If you liked the original Call of Duty, then you're sure to enjoy the sequel, which stays true to the strengths of its predecessor.
Each of the game's 10 missions is broken up into a few different stages. If you play the game on regular difficulty, you could blow through it in about 10 hours. Ratcheting up the difficulty a notch makes the game much harder and more tactical (this is probably the experience the designers intended). Since you'll be creeping and peeking more carefully through all the encounters, you'll lengthen the campaign significantly, and enjoy it more.
Breaking up the campaign into several different narrative vignettes arguably weakens the impact of the plot as a whole, although that was never the strength of Call of Duty in the first place. What this does is allow the designers to put you in a lot of different, interesting situations. One memorable moment in the Russian campaign has you crawling through a raised pipeline to sneak behind German lines and into a fortified factory building. As you make your way through the pipeline, you'll spot and snipe small pockets of German infantry through holes in the pipe. When they fire back up at you, you'll notice bullets tearing through the rusted pipe, ripping open holes for shafts of light to poke through. It's a thrilling effect. You'll also get quite a rush from both participating in and defending against all-out infantry charges across open city squares in Stalingrad. But just as the novelty of these wears off, you're shunted over to the British campaign in North Africa, where you'll do things like participate in night raids of small Tunisian towns, climb up to the top of spires to call in artillery on enemy tanks, and even drive a tank yourself. The American campaign has its own memorable moments, like scaling the cliffs of Pointe du Hoc, or sniping at German mortar crews from the top of a grain silo. The game paces itself so that you're always on your toes, and you'll find yourself switching back and forth almost constantly from an offensive position to making a defensive stand against counterattacks on the objective you've just captured. Yes, at the end of the day you're still just shooting a lot of Nazis, but the constantly varying contexts of how and why you're doing it keep the game compelling from start to finish.
In each confrontation, you'll find yourself setting up at logical stopping points to exchange fire with German resistance. You can snipe dozens of enemies out of the windows and from the trenches in front of a house, for example, but reinforcements replace them. It never feels as though the game is cheaply spawning in more fodder for you; it just does a great job of making you feel like there are a realistic number of soldiers holed up in a building. You need to get a feel for the flow of each pitched battle, and this can be done by advancing your line when the enemy ranks look thin enough, and then breaking into the house or bunker. Your allies will follow you in and help you clear out the objective. Of course, if you're too meek at attacking and pressing your advantage, the enemy AI is wily and aggressive enough to take charge. They're not afraid to pour fire on your position and toss tons of grenades at you. Thankfully, a handy grenade danger indicator lets you know when and where you have to scurry away from an impending blast. When you do die, the game reloads very quickly, and you're even treated to a quote about war from various historical figures. One that sticks out in our minds is an ironic one from Solomon Short: "The only winner in the War of 1812 was Tchaikovsky."
Each of the game's 10 missions is broken up into a few different stages. If you play the game on regular difficulty, you could blow through it in about 10 hours. Ratcheting up the difficulty a notch makes the game much harder and more tactical (this is probably the experience the designers intended). Since you'll be creeping and peeking more carefully through all the encounters, you'll lengthen the campaign significantly, and enjoy it more.
Breaking up the campaign into several different narrative vignettes arguably weakens the impact of the plot as a whole, although that was never the strength of Call of Duty in the first place. What this does is allow the designers to put you in a lot of different, interesting situations. One memorable moment in the Russian campaign has you crawling through a raised pipeline to sneak behind German lines and into a fortified factory building. As you make your way through the pipeline, you'll spot and snipe small pockets of German infantry through holes in the pipe. When they fire back up at you, you'll notice bullets tearing through the rusted pipe, ripping open holes for shafts of light to poke through. It's a thrilling effect. You'll also get quite a rush from both participating in and defending against all-out infantry charges across open city squares in Stalingrad. But just as the novelty of these wears off, you're shunted over to the British campaign in North Africa, where you'll do things like participate in night raids of small Tunisian towns, climb up to the top of spires to call in artillery on enemy tanks, and even drive a tank yourself. The American campaign has its own memorable moments, like scaling the cliffs of Pointe du Hoc, or sniping at German mortar crews from the top of a grain silo. The game paces itself so that you're always on your toes, and you'll find yourself switching back and forth almost constantly from an offensive position to making a defensive stand against counterattacks on the objective you've just captured. Yes, at the end of the day you're still just shooting a lot of Nazis, but the constantly varying contexts of how and why you're doing it keep the game compelling from start to finish.
In each confrontation, you'll find yourself setting up at logical stopping points to exchange fire with German resistance. You can snipe dozens of enemies out of the windows and from the trenches in front of a house, for example, but reinforcements replace them. It never feels as though the game is cheaply spawning in more fodder for you; it just does a great job of making you feel like there are a realistic number of soldiers holed up in a building. You need to get a feel for the flow of each pitched battle, and this can be done by advancing your line when the enemy ranks look thin enough, and then breaking into the house or bunker. Your allies will follow you in and help you clear out the objective. Of course, if you're too meek at attacking and pressing your advantage, the enemy AI is wily and aggressive enough to take charge. They're not afraid to pour fire on your position and toss tons of grenades at you. Thankfully, a handy grenade danger indicator lets you know when and where you have to scurry away from an impending blast. When you do die, the game reloads very quickly, and you're even treated to a quote about war from various historical figures. One that sticks out in our minds is an ironic one from Solomon Short: "The only winner in the War of 1812 was Tchaikovsky."
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