You arrive in Roswell during a parade, and the sunny, idyllic streets are peppered with Nazi officers and Klansmen in their full regalia. But there are also appearances to be kept up, and the Roswell level in particular provides the rest of the picture. Most environments in The New Colossus showcase the brutal, industrial truth of the Reich, like the twisted remains of a post-nuke New York City. Anything is possible in Wolfenstein, and that's a direct result of immense human suffering. High-powered laser weapons are exciting to use, but the armored machine-men who drop them are a reminder of human experimentation during and after the war. The far-future technology of the Nazi regime is both exhilarating to partake in and a grotesque display of their ruthless subjugation of all corners of the world. As a result, every encounter is incredibly tense, since you never know when you're going to need to take it slow or book it to safety as bullets fly by. But you're afforded the flexibility to decide mid-mission that stealth is not going to work and change tactics.
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And using upgrade parts you can occasionally find lying around to, say, put a silencer on your pistol will further improve your stealth ability. Successfully executing a certain number of stealth takedowns, for example, unlocks a perk that increases your movement speed while crouched. Enemy variety and multiple paths through any given area mean you'll be rewarded with a thrilling fight regardless of how you decide to tackle it.
Things escalate quickly when heavy enemies show up, since it's difficult to take them out quietly. You can choose to just shoot your way through waves of enemies, or you can try to take out the commanders quietly before addressing the rest of the room. Most missions are broken up into rooms with one or two commanders who are capable of calling for reinforcements.
Some particularly punishing fights or an disadvantageous autosave can be frustrating, but most levels end just before that frustration can turn to anger. Part of that struggle is finding a combat style that works for you and sticking with it, whether it's a guns-blazing or more tactical approach. Defeating a giant fire-breathing robot dog doesn't seem feasible at first, but it is with the right combination of weapons, strafing, taking cover, and scrounging for health and ammo while on the run. On top of that, the game is just generally difficult. Even after the Da'at Yichud armor from The New Order gives Blazkowicz his mobility back, his labored breathing reveals a man who is running out of fuel-and time. But overcoming them is gratifying in a way that simply killing all the Nazis can't match. You shoot with one hand and slowly wheel yourself through Eva's Hammer's corridors with the other. Bound to a wheelchair, his organs failing, Blazkowicz feels oddly vulnerable. This first mission sets the tone for the rest of The New Colossus. General Engel tracks them down five months later, and as her troops storm the resistance's stolen U-boat (Eva's Hammer, your base of operations), Blazkowicz wakes up to shoot more Nazis. Following the explosion during the fight with Deathshead, BJ's insides are falling out, and the crew of the Kreisau Circle does their best to put him back together again. The New Colossus picks up right after the events of The New Order, and unsurprisingly, our hero Blazkowicz is in bad shape. And despite some heavy-handed moments that feel like missteps in its message, satisfying Nazi-killing action bolsters its completely bonkers storyline in a way that only Wolfenstein can achieve. The series' tongue-in-cheek attitude provides a respite from both the horrors of the Reich and the frustration of throwing yourself against its all-powerful war machine. It never falters, not once asking whether violent resistance is the wrong way to fight back against oppression-and the game is stronger for it. Above all else, Wolfenstein II: The New Colossus takes a very hard stance on the righteousness of killing Nazis.
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