What became of the Call of Duty franchise? As I played Black Ops II, the last game in the last console generation, I couldn’t help but think of the arc this gargantuan series had over the course of the Xbox 360’s lifespan. Call of Duty II brought real war campaigns to consoles, which the franchise did with reverence and honor for those who died in the actual wars. I remember in Call of Duty II, there was a certain amount of fear I felt for my character, that real people actually went through these horrors, and how not being careful could easily end in your death. Early on, Call of Duty was about putting the player in these situations, showing the intensity and the dark recesses of war, without reveling in them. The games were fun because the stories that were being told were fascinating and the controls were solid, not because the series was enjoying the actual experience of war.
Even at first when the series jumped into modern combat, with Call of Duty 4: Modern Warfare, the franchise still played with the uncertainty of potential war in a way that felt more shocked by the possibilities than any sense of enjoying the terrors they were creating. When Modern Warfare 2 asked the player to consider engaging in a terrorist attack, the idea of going along with the actions of terrorist groups was unsettling and not exactly an enjoyable experience.
As I’ve played through these Call of Duty games that were released on Xbox 360 and PlayStation 3, I kept thinking about another franchise put out by Activision and Treyarch, which became a yearly occurrence until the series burned out, moving too far away from what it originally was, only to push for stranger, wilder and more insane ideas: Tony Hawk Pro Skater. Working through the Call of Duty games, I can’t help but think that Call of Duty is doing the same thing.
Almost from the beginning of Black Ops II, the game seems to find joy in the blind killing of people. The very first level puts the player in a wide field, full of characters to mow down. The leader that sets up this level is explained to be a maniac, yet we’re supposed to follow his orders and just shoot. It doesn’t really matter that it’s hard to distinguish people from your side or from the other side. Pull the trigger and go. For often than not - and this is an issue I’ve had with the last few Call of Duty games I’ve played - the correct person you’re supposed to shoot is the non-white person in the level.
At first, I thought maybe I was being a bit too sensitive about this, about how the game wants me to find the murder and enjoy the murdering. But then came a level that started off promising, then became ridiculous.
About halfway through, there’s a level called “Karma,” in which the characters go to a floating resort paradise that completely changes up the type of environment we’ve seen so far, as well as allows the player to utilize new gadgets and be relatively stealthy, compared to what we’ve seen before. I was actually impressed with how much care the game was taking into doing something different that still felt like Call of Duty. Then, the level becomes a terrorist attack. Innocents are murdered by the enemy, people are mowed down on a dance floor, and for the only time the game does this, the action slows down to allow the player to shoot the terrorist, all set to a dubstep beat. The game clearly wants this to be an exciting, memorable level - and it is, up until this point - but the game squanders it with poor taste and awful execution.
I know it might sound silly to complain about the bloodshed in a war game, but my complaints come when the game primarily isn’t in a war zone setting, when the game is having far too much fun with the murder and extreme killing. One level, set before a tragic event that explains the villains motives, is preceded by giving this character a machete and letting him chop his enemies to pieces. Another puts the player in the shoes of a character you’ve never played as before, only as a way to make a life-or-death decision that never has any major consequences, other than the illusion of choice. Characters blatantly murder other characters after they’ve given up or are in custody. I could feel the game desperately wanting me to cheer as the brains of the bad guy splatter all over me.
But even stranger, and maybe the biggest sin of this game overall, is how Black Ops II truly has no interest in my participation whatsoever. Most of the time, the game wants me to handle the mundane moments, while the bigger narrative moments are handled by sequences out of my control. I often felt like the game also gave me very little idea of what I was supposed to be doing, who I was supposed to be attacking and where I was supposed to be going.
In one particularly frustrating level, the ending asks me to protect an injured soldier, stop every once in a while, shoot the oncoming enemies, then keep moving. Yet near the final stretch of this, as I stopped to shoot the enemies, I would be shot by a cavalcade of bullets from an unknown attacker. After a few times continuing this pattern, I hid and tried to shoot this mysterious shooter, yet even from cover, I would get taken down easily. It turns out the game didn’t want me to stop and protect this soldier anymore, it wanted me to keep going to the level’s end, but never let me know that. Instead of giving me more information that would help at the end of this mission, the game decided to continuously kill me without any explanation until I put together the game’s intention myself.
Black Ops II had at least one moment in each level that either irritated me with its narrative that tried to admit that “war is hell,” while also clearly enjoying the opportunity to shoot as many faceless enemies as possible, or frustrated me with a lack of clear direction and understanding as to what my mission actually was.
For a while, I considered that the story wasn’t that great because understandably, maybe the series had started to pivot into caring more about the multiplayer aspects of this game. Yet, you don’t hire David S. Goyer to write your campaign when you’re just going through the motions. The going back-and-forth from the past to the future is convoluted and often confusing, flashing to moments we haven’t seen yet, which gives us no understanding as to why these moments matter. This game also seems to assume that I remember the original Black Ops quite well and won’t need any reminder as to who the returning characters are. I can’t imagine this game making sense entirely to anyone that hasn’t already played this game before, and played the previous game recently.
I’ve seen this series getting progressively worse, and while I’ve enjoyed most of the earlier games in this franchise, the last few have been a chore to get through. As of right now I’ve played eight games in Call of Duty and it seems that there’s no real reason for me to play any of the current gen games, as I haven’t exactly heard glowing things about those either.
At the end of every Call of Duty, especially in the last few, I ask myself, “Do I really want to continue with this franchise? Is there any reason to keep playing this franchise that is so clearly deteriorating in quality?” I very well may play one of the current gen versions, just to see if there’s any leap in quality, but this is the first time that I’ve truly felt zero interest in continuing this franchise. It was fun while it lasted, but the best days are behind this franchise.