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One of the most effective aspects of The New Colossus is literally the set dressing. The fact that in The New Colossus the Nazis have taken over the United States by nuking New York and forcing a surrender makes bashing their skulls in with a hatchet all the sweeter.
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I don’t want to spoil another second of the story for you, but longtime fans of the Wolfenstein series will be particularly shocked by a very early cut-scene, the melancholy of which infuses the feelings of the entire first-half of the game. Whereas other characters in the past have often overshadowed B.J.’s stoic masculinity, The New Colossus actually makes us care as much about our Nazi-slaying, crew-cutted, action-hero protagonist as it does about the world he’s fighting to take back. This time developer MachineGames has moved past B.J.’s patriotism to the deeper roots of his character, sometimes through flashback and other times through a good old-fashioned farmstead homecoming. The New Colossus’ story never lets up on the ugliness presented in the first few scenes, but it repeats the same trick that The New Order performed so deftly, which is to give the blood, gib-filled shootouts an emotional weight. The ugly past bleeds into the ugly present, when a mushroom cloud backlighting the familiar faces of Anya, Caroline, and Set is oddly the most serene, beautiful sight to behold. One moment, his father is spitting racial epithets and beating his mother in 1919, in the next he’s on a surgical table back in 1961 and the Kreisau Circle is shifting his insides around with a pair of metal tongs in an attempt to save his life while a nuclear blast decimates a Nazi base.
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Grenade shrapnel has ripped his body to shreds and he’s bleeding out. Picking up literally moments after the end of Wolfenstein: The New Order, The New Colossus begins in a near-death fever dream as B.J. Killing Nazis is, in a way, B.J.’s version of therapy and, boy, does it feel cathartic-at least, most of the time. fighting for a better future for his family, but he’s also fighting to find himself after a traumatic childhood. We come to understand in The New Colossus that not only is B.J. paints his masterpiece with bullets and Nazi blood. It’s within this hate-filled landscape that B.J. He sees it through the slats of his mother’s closet, in the eyes of the hateful man who is his father, in the eyes of a man who beats his son for befriending a black girl, in the eyes of a man who forces his son to shoot his own dog who was only doing its solemn duty of protecting the family. This evil existed in The New Colossus’ United States even before the Nazis took over, and William Joseph “B.J.” Blazkowicz was no stranger to it. It’s a mechanical, atompunk dystopia in which robot dogs spit fire, a world where you’ll look in the eyes of black-clad Nazi soldiers and it’s hard to tell where man ends and machine begins. This is a world in which dissenters are massacred and beheaded, a world not only driven by the hateful ideology of a raving narcissist, but also by the desire to simply see innocent blood spilled. You better believe that if Nazi Germany won the Second World War after unlocking the ancient, advanced technology of a mystical secret society and utilized that to create an unstoppable war machine, the world would be an ugly place. Wolfenstein II: The New Colossus doesn’t shy away from the utter brutality of its alternate reality.