I’m piloting an armed robot through a fictional concentration camp. I’ve seen men beaten, starved, murdered and eviscerated. I’ve scrambled out of a cart of emaciated, mutilated bodies – eyes cut out – and wrought revenge on my captors with vivid, pornographic violence. Now I’m trudging through the ashen rain with a heavy metal riff building in my ears, a Jewish Technology Wizard riding on my back whilst I cut through soldiers’ bodies with my oversized minigun and blast them into quivering lumps with an infinitely-replenishing rocket launcher.
Is it necessary? For sure it’s fun as a kind of power fantasy, but I’ve an unease aching in my stomach and a feeling of wrongness I don’t want to peer into too hard. The New Order’s tone is all over the place – it’s a game that really doesn’t know what it wants to be. It presents itself Doom-style ‘neo-retro’ FPS, but it plays like a cover-based shooter. It tells me serious, sentimental war story, but then throws me dual-wielded shotguns like a level of Quake. It laments the tragedy of war, but then there’s times when it looks a lot like a Nazi torture simulator. Ultimately, there’s a fun – if limited – game underneath, comprising some impressive set pieces and frenetic firefights – but as a unified whole it’s a bit messy.