Killing Nazis is, in a way, B.J.’s version of therapy and, boy, does it feel cathartic-at least, most of the time. fighting for a better future for his family, but he’s also fighting to find himself after a traumatic childhood. We come to understand in The New Colossus that not only is B.J. paints his masterpiece with bullets and Nazi blood.
It’s within this hate-filled landscape that B.J. He sees it through the slats of his mother’s closet, in the eyes of the hateful man who is his father, in the eyes of a man who beats his son for befriending a black girl, in the eyes of a man who forces his son to shoot his own dog who was only doing its solemn duty of protecting the family. This evil existed in The New Colossus’ United States even before the Nazis took over, and William Joseph “B.J.” Blazkowicz was no stranger to it. It’s a mechanical, atompunk dystopia in which robot dogs spit fire, a world where you’ll look in the eyes of black-clad Nazi soldiers and it’s hard to tell where man ends and machine begins. This is a world in which dissenters are massacred and beheaded, a world not only driven by the hateful ideology of a raving narcissist, but also by the desire to simply see innocent blood spilled. You better believe that if Nazi Germany won the Second World War after unlocking the ancient, advanced technology of a mystical secret society and utilized that to create an unstoppable war machine, the world would be an ugly place. Wolfenstein II: The New Colossus doesn’t shy away from the utter brutality of its alternate reality.