There are more warranted breaks in the action along the way to make room for “Hey, we’re in VR” moments. These sections that sandwich the action mostly drag on the momentum. When you aren’t shooting your way through the campaign’s six missions, you’ll be stuck listening to cliched banter. That lack of depth extends to the game’s story and characters. Even the most polished detailed locales feel somewhat lifeless to walk around in. I want to turn dials on old radios to listen to music of the time, open drawers, throw folders, and just generally make a mess of everything. Outside of your main objective, there isn’t much else to get distracted by, which is often what I find to be the most fun thing about exploring worlds in VR. The environments you’ll visit in the campaign range in size from an attic to the sprawling beaches of Normandy, France, but they rarely feel like real places. But for a console shooter making the jump to VR, it’s sorely lacking in intimacy - a necessary ingredient for any virtual reality experience. It has the weaponry and set dressing players have come to expect from a first-person shooter set during WWII. Medal of Honor: Above and Beyond, the new VR-only title from Respawn Entertainment, can’t get by on authenticity alone.
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