For better and worse, A Memoir Blue feels like a creator’s first short film — it’s got some interesting ideas and artistic flourishes, but it’s also a little rough around the edges.
First released on consoles and PC in March, the Cloisters Interactive-developed game has just made its way to mobile. To say this is a “game,” though, is a bit misleading, and I don’t even mean that in a pejorative sense. Instead, A Memoir Blue is considered more an “interactive poem,” a sort of adventure game that’s extremely light on actual gameplay.
In A Memoir Blue, you follow Olympic swimmer Miriam who, despite her successes, finds herself solemnly reflecting on her late mother. These are conveyed through colourful, aquatic dreamlike sequences in which you use a pointer to interact with objects. In this way, there are “puzzles” — though I use that in the loosest sense of the term — to clear, but they’re not intended to present actual challenges.
Instead, the idea is for you to gently guide Miriam through her fantastical memories and learn a bit more about her upbringing. Admittedly, though, this sort of “childhood reflection” experience is something we’ve seen a lot in recent games, especially in other titles from publisher Annapurna Interactive, like What Remains of Edith Finchand this year’s Hindsight. As a result, A Memoir Blue‘s one-hour experience is arguably too short and understated to make much of a lasting impression.
But for what it is — a clearly personal tale for the developers — A Memoir Blue is fine. Its greatest strength is its minimalist presentation. Telling the story completely dialogue-free is refreshingly different for a game, relying instead on the lovely visuals for storytelling. Cloisters Interactive also does a neat thing of using cute doodle-esque character models for scenes with Miriam and her mother to neatly contrast the gloomier present-day.
The biggest frustration, though, came in the gameplay itself. I’m fine with mechanically-lite games, especially in service of more atmospheric narrative experiences such as this, but it doesn’t translate that well to mobile. Maybe it was my fat thumbs, but I found myself struggling at times to interact with the correct objects on my iPhone 13 Pro because they were just too tiny. At times, the game requires a more precise touch, like swiping to unlock Miriam’s phone in a purse, but I had difficulty actually doing that. This likely wouldn’t be an issue on iPad, but it proved frustrating on iPhone.
In the end, A Memoir Blue is a decidedly niche game. A lot of people will be put off by its teensy bits of gameplay, while others may not find the story much more than serviceable yet familiar. I don’t mind either of that, but some clunky touch mechanics were certainly troublesome. With all of that said, an engaging aesthetic and a sincere story make it worth checking out if sweet little experiences like this are your cup of tea.
When the credits started rolling in God of War Ragnarök, I was surprised to feel tears running down my face.
Not necessarily because of anything that happened in the final moments, mind you, though that certainly contributed to it. Rather, it was the catharsis of seeing this second chapter in the deeply affecting father-son story of Kratos and Atreus through to the end that hit me so hard. Upon completion, I began reflecting on the powerful journey I went on with these characters, and, in turn, just how much they’ve come to mean to me.
Rarely do I have such a reaction upon finishing a game, so when I do, I know I’ve experienced something special. But Ragnarök is indeed special — a brilliant culmination of everything developer Santa Monica Studio (SMS) has learned while making its nearly 20-year-old God of War series to create something truly unforgettable.
2018’s soft reboot of the God of War series won many over, myself included, for its riveting, sophisticated tale of fatherhood. As someone who’s estranged from his dad, Kratos’ parental struggles — the desperate attempt to prevent Atreus from suffering from the sins of the father — hit particularly close to home. “We must be better,” Kratos tells his son in the reboot, imploring that they break the cycle of violence perpetuated by both god and man. But what does that actually mean?
Despite a far bigger cast this time around, Kratos and Atreus’ relationship remains the beating heart of Ragnarök.
In God of War Ragnarök, SMS’ attempt to answer that question results in one of the most gripping stories I’ve seen in a game. Faced with the titular Norse apocalypse, Kratos and Atreus set off on a journey to save the Nine Realms while seeking answers about the latter’s mysterious identity as Loki. Naturally, our story begins with Kratos hesitant to leave their home, concerned with putting Atreus in too much danger by falling into conflict with Odin and his fellow Asgardians. But over the course of the narrative, the world-weary warrior undergoes a profound — and even soulful — arc in which he develops just a bit more empathy for both his son and the world around him. He realizes that it’s not enough to just tell your son to do something — you have to lead by example. The lengths to which Kratos goes for his son in Ragnarök — something I would have yearned to see from my own father — proved to be genuinely moving to me.
