While many know Jordan for his work on various DC comics and some of their “New 52” runs, I’m a fan of his creatively violent work The Strange Talent of Luther Strode. To execute this task, they enlisted the aid Dark Horse Comics and writer Justin Jordan. They assured me that the comic story was 100% canon, and would give readers more intimate time with the characters they generally only see amidst waves of wanton slaughter. With the comic run, they wanted to take a transmedia approach to engaging with their fans during what is typically “DLC season.” Since the main installments generally only come out once a year, this is an opportunity to give their fans zombie content outside of that set release schedule. As for his motivations, true goal, or reason behind his reappearance, I was told that this would be a central theme in the six issue series. Edward Richtofen, they have to work together to find an object known as the Kronorium. The first issue will take place immediately following the continuing exploits of the TranZit crew from Call of Duty: Black Ops II. The first thing we talked about was what exactly was in store for the comic run. Hey, if you want some straight answers, why not go right to the top? Together, they told me about their vision for the Call of Duty: Zombies comic, and their design philosophy for the beloved game mode. To answer my questions, I talked to Jason Blundell and Craig Houston, Executive Creative Director and Lead Writer at Treyarch respectively.
I’m sure people are interested in what is happening to the characters, but how will they maintain the integrity of storytelling? For a story always told minimally, I was curious how they would manage to translate that into a fully fledged comic book. It’s why when the people over at Activision reached out and asked if I to talk about the upcoming Call of Duty: Zombies comic book, I was intrigued. With the newest reveal for Infinite Warfare’s “Zombie in Spaceland” mode, we once again see a shift in tone away from “Shadows of Evil” to a more comical, retro vibe. It’s a familiar experience every time as you fight off waves of zombies, but each iteration has proved unique, ranging from cold war leaders to moon bases. Starting as an easter egg arcade mode, it’s evolved, expanded, and become an experience in itself that justifies the entire purchase for some. Since its introduction in Call of Duty: World at War, the bonus “Zombies” mode has become an integral part of the package. Which brings me to the entire reason why I cover the game anyways, the “Zombies” mode. More so, it offers a variety of multiplayer options that other similar titles wouldn’t. The reality of Call of Duty is that it is a multiplayer shooter first and a single player experience second. Gripe about the short campaign all you want, but that would be missing the other 80% of the game. The funny thing is, for such a commonly criticized franchise, it’s not a bad deal. There’s always going to be a game that appeals to more casual gamers and the “hardcore” alike, and Call of Duty just happens to fill that niche. As much as I am annoyed when some child tells me for the 15th time about how my mother pleasured him sexually, I have to remember that 15 years ago, that was me in Counter-Strike. I get the general distaste for yearly releases with bloated DLC price tags, but the ubiquitous disdain for the quickscoping 12 year olds screaming racial slurs into their microphones never really made sense to me. I’ve never really jumped on the Call of Duty hate bandwagon.
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