Bethesda Showcase E3 2015 Recap

Todd Howard is one hell of a guy. That was the big takeaway from Bethesda’s first ever E3 press conference. Or at least I think it was. It’s hard to tell.

Just kidding! There was so much news out of the company’s taut event that’s almost unbelievable. They should do one every year if it wouldn’t grind them into an Activision-type depression situation. But we got some poorly concealed secrets, some inevitabilities, and some honest-to-god surprises, the rarest breed of the video game industry.

Anyways, let’s get to cappin’! (Or you can just watch the entire thing archived over on Bethesda’s Twitch page.)

Doom

We finally have a launch date window for Doom as well as a set of predictable platforms. You can expect the series reboot to land on PlayStation 4, Xbox One, and PC come next spring.

Oh, and for those of you that weren’t at QuakeCon last year (which should be all but 9,000 of you), they showed off the same demo with some slight changes. The differences aren’t especially remarkable unless you care heavily about updated sound effects. There is the nice bonus, however, of a multiplayer demo.

Dishonored 2

Without a doubt the worst kept secret of the show after a rehearsal snafu, Dishonored 2 from Arkane Studios is now official. The sequel to 2012’s Dishonored will also come to PlayStation 4, Xbox One, and PC somewhere around spring of next year. (The release was given a range in the post-show interview with Arkane’s Raphael Colantonio and Harvey Smith.)

The game will feature two playable characters in Corvo Attano and Emily Kaldwin. Corvo returns from the first game where he was the main protagonist while Emily also returns but all grown up from the young princess she was in the original. She will feature a completely different set of skills and animations, highlighting the differences between her and Corvo’s training and tactics.

You won’t be able to switch between the two after you’ve chosen but you will have the same amount of freedom and gameplay latitude as from the first Dishonored. “You can play the entire game without killing anyone,” said Smith, as the characters return to the same world but a different city.

BattleCry

If you forgot about BattleCry, you’re forgiven. Not that it made a bad showing at last year’s E3 (on the contrary, I actually quite liked that demo), but it feels that at times Bethesda also forgot about the online multiplayer free-to-play brawler.

Good thing BattleCry Studios got their time during the event, announcing that they and the game do still exist and that the beta will take place sometime this year. Signups for the beta, in fact, are now open, and if you sign up before June 18, you’ll get priority access and an in-game reward.

Doom Snapmap

This is actually super exciting. Most of the other announcements were pretty exciting, sure, but this was both totally unexpected and immensely impactful. Rather than having a bunch of modders work their tails off to suss out how the pipes run under the foundation, Doom Snapmap will provide them both the tools and the schematics to understand and build on top of it all.

You’ll be able to not only create maps but also futz with the actual game logic, forcing enemies to react to your position and actions and whatnot, creating entire games or game modes. And then you’ll be able to share it and play it instantly with other UGC explorers. We’ve seen Doom in LittleBigPlanet. How long until we see LittleBigPlanet in Doom?

The Elder Scrolls: Legends

This definitely elicited the most snark on Twitter when it was announced. Everyone had the same reaction, falling somewhere along the lines of “I guess Bethesda wants a slice of that big ol’ Hearthstone pie.” While I don’t think that’s a pie up for carving so much as it is Blizzard making a quality game, I also don’t think this is as dumb of an idea as people are making it out to be.

It’s a free-to-play strategy card game that follows in the steps of the aforementioned Hearthstone and Magic: The Gathering. It’ll be coming to PC and iPad later this year and, well, that’s kind of all we know about it so far. I guess that and the teaser trailer is, like, super cheesy.

Dishonored Definitive Edition

Coming this fall to PlayStation 4 and Xbox One, Dishonored Definitive Edition will be a new-gen rerelease of the original Dishonored packaged up with all the DLC including the trials-based Dunwall City Trials and the story-building The Knife of Dunwall and The Brigmore Witches.

Fallout Shelter

This was a huge—huge—surprise. Not only did no one expect this announcement but no one really thought it would actually be available right after the event. It’s a great one-two combo that more publishers should consider doing with their press conferences.

Anyways, Fallout Shelter is a Tiny Tower-esque game for iOS that puts you in the shoes of a vault overseer. As overseer, your responsibilities include expanding your vault, defending your vault, and making sure your vault is self-sustaining with power, food, water, and dwellers. It is free-to-play, but from the few hours I’ve put into it, it’s not the in-your-face variety and more of the if-you-want-it kind.

