Call of Duty: Modern Warfare – Review

Operating a significant change in the latest evolution of the Call of Duty (COD) saga, Infinity Ward performs in Modern Warfare (2019) a kind of restart of the series, returning not exactly to the same game with which it became particularly noticeable in 2012, with the original (there was a remake in 2016), but to the point of balancing a good campaign with multiplayer and cooperative modes.

In the face of the latest advances in the series that have pushed her away from the original course, Infinity Ward has, in good time, kicked off the development of this “reboot” by putting it back on track. We are facing the annual edition of COD, perhaps a game that in its arrangement is not very different from the one held so far. The war is the same, the military conflicts are renewing and the cruelty of the troops – whether rival or supporting – does not disappear. As a piece of entertainment it’s almost familiar to feel when we play COD again. As if the sensation of mind-blowing combat in the first person had never disappeared, with all the animation show and audio recording.

But it’s a kind of premium service and a huge journey – in campaign and multiplayer modes – that Infinity Ward gives us. Add to a meaningful campaign the multiplayer component and the cooperative mission system – Spec Ops. – Taking as its starting point the single player strand, it forms a convincing block. In a way it is a more structured game, organized (able to offer something to look for) and based on a narrative adapted to modern times, redeemed from the hype of “Black Ops”. While it is true that there is something familiar about this structure, at least it differs from the latest COD deliveries.

New world tour for military special forces.

One of the hallmarks of the producer’s work, which was the basis of the success of the first Modern Warfare, was the realism with which she described the war. Inspired by attacks and shocking situations, practiced in public places (airport), as far from the war reporters’ lenses that seemed to go against the horrendous events that had sprinkled the news, he could go further with this explicit force than through an explicit force. sum of generic explosions. It can be said that this is where the series returns after a few years in drift.

A bet on the military campaign

As I said earlier, this entry into what is an annual series does not bring about profound changes. In a short time spent on the virtual terrain a sense of familiarity takes over. The linearity is there, just as the orientation and distance points for the goal are missing, with all the smoke and mirror’s pointing to the next step. It is also the same audiovisual show of other seasons. Of course it’s improved and there’s no shortage of design prowess such as dark-operated sequences or the terrorist attack on Picadilly Circus (London), scenes often combined with good lighting effects and a truly deafening and relentless warfare environment, but the experience nonetheless, with all that impact,

What is different is the story and here it should be noted that we will meet some characters. These encounters will not be so obvious at first (only later in the campaign does the script tend to clarify our position) but they help to position us once again for a conflict that crosses fiction with evident ongoing local clashes, namely the war in Syria, here with the fictitious name Urzikstán and the inspiration for yet another global conflict.

Combat at night and in dark areas do not lose in intensity.

Through short but high intensity sections, at a more tactical, progressive and difficult pace especially at the highest levels of difficulty, we will travel in a short time to various points in the hemisphere. England, Russia and Georgia are some points where we will be called to act. The environment diverges between interiors, military zones, forts and densely populated military structures. Sometimes stealthily carrying a brick between places subject to jail, sometimes making use of the best aim and the most disruptive entrance, the scheme is variable. Dialogues run over, it’s even a little difficult to see what’s happening right from the start in such a deafening noise, because we’re not always playing the same character, jumping between Sergeant Garrick and Alex,

As in a roller coaster, so in the Modern Warfare campaign there is a transition from moments of some calm to a fast and hellish rhythm. Achievement is good, there is little to point out. Modern Warfare has always lived from the combination of spectacularity with technical prowess and gives us good construction again. The animations are impeccable, the operation of the weapons is bestial, and the noise of explosions and gunshots almost plagues death as combat intensifies. It is perhaps one of the best campaigns of recent years and even of the COD saga.

The assembly of the segments and the diversity of missions, from the most open and disputed, until the moments of infiltration, show that it is still possible to write a plausible war script, oscillating between reality and fiction, an intersection that stands out here. In technical terms we are looking at a good visual production, highlighting the light effects and realistic environment. Note to the good reaction of rival soldiers who tend to detect minimal movement if they are not cautious enough on an infiltration mission. He has done well with Infinity Ward in developing this campaign. It is not very long nor does it in itself justify the acquisition of the game, but as an opening option (frees up some options for multiplayer) and within the potential of this edition, it proves to be certain.