Sure, he may not be the kindest or most forthcoming parent, but he demonstrates his love in the ways he can. And as is the case with the first game, Ragnarök doesn’t shy away from the atrocities that Kratos has committed, but it also never fails to remind us of our innate capacity for good. All of this depth is believably conveyed through a mesmerizing performance from Christopher Judge (Stargate SG-1), who expertly balances Kratos’ intimidating gravitas with his tender and more emotionally vulnerable side. And with the one-shot camera‘s return in Ragnarök, SMS is able to provide us with lingering close-ups that really let you soak up all of these raw, subtler moments.
Freya is one of Ragnarök’s best and most nuanced characters.
Of course, none of that succeeds unless Atreus himself is also compelling, and thankfully, he’s arguably more so than Kratos himself. Certainly, Ragnarök had tricky ground to navigate with Atreus, given that he’s now three years older and could have come off as an overly angsty and annoying teen, but SMS and actor Sunny Suljic (Killing of the Sacred Deer) effortlessly imbue Atreus with so much heart. Suljic, who’s grown so much since the last game that his voice had to be edited in parts, is impeccable, shifting between Atreus’ rebelliousness, complicated feelings over his mysterious identity and proclivity to help people with ease. Like Kratos, Atreus has a splendid arc; if the first game was about him proving himself to his father, Ragnarök is a coming-of-age story about discovering his own self-worth — something to which we can all undoubtedly relate.
Returning characters also have significantly more screentime and nuance. Much of Mimir’s (a spellbinding Alastair Duncan) role in this game revolves around confronting figures from his past to atone for the sins he committed when trying to curry favour with Odin. In this way, he finds common ground with Kratos, and the pair share some strong heart-to-heart conversations. Freya, meanwhile, is back to seek vengeance against Kratos for killing her son, Baldur, in the first game, but we also come to learn far more about her troubled past. Sensitive writing and actress Danielle Bisutti’s incredible performance beautifully convey all of this anguish, and it results in Freya being Ragnarök‘s most sympathetic character. Even Brok (Robert Craighead) and Sindri (Toronto’s Adam J. Harrington), the two Dwarven smiths who previously served as comic relief, have much more meaningful parts to play, with the latter even striking up a friendship with Atreus.
Rest assured that there are many more surprises beyond Kratos vs. Thor.
Then we have Ragnarök‘s new characters. Part of the intrigue in the first God of War were the constant teases that Odin and the rest of the Norse pantheon were quietly observing Kratos and Atreus. Naturally, then, there was much anticipation as to how SMS would ultimately portray them. That’s to say nothing of the fact that many people already have their own impressions of these deities based on the versions seen in the Marvel Cinematic Universe.
Given all of that, you’ll be pleasantly surprised by how cleverly they’re used in Ragnarök. As voiced by Richard Schiff, Odin has a rather James Woods-in-Hercules sort of panache, which makes him feel simultaneously charming and sleazy. By contrast, there’s more than meets the eye with Thor (Ryan Hurst), whose gruff and drunken demeanour belies his complicated family dynamics. And in spite of the ridiculous pushback from racist trolls, Angrboda (Laya De Leon Hayes) is a particular delight — a kind-hearted, exuberant teen who shares a wonderfully endearing dynamic with Atreus and reminds us of his youthful innocence. There are other Norse figures whose roles I wouldn’t dare spoil, but suffice it to say that seeing who pops up and when — as well as the unique ways in which they individually test Kratos and Atreus — only serves to elevate Ragnarök‘s already fantastic core father-son story, especially in the absolutely thrilling final act.
If it ain’t broke
The Wight is one of many new and interesting enemy types in Ragnarök.
While Ragnarök‘s exponentially grander narrative ambitions and wider cast of characters are quite prominent, you might not immediately notice what’s changed with the actual gameplay. Indeed, it certainly feels a little too familiar at first, with many of Kratos’ moves and animations resembling those found in the 2018 predecessor. Once again, Kratos wields his Leviathan Axe for crunchy, weighty melee combos and oh-so-satisfying Mjölnir-esque throws and callbacks, and both are even more impactful thanks to the PS5 DualSense controller’s haptic feedback. Also making a return are the Blades of Chaos, whose long-ranged attacks still feel refreshingly distinct from the up-close-and-personal Axe. Powerful Runic attacks (super moves that have cooldowns) also come back and are as handy as ever. But if the weapons themselves largely function the same, it’s the litany of smaller added flourishes that really shake up the flow of combat.
