From time immemorial the most popular FPS series in the world does not change the formula of the DLC, and Call of Duty Infinite Warfare DLC is no exception. Four multiplayer maps and a new episode of “monster-co-op” (basically there the evil aliens of Ghosts, or multidimensional beings Treyarch) are also in each of the four releases during the year, according to a practice that has been going on roughly since 2011; from that moment, specifically, the Infinity Ward internal superiority over other authors was no longer sure thing, and even the structure of the co-op with zombies and fantastic creatures has become the rule mode . In the editorial of the next Tuesday it will be sure to offer some overall reflection, even in relation to recent declarations and sales data, but there will be no objection to the bill Sabotage : unlike any package released in recent years, the first Call of Duty Infinite Warfare DLC not even has a weak link, and it is indeed achieved without failure also on the side of competitive maps , in the past not always in focus for aesthetics, or worse, by the level design. On the other hand, those who annually buys a new chapter of Call of Duty is well aware of his serial formula, and all he wants is the highest possible quality in the published components, which Sabotage can objectively to offer.
Before you get to the zombie mode, the traditional highlight of Call of Duty Infinite Warfare DLC, even the brief review of competitive maps can support the assertions: Neon, Renaissance, Noir and Dominion have each its own personality in terms of aesthetics and playability, with qualitative differences that depend on tastes than from real defects.
The first, Neon, winks at all the movies and video games set in squared representations of virtual reality , from Tron to the Breach mode of Deus Ex: Mankind Divided : the morphology of the map can also give satisfaction to the distance lovers, for via line of sight on the central gully, and in all cases – in the streets as in the buildings the representation is split up objects that can be destroyed and reappear, like cars, along with simply spectacular details like the slain opponents who are crushed in digital thousand splinters. Renaissance, however, focuses on the dissonance between science fiction soldiers and streets of Renaissance Venice , with beautiful graphics views over the city streets and meticulously detailed interiors; in terms of structure it is a classic map of Call of Duty , with continuous passages between indoor and outdoor spaces, with almost no blind spots and definitely geared to the short and medium distance fighting.
A more nuanced approach is visual map of Noir , staged in the suburbs of Brooklyn, with small touches and futuristic atmosphere pleasantly “hard boiled”: Infinity Ward has provided direct the playability of the clue, indicating the classic “three-lane” the competitive tradition of Call of Duty : in fact, in the side wings (compared to respawn points of the teams) are stores, bars and accessible roofs suitable for skirmishes lighter, while the central part flows into an open space for the massacre. Dominion, finally, is the inevitable reinterpretation of a historical map particularly loved, in this case Afghan Modern Warfare 2 : the location is moved to a partially terraformed Mars valley, in the midst of space hulks and settlers structures that extend along the discrete size of the map; just the huge skeleton of a spaceship creates at least a couple of very hot spots, with covers suitable for desperate defenses and good firing positions for those advances.
This time we are from the parts of The Cabin in the Woods (magnificently grotesque, watch it if you have not already done so), or if you want the most dated and mythological Evil Dead Raimi, in one of the endless rural locations with teenagers who are being massacred: a campsite abandoned and remotest wooden houses are placed artfully on a hillside, with different paths that intertwine with each other, a path on a small boat (some roads are opened with in-game currency, of course) and so many positions to defend with intelligent coordination of the party. Personally I missed as an added value the character played by Kevin Smith (director “dropped” by the second movie, for all I care), but I found irresistible the desperate defenses against the wall as well as the offbeat composition of the group of characters, against hordes that are even more fed, strong and fast than usual, with a lot of like bigfoot in tow. Parameter to the Zombie psychedelic touches in Spaceland , motivated by the rave that took place on the hill before the massacre, but everything is more pleasant and less obvious to play. Bravo Will, see you at the next.