart desires.

Kurt Indovina
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