Wolfenstein II: The New Colossus
Wolfenstein II: The New Colossus is either the 9th or the 11th game in the popular anti-Nazi video game series, depending on how much of a purist you are in your counting. And if that statement strikes you as somewhat confusing, well—welcome to the world of video game series reboots. The New Colossus is a direct sequel to 2014’s Wolfenstein: The New Order, a soft relaunch of the franchise that was followed up by the 2015 release of Wolfenstein: The Old Blood, which was equal parts expansion pack and standalone prequel.
If that seems like too convoluted a history for you to even bother with at this point, rest easy. All you really need to know about the Wolfenstein series is that the Nazis won World War II, they’re taking over the world, and it’s your job to shoot them. Imagine The Man in the High Castle if it had been written by Paul Verhoeven instead of Philip K. Dick. There’s a lot more to it than that, of course. This new game draws on characters and themes from much earlier entries and manages to tell a quite personal tale about identity, parental relationships, and indeed the very nature of freedom.
But at its heart, the real draw of Wolfenstein II is in shooting Nazis. Tons and tons and more tons of Nazis. Sometimes you shoot them with big guns. Sometime with pistols. Sometimes you have to sneak up on them and whack ‘em with an ax. But in the end, dead Nazis is the first, second, and only meaningful objective in the game.
The biggest thing setting The New Colossus apart from its forebears is that this time around the action takes place in the United States—one overrun by the Reich, whose citizens have, for the most part, acquiesced to or outright embraced their goose-stepping overlords.
That has led to criticism from those who see the game as a critique of our current political environment. It’s not intended as such, mind you. Games like this take years to develop and its developers aren’t prognosticators. But the fact that a game about killing Nazis is seen as a commentary on American politics at all, accidentally or not, is certainly worth mentioning. As much as this is a silly, brutal, over-the-top violence-fest, the central message here is that racism is bad. Fascism is bad. But also key to the narrative is the fact that most people aren’t bad—they simply play along with their own tribe.
One thing I can say about Wolfenstein II: The New Colossus that isn’t even remotely controversial is that it’s an audiovisual tour de force. It’s a game that positively begs to be experienced on as large a screen as possible, with as many channels of sound as you can throw at it. Developer MachineGames has managed to shake up the series with entirely new environments while also hanging onto the same art design and overall aesthetic flair that made the last two games such stunners. And the Hollywood-caliber sound mix is, without question, the most dynamic and raucous I’ve heard in quite some time. Attempt to play this game on your tinny TV speakers and you’re just betting to blow a driver or two.
Truth be told, there are times when I wish I could just pop a big bowl of popcorn and watch someone else play the game. It truly can be that compelling. Whether you experience it from the firsthand perspective or as a passive bystander, though, you owe it to yourself to experience this game.
Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including
high-end audio, home automation, and video gaming. He lives in the armpit of
Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound
American Staffordshire Terrier who thinks he’s a Pomeranian.