Welcome, battle fans! This year, we broke the review into one of its single multiplayer players to give fans of any game style a better idea of what's going on. This review covers only the single player mode, with our multiplayer review and overall overview of Battlefield V coming soon.
Too often, the single-player campaign of a multiplayer shooter is nothing more than a glorious instruction. The Battlefield series has certainly been to blame for this in the past, but a group of Battlefield V's three campaigns of two hours certainly do not. Everyone has a rather interesting story guiding you through a series of locations that are diverse and beautiful when they are not being reduced to the ruins and flames around you. I would just love if it would have made better use of Battlefield's amazing set of tools to put us in the middle of a full-scale war more often.
It is a run-and-gun shooter, where health is regenerating and weapons and ammo are plentiful. As a result, when the action heats up the pace is usually as fast as the explosions are incredibly loud. So this is a weird design choice by DICE because two of the three campaigns have you almost completely fighting on your own and highlight only the fine stealth game. That's fine, except that it does not put the Battlefield series of power in huge maps with a lot of large-scale warfare for good use.
It does not put the series in the series "the battle on large-scale warfare to good use.
Also strange is the fact that these tasks are fought almost entirely on foot, except for a few maps that give you the possibility to jump on a jeep or plane. The only time you get to drive a tank or fly a real airborne mission is about a minute in a short guide, which is a little tease. The three stories together are still fun six hours or so to fight, but there is plenty left on the table in this regard.
The first campaign, without a flag, stars on a young criminal recruited by a veteran who is proud to join the special boat service of the UK, which turns out to have very little to do with boats. The North African sabotage mission begins with a rather elusive linear trip to a Nazi airport, where the most memorable moment comes from the tension between the two. Their mentor-protagonist relationships are cliche, but well written and practiced, with a few moments of funny humor that really strengthen their characters in the short time we are with them.
Under the second task no flag is where it gets interesting: a wide open map gives you the choice of three goals to deal in any order. Technically it does not matter what you do because none of the facilities you go out to bomb affects the other two, but the freedom to approach them from any angle – stop the enemy soldier tag with your binoculars and plan your attack, Far Cry style – gives the illusion of control. The map is big enough to allow you to steal a plane and fly around, although it is hardly normal that the enemy planes hardly fought back, so controlling the sky was not as challenging as it should have been.
You can stop tagging enemy soldiers with your binoculars and plan your attack, in a far cry style.
The campaign is on a difficult mission against waves of infantry and Nazi vehicles, and it is a decent struggle, as long as you refrain from pondering how ridiculous one person must run between tanks against anti-tank, anti-air, turrets and personnel fighting one small army to stalemate.
This helps in the effort that the AI enemy is quite weak along. German soldiers would sometimes take shelter, but they would often shoot machine guns outside. And as soon as you shot on one of them, you shot the vast majority – a limited range of standard soldiers with different but similar weapons, armored versions of those soldiers that can absorb a disturbing amount of bullets, and sometimes flamethrowers and soldiers. This gives the car meets in the boss's feel, especially since the anti-vehicle weapons are more difficult to come by.
The second act, Nordelli, sends us to the frozen Norway, the Nazi, in the clogs of a young resistance fighter who – I do not allow you – kills enemies by throwing knives at them as they zoom on skis. These are quite complicated to pull out, for obvious reasons, and once you nailing one to satisfy the challenge of the task you are probably best to stick to stealth, where those throwing knives make things easier. You can flip the skis at any time, though, what is fun to play with – especially if you are not too concerned about being spotted or having to reload the checkpoint after shaking the edge of the cliff to your death. They become much more useful in their second-to-last task, which again opens things up and allows you to choose your goals. Skies are not a substitute for aircraft, though, unfortunately are absent here.
You can kill enemies with throwing knives while zooming in by skis.
In a variety boost, Nordlys makes use of freezing weather to display a unique game mechanic in one of its missions where you must warm yourself up against fire so many times to avoid freezing to death. However, I would not want it to go any further than it did, since the patient stealth fading and the time limits do not mix well.
It was harder for me to be interested in this character than in England, in part because it is difficult to read subtitles for the Norvinist voice when you shoot, but also because its motivations and origins are so simple.
The final campaign available on launch, Tirailleur, is by far the best, for several reasons. The first is his story, which agilely addresses his interpretation of the race during the liberation of France by taking a back seat to a more universal interpretation of the human expenditure of courage and ambition, thus preventing a heavy feeling. History, she says, does not always favor the bold. Despite similar problems of rejecting non-French speakers to share our attention between placing heads and reading subtitles, Tyrail's hero takes place very effectively as a person whose noble purposes push him to reckless methods.
Tirailleur is the only campaign that makes me feel like I am an important part of the military in war.
Second, Tirailleur is the only campaign that makes me feel like I am an important part of the military in the war and not Rambo-operated. From the start, you fight alongside your other soldiers who are cut right and left, and their presence makes the entire scenario feel much more likely. The fact that the wind blows in a ridiculous number of clogged leaves over the bodies of soldiers on both sides, as you raise the past, makes it much more poignant.
These battles – including Grass's impressive coup attempt to capture a castle fortified on a hill – are on a large scale, and although you never really get to drive or fly any vehicles at all we get to see the spectacular sights of a raging battle across the map, with The artillery and rockets go down (or on top of you if you do not keep moving). It's clear what the best battlefield is, and I have to wonder why Dice does not lean into it anymore.
Replayability in campaign missions comes from scattered collectibles and achievement-style challenges, such as downloading a plane with hand-held weapons or the rescue of an unidentified resistance fighter, which gives you something to do other than the path of least resistance.
It should be noted that on the campaign screen there is an open place for the last tiger, which at some point in the near future will allow us to play from the perspective of a German non-Nazi recruited tank crew. EA did not specifically say when the fourth campaign would be available.