Wolfenstein II: The New Colossus (Nintendo Switch)

At the end of last year, the developer Panic Button did wonders in transposing the DOOM FPS from id Software to the Nintendo Switch. Visual degradations aside, it was an incredibly accurate conversion of relatively new AAA shooter, and evidence that the Nintendo system – despite its relative lack of grunt compared to Sony and Microsoft's home consoles – was able to handle visually intense multi-format versions. Unsurprisingly, he created Panic Button as one of the most exciting developers of the Switch

Fast forward to now, and Bethesda publisher has again entrusted Panic Button with the functions of Carrying for a second high-level shooter: MachineGames Wolfenstein II: The New Colossus The result is yet another impressive entry on Panic Button's nascent resume, though some of the concessions that have been made make it slightly less appealing than its iterations of the home console, which were launched in October last year.

The New Colossus follows Wolfenstein's The New Order in 2014, which – if you're a seasoned veteran of Nintendo – you may not have had the chance to play because was only available on Xbox One, PS4 and PC. The New Colossus does a commendable job of summarizing the events of this game in its introductory sequence – it even allows you to relive a painful (but important) choice that impacts the narrative of the sequel you're going to play – but it's a real pity that Switch owners have to fall into this one completely cold because you miss the development of the vital character that gave the New Colossus some of his most emotional (and shocking) moments .

Reich here, Reich now

Upon entering William Joseph's boots 'BJ' Blazkowicz, you find yourself disabled and wheelchair aboard the stolen Nazi ship Eva's Hammer. You have been in a coma for months following the catastrophic conclusion of The New Order, but your respite is cruelly interrupted by an attack by Frau Engel, a key protagonist of the first game that has good reason to want your head a stick.

It's a brave gesture to place the player in the role of a character who has a limited movement since the start, but he sets in motion a frantic pace that does not let go even if you're turning away Nazi flying fortresses, plan a revolution in the ruins of Manhattan and hunt down the slums of New Orleans.

The screenplay turns into a hilarious eye shadow in the blink of an eye, but it's a mix that holds together – thanks, in great part, to excellent scripts and excellent voice effects, especially from Brian Bloom, who turns the old Blazkowicz into a dimension (which we do not forget, his tour of duty dates back to 1992). in Wolfenstein 3D) in a relatable hero. It is also impossible to deny the satisfaction that can be derived from shooting down hordes of nasty Nazis, and the game never shies away to give you the opportunity to avenge yourself for hated Reich members. .

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Of course, there are times when discretion is simply not an option, and that's where the superbly crafted cannon game of the game becomes apparent. All weapons – from the smallest pistol to the largest laser spittoon gun – have a certain appeal to them, and missile-fought battles with floods of Nazi soldiers – who will try to use the cover smartly and overflow you – are never anything less than exciting. The ability to handle certain weapons adds to your destructive power.

DOOM on Switch has been greatly enhanced by the addition of motion commands, and fortunately the New Colossus has been blessed from the start. Nintendo fans who have experienced the Wii U era will already know how movement-assisted targeting can make a difference. it's almost as if you had a third analog stick with which you can refine your shots. Honestly, we do not know if we can go back to simple standard sighting after playing this; good

AAA games on the go

What is really remarkable with Panic Room's Switch port, is that despite a blind demotion of fidelity visual, the action is faithful to that of other versions of the game. The developer has wisely decided to sacrifice the details for responsiveness and speed, and therefore The New Colossus on Switch runs at around 30fps at any time. Light effects and motion blur help hide the reduced pixel count, and it seems that Panic Room used dynamic scaling to help the Nintendo console deal with saturated scenes.

– the textures are muddy and lack of detail thanks to the lower resolution. In docked and handheld modes, it often seems like you're playing The New Colossus through a thick film of vaseline, and if you've played the game elsewhere, the degradation could be off-putting.

On the plus side, the Switch's 720p screen does a good job of hiding these flaws, and being able to play such a recent AAA console game while traveling. Is nothing short of a miracle; The main thing is that Panic Button has transferred the essence of what makes The New Colossus awesome to pass successfully.

There is unfortunately no multiplayer strictly speaking (there were none in the original version, either) the end credits have rolled there is little reason to return, unless you prefer to take one of the hardest difficulty levels.

Verdict: Play It Now

Wolfenstein II: The New Colossus is an amazing trick and a positive proof that the Nintendo Hybrid Console is more than capable of harboring loyal ports from leading third-party brands – even if part of the visual show needs to be remembered in the process.

The concessions made by the developer Panic Button make sense in the grand scheme of things, and being able to blow up the Nazis in wearable mode is something of a game changer – even if you already have lived this adventure on PS4 or Xbox One.