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Despite some less than stellar map design, the gunplay is the best its ever been. But the multiplayer, as usual, is the true highlight. There are some obvious missteps in poor judgment (naming a mission Highway of Death and interactive waterboarding are glaring examples), but ultimately its a rousing few hours. It works for the most part, as the characters are memorable and the set pieces engaging. The gameвЂ™s campaign harkens back to the seriesвЂ™ earlier bombast, with its patented mix of topical political intrigue washed down with a Michael Bay film. A risky endeavor, as the studiosвЂ™ last few entries didnвЂ™t land as well with critics and fans.

This year Infinity Ward decided to reboot the series that rocketed Call of Duty into the mainstream.

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Plus you chuck grenades made of your own poop at ghost whales. With all of its on the nose symbolism, a story about isolation in the digital age and bringing people together feels surprisingly resonant. Not all of it is great (the pounding of metaphors is a bit much, and the way most female characters are handled is a bummer), but I bought into its wackiness. The narrative is absolute balls-to-the-wall hyper anime nonsense, a staple for Kojima. Once you open yourself to the gameвЂ™s structure and gameplay (delivering cargo across valleys and mountain ranges, building structures and fixtures to ease travel, fighting package stealers and ghosts), thereвЂ™s a lot of challenge and surprisingly tranquility. I believe Kojima is mostly successful in delivering his vision, with some minor quibbles. The fact that Sony gave Kojima Productions a buttload of money to make what is essentially an open-world package delivering simulator is pure lunacy. The most anticipated game of 2019 for many, Hideo KojimaвЂ™s newest non-Metal Gear Solid title is hands down the craziest video game from a major AAA publisher in years.

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