Welcome, Battlefield fans! This year we broke the review in our individual and multiplier components so that the fans of each style of the game better understand what it has. This overview covers only single-player mode, with our multi-player overview and overall review of Battlefield V soon.
Too often, the campaign of one player in the original multiplayer shooter is just a bit more than a glorified tutorial. The Battlefield series was certainly to blame for this in the past, but the Battlefield V set of three two-hour campaigns is definitely not. Each one has a pretty interesting story that leads you through a variety of locations that are diverse and beautiful when they are not reduced to the flaming edges around you. I would just like to use Battlefield's great toolkit to focus more on the full-blown war.
This is a running shooter, where health regenerates, and weapons and ammunition are abundant. As a result, whenever the action warms, the speed is generally fast as the explosion is spectacularly loud. So, DICE is a strange choice of design that two of the three campaigns struggle almost completely independently and emphasize simply playing secrets. That's fine, except that he does not put up the power of Big Battlefield series with a large number of great warfare for good use.
This does not put the strength of the Battlefield series in a great war for good use.
It's also a strange fact that these missions almost completely climb, except for several maps that give you the ability to jump into a jeep or plane. The only time you start a tank or fly into a real aviation mission is about one minute in a short tutorial, which is a bit of a thrill. Three stories are still fun for six or more hours to fight, but in that respect, they remain a lot on the table.
The first campaign, under the number of "Zastava", is a young delict game that was recruited by a veteran who joined the British Special Boat Service, which turned out to be of little relation to ships. The sabotage mission of steam in North Africa begins with a rather linear, concealed walk to the Nazi airport, where the most interesting moment appears from the slapping between them. Their mentoring relationship was cliched, but well written and behaved, with a few moments of true funny humor to strengthen their characters in a short time when we were with them.
Under the second mission of No Flaga, it becomes interesting: a wide-open map gives you the choice of three goals to solve in any order. Technically, it has nothing to do with what you are doing, as none of the objects that you throw on bombs affect the other two, but on the freedom to access them from any angle – stopping to tag enemy soldiers with their binoculars and plan an attack, Far Cri-Stile – gives the illusion of control. The map is large enough to allow you to steal the plane and fly around, although in normal difficulties, enemy planes hardly seemed to be clashing, so the sky control was not so challenging as it seemed to be.
You can stop to enter enemy soldiers with your binoculars and plan an attack, Far Cri Style.
The campaign is limited by the mission of sinking against the waves of Nazi infantry and vehicles, which is a decent struggle until you avoid thinking about how absurd one man is running between anti-tank, anti-air and anti-personnel personnel to independently fight a small army at rest .
It helps the hostile AI to be pretty weak. German soldiers will sometimes cover, but also often charge for an automatic rifle in the open air. And once you hit one, you've already killed them – the diversity is limited to standard troops with different, but similar weapons, accelerated versions of those same soldiers who can absorb boring bullets, and casual flamethrover soldiers. This leads to the vehicle encountering a sense of fighting a boss, especially as it is difficult to reach a weapon against the vehicle.
The second campaign, Nordlis, sends us into the frozen, occupied Nazi Norway, in the clogs of a young female resistance of a fighter who is not a child – you kill your enemies by throwing knives on them while zooming on the skis. They are rather unusual to retreat, for obvious reasons, and when you have piled one to meet the challenge of the mission, it is probably best to hold on to the concealment, where those who carry the knives make things dramatically easier. You can throw skis at any time, which is fun to play – especially if you are not too concerned about being spotted, or you need to put a checkpoint again after you reach the edge of the cliff until your death. They become much more useful in their second last mission, which opens up things again and allows you to choose your goals. However, skis are not a substitute for airplanes, which are unfortunately absent here.
You can kill enemies by throwing a knife while you zoom in on skis.
In stimulating diversity, Nordlis uses freezing time to present a unique mechanic in one of its tasks, where you often need to warm up in the fire, to prevent freezing until death. However, I would not want this to continue for longer than it did, as the patient shooting kills and time constraints do not interfere well.
It was harder for me to be interested in this figure than in British, partly because it's hard to read subtitles for the acting of Norwegian acting while shooting you, but also because its motivations and origins are so simple.
The latest campaign available on launch, Tirailleur, is by far the best, for several reasons. The first is his story, which carefully led his comments on races during the liberation of France by taking the back seat in a more comprehensive commentary on the human cost of courage and ambition, thus avoiding the feeling of a heavy hand. History, as it says, does not always give priority to the bold. In spite of similar problems in compelling non-French speakers to separate our attention between placing voice and reading subtitles, Tirailleurov's protagonist comes very efficiently as a man whose noble goals lead him to reckless methods.
Tirailleur is the only campaign that makes me feel like I'm an important part of the army in the war.
Secondly, Tirailleur is the only campaign that makes me feel like I'm an important part of the military in the war instead of super-raped Rambo. From the very beginning, you fight along with your colleagues who are arranged right and left, and their presence makes the whole scenario feel much more credible. The fact that the wind blows a ridiculous number of autumn leaves over the corpses of soldiers on both sides, while filling the past makes it much more stressful.
These battles – including the impressive coup de gras mission to capture a fortified castle on the hill – are great, although you never really drive or fly any vehicles, we see the spectacular sights of an angry battle over a map, with artillery and rockets falling remotely ( or above you if you are not moving). This is clear what Battlefield is best, and I have to wonder why DICE did not rely on it anymore.
Repeatability in campaign campaigns comes from widespread collections and challenges in the style of achievement, such as taking a plane using a hand-held weapon or rescuing a resistance fighter without revealing, which gives you something other than the least resistance time.
It should be noted that the screen of the campaign is open to The Last Tiger, which will at some point in the near future let us play from the perspective of a non-Nazi German soldier recruited in the tank. EA did not specifically say when this fourth campaign will be available.