The biggest of these is the introduction of Elemental statuses to your weapons — ‘Frost’ for your Axe and ‘Burn’ for the Blades. Operating independently from the classic stun metre for powerful finisher moves, these Elemental moves hinder your enemies in several useful ways. Do you want to freeze enemies to render them immobile for devastating follow-up attacks? Focus on putting skill points and gear crafting towards quickly building out your Axe’s Frost affinity. Invest enough into such a build and you can charge your Frost gauge for more powerful ice-based attacks or even imbue your slashes with wickedly cool projectile waves. On the flip side, maybe you’ll opt for enemies to take periodic Burn damage, in which case you spec out your Blades and, eventually, inflame them for added power.
Many combat areas also have a newfound layer of verticality to them, and only with the Blades of Chaos’ new grapple move are you able to ascend them. This makes battles feel even more dynamic, as you have to maintain situational awareness and zip between levels to manage all kinds of foes. Hacking up a few beasts on the ground, dodging an incoming energy blast from an overhead enemy, seamlessly launch myself up to their platform to finish them off before slamming back down with an earth-shattering landing smash never gets old. Throw in additional combo moves with Atreus’ magical arrows (thanks to a deeper skill tree for the lad) and an additional shield type that lets Kratos decide to prioritize blocking or parrying and you’re afforded far more choice in combat than before. When you factor in all of this, there’s a rousing, almost balletic, rhythm to each fight, cementing Ragnarök as having one of my favourite action game systems to date.
If that weren’t enough, Ragnarök also meaningfully addresses its predecessor’s most glaring flaw: a lack of enemy variety. In the 2018 game, you’d fight far too many variants of the same sorts of trolls and ogres, which became grating before too long. Now, though, the number of different enemy types is vast. Take Odin’s fearsome Einherjar forces, who can infect you with Bifrost to make subsequent blows extremely harmful. These feel markedly different from the Light Elves, who dual-wield swords for vicious flurry attacks, the graceful-yet-deadly bow-clad horsemen or the wraith-like Wights that can split into pesky little wisps. Minibosses are also appreciably diverse, ranging from fearsome Draugr to towering knights and electric alligator-like Dreki. Some enemies are also resistant to the Axe or Blades, which is a smart way to keep you on your toes and further switch things up a bit. Far be it from me to spoil the larger boss fights, but rest assured that the Kratos and Thor fight that’s been heavily featured in marketing is both early in the campaign and just one of many pulse-pounding, tense and titanic encounters that Ragnarök has to offer.
Grander scope, deeper design
Vanaheim’s dense and humid forests contrast nicely from the darker and colder Realms you’ll visit.
As the finale to God of War‘s Norse arc, all nine mythological realms can be visited in Ragnarök, giving the game an appropriately massive sense of scope. Impressively, each realm is stunningly distinct. Covered in ice by the apocalyptic Fimbulwinter, the key returning area of Midgard must now be navigated by a wolf-drawn sled, and it makes the once-lively lakes feel chillingly eerie and haunted. This is in stark contrast to the expansive, luscious and wildlife-filled forestry of Vanaheim, or the tight, claustrophobic and sweltering platforms of the hellish Muspelheim. On PS5, the flexible Performance Modes also meant I could have all of this displayed in gorgeous 4K fidelity while maintaining 40fps, which I found was a perfect balance of visual splendour and fluid gameplay.
Overall level design is also uniformly excellent across the board. While retaining the original game’s deliberate pacing and meticulously crafted interconnected areas of the original game, the Metroidvania-lite approach of returning with new equipment to open up previously inaccessible areas is more prevalent here, thus encouraging greater exploration. I was particularly impressed by Ragnarök‘s far more intricate puzzles, which rely more on thoughtful geography and environmental awareness. One enjoyable recurring puzzle type comes in the form of the Twilight Stones, Elven rocks that reflect your Axe in an arc with added force. Finding out where to position yourself so you can hit a switch at an angle or even leveraging the Stones while in combat proves consistently rewarding.