Fallout 4

The Fallout 4 segment was—in a word—massive. With game director Todd Howard on the stage and guiding the expansive set of demos, it felt impressive and not at the all befuddled or meandering. We got a release date, the setting(s), and answers to so many more questions that we didn’t even know we were supposed to ask.

Coming November 10 of this year, Fallout 4 will put you in both pre-explosion and post-fucked time periods. And right off the bat, the demo clarifies the question we’ve all had on our minds regarding character creation: still 100% at the mercy of your imagination with its face sculpting system reminiscent of an Italian plumber.

But there’s more. Oh my god there’s so much more. There will be a full settlement component involved where you can collect scraps to build up forts and bases and entire communities, hooking up lights and defenses to power generators and defending inhabitants from raiders. It’s insanely comprehensive.

Just as comprehensive, in fact, as the equipment crafting system. All the junk you can pick up like lamps and stuff can be broken down for screws and lenses, materials usable for crafting wholly new weapons off of the 50 base types, or even modify your own power armor.

Howard also exemplified his perfectly succinct self-awareness within the industry when he introduced the collector’s edition of Fallout 4. Called the Pip-Boy Edition, it will come with an actual Pip-Boy that you can wear on your wrist while you play. “As far as stupid gimmicks go, this is the best fucking one I’ve ever seen.”

But bonus: there’s an app you can install on to your phone and put it into the Pip-Boy so you can use it just like you would in the game. That means you can manage your inventory and change your gear and whatnot. Costing $119.99 USD (£99.99 UK / €129.99), it also comes with a display stand and Capsule Case. While not necessary for the app to work, it does seem kind of cool.

And that’s that! Pretty busy day for E3 when Day Zero hasn’t even started yet. Do you remember when that wasn’t even a thing? How far we’ve come, huh. And by that I mean god dammit I miss at least pretending there was time to sleep and eat during this show.

How Fallout 4 Can Win

“Win what?” That’s probably you asking a strangely rhetorical question to no one in particular as 1) you’re most likely all alone right now and 2) you can safely assume that I’ll be answering that question posthaste. Or as close as possible as I do have a tendency to go on.

As you know, Fallout 4 was made official last week. Over the course of 24 hours and several mini announcements, we got a trailer, a website, and someone who sounds like Troy Baker perhaps offering the first voice protagonist of the series—a rarity for Bethesda in general, actually. And then the Internet went wild.

Turns out that Fallout 4 wouldn’t technically have the first voiced protagonist. And then some savvy sleuths figured out exactly where Vault 111 is located in Boston. Oh yeah, they all took a stab and placed the game in Boston based on the landmarks. But oh wait, does the Troy Baker-esque VO mean we won’t have the robust character creation options we’ve come to expect? Nope, maybe not.

I tended to shove all that aside. There was a bigger question that loomed over the announcement, one posed by another game that was recently released: The Witcher 3: Wild Hunt. Not to say that they’re the same game, but they do have similarities and scratch a lot of the same gaming itches.

They’re both huge, sprawling open-world action RPGs with deep lore and worldbuilding, for instance, something Bethesda has prided itself on for over a decade now. But with Wild Hunt out now to great critical and commercial acclaim while Fallout 4 sits in development for at least another year, how can the storied studio set the story straight that they are indeed still the visionaries of yesteryear?

I’ve had a week to stew on the matter and I do believe I’m done percolating. After putting in considerable time into Wild Hunt (still haven’t beat it) and going back to explore some of Bethesda’s more recent offerings in The Elder Scrolls V: Skyrim and Fallout 3, there’s really only one conclusion to come to.

Personal consequence. Not to mean the consequences of playing need to be more directed towards the player such as in moment-to-moment gameplay but rather that the fallout (ha!) of choices and actions need to be more personal and more impactful.

Bethesda does a great job with worldbuilding. There’s not question about that. However, they’re not so great at making it matter after the fact. It all comes across as an immensely static diorama in which more things are set, not that the people and the world react as one to the outcome of your story.

Consider the mission early in Fallout 3 where you find yourself in Megaton with the option to either facilitate its destruction or disarm its decidedly more crumbly fate. And aside from the big explosion that happened after I said, “Fuck this town,” I don’t remember much of anything of what happened.

