On The Road To Hell
MachineGames is less than a month away from releasing Wolfenstein II: The New Colossus, which picks up directly after the events of the first game and focuses on B.J. and company’s efforts to take back America from the Nazis. Essentially a road trip through the country, with B.J. ending up in various Dystopiafied versions of popular locales like New Orleans and Manhattan, The New Colossus is much more ambitious than its predecessor. It’s a fact that creative director Jens Matthies and company are keenly aware of.
“Oh yeah, for sure,” he says. “Anytime you go big, you run a tremendous risk of over-scoping it, and you only have so much time and money to make the game. So early on, you have to really try to have good metrics of what you want to do and how to stretch that game to that point and not beyond it, and that’s a really science in and of itself. I think we’re getting better at it over the years but yeah, it’s still incredibly challenging and one of the hardest obstacles when designing a game. But I feel good about where we’re heading, so I think we’re in a good place.”
Within a matter of three weeks, Wolfenstein II will be available for the public to play. The New Order had the element of surprise on its side, wowing many people who didn’t expect much from a first-person shooter series they thought was antiquated and had, perhaps, been rebooted already too many times. The New Colossus arrives as one of the year’s hotly anticipated titles, alongside the likes of Call of Duty: WWII, Assassin’s Creed Origins, and Star Wars Battlefront II. Regardless of how the game’s reception shakes out, it’s hard to deny the series has come a long, twisty way since its noteworthy foundational release more than two decades ago. In an era that offers every flavor of first-person shooter imaginable – from the operatic space trappings of Destiny and Titanfall 2 to more historical fare like Call of Duty: WWII, where does the world’s first first-person shooter fit in?
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