Atreus and his bow play a more active role in puzzles this time around.
Atreus himself also helps diversify puzzles, as there are many more that require his arrows this time around. Occasionally, there will be distant targets you’ll have to inflame with your Blades, and only by correctly lining up a string of Atreus’ new Sigil arrows to create a chain reaction will you actually reach them. It’s an engaging challenge that requires you to carefully scan the area to figure out what to do while also creating, through mechanics, a tighter connection between you and Atreus. The only downside here, honestly, is your companions’ annoying tendency to spell things out for you through dialogue. In more than a few instances, I would take but a brief moment to ponder upon what I had to do, only for an NPC to practically give away the solution. This is a disappointing trend in the AAA space, with sister PlayStation exclusive Horizon Forbidden Westbeing one of the biggest offenders, and it’s unfortunate that Ragnarök offers no option to turn it off.
Another rare shortcoming in Ragnarök is the frustratingly repetitive sidequest design, many of which boil down to “Defeat [x] number of special Draugrs” or “find one special flower in each realm.” While 2018’s God of War suffered from a similar issue, you’d have hoped that this would have been improved in the sequel. Thankfully, what’s also carried over from the first game, at the very least, is the injection of narrative morsels into each quest. Whether it’s freeing a giant creature to help Mimir rectify a past transgression or Kratos relating to a spirit’s desire to find closure with his son, practically every sidequest provides sharply written insight into each character. The bountiful amounts of gear, crafting materials and XP that you receive from these quests certainly don’t hurt, either.
An epic in every sense of the word
So many feels.
God of War Ragnarök epitomizes what it means for a developer to be at the top of its game. Across virtually every facet of design, Santa Monica Studio has purposefully built upon the foundations of every prior God of War entry, showing a level of maturity and self-reflectiveness that we’ve seen from few other teams. Small issues aside, the magnificent, emotionally-charged and intensely personal narrative, perfectly refined combat and awe-inspiring level design all come together to result to create a bonafide masterpiece. Not only is this now my 2022 Game of the Year, but it’s also one of my favourite games of all time, and an experience I won’t ever forget.
God of War Ragnarök releases exclusively on PlayStation 4 and 5 on November 9th and costs $79.99/$89.99. Those interested in reading about the game’s wide variety of accessibility features can do so here.
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Just a few days after Halloween and Nintendo has already unveiled its list of Canadian Black Friday deals.
First up is a discounted $399 Mario Kart 8 Bundle, which you’ll probably recognize since the gaming giant has offered that the last few Black Fridays. Like last year, though, it’s also throwing in a three-month Nintendo Switch Online Individual membership on top of a Mario Kart 8 Deluxe voucher at no additional cost. Mario Kart 8 Deluxe is priced at $79, while three months of Switch Online costs $9.99, so you save $89 total with this bundle.
On top of that, Nintendo is offering up to $40 off a variety of Switch games:
Animal Crossing: New Horizons — $54.99 (regularly $79.99)
Big Brain Academy: Brain vs. Brain — $29.99 (regularly $39.99)
Bravely Default II — $54.99 (regularly $79.99)
Fire Emblem Warriors: Three Hopes — $54.99 (regularly $79.99)
The Legend of Zelda: Breath of the Wild — $54.99 (regularly $79.99)
The Legend of Zelda: Link’s Awakening — $54.99 (regularly $79.99)
Mario Kart Live: Home Circuit — $89.99 (regularly $129.99)
Mario Party Superstars — $54.99 (regularly $79.99)
WarioWare: Get It Together! — $44.99 (regularly $64.99)
These physical game deals start November 20th at retailers across Canada. Additionally, Nintendo says it will run digital eShop Black Friday promotions, which will be announced at a later date.
Nvidia is currently offering a 40 percent discount on its GeForce Now cloud game streaming service’s ‘Priority’ subscription.
The Priority subscription normally costs 12.99/month or $64.99 for six months. However, until Sunday, November 20th, you can subscribe to the six month membership for $38.99.
“This limited-time offer is valid for new users and existing ones upgrading from a free or one-month Priority Membership, as well as for those who are on an active promotion or gift card,” wrote Nvidia in its blog post.
The Priority subscription tier gives you access to premium gaming servers with a six-hour session length limit. For comparison, the free GeForce Now tier gives you access to servers for only one hour. Further, the tier also offers resolutions of up to 1080p and frame rates of up to 60fps.