Sure, it did make a huge mark on the land in a literal way. That town is, like, super gone. And former Megaton citizens are likely to recognize and attack you. It certainly does change the way you handle that part of the world.

But that’s just it. It’s only that part of the world. For all the negative karma you get for blowing that dingy hole up with a nuke, you can actually come back from it and end up a half decent fellow. And so long as you don’t go wandering around that freshly irradiated crater, you tend to forget you even did it. It feels massively inconsequential despite being massively terrible.

Blow up the city or save it. Kill the quest-giver or save him. Fight with the farmer or fight against him. Those sorts of choices feel exceedingly mechanical in Bethesda games, where you can almost see the boolean bit being set in the memory space saying you did this thing, as if you were directly input hex values like some drastically simplified Super Mario World credits warp.

The problem is that the effect of all your gun-toting and sword-swinging causes are simply too direct and too predictable. Of course everyone hates you for blowing up Megaton. Big whoop. There’s no depth to your choices. You don’t care what’s at the bottom of a puddle because you can see it, but the bottom of the ocean is a lot more mysterious and interesting.

When you play Wild Hunt, though, you feel like there’s a far deeper web than you can possibly predict (maybe even comprehend) as you make choices. The immediacy is very apparent but everything down the road is murky and full of fear and paranoia.

Not even all your choices are purely systemic. If you head over to Vice and read this story about how neglecting Gwent, Wild Hunt‘s in-game card game, cost the life of one of Geralt’s companions, you’ll see what I mean. It’s not just about the binary options you toggle between when choosing what quests to accept but also how you go about being yourself within the shoes of this Witcher.

Of course, Bethesda games can and have achieved the same thing. Their games offer you a myriad of tactics towards accomplishing your goals or shirking your responsibilities, but they all still arrive at the same terminus with just a smattering of complexity and intrigue.

There’s also the problem of combat. While Skyrim skews closer to the setting of The Witcher series, its fighting mechanics are overly simplistic. But that’s retro-fantasty and Fallout games are future-fantasy. But they’re still failing there as well as this Forbes piece points out with the V.A.T.S. feature.

Writing also tends to be an issue, opting for dry info dumps rather than the mature and layered stuff of The Witcher games, but truly the great divider and most inviting space for Bethesda to once again innovate their style is in the worlds they build and how they feel against the coarse actions and choices you do and make. Here’s hoping, fellas.

The Evil Within – Hands-on at E3 2014

The half hour I spent with Shinji Mikami’s The Evil Within felt eerily familiar. While the debut title from Mikami’s new studio Tango Gameworks, the game itself borrows a lot from his past directorial efforts. Most notably, unsurprisingly, is now classic Resident Evil 4. There is, however, enough to make this a new experience, and a rather unnerving one at that.

Preceded by a hands-off theatre demo that functioned more as a collection of quick tips to not immediately be confused with the subsequent hands-on session, we are told that we will be given the choice of two different demos. The two options are offhandedly referred to as level four and level eight, the former of which was Mikami’s recommendation for the best The Evil Within experience. And who am I to argue with the guy who created Resident Evil?

You start off at the inclined walkway up towards a house, darkened by the night, and led by a stranger. From the words coming out of his mouth, it sounds like he’s a doctor because we’re looking for his patient. As we approach the house, I notice two things: 1) there’s a bonfire just 20 yards or so away and there are some angry-looking people circling it, and 2) this game feels a lot like RE4. It controls nearly the same, from the ambulatory systems to the gunplay and the like.

There are some key differences, though. Pulling up the inventory keeps time ticking along much like in Dead Space, though there is mild time dilation as something of a halfway concession between the two stances in action horror inventory. Next, there is a dedicated melee button rather than pulling out a knife and awkwardly aiming it, though melee in this game merely pushes foes away, not kill them.

That is perhaps the sharpest contrast. Enemies go down from gunfire and whatnot, but to kill requires either extreme force via an explosion or fire. A separate inventory tracks how many matches you can hold, which tops off rather quickly in the single digits. When an enemy falls after enough shots, you need to run up and torch them, but vigilance is still required as they have a tendency to lash out from the ground and ding you with annoying but meaningful amounts of damage.

