He’s an engineer in an all-black division, and you first meet him when you’re trying to repair a radio during the Battle of the Bulge.
Howard only has a few minutes of time on screen in WWII. He is one of people in the online HQ that gives you achievement-based missions like “get 10 headshots in team deathmatch.” In the campaign, however, he serves as an awkward allegory for all race relations between soldiers. If you’ve only played WWII’s multiplayer, you still know Howard. And it also includes minor plot points like a Jewish American soldier who shows you he wears a Catholic charm that is never mentioned again - even when it would’ve saved his life.īut the worst of these is a sideplot involving a black soldier named Howard, who is a corporal in the Army. These include major narrative elements like an inexplicably, impossibly grumpy officer who gets an unearned redemption just before the final battle. Most of my issues stem from how it sets up plots and then follows them through (or doesn’t). I have a lot of problems with the storytelling in Call of Duty: WWII. Instead, they’ve made a game that doesn’t fit with 2017 - especially when it comes to portraying racism in the U.S. This is a return to the origins of Call of Duty, but publisher Activision and developer Sledgehammer Games have not found the welcoming and warm embrace of familiarity with this game. In the franchise’s latest entry, players take the role of an American warfighter in the European theater. You can’t go home again is not just a book I haven’t read, it’s also a feeling I’ve had about the Call of Duty series as it returns to the “boots on the ground” combat of World War II. We're thrilled to announce the return of GamesBeat Summit Next, hosted in San Francisco this October, where we will explore the theme of "Playing the Edge." Apply to speak here and learn more about sponsorship opportunities here.
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