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It begins, unsurprisingly, on the beach. The throwback to a throwback, from Call of Duty World War to Call of Duty 2, from Medal of Honor Allied Assault all the way to Saving Private Ryan. As the bullets whistle past your ears and thud into the churning sea, as sand scatters and machine guns rattle, as soldiers scream and shout and run, there's more than a feeling that we've done this all before.
And of course we have many times over, but not like this, at least not for a while. WW2, the 14th mainline Call of Duty, is a reclamation of the series' fundamentals - an eschewing of sci-fi tropes, of Black Ops conspiracies, Kit Harrington and the Ghosts, whoever they were. This is Call of Duty as it once was, or at least that's what the marketing would have you think. In actual fact, this is Call of Duty refined if not entirely redefined - a slick, luxurious and impressive triple-A product, forged in the image of Sledgehammer but shameless in its lifting of ideas, concepts and mechanics from both the series past and any number of its competitors. And it's all the better for it.
Call of Duty WW2, as is now the series' tradition, is split into three distinct sections, each almost feeling like their own game. It's a little disconcerting to see the words 'NAZI ZOMBIES' emblazoned across a product that's otherwise keen to demonstrate how earnest and respectful it is to the subject matter, but such is the way with Call of Duty, whose tonal inconsistencies you've been able to rely upon since Modern Warfare 2.
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