Some things, however, remain the same as I approach the front door and double tap the interaction button to slam it open rather than slowly and cautiously eek it ajar. On this bottom floor, we come across what appears to be another doctor friend, but as he turns around from his mutilated patient on the table, he lunges towards us. (It’s not entirely unexpected as it is nearly beat-for-beat identical to the opening moments of RE4.)

I drop him with some shots from my pistol and light him up. I poke around the desk and drawers behind the operating table and find an x-ray printout. It shows a chest with a key somewhere around the spine. Turning around to the body, I’m given the option to interact with it and do so. This affords me the opportunity to hover around the scarred, pale chest with a knife. Moving it around makes absolutely no sense as stick direction has no correlation to knife movement. And out of frustration, I keep mashing every button on the controller with little to no feedback.

Eventually I find the right spot and drive the knife into the body and only get some money out of experience. It was disappointing to say the least. But after killing a few more dudes upstairs, I leave and sneak into the next house adjacent to the intensely uninviting bonfire. Very directly the only option is to head down to the basement, which I do reluctantly. How many basements end up being good news in horror games?

However, all we find here is the lost young patient. Rushing over to him, the doctor friend escorts him back down the hall to the stairs while I loot the place for ammo and upgrade gel, the latter of which will be used—according to the preceding tutorial—in weird electrical chair-looking things to improve skills and abilities. But when I catch up with them, there’s a problem: the stairs are gone.

Bewildered by the blank wall, I turn around and the hall goes all hazy, riddled with static, and then the doctor and patient disappear after the kid gives some sort of creepy psycho premonition speech. The hallway ends at a door that wasn’t there before, and the other side appears to go on interminably. It’s disconcerting to say the least.

I go through the door and I come back into the hallway again. I go down the hall, and the door is still right there. I approach the door again and suddenly a wave of blood comes gushing out and I’m dropped into an impressively dark room, its centerpiece a massive pit of broken metal walkways and hundreds of gallons of blood. Going around, I pick up some ammo and disarm a trap. Spotting more traps and more ammo, this is beginning to look a lot like a battle arena.

Which it is. After fully exploring the area (there’s a stairway that connects where a ladder leads and some platforms and rooms interconnected to the blood pit), I approach the one well lit door and Ruvic, the spooky white hooded fellow that appears every once in a while, appears. He summons a bunch of bad guys for me to kill and then peaces out like a wholesale dick.

I immediately and unintentionally (but gladly) take out a few dudes right off the bat by tripping an explosive trap, unfortunately damaging me quite severely. No time to heal, though, as dudes are on my tail. I scamper away, though, to the ladder and climb it, seeing if old RE4 tactics hold up. While the other side of the ladder platform is a staircase, the bad guys can’t jump the gap between the two like I can.

So I camp out on the top, letting them stand up one at a time before downing and torching them. Soon, however, I’m out of matches and running low on ammo. Even with the ammo load-up beforehand, I never held more than two full clips for both my shotgun and pistol, and that was the most I’d had for the entire demo. The bigger problem, however, was the lack of matches.

There were, however, some explosive canisters lying around. Two, actually, which was quite fortuitous considering there were only two enemies left. One was easy enough, forcing him to chase me by one and shooting it as he passed it. The other was a bit tougher since the canister was at the top of the ladder and jumping the gap caused him to climb back down for the stairs. In the end, I healed up and exploded it right under both our feet.

It was a tiring exercise. Not necessarily exhilarating but also not mindless, but the entire ordeal of kiting the last two dudes to make up for the lack of matches was rather boring. But I dip out through the diegetically highlighted door anyways. After a few more discombobulating mind tricks, I end up in another hallway, though this one seems disturbingly sterile.

Walking down the singular path, I end up in what appears to be an operating room. Recognizing it from trailers, the scare of a giant spider-like, multi-armed hair monster emerging from the ground isn’t all that startling. My awareness, however, doesn’t do much to impress the creature, so I turn around and run, recalling in the tutorial that some enemies should just be run from and not engaged. No idea if this was one of those enemies, but I run anyways.

However, with a sealed door at the other end, I figure I might as well try shooting it. It eventually stumbles and I run back into the operating room. I waste more shots into canisters that were apparently not explosive. I dump the last few rounds into the monster before trying to close the door on top of it, hoping it would be chopped in half or something. No dice. Out of ammo and out of options, I just let it kill me.

