If too many games today entangle the mind with ceaseless complications, proliferating differences with only superficial distinctions in outcome, "Polybius" provides the feeling of having one's mind washed clean for a few moments, shaken free of clutter. Its biggest reward occurs in the moment when the headset is removed and the screen goes dark, a moment when it feels possible to see everything with what feels like new eyes.
Another game asks players to re-attach the controllers to the side of the Switch console, remove it from its television dock and cradle it like a crying baby, complete with a crudely animated infant tossing its head back and forth on the console's portable screen. It was perhaps the most uncanny moment of all the experiences in the game — a human child used as a skeuomorphic wrapper for a software simulation.
“Infinite Warfare” is arguably the most imaginative and wide-ranging game in the series, and yet every new idea it tries feels hamstrung by the conventions that have made the series so successful. There are a few interludes of space dogfights, but these feel strangely similar to on-foot levels, but with fighter ships that can come to a full halt and hover before zipping off again to chase a new enemy vessel.