Yet I have a personal concern, coming from the core of Wolfenstein. Its choice of Hammer Horror subject matter – science-fiction, occultist Nazis – escaped Western criticism back in the early 90s when the industry was so niche. But it’s persistently caused problems in Germany, where each new game has to be extensively de-Nazified.

Perhaps Germany has it right. Perhaps we shouldn’t be leveraging for wacky entertainment one of the most horrible periods of human history. Wolfenstein is very much like Inglorious Basterds in that, however enjoyable we might find the spectacle of the moment-to-moment violence, there is no moral depth here. The forced choice that both Jim and I balked at is cruel and makes the player complicit in it – but beyond the chosen character not appearing later in the game, it’s gratuitous.

I’m unsure whether subject matter this morally-conflicted demands that we deal with it seriously. Half of modern-day Britain was raised on a diet of televised comedy Nazis in Allo Allo and Dad’s Army, continuing the propaganda caricatures from WWII. It’s completely normal that we think about Nazis as wacky – and it’s easy to joke about Commander ‘Death Shed’, up until you stumble across the picture of an actual death shed from Ohrdruf.

Wolfenstein flits between gung-ho war, camp Nazis, mass-murder FPS and torture-horror. Yet it’s not the portrayal but the tone that’s off. By making these fictional Nazis out to be comically and inhumanly evil, the game is obfuscating that it was real, normal people who calmly and systematically eliminated millions of other humans.