Walking out of the blackened demo room, I’m left with quite a few thoughts. First, I wondered what the other level was like. Fellow journalist and Joystiq managing editor Susan Arendt was in the room as well and quite literally NOPE’d out of there. Second, I wonder if the minor changes to the RE4 are enough to set The Evil Within apart, but more importantly if the changes are improvements rather than deliberately breaking what was once working. Find out on October 21 of this year.

Trailer Roundup: Transistor, Wolfenstein, and More

Whoa, where did all these trailers come from? Last week was surprisingly busy in the three-to-five-minute-video-game-videos arena, so I’ll be doing more pruning than usual, but there are some winners up in this piece. Also, totally unrelated, but I held a baby raccoon today. That is all. Here are the trailers!

Transistor

Given that Bastion is one of my all-time favorite games, it seems only fair to be excited about Transistor, the next project from Supergiant Games. Actually, make that imminent, nearly completed project as it is set to release next week on May 20, 2014. I love the art style, the music is thus far amazing, and I’m just excited. I don’t necessarily have expectations; just that I’m anxious to find out what it’s all about.

Wolfenstein: The New Order

I’m still vacillating super hard between looking forward to Wolfenstein: The New Order and thinking what I’ve played and seen so far is incredibly skippable. The demos have touched on so many interesting ideas of necessary violence, psychological sustainability, and other complex personal bits of introspection, but it’s wrapped in a 90s B movie blanket of one-liners and explosions. It also comes out this week on May 20, 2014, so I guess we’ll find out soon where it ends up falling.

Bombshell

So here’s the gist of this exceedingly inscrutable trailer: Interceptor Entertainment, the studio behind the surprisingly fun Rise of the Triad reboot last year, is teaming up with 3D Realms to create an isometric action RPG called Bombshell, which features Shelley “Bombshell” Harrison, a former bomb tech turned mercenary.

There are some serious flavors of Terminator 2: Judgment Day, but it’s actually built on the ruins of that Duke Nukem lawsuit from earlier this year between 3D Realms and Gearbox Entertainment. This incarnation of the project is aiming for Q1 of 2015, which seems somewhat aggressive, but those Interceptor guys sure know how to crank out a game crazy quick.

SpyParty

SpyParty is really cool. It’s made for getting in and out of another person’s head while trying to guard your own. I’m sure you’ve heard of it before, but this trailer explains rather succinctly what the actual gameplay is like in terms of mechanics, but it fails to capture how much sweating is involved in panicking to make a decision. This feature on the Omegathon from PAX Prime last year captures pretty well the anxiety involved in playing SpyParty.

Nuclear Throne

Rebranded from Wasteland Kings (I personally like the sound of that a bit better), Nuclear Throne was pretty fun back when I played it and looks like it’s still plenty fun. You might recognize the name from Vlambeer’s idea to livestream development to usurp game clones.

Fantasia: Music Evolved

While certainly less bombastic than its announcement trailer, this video shows a bit more accurately what it’s like to play Fantasia: Music Evolved from Harmonix. Rather than irresponsibly gesture about in some abstract space, you’ll be pseudo-conducting in your living room. And it still looks fun. Expected to release this fall.

Microsoft Drops Kinect Requirements

Not really a trailer, but it is pretty big news. Microsoft has dropped the Kinect requirements for the Xbox One. This video adequately conveys that bit (and the lowered $399 price tag for the lack of the peripheral), but it more interestingly makes it very apparent that the company is only doing it begrudgingly. It’s the closest you’re likely to get to a flustered sigh coming out of Yusuf Mehdi. I would have preferred that they stuck to their guns. It also seems terribly unfortunate for the aforementioned Fantasia: Music Evolved.

A Story About My Uncle

Weird title, indecipherable premise, cool gameplay. From what I’ve read and seen, A Story About My Uncle about a boy who tries to find his uncle and instead ends up in a strange world full of floating rocks, potential aliens, and the ability to swing from stuff like Spider-Man. It comes out May 28, 2014.

Never Alone

If they kill that dog, I swear I will burn Utica to the ground. I can’t take any more animal best friend deaths in video games. Or even close calls. I still never fully recovered from Shadow of the Colossus. But Never Alone seems pretty interesting. It’s being developed in association with Alaska Native communities, drawing directly from cultural fables and the people’s rich heritage. Come this fall.

