Content review for this game:
Pertaining to the ESRB rating.
Content sum up: While language, devoid one use of the f-word, is rather scant and blood in gameplay is comparatively subdued to many in its genre; mix an all-out intensity of war, with its disturbing subject matter, including a skippable but still integral airport massacre, its interactive cutscenes' far more gruesome portrayal of gore, along with the fact that you're placed right in the middle of it via a first-person viewpoint and—unlike World at War—nothing can be filtered, this is, overall, the most unavoidably intense and brutal installment in the Call of Duty series yet. So, I recommend this game for ages 17+. |
Blood: The blood effects spurt in light amounts when ally and enemy soldiers are shot or hit, splatters in moderate amounts onto nearby floors and walls and then gradually leaks out into a puddle after they fall. Blood does linger, heavily coats the screen in a gooey consistency when the playable character is near death and there is static blood splattered on walls and floors throughout. Bodies do linger, and there is light numbers of bloodied enemy, ally and civilian bodies (as well as bovine carcases in a few of the more rural levels) scattered about. There is no option to turn blood off.
Specific scenes of blood (& gore):
(The ESRB didn't mention that there is gore—in addition to this gore, the scenes listed below also contain some disturbing and/or intensely violent elements)
Drug reference: In multi-player, you can unlock "Callsigns" for completing certain in- game challenges, by disposing of rival players with specific techniques. Two of these unlockable titles are "Joint Ops" And "Blunt Trauma," both of which have backdrops of cannabis leaves (marijuana) with light smoke coming from said leaves—an unlockable Emblem is also made up of a sole cannabis leaf. These (roll-over for example) can be set as tags, which are then displayed as profile icons in multi-player.
Use of tobacco: (The ESRB didn't mention this in their rating) Patrolling enemies are seen smoking cigars/cigarettes throughout stealth-oriented levels; Soap MacTavish, a commanding officer, is seen puffing on a cigar before flinging it away to climb a cliff; at the start of an early level, cigarette butts are strewn across your car's floor; and in a later scene, a villain puffs on a cigar before flicking it onto gasoline.
Mild suggestive themes: (The ESRB didn't mention this in their rating, although it is mild) Several of the later unlockable Title Callsigns in multi-player show scantily clad women in pin-up style. One in particular is more than moderately revealing, with only stars covering a sunbathing woman's private areas (roll-over for example; the last is blurred for decency—the original has small white star censors). And in a single-player level titled, "Loose Ends," an enemy cabin contains an undetailed, female blow up doll (large pasties cover—or substitute—its "nipples"; its "genital" area sealed and blank) lying on its back in an obscure upstairs bathroom's bathtub.
Intense violence: Set five years after the first, follower of the last antagonist, Imran Zakhaev, a Russian man by the name of Vladimir Makarov, has been committing acts of terrorism across Europe. Trying to stop Makarov's activities, U.S. General Shepard recruits a highly trained Army Ranger, Joseph Allen, as an undercover CIA operative, in order to infiltrate Makarov's cell under the guise of fictional fellow Russian, "Alexei Borodin." To fully prove himself to Makarov and fellow terrorists, Allen participates in a bloody massacre of civilians at a Russian airport; during their escape, Makarov kills Allen, revealing the fact that he knew Allen's true identity all along. With Allen's body (American body) lying at the airport, Makarov uses this as "proof" to blame his act on America; taking this as true, Russia invades Virginia with a surprise assault. With U.S. soil, specifically the country's capital on assault, Private James Ramirez and his fellow Army Rangers will have to try and protect it, as Sergeant Soap MacTavish—one of the last game's several protagonists—his wingman "Roach" and their men try to track this problem down to its source: terrorist Vladimir Makarov...
After finishing a brief military training course, and then being killed by Makarov while undercover as CIA operative, John Allen, you will set out to stop the Russian invasion of America, as it switches your perspective between the two main teams heading this task. And the base gameplay consists of navigating levels while disposing of incoming enemy waves and completing specific objectives, which range from collecting intel to clearing out and holding areas; pursuing certain targets; destroying emplaced Anti-Air artillery and tanks with explosive charges and remote, manually-controlled airstrikes; providing sniper cover fire; and infiltrating enemy strongholds with stealth, breaching rooms then saving hostages—upon completing the objective, you'll make your way to evac as you combat enemies trying to impede your progress. You will also participate in several set-piece action sequences, like ice-climbing steep, snowy mountain crags, using vehicle-mounted turrets to suppress enemy pursuers, and driving a snowmobile (later, a speedboat) while shooting down enemy riders.