Futuristic dimensionless multiplayer

Once the campaign is over, or at intervals, the multiplayer (and co-op mode) is positioned as the long-term option, perhaps the mode that can “hold back” players, try to organize multiple beds and multiplayer challenges. It is through this block that players come together for traditional team deathmatch on various maps. And in this respect it cannot be said that the producer has done for less. First off the scene are the futuristic fights that punctuated the multiples of the latest CODs.

Following the single player campaign, we have at our disposal a set of 21 maps, aggregated by size according to the number of players and by horizontal and vertical structure. The smaller ones serve the clashes of lethal Gunfight, a four-player aggregator in teams of two. It’s a fast and intense combat, quite caged if you will, almost a cat and mouse game inside a small cell, ideal for fast and intense challenges. Larger maps include especially the Ground Wars option which provides storage for up to 64 players and here we denote a Battlefield interpretation. But this is also where we get into the more traditional and usually successful ways. The areas are large, although it is difficult to assign them the designation of small open worlds.

“We have at our disposal a set of 21 maps”

With huge bases, capture points and vehicles, they allow some more time management and team organization. It is not so easy to die here, especially if the teams are few in number, even though to the fullest extent the combat is fierce. What is missing is a kind of modeling and wearing out of scenarios as the battle progresses. In this COD is still much closer to the first multiplayer games, marked by the quickness to pull the trigger (and well) and the tactical sense, than by the most recent developments.

But there is also a return to the best of COD. There is no shortage of “killstreaks” with which to open a segment of options (from seeing opponents on the mini map, to bombardment ordering), a strand that can be called conservative, but enough to generate embarrassment and a constant strain on the advance. In addition to the normal modes of play, combats marked by night vision, a condition that tests the sense of orientation and tactical aspect.

Gunfight is a 2 vs 2 multiplayer mode that tests how quickly you pull the trigger.

Classic twelve-player fights divided by two teams of six also return. It is clear that the game instructs in a certain sense, with somewhat different models of combat, imposed by new conditions, such as night fighting, although the practice is to show us a perversion of these elements, not lacking players who continue to play dirty and tidying up with opponents by taking advantage of the old tactics of waiting or lethal hunting.

In addition, the weapon customization system includes an adaptation to the style of play. Nothing very innovative, but surely facilitated in the type of equipment most suited to our style of play. Moreover, the same advantages of the combat system applied in the campaign (supporting the weapon at certain points of the scene and operating loading while firing, opening and closing doors) find application in multiplayer. Record for the disappearance of loot boxes and microtransactions, a cleansing not only desired but adequate to make progress more attractive.

The Continuation of the Spec Ops Campaign

The return of Special Operations and co-operatives up to four players acts as a third block, where with more real mates or artificially controlled Marines, they apply the best combat knowledge in areas that can be called open worlds. It is the further development of the campaign, but clearly in a secondary dimension. Here the primary thing is to articulate the advance, both tactical and guerrilla in various war scenarios.

Gunsmith allows for a wider arsenal arrangement.

The most surprising and linear levels are left out, but the enthusiasm for this advance is no less important. Many multiplayer tactics can be applied here, making use of killstreaks and a dual, trigger-focused or stealthy approach. The map is gigantic, a very wide area of ​​intervention where we have vehicles at our disposal. The ideal conditions correspond to a cooperative aspect supported by real players, if we do not want to have a hard time. Adding different goals and team action, Infinity Ward wanted to define a story-based multiplayer experience, but it’s not always more interesting than any of the supporting blocks.

A pleasant start

Modern Warfare cannot be said to be an amazing game. Almost everything that is shown and presented here in the form of a game system and narrative composition, as a piece of audiovisual entertainment capable of describing the cruelty and brutality of war, has been presented and developed in the past. The Modern Warfare trilogy is a good example. The drift from the series to experiments that led to a departure from that base is that it helps make this edition capital and revitalizing, a kind of return to its origins. A successful campaign and two solid multiplayer blocks make it one of the best, if not the most cohesive and supported COD of recent years.

Return of military campaign at the best of Infinity WardIntensity and tactical sense of the combat systemCampaign, Multiplayer and Spec Ops: Three Cohesive BlocksAudiovisual dimension taken to the extreme.Futuristic Aspectless MultiplayerTechnical performanceModern Warfare trilogy revisit sensationSpec Ops Not at Campaign Level

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