A Nazi-infested world crafted by Arkane looks exactly as you think it should.
Dishonored’s Dunwall excelled at polarity, its pomp and majesty juxtaposed with decay and death. Neu-Paris, too, echoes Arkane’s masterfully macabre world-building. But where Dunwall’s untold stories swam in the eyes of its dead and dying, Wolfenstein: Youngblood’s Neu-Paris has no time for such sentiment. It is a city ravaged by war, yes, but there are no survivors padding these cobbled streets. There are only the self-indulgent trappings of the Reich, the endless pageantry of polished mahogany and billowing banners and scarlet soft furnishings… all swastika-branded, naturally.
Whether I was two, 12, or 20 hours in, it never failed to surprise me – shock me, even – to explore this alternate timeline and happen across another interrogation room, its tools and weapons and torture devices stamped with Nazi branding. While it might not quite rival that of Dishonored, take the time to look, and the detail in Youngblood’s playsets is really quite extraordinary, especially if you cast your gaze upwards.
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