Your enemies are predominantly Russian soldiers, along with Brazilian mercenaries in a couple of early areas, and you'll be combating them with a variety of Assault Rifles, Sub Machine Guns, Light Machine Guns, Sniper Rifles, Machine Pistols, Handguns (the one-shot 44 Magnum and Desert Eagle included), Shotguns, Launchers (RPG, grenade, stinger missile, etc.), grenades (frag, flashbang, smoke and timed, Sentex sticky—as well as Claymores and C4), along with a Riot Shield (that can block all direct fire and ricochet bullets), attachments (Thermal sights, Hearbeat Sensor, etc.), and the ability to duel wield certain weapons. The combat system is intensely hectic, and consists of using the above arsenal—and in several instances, turrets—to shoot away at enemies (including through thin walls—on a side note, allies can be hit, but friendly-fire is not tolerated; you'll be sent to the last checkpoint if tried) and your surroundings (bullets rip through and imbed in walls); explosive weapons and objects (like cars) to take out all nearby enemies—as they, clouds of dust and random objects fly; and your knife to plunge into enemy chests or slash at their throats in close quarters.
When shot, enemies will shake, contort and fly back, landing in awkward positions, as some then crawl on their belly, turn over and try to fire off several weak, sometimes effective shots before death, or if slashed/stabbed with the knife, choke and gurgle as they slump to the ground—on a related note, attack dogs will whine pathetically when hit; even flapping caged chickens can be shot in a couple of levels. The situations you are put through accurately convey a tense, war-torn feel, with a constant, unrelenting amount of chaos, from the non-stop hail of bullets (which tear through walls; kick up clouds of thick, vision-obscuring dust; shatter then sparking lights; splinter and break glass; shred random objects and send them flying; and set nearby cars aflame) to the airstrikes and adjoining explosions left/right. This is even furthered by settings, much of which hit close to home, literally, as you fight in an abandoned, ruined, once quaint Virginia suburb, shopping strips with jarringly common burger joints and gas-stations, and a D.C. war-zone, with trenches etched into the lawn of the flaming, ruined Capital building and full view of the equally devastated iconic monuments.
The enemy attacks in constant, onslaughting waves from every direction as they flank and surround you from all sides, slinging grenades to lure you out, firing on you from the open, behind cover, windows, second stories and rooftops with snipers, RPGs and high-powered turrets, or repeatedly bash away with the butt of their weapons in close quarters, all the while more appear by pulling up in turret-equipped trucks, helicopter zip-lines and even parachutes (and in a few instances, their snarling attack dogs rush, tackle you to the ground then try to rip out your throat, forcing you to nab their head and twist, breaking their necks with a *snap*)—your odds are always insurmountable at best. The more "set-piece" sequences are filled with a heavy sense of urgency and suspenseful action throughout, from nearly plummeting off an icy mountain before an ally grasps your hand and pulls you up in the nick of time, to pursuing targets on-foot through the streets and (later rooftops) of Rio de Janeiro, as civilians run and scream for their lives while you try to lone-wolf it through dozens of gun-toting enemies that try everything in their power to block your way to their boss.
It just goes on, as you try to avoid a deadly APC tank blocking the way while enemies fire in droves from a diner you need to clear; penetrate an oil rig, breach rooms and rescue hostages tied to explosive barrels stuck with C4, by firing on multiple enemies in slow-motion before they can execute said hostages—some are held close by a gun to their heads; you'll be pinned in a two-story locker room with laser-pointer weapon armed enemies that fire from either side's balcony as others simultaneously rush you with bulletproof swat-shields from the ground; watch from the perspective of a space station as a nuclear missile detonates over the U.S., creating an EMP blast that wipes out said station and all electronic devices nearby, as you then navigate the darkened streets as a soldier in the aftermath while helicopters plummet from the sky, and you are forced to fight with no weapon sights; dodge landmines and rush through blinding smoke clouds laced with ambushing enemies as you then try to hold a house from the incoming hundreds; fire from a truck's turret while using a free hand to steer it into a nearly airborne plane's ramp...the peril is virtually endless.
And when you're hit (it's never a matter of if), the screen will begin to fill with heavy, vision-obscuring blood splatter, as you hear your increasing heart beat and agonized, heavy breathing—your ears will ring from nearby explosions and you'll temporarily go blind from flashbang grenades—all the while attempting to avoid the ceaseless enemy fire, soon to explode cars, and grenades that need to be flung back before detonating in your face—you'll find yourself at or near death at a constant rate. As for age, while language (devoid a single use of the f-word) is relatively scant and blood in gameplay is comparatively subdued to most in its genre; mix an all-out intensity of war, with its disturbing subject matter, including a skippable but still integral airport massacre, the interactive cutscenes' far more gruesome portrayal of gore, along with the fact you're placed right in the middle via a first-person viewpoint and that (unlike World at War) nothing can be filtered, this is the most unavoidably intense and brutal installment of the series yet—it's simply more suited to older teens and adults.
Language: There are over two dozen uses of hell, under a dozen uses of sh*t, d*mn and a**, and one use of b*tch and the f-word. Other than the main script, at one point an ally soldier asks another, "Did HQ just go tell us to 'eff' ourselves?"; while you hold a rooftop, a leading Sergeant repeatedly warns you to, "Get the 'f-word' off the roof!" (the offending word is silenced); ally soldiers will infrequently utter d*mn and hell as they fight; Russian enemies will frequently curse—the f-word equivalent included—but solely in that language; and one multi-player Callsign title is "FNG," short for, "f**kin' new guy" in military slang. There is no option to turn language off.
Content review posted: 11/18/09
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