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Chasing that maximalist impulse, the sequel leans harder on both of those elements, and both are better for it, though the seams are more apparent as well.
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Like its predecessor, Wolfenstein II is both a character-driven war drama and a breezy, over-the-top sci-fi shooter.
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It’s also a game where you infiltrate a secret base on Venus by auditioning to play yourself in a movie about your capture and supposed execution, while old Hitler pees in a bucket. It is a violent game about the downtrodden standing up for themselves against some of humanity’s most brutal and oppressive forces, and it pulls no punches in that regard. Somewhere between when the villainous Frau Engel (promoted to General since the first game) mockingly executes a close friend in front of you, and flashbacks to BJ’s abusive, racist, homophobic, anti-semitic father, that the game drives home that Nazis (and the white supremacist ideology that drives them) are the worst. Wolfenstein II: The New Colossus makes sure you know early on that it is not messing around.