Hands-on with Wolfenstein: The New Order

2009’s Wolfenstein was more or less a straightforward first-person shooter. The supernatural stuff was neat but the potential never seemed fully realized under the weight of dead Nazis. Using the Veil was interesting but it actually negatively impacted the gameplay, so most of the time I had to resist the urge to activate it. At the end of the year, it came and went with little fanfare, falling in the bucket of memories most people keep stocked with “oh yeah, that came out” games.

So imagine my surprise when the hands-off portion of the Wolfenstein: The New Order demo in the Bethesda booth at E3 2013 opened with not a shooting gallery but a test. More than that, it opens with you doing perhaps one of the most mundane and boring and absolutely fascinating things I’ve ever done in a video game: carry a cup of coffee.

It opens with you as series hero B.J. Blazkowicz walking along on a train holding a tray with two cups of coffee resting on it. Physics are in full effect as every jostling motion you make fills you with anxiety and excitement all at once. The dirt sloshes around in these two ceramic vessels, inspiring fear in everyone wearing a white shirt over a brand new carpet. Blazkowicz had just woken up a 14-year coma in a world where the Nazis won World War II, so who knows why he was serving coffee.

He’s stopped, though, by a woman, a Nazi officer by the name of Frau Engel. She and her effeminate companion ask Blazkowicz to sit across from them in their booth, though it’s less of a question and more of a command giving the presence of a large Nazi-branded mech robot thing a mere 10 feet away. Engel wants to test you for impurity, though she does compliment your fantastically Aryan features. She places some cards with pictures on them on the table as well as a gun and warns you that should you go for the gun, things will go poorly for you. From there, she presents pairs of cards and you must pick the ones that fill you with joy or the one that sickens you, etc.

We fail the test anyways as we pick the third card, Engel takes the gun and points it at us, saying that a truth Aryan would have gone for the gun. After some fraught talk, we eventually get to take our coffee and go, walking out of the car and entering a cabin in the next one where we meet our partner Anya. I guess the coffee was for her, but the point is that this was such an incredibly unexpected scene and with both me and Blazkowicz knowing nothing about what was going on, the potential for where this opening went was boundless. It was so amazingly exciting considering where the Wolfenstein series started and ended up. Was this going to be the surprise of the show?

Well, uh, probably not. The demo then proceeded into a section from the late part of the campaign where Blazkowicz must navigate a wrecked bridge and, I think, some portions of a train (the same one?). We get a glimpse at some of the advanced weapons we’ll get a hold of including a laser blaster thing that can also cut out certain walls à la like basically every heist movie ever. We also get to hear some of our protagonist’s charming personality come through as he proclaims that he’s gonna stick it to one particular “motherfucking space Nazi.” (It was actually kind of funny.) He does a lot of shooting and they do a lot of dying. Pretty standard fare.

But then we jump to the hands-on portion of the demo outside of the theatre and it opens with us driving into a Nazi base with falsified credentials. The driver is explaining a great deal of the problems with the situation and things and whatnot (it was hard to get a handle on what he was talking about given our lack of story context), but the gist is clear: this is a one-shot deal. Whatever this mission is, they had to work hard just to get to this point. He drops us off and then proceeds to drive into a guard wall and blow it (and himself) up. It was actually kind of intense.

Then we start playing and it’s kind of just more shooting. The first bit required me to navigate the debris from the wall as a large robot dog thing tried to hunt me down before getting itself stuck under some concrete. There are mechs to fight with shotguns and soldiers to shoot with machine guns. They really kind of soak up the damage, so you’ll find yourself dumping a lot more than you’re used to with more modern shooters, but it’s kind of fun when you dual wield big-ass guns.

But I really didn’t find anything out of the ordinary with the base game mechanics. You can sprint and slide, but that comes in handy precisely once in the demo, and the plasma cutter gun is used in very specific, required instances. The enemies don’t seem especially smart or aware of their surroundings as I had little to no problem maneuvering around them for the better angle (the mechs, in fact, seem to have trouble navigating stairs, a challenge I took advantage of).

At moments, I was having fun. I thought yeah, I could do this for an afternoon. And then I would sometimes feel a malaise with it all. But then I would remember the purity test and the drive into the base and get excited again. I really don’t know what kind of game Wolfenstein: The New Order is going to be, but I’m excited to find out, even if the answer itself isn’t all that interesting.

Look for Wolfenstein: The New Order on PlayStation 3, PlayStation 4, Xbox 360, Xbox One, and PC in December.