Nvidia also offers a high-tier RTX 3080 subscription that offers gaming at 1440p at 120FPS, “click-to-pixel” latency of 56 milliseconds, and improved performance. In Canada, the RTX 3080 tier is available for $24.99 per month or for $129.99 for six months. The RTX 3080 tier is not discounted.
A Call of Duty player claims he went to an Activision studio to contest a ban he received in the recently released Modern Warfare 2.
In a since-deleted post in the r/activision subreddit, the gamer says he was “wrongfully banned” on Battle.net on October 28th and his appeal was “autodenied.” This led him to purchase a second copy of the game on Steam and make a new Battle.net account on October 29th, but this was also “wrongfully banned.” Notably, the user never cited any apparent reason for the ban.
In the end, he says these frustrations led him to travel to Activision’s Austin, Texas office to complain in person, only to be stopped by a security guard in the parking lot. He adds that the security guard told him he wouldn’t be able to speak to anyone in the studio but would relay his message. Upon doing so, the officer returned to say the team is short-staffed and “it will take a few weeks for unwarranted bans to be resolved.”
Naturally, The Gamer™ wasn’t happy. “I voiced my frustration due to the fact that I spent 140 dollars (70 + 70) and am left unable to play and the security guard told me to ‘not allow myself to get mad about a video game’ and told me that ‘I can be patient and wait,’” he says.
As mentioned, it’s unclear why this user was banned in the first place, so it could have been something legitimate like hate speech. But even if it wasn’t warranted, that obviously doesn’t justify him heading to the actual studio. Given the amount of abuse developers already take online, it’s concerning, to say the least, that an upset gamer wanted to just march right into a studio.
As The Gamer points out, concealed carry is even legal in Texas, so it’s scary to think of how a situation like this could have gone down. After all, we continue to see how violent acts — like the recent assault of U.S. Speaker of the House Nancy Pelosi’s husband — are carried out by people radicalized by GamerGate.
Therefore, it should go without saying, but please do not ever attempt to go to a studio to air your grievances, even if they are legitimate. Take the security guard’s advice and maybe chill out a little.
In September, Bell confirmed that its Crave service will stream the series in Canada on day one.
Based on the PlayStation video game series of the same name, The Last of Us follows a hardened survivor named Joel as he must escort a young girl, Ellie, across a post-apocalyptic America. Notably, the TV show was filmed in Calgary and is believed to be the largest television production in Canadian history.
Pedro Pascal (The Mandalorian) and Bella Ramsey (Game of Thrones) star as Joel and Ellie, respectively, while original stars Troy Baker and Ashley Johnson will play yet-to-be-revealed new characters. Neil Druckmann, the co-writer and director of Naughty Dog’s The Last of Us games, has also teamed up with Chernobyl‘s Craig Mazin to adapt the series.
PS VR2, Sony’s upcoming virtual reality (VR) headset for the PS5, will launch on February 22nd, 2023 alongside its new Sense controllers.
The virtual reality bundle, which includes the VR headset, controllers and stereo headphones, costs $749.99 in Canada.
The PS VR2 Horizon Call of the Mountain bundle that adds a voucher code for the Horizon Call of the Mountain costs $819.99. The charging station, which allows users to charge the PS VR2 Sense controller through a click-in design without having to connect to a PS5 console, costs $64.99. For comparison, the PS5 costs $519 and $649 for the disc-less Digital Edition and standard model, respectively.
Standalone titles, including Horizon Call of the Mountain, will also be available for pre-order starting this month, with more details coming later, says Sony.
PS VR2 Sense technology includes key features that offer unique gameplay experiences, such as headset feedback, eye-tracking 3D audio, adaptive triggers and haptic feedback via PS VR2’s new Sense controllers. Further, the VR device offers enhanced headset-based controller tracking and high-fidelity visuals thanks to its 90Hz/120Hz 2000 x 2040 pixel resolution displays. It also only uses a single cable, compared to the several that are required for the existing PS VR headset.
Sony also mentions that the PS VR2 has been designed with “comfort in mind,” emphasizing that it includes a lighter design and an integrated vent for more airflow.
Have you ever imagined what Ben Stiller would look like dressed as gaming icon Kratos?
