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While this might seem like a smart storytelling device each flashback occurs between entirely unrelated story sequences and levels. As ten year old BJ’s father makes him shoot his pet dog for hanging out with a black girl the flashbacks are strangely told in reverse order. The story is wildly unfocused and too fast-paced to dwell on the severity of it’s own content. I’d pine over the plot failings even more if the game ever gave me a moment to sit and feel the hits and misses at all. I can’t continue unless I shoot it? What the actual fuck?

Robot does Inglorious Basterds to… Michael Bay’s film school remake of Danger 5.
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While most all of the characters survive, the direction and visual style went from Mr. I don’t take such huge issue with comic book level characterizations, yet too much of the writing leans on cliche Marvel Superhero style departures from what made the main characters so interesting in The New Order.
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or Thunderbirds Are Go but hella edgy and full of gore porn. The story of The New Colossus is self-sabotaging drivel, as it resembles the pilot season of a Hulu or Netflix live action Venture Bros. The New Order was -the- game that revived Wolfenstein a notch above the tired goofiness of the previous generation and brought back solid old school first person shooting mechanics in a fresh way. Judging by E3 and the sales of The New Order after this game was announced, folks were excited for a sequel. The anti-Fascist message couldn’t have come at a more appropriate time, and it turns out it was too good of a coincidence to be true. From the user interface to the straight-to-video plot and bland cinematography, this game suffers a massive sophomore slump despite the entirety of the gaming public rooting for it’s success.
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Much of the time I spent with the third iteration of Machine Games’ revival of the Wolfenstein series was in a state of incredulous disappointment.