Probably not, but someone at PlayStation clearly did. In a new ad for God of War Ragnarök titled “All Parents Can Relate,” Stiller is fully suited as Kratos, beard, Leviathan Axe and all, and even wants to be referred to as the God of War.
The premise of the ad is Stiller, fellow actor John Travolta and NBA star LeBron James getting together for a support group with their real-life children. It’s… as bizarre as you’d expect.
“The God of War dynamic plays out in every parent-child relationship. When that clicked for me, I picked up my Leviathan Axe and felt truly close to my son for the first time,” says Stiller at one point. When his son responds “I’m 17!” Stiller simply says, “Exactly.” Elsewhere in the bit, Travolta asks his daughter to hurt his feelings, to which she says “you’re old and you’re bald,” and he satisfyingly says “just like Kratos.”
Funny enough, less than 10 seconds of footage from the actual game are shown at the very end of the commercial. All in all, it’s quite strange, especially given the unique pairing of Stiller, Travolta and James.
In any case, God of War Ragnarök will release on PlayStation 4 and 5 on November 9th. Stay tuned for our review on November 3rd.
It’s almost the end of the year, but as always, PlayStation has a new promotion offering a variety of games at a discounted rate. These games include WWE 2K22 Deluxe Edition, Red Dead Redemption 2: Ultimate Edition, The Witcher 3: Wild Hunt, Tiny Tina’s Wonderlands and more.
This sale is available until November 18th and offers games up to 65 percent off. Here are some of the games available, but you can check out the full list here.
Call of Duty: Modern Warfare II is here, marking the arrival of that time of year again.
It’s a new fall season with a new blockbuster campaign and multiplayer suite. Developer Infinity Ward has again reached into the well that is Modern Warfare for a sequel to the 2019 reboot of the acclaimed series.
Call of Duty: Modern Warfare II is a brand new entry in the series and acts as a soft reboot for the ecosystem Activision has laid out since 2019. Infinity Ward and countless development partners have big plans for the future of Call of Duty, and it all starts with Modern Warfare II. This includes the upcoming free-to-play battle royale Warzone 2.0. Plus, there’s the emerging Escape From Tarkov-inspired DMZ mode on the horizon. Of course, there’s also the competitive core multiplayer built into the bones of Modern Warfare II.
Fans of the franchise have a lot of hope for what Call of Duty can deliver each year. Some clamour to see the set pieces the campaign brings to the table, while others, including myself, hope that multiplayer provides a balanced competitive space for players.
Following in the footsteps of Modern Warfare (2019), it’s to no one’s surprise that the sequel is fairly well-rounded in its current state. While the overall UI and menu system are rather messy, the campaign delivers an action-packed experience in spades. The multiplayer offering is exceptional thanks to a smart new Gunsmith progression system, top-of-its-class gunplay and pinpoint accurate audio.
The campaign of Call of Duty is often an afterthought for a large segment of players. Perhaps it’s understandable as it’s uncommon that entries offer a memorable experience. We’re very far removed from the gut-punching ending of the original Modern Warfare 2 or the memorable “The numbers, Mason. What do they mean?” from Black Ops. However, I firmly believe Modern Warfare 2‘s campaign isn’t one to be missed.
Modern Warfare 2 is a direct sequel and sees players touch base with Task Force 141. The campaign features some well-trotted territory from military shooters of the past. Following a missile strike, assassinating Iranian general Ghorbrani in Al Mazrah, Task Force 141 begins a hunt for the new leader Major Hassan Zyani and stolen U.S missiles. This leads the likes of Captain Price, Soap, Ghost, Gaz and others to Mexico as Hassan assumes a partnership with the Las Almas cartel. However, the game does not exclusively take place in Central America. We also find ourselves back in the fictional Urzikstan, the Netherlands, and the United States.
“A mission that truly stands out is a rather short visit to Amsterdam. This skip across the ocean beautifully displays the developer’s prowess in level design and lighting. The photorealistic streets were awe-inspiring to walk down.”
Throughout the bite-sized six-hour campaign, I found myself traversing through fantastic backdrops and set pieces. A mission that truly stands out is a rather short visit to Amsterdam. This skip across the ocean beautifully displays the developer’s prowess in level design and lighting. The photorealistic streets were awe-inspiring to walk down. Sights aside, Modern Warfare 2 delivers some of the most bombastic set pieces in recent memories. One mission taking place in Urzikstan tasks players with taking out a military convoy. In perfect Call of Duty splendour, players must hijack a number of occupied vehicles barrelling down a series of roads. To make matters more intense, I had to balance firing weapons out of the driver-side window and steering myself out of harm’s way. Modern Warfare 2 even successfully incorporates a very close reimagining of the original Modern Warfare‘s acclaimed ‘All Ghillied Up’ mission.
While the game does offer some really neat setpieces, some overstay their welcome. In one mission dubbed ‘Alone,’ players find themselves on the run from a rival militant faction. Without weapons, I used stealth to make my way through a small township. This is when the MWII introduces a backpack and crafting system that’s neat for the first five minutes. Unfortunately, the game goes on to use it for far too long. It even reappears in the game’s climactic moments, making for an abrupt Die Hard-esque finale.
From a thematic and narrative perspective, Modern Warfare 2 does its best to strike a deeper level of storytelling. While getting away from the archetypal “bro shooter” mould, it doesn’t quite reach its full potential. The game’s inciting incident is primarily inspired by the assassination of Iranian military officer Qasem Soleimani in 2020. The writers are on the brink of making a political statement with the game. For example, in one mission, two Mexican Special Force agents fight to cross a Trump wall dividing the U.S. and Mexican border. Following this, they are apprehended by American police who remark, “It’s hard to tell you boys apart from the cartel.” Though, there’s barely enough time for this moment to resonate with players before we’re instructed on the next mission. There are many opportunities for the game to say something, but much like its predecessor, it moves too rapidly to properly explore them.
“Gunsmith 2.0, in theory, can remove some of the grind. For those looking to be ready for Season 1 and the introduction of Warzone 2.0, this will come as a relief.”
Multiplayer is the real core Call of Duty community. Each year, the competitive landscape looks on as the franchise iterates once more. Modern Warfare 2‘s new multiplayer component comes with some of the most drastic changes in recent years.
The biggest change seen in the game is the integration of Gunsmith 2.0, the new progression system. Working through the ranks of Modern Warfare 2, the game offers an altered way of unlocking new guns, attachments, etc. Gunsmith 2.0, in theory, can remove some of the grind. This will be a relief for those looking to be ready for Season 1 and the introduction of Warzone 2.0, especially when max levels on weapons now range to around 20 or lower.
Gunsmith 2.0 is pretty grating and overwhelming at first. Breaking it down, each weapon has a new system called the ‘receiver.’ Levelling up a singular weapon unlocks new receivers for a weapon. In doing so, a new weapon which shares the same receiver and attachments is available. This means rather than having to unlock the same barrel for every assault rifle, players merely need to unlock the receiver across compatible weapons. In theory, this allows for less grind and more customization in both how weapons operate and their core stats. That said, we’re still in the early days of Modern Warfare II, so the long-term effects on the meta are yet to be determined.
The other substantial change is the UI. We’ve gone through three iterations of Call of Duty where the template for navigating stayed roughly the same. In Modern Warfare II, the menus and UI remind me more of Disney+ than a multiplayer game. The main menu screen mashes up the campaign, multiplayer and a small assortment of co-op missions. Options to filter specific modes from Quick Play also appears small on the screen. There’s also no shortage of ways to accidentally back out entirely when simply attempting to thumb over to the ‘Weapons’ or ‘Operators’ menu.
“It’s disappointing when the coat of paint impacts the quality of life of the player and ease of use.”
The game’s Social menu is also in a totally separate menu system. My biggest gripe, though one that should have an easy fix, plagues the 2XP system. Currently, the game will not display how long a 2XP token is in effect. Given that these are crucial for levelling ranks and weapons, you may want to set a timer on your phone like I’ve had to. I understand wanting a new coat of paint to accompany this new generation of the Call of Duty ecosystem. However, it’s disappointing when the coat of paint impacts the quality of life of the player and ease of use.
For console players, it’s worth noting that the ability to turn cross-play off is only available on PlayStation. Currently, Xbox players are unable to opt-out of playing with PC players. This is despite input selection, whether its controller or keyboard and mouse.
Modern Warfare 2 does have a lot working for itself, however. Unsurprisingly, Infinity Ward continues to prove that the studio is a leader in the FPS genre. The tight gun controls shine beautifully here. Whether you’re a run-and-gunner or a sniper, every gun I’ve used handles exceptionally well. Of course, this depends on the build and the balancing of attachments, but when you finely tune a weapon and its receiver, I’ve been able to have some great matches.
Infinity Ward has also scaled its movement in the game. No longer can players slide cancel around the map. With sliding now nerfed, the emerging new movement meta seems to be bunny hops around corners and a diving mechanic. Though, its aim-down-sights (ADS) recovery leaves much to be desired. The result of all of this makes for slower movement, leading Modern Warfare 2 to feel more like Rainbow Six Siege than recent entries in a way.
Audio is also something Modern Warfare 2 can proudly tout. The game can render sounds with pinpoint accuracy, whether it’s footsteps, gunfire, or AI callouts. This is especially true while wearing a pair of headphones, but clean audio also came through very well on my soundbar. It may be an overlooked component, but when footsteps are crucial to awareness, the improvements in audio clarity are a surefire winner for me.
As far as the game modes are concerned, Modern Warfare II delivers a fairly balanced offering. ‘Team Deathmatch,’ ‘Domination,’ ‘Free-for-all,’ ‘Search and Destroy’ are all available in their current state. The game doesn’t yet feature ‘Hardcore’ (now renamed Tier 1) until the launch of Season 1 on November 16th. Additionally, a third-person mode has been reintroduced after many, many years. While novel, it feels like a step back from the first-person perspective. It does enable a different scope in map awareness for a change of pace, though.
“Invasion mode reads as Infinity Ward’s attempt to capture the magic left behind by Battlefield. In many ways, it successfully does replicate the feeling of larger multiplayer battles.”
Rather than a Zombies game mode, Modern Warfare II introduces Invasion. This large-scale 20v20 game mode incorporates real players with AI bots. Each team fight to be the last team standing in a pseudo-Team Deathmatch. Invasion mode reads as Infinity Ward’s attempt to capture the magic left behind by Battlefield. In many ways, it successfully does replicate the feeling of larger multiplayer battles. Vehicles spawn in to use while choppers fly through, dropping off more AI opponents. It’s chaotic and fast-paced, though without the ability to spawn on your squad, I’ve more often found myself running into battle than engaging in meaningful firefights.
The map selection is also fairly strong. Modern Warfare 2 has 10 core maps and five battle maps. Notable standouts include Mercado Las Almas, which offers a healthy blend of close quarters with long-range opportunities. Crown Raceway, a nighttime race track blooming with colour, is also standout. Zarqwa Hydroelectric combines broken-down buildings with small pools of water for players to swim through to flank the enemy. But not all maps smell of roses. Santa Sena Border Crossing, a conjected highway map, is purely not fun due to its design and layout. Not even its Breaking Bad easter egg can put it in my good graces. Unfortunately, Valderas Museum, a great map in the beta, is no longer available. The map’s disappearance may be due to copyright issues with the Getty Museum in Los Angeles. If true, this is very disappointing.
Overall, Call of Duty: Modern Warfare II is in an excellent position. With Tier 1, Warzone 2.0, and DMZ around the corner, the foundation of gunplay, movement, and progression pave the road for an exciting year. However, Infinity Ward and its development partners should be wise to listen to community feedback in these first few months. There are quality-of-life issues to address. Though, there’s nothing currently baked into the DNA of the game that can’t be improved via updates and fixes down the road. Despite my gripes, Modern Warfare II brings the blockbuster action and tight FPS fun I’ve been craving this fall.
Many combat areas also have a newfound layer of verticality to them, and only with the Blades of Chaos’ new grapple move are you able to ascend them. This makes battles feel even more dynamic, as you have to maintain situational awareness and zip between levels to manage all kinds of foes. Hacking up a few beasts on the ground, dodging an incoming energy blast from an overhead enemy, seamlessly launch myself up to their platform to finish them off before slamming back down with an earth-shattering landing smash never gets old. Throw in additional combo moves with Atreus’ magical arrows (thanks to a deeper skill tree for the lad) and an additional shield type that lets Kratos decide to prioritize blocking or parrying and you’re afforded far more choice in combat than before. When you factor in all of this, there’s a rousing, almost balletic, rhythm to each fight, cementing Ragnarök as having one of my favourite action